https://www.mcbaprize.org/mcba-prize daily 0.75 2026-04-03 https://www.mcbaprize.org/mcba-prize/2013-prize-winner-announcement monthly 0.5 2026-03-27 https://www.mcbaprize.org/mcba-prize/steven-daiber-a-brothers-keeper-or-so-i-thought monthly 0.5 2026-03-26 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770730691885-K296WM5QV3M9SWGYDIKI/steven-daiber-a-brothers-keeper-mcba-prize-winner-2022-4.jpg Entries & Jurors - Steven Daiber, “A Brother’s Keeper or so I thought” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770730691868-PYPM1XUO74H2F98L05YK/steven-daiber-a-brothers-keeper-mcba-prize-winner-2022-3.jpg Entries & Jurors - Steven Daiber, “A Brother’s Keeper or so I thought” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770730690827-5V71PEMHDUIBNN4UWVUO/steven-daiber-a-brothers-keeper-mcba-prize-winner-2022-2.jpg Entries & Jurors - Steven Daiber, “A Brother’s Keeper or so I thought” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770730690732-H73J6PLZ5LGXTEP47CN3/steven-daiber-a-brothers-keeper-mcba-prize-winner-2022-1.jpg Entries & Jurors - Steven Daiber, “A Brother’s Keeper or so I thought” https://www.mcbaprize.org/mcba-prize/bryant-acts-of-translation monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822758198-HTCNBY7P5YPHJY0WHB9O/ActsofTranslation.open_-1024x768.jpg Entries & Jurors - Sarah Bryant, “Acts of Translation” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822756307-ZDIYMV17Y9ZJW1W0IAS2/ActsofTranslation.Detail.Grant_-1024x768.jpg Entries & Jurors - Sarah Bryant, “Acts of Translation” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822756323-Q2FRDWH4KN85T41706NM/ActsofTranslation.detail.Harrison-1-1024x768.jpg Entries & Jurors - Sarah Bryant, “Acts of Translation” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822757306-VWPLQIW4DHOJD4U3D8Y4/ActsofTranslation.detail.Mitchell-1024x768.jpg Entries & Jurors - Sarah Bryant, “Acts of Translation” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822757478-XZ28I2JWETTULMOL13TV/ActsofTranslation.expanded-1024x540.jpg Entries & Jurors - Sarah Bryant, “Acts of Translation” https://www.mcbaprize.org/mcba-prize/ciricaite-everything-is-true monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822427154-G4XR4RVV9378QBBM26CV/EgidijaDEW2-1024x1024.jpg Entries & Jurors - Egidija Čiricaitė, “dangus*/dew (everything is true)” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822427153-NCXARZEKUAPEPE5DRO1Z/EgidijaDEW3-1024x1024.jpg Entries & Jurors - Egidija Čiricaitė, “dangus*/dew (everything is true)” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822428075-CR89K7TV2WKJ944336GF/EgidijaDEW4-1024x1024.jpg Entries & Jurors - Egidija Čiricaitė, “dangus*/dew (everything is true)” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822428160-3I58F17TDSB2DUIMR5WS/EgidijaDEW5-1-1024x1024.jpg Entries & Jurors - Egidija Čiricaitė, “dangus*/dew (everything is true)” https://www.mcbaprize.org/mcba-prize/thad-higa-this-land-is-my-land monthly 0.5 2026-03-12 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772750401371-7R2QMTW7GM778B5R0KGF/mcba-prize-2024-thad-higa-this-land-is-my-land-1.jpg Entries & Jurors - Thad Higa, “This Land Is My Land” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772750401342-OXHFUBVG14UZWLPEJ9UV/mcba-prize-2024-thad-higa-this-land-is-my-land-2.jpg Entries & Jurors - Thad Higa, “This Land Is My Land” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772750402323-O3AA5PNW0RWS4X4M49RY/mcba-prize-2024-thad-higa-this-land-is-my-land-3.jpg Entries & Jurors - Thad Higa, “This Land Is My Land” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772750402594-CUAF56MB4SS22BNDHNIC/mcba-prize-2024-thad-higa-this-land-is-my-land-4.jpg Entries & Jurors - Thad Higa, “This Land Is My Land” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772750403377-LMIMZ7J22YRWGMRY4FCI/mcba-prize-2024-thad-higa-this-land-is-my-land-5.jpg Entries & Jurors - Thad Higa, “This Land Is My Land” https://www.mcbaprize.org/mcba-prize/veronika-schpers-211-/-grain-morning-raccoon-peace-job-barrel-hamster-nature-exercise-unable-fire-crush-image-patrol-pony-aerobic-key-pet-ship-squeeze-bargain-move-again-ability monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772750071764-BS43U927DPX2H8KOR4PJ/mcba-prize-2024-veronika-schapers-2-11-grain-morning-1.jpg Entries & Jurors - Veronika Schäpers, “2^11 // grain morning raccoon peace job barrel hamster nature exercise unable fire crush image patrol pony aerobic key pet ship squeeze bargain move again ability” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772750071264-ZE4UJ8PYTUFXJTID87OF/mcba-prize-2024-veronika-schapers-2-11-grain-morning-2.jpg Entries & Jurors - Veronika Schäpers, “2^11 // grain morning raccoon peace job barrel hamster nature exercise unable fire crush image patrol pony aerobic key pet ship squeeze bargain move again ability” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772750072306-VDDZYB408OD1ANBSMGT7/mcba-prize-2024-veronika-schapers-2-11-grain-morning-3.jpg Entries & Jurors - Veronika Schäpers, “2^11 // grain morning raccoon peace job barrel hamster nature exercise unable fire crush image patrol pony aerobic key pet ship squeeze bargain move again ability” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772750073055-IHRV66OLXOW3RYCI0427/mcba-prize-2024-veronika-schapers-2-11-grain-morning-4.jpg Entries & Jurors - Veronika Schäpers, “2^11 // grain morning raccoon peace job barrel hamster nature exercise unable fire crush image patrol pony aerobic key pet ship squeeze bargain move again ability” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772750073319-758GX7D49G5MEPOWWRX1/mcba-prize-2024-veronika-schapers-2-11-grain-morning-5.jpg Entries & Jurors - Veronika Schäpers, “2^11 // grain morning raccoon peace job barrel hamster nature exercise unable fire crush image patrol pony aerobic key pet ship squeeze bargain move again ability” https://www.mcbaprize.org/mcba-prize/roni-gross-peter-schell-i-know-how-to-be-helpful monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772663685777-M1T7R8ET52NVJ0ZN4Y0V/mcba-prize-2024-Roni-Gross-Peter-Schell-I-Know-How-To-Be-Helpful-1.jpg Entries & Jurors - Roni Gross & Peter Schell, “I Know How to be Helpful” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772663685291-7TJUUE9K1D9W7VY2IJST/mcba-prize-2024-Roni-Gross-Peter-Schell-I-Know-How-To-Be-Helpful-3.jpg Entries & Jurors - Roni Gross & Peter Schell, “I Know How to be Helpful” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772663688430-UTVBSZ6MCC8ZOXI0TAGR/mcba-prize-2024-Roni-Gross-Peter-Schell-I-Know-How-To-Be-Helpful-4.jpg Entries & Jurors - Roni Gross & Peter Schell, “I Know How to be Helpful” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772663688836-F06NA3YAPFLTTLX0Q41Q/mcba-prize-2024-Roni-Gross-Peter-Schell-I-Know-How-To-Be-Helpful-5.jpg Entries & Jurors - Roni Gross & Peter Schell, “I Know How to be Helpful” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772663690681-T331HYC989P7DN37Q01G/mcba-prize-2024-Roni-Gross-Peter-Schell-I-Know-How-To-Be-Helpful-6.jpg Entries & Jurors - Roni Gross & Peter Schell, “I Know How to be Helpful” https://www.mcbaprize.org/mcba-prize/wang-do-you-speak-second-gen monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772575810519-VIQM0835LX1WK338I96P/2024+MCBA+Prize+Entries%2C+2024+MCBA+Prize+Semi-Finalists+Sophie+Wang%2C+%E2%80%9CDo+You+Speak+Second+Gen%3F%E2%80%9D.jpg Entries & Jurors - Sophie Wang, “Do You Speak Second Gen?” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772575810572-GQKJZX3YVEGL7ACPHAT3/2024+MCBA+Prize+Entries%2C+2024+MCBA+Prize+Semi-Finalists+Sophie+Wang%2C+%E2%80%9CDo+You+Speak+Second+Gen%3F%E2%80%9D2.jpg Entries & Jurors - Sophie Wang, “Do You Speak Second Gen?” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772575811701-5MODC7Y6QM8XHSNKOGPT/2024+MCBA+Prize+Entries%2C+2024+MCBA+Prize+Semi-Finalists+Sophie+Wang%2C+%E2%80%9CDo+You+Speak+Second+Gen%3F%E2%80%9D3.jpg Entries & Jurors - Sophie Wang, “Do You Speak Second Gen?” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772575813024-1BH0AMO9TAS1Q3NBRCBM/2024+MCBA+Prize+Entries%2C+2024+MCBA+Prize+Semi-Finalists+Sophie+Wang%2C+%E2%80%9CDo+You+Speak+Second+Gen%3F%E2%80%9D4.jpeg Entries & Jurors - Sophie Wang, “Do You Speak Second Gen?” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772575814476-KW4138PYM8DZNR7TD55P/2024+MCBA+Prize+Entries%2C+2024+MCBA+Prize+Semi-Finalists+Sophie+Wang%2C+%E2%80%9CDo+You+Speak+Second+Gen%3F%E2%80%9D5.jpeg Entries & Jurors - Sophie Wang, “Do You Speak Second Gen?” https://www.mcbaprize.org/mcba-prize/rhiannon-alpers-lichen-rambles-in-the-colorado-front-range monthly 0.5 2026-03-04 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772661886362-3VTEO8ITIMHHAR7ZGMS5/mcba-prize-2024-rhiannon-alpers-lichen-1.jpg Entries & Jurors - Rhiannon Alpers, “Lichen: Rambles in the Colorado Front Range” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772661887088-S6L1CYZ5P4QR57HD3AMS/mcba-prize-2024-rhiannon-alpers-lichen-3.jpg Entries & Jurors - Rhiannon Alpers, “Lichen: Rambles in the Colorado Front Range” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772661888369-MA8L0H7V9TPIHL3TX8CL/mcba-prize-2024-rhiannon-alpers-lichen-5.jpg Entries & Jurors - Rhiannon Alpers, “Lichen: Rambles in the Colorado Front Range” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772661887841-XXTBJQTPIOSOYX37NBAZ/mcba-prize-2024-rhiannon-alpers-lichen-4.jpg Entries & Jurors - Rhiannon Alpers, “Lichen: Rambles in the Colorado Front Range” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772661889185-YED9GY3CKA53PEUU94PX/mcba-prize-2024-rhiannon-alpers-lichen-6.jpg Entries & Jurors - Rhiannon Alpers, “Lichen: Rambles in the Colorado Front Range” https://www.mcbaprize.org/mcba-prize/islam-aly-kinship monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772747556736-PY82M5J3OQIVQUWWASUJ/mcba-prize-2024-islam-aly-kinship-1.jpg Entries & Jurors - Islam Aly, “Kinship” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772747556704-KZ5N6MZSEQ4F6GYT3SBA/mcba-prize-2024-islam-aly-kinship-2.jpg Entries & Jurors - Islam Aly, “Kinship” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772747557750-33ACX1QF1SWCD0XWBZ4J/mcba-prize-2024-islam-aly-kinship-3.jpg Entries & Jurors - Islam Aly, “Kinship” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772747557847-JH9CABV6OSL8BAT7TSGS/mcba-prize-2024-islam-aly-kinship-4.jpg Entries & Jurors - Islam Aly, “Kinship” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772747558627-Q2VZDIF0TJ6N9UCM1N3U/mcba-prize-2024-islam-aly-kinship-5.jpg Entries & Jurors - Islam Aly, “Kinship” https://www.mcbaprize.org/mcba-prize/carletta-carrington-wilson-bonnie-thompson-norman-knot-free-knot-human monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772747251031-H1JGID6PCDN8SKOYII9H/mcba-prize-2024-knot-free-knot-human-1.jpg Entries & Jurors - Carletta Carrington Wilson & Bonnie Thompson Norman, “kNot free kNot human” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772747250901-NDRWYM19AN6QM29LWQ3P/mcba-prize-2024-knot-free-knot-human-2.jpg Entries & Jurors - Carletta Carrington Wilson & Bonnie Thompson Norman, “kNot free kNot human” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772747252134-5TN7S3E1TXR2ZOCU25B0/mcba-prize-2024-knot-free-knot-human-3.jpg Entries & Jurors - Carletta Carrington Wilson & Bonnie Thompson Norman, “kNot free kNot human” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772747252670-BYWU3FOV8I1QQ1OO4WAF/mcba-prize-2024-knot-free-knot-human-4.jpg Entries & Jurors - Carletta Carrington Wilson & Bonnie Thompson Norman, “kNot free kNot human” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772747253362-OIHXJZJ3NE3SJCVT7E2X/mcba-prize-2024-knot-free-knot-human-5.jpg Entries & Jurors - Carletta Carrington Wilson & Bonnie Thompson Norman, “kNot free kNot human” https://www.mcbaprize.org/mcba-prize/kunc-the-way-of-water monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772574134688-2BFSKJN90LXQ7B4H1OMZ/2024+MCBA+Prize+Entries%2C+2024+MCBA+Prize+Semi-Finalists+Karen+Kunc%2C+%E2%80%9CThe+Way+of+Water%E2%80%9D+2.jpg Entries & Jurors - Karen Kunc, “The Way of Water” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772574134830-M0E8CZ0VHM6Q8RWQ6PHK/2024+MCBA+Prize+Entries%2C+2024+MCBA+Prize+Semi-Finalists+Karen+Kunc%2C+%E2%80%9CThe+Way+of+Water%E2%80%9D+.jpg Entries & Jurors - Karen Kunc, “The Way of Water” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772574135709-9TW0R9G12AOZKLQEA0U3/2024+MCBA+Prize+Entries%2C+2024+MCBA+Prize+Semi-Finalists+Karen+Kunc%2C+%E2%80%9CThe+Way+of+Water%E2%80%9D+3.jpg Entries & Jurors - Karen Kunc, “The Way of Water” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772574135826-FJONOJD8L1T16V09BFMN/2024+MCBA+Prize+Entries%2C+2024+MCBA+Prize+Semi-Finalists+Karen+Kunc%2C+%E2%80%9CThe+Way+of+Water%E2%80%9D+4.jpg Entries & Jurors - Karen Kunc, “The Way of Water” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772574139891-48R6PN7M073J9MNV2ZEZ/2024+MCBA+Prize+Entries%2C+2024+MCBA+Prize+Semi-Finalists+Karen+Kunc%2C+%E2%80%9CThe+Way+of+Water%E2%80%9D+5.jpg Entries & Jurors - Karen Kunc, “The Way of Water” https://www.mcbaprize.org/mcba-prize/chris-fritton-keri-miki-lani-schroeder-please-stay-until-doomsday monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772746926288-5D1U7L0LYOATHF1IQGRQ/mcba-prize-2024-please-stay-until-doomsday-1.jpg Entries & Jurors - Chris Fritton & Keri Miki-Lani Schroeder, “Please Stay Until Doomsday” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772746926218-0BZH1IK9I2NRKS2TZ1Y5/mcba-prize-2024-please-stay-until-doomsday-2.jpg Entries & Jurors - Chris Fritton & Keri Miki-Lani Schroeder, “Please Stay Until Doomsday” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772746927853-MDAZEL0JWWQESHMDBNI5/mcba-prize-2024-please-stay-until-doomsday-3.jpg Entries & Jurors - Chris Fritton & Keri Miki-Lani Schroeder, “Please Stay Until Doomsday” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772746927885-2OTOUXOX48SFVUX2HCP3/mcba-prize-2024-please-stay-until-doomsday-4.jpg Entries & Jurors - Chris Fritton & Keri Miki-Lani Schroeder, “Please Stay Until Doomsday” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772746928846-8NE4BZ20VKFLKEVSBSC1/mcba-prize-2024-please-stay-until-doomsday-5.jpg Entries & Jurors - Chris Fritton & Keri Miki-Lani Schroeder, “Please Stay Until Doomsday” https://www.mcbaprize.org/mcba-prize/jenn-law-spent monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772746530771-62O1TIDH8VKV3CT42KKZ/mcba-prize-2024-jenn-law-spent-1.jpg Entries & Jurors - Jenn Law, “Spent” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772746530364-BTDZ51ZFLC20CONWHGDL/mcba-prize-2024-jenn-law-spent-2.jpg Entries & Jurors - Jenn Law, “Spent” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772746531882-T62K251A4DK6FZYUTED7/mcba-prize-2024-jenn-law-spent-3.jpg Entries & Jurors - Jenn Law, “Spent” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772746531285-MHP70HK33W33BIC8L0RD/mcba-prize-2024-jenn-law-spent-4.jpg Entries & Jurors - Jenn Law, “Spent” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772746532564-3DWOEP1SR11A429XDT5E/mcba-prize-2024-jenn-law-spent-5.jpg Entries & Jurors - Jenn Law, “Spent” https://www.mcbaprize.org/mcba-prize/angelica-ong-garden-of-haikus monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772746304939-8K6EJUTUSU0F991BLRAP/mcba-prize-2024-angelica-ong-garden-of-haikus-1.jpg Entries & Jurors - Angelica Ong, “「俳句の箱庭」(Garden of Haikus)” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772746304931-KHFUMM55O2LT7V54BABY/mcba-prize-2024-angelica-ong-garden-of-haikus-2.jpg Entries & Jurors - Angelica Ong, “「俳句の箱庭」(Garden of Haikus)” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772746305989-0Z9BPRXWT7GNH5IHVARJ/mcba-prize-2024-angelica-ong-garden-of-haikus-3.jpg Entries & Jurors - Angelica Ong, “「俳句の箱庭」(Garden of Haikus)” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772746306110-096X8JF86FI7E9K3GLL5/mcba-prize-2024-angelica-ong-garden-of-haikus-4.jpg Entries & Jurors - Angelica Ong, “「俳句の箱庭」(Garden of Haikus)” https://www.mcbaprize.org/mcba-prize/savannah-bustillo-the-history-of-work monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772654503356-4AE1FN1KJHGDP5FT6NUI/mcba-prize-2024-Savannah-Bustillo-The-History-Of-Work-1.jpg Entries & Jurors - Savannah Bustillo, “The History of Work” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772654502745-GGI2OIGXS353MBEASZ6V/mcba-prize-2024-Savannah-Bustillo-The-History-Of-Work-2.jpg Entries & Jurors - Savannah Bustillo, “The History of Work” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772654502319-J02VNJD1XDQLLUUM1IOG/mcba-prize-2024-Savannah-Bustillo-The-History-Of-Work-3.jpg Entries & Jurors - Savannah Bustillo, “The History of Work” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772654501293-BRUUT1H2JI84UUHCBKI2/mcba-prize-2024-Savannah-Bustillo-The-History-Of-Work-5.jpg Entries & Jurors - Savannah Bustillo, “The History of Work” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772654501328-DJGMYAL0H5ZUBLW4NVUO/mcba-prize-2024-Savannah-Bustillo-The-History-Of-Work-4.jpg Entries & Jurors - Savannah Bustillo, “The History of Work” https://www.mcbaprize.org/mcba-prize/virgin-this-is-my-body-of-food-and-freedom monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772823172449-RODMHEJZUIUC5FSKJ0QR/IMG_0421-1024x683.jpg Entries & Jurors - Tom Virgin, “This Is My Body, Of Food and Freedom” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772823171439-X7V87JWYNOYVYXQRFZ5G/2023FF_fc_cover1-952x1024.jpg Entries & Jurors - Tom Virgin, “This Is My Body, Of Food and Freedom” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772823171342-XY39Y5LUTAP1A6DLYJC2/IMG_0413-1024x683.jpg Entries & Jurors - Tom Virgin, “This Is My Body, Of Food and Freedom” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772823172363-EFK74SEFB9YT4F4J2AFW/IMG_0415-1024x683.jpg Entries & Jurors - Tom Virgin, “This Is My Body, Of Food and Freedom” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772823173330-224F5KIYBDEN8K54LIFF/IMG_0423-1024x683.jpg Entries & Jurors - Tom Virgin, “This Is My Body, Of Food and Freedom” https://www.mcbaprize.org/mcba-prize/zakari-pictures-from-the-outside monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822131363-8A3P1QPRSMK95JTGZ4H4/Pic-Photo1923-sml-1024x683.jpg Entries & Jurors - Chantal Zakari, “Pictures from the Outside” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822131366-97SBHEZ1QU8E5SDZIA9G/Pic-Photo1925-sml-1-1024x683.jpg Entries & Jurors - Chantal Zakari, “Pictures from the Outside” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822132292-4PSJMRKECMP8B5XWPH0C/Pic-Photo1930-sml-1-1024x683.jpg Entries & Jurors - Chantal Zakari, “Pictures from the Outside” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822132389-L7AHA0RNY2RYU3Y80UE8/Pictures-026-27-1024x683.jpg Entries & Jurors - Chantal Zakari, “Pictures from the Outside” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822133324-GGX8PMBUNP43EVDRMPCG/Pictures-116-17-1000pix-1-1024x755.jpg Entries & Jurors - Chantal Zakari, “Pictures from the Outside” https://www.mcbaprize.org/mcba-prize/leah-willemin-depth-capture monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772735641057-FZMSQGMKNAUTI8UPJKDI/mcba-prize-2024-leah-willemin-depth-capture-1.jpg Entries & Jurors - Leah Willemin, “Depth Capture” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772735641360-JJ10UCA8K6YHV3P25PP6/mcba-prize-2024-leah-willemin-depth-capture-2.jpg Entries & Jurors - Leah Willemin, “Depth Capture” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772735642481-6S0IUFUK0VHKUTYEKVOF/mcba-prize-2024-leah-willemin-depth-capture-4.jpg Entries & Jurors - Leah Willemin, “Depth Capture” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772735644088-WY6CXTDC1F1F8JSR35TR/mcba-prize-2024-leah-willemin-depth-capture-5.jpg Entries & Jurors - Leah Willemin, “Depth Capture” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772735644736-JF0588F4CV1ST21Q79RJ/DepthCapture_Willemin_4-scaled.jpg Entries & Jurors - Leah Willemin, “Depth Capture” https://www.mcbaprize.org/mcba-prize/macy-chadwick-waiting-for-rain monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772735140954-QL29DKZQ40QMICRNMXTO/mcba-prize-2024-macy-chadwick-waiting-for-rain-1.jpg Entries & Jurors - Macy Chadwick, “Waiting for Rain” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772735141021-UQTMX6ED5DLK0UW44NEX/mcba-prize-2024-macy-chadwick-waiting-for-rain-2.jpg Entries & Jurors - Macy Chadwick, “Waiting for Rain” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772735142055-EJQYYGPGOSDUUOK9D0BC/mcba-prize-2024-macy-chadwick-waiting-for-rain-3.jpg Entries & Jurors - Macy Chadwick, “Waiting for Rain” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772735142151-LMWKM698JVZW2ILQRWAS/mcba-prize-2024-macy-chadwick-waiting-for-rain-4.jpg Entries & Jurors - Macy Chadwick, “Waiting for Rain” https://www.mcbaprize.org/mcba-prize/gogo-to-send-a-telegram monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772821763941-2T5HMYW8DO87QO7A0D8W/to-send-a-telegram-1-1-1024x731.jpg Entries & Jurors - Asuka Goto, “To Send a Telegram” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772821763987-8NVHJ33OAHGZHI8E7JHX/to-send-a-telegram-2-1-1024x731.jpg Entries & Jurors - Asuka Goto, “To Send a Telegram” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772821765068-UTE4GSV41RO99VA7MJAS/to-send-a-telegram-3-1-1038x576.jpg Entries & Jurors - Asuka Goto, “To Send a Telegram” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772821765249-RL0UQ7N9Y6FAOZ8X15ML/to-send-a-telegram-4-1-1024x732.jpg Entries & Jurors - Asuka Goto, “To Send a Telegram” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772821766094-MVPE7SKPXWKS5OMT31O4/to-send-a-telegram-5-1-1024x731.jpg Entries & Jurors - Asuka Goto, “To Send a Telegram” https://www.mcbaprize.org/mcba-prize/ravikumar-kashi-echoes-of-loss-remnants-of-a-mother-tongue monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772733899375-PR7CFWOVE1TU55EVLKV1/mcba-prize-2024-ravikumar-kashi-echoes-of-loss-3.jpg Entries & Jurors - Ravikumar Kashi, “Echoes of Loss: Remnants of a Mother Tongue” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772733899526-JPHQYJ8IOZEC2HO81BEF/mcba-prize-2024-ravikumar-kashi-echoes-of-loss-2.jpg Entries & Jurors - Ravikumar Kashi, “Echoes of Loss: Remnants of a Mother Tongue” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772733900656-YEAYJEURQAY9LPDLSSB2/mcba-prize-2024-ravikumar-kashi-echoes-of-loss-4.jpg Entries & Jurors - Ravikumar Kashi, “Echoes of Loss: Remnants of a Mother Tongue” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772733901476-R226HJZL5LEJBIQMLMIT/mcba-prize-2024-ravikumar-kashi-echoes-of-loss-1.jpg Entries & Jurors - Ravikumar Kashi, “Echoes of Loss: Remnants of a Mother Tongue” https://www.mcbaprize.org/mcba-prize/2024-entries monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772486999714-K07VANU4JA6AKIS5P2N3/IAmComingToSeeYou1-1024x683.jpg Entries & Jurors - 2024 Entries - Essence Enwere Minneapolis, MN https://essenceenwere.squarespace.com Instagram: @E_bylon I Am Coming To See You 2023 Screen Printed on Recycled Paper 18″x 5”x3.5” Artist Statement In I Am Coming To See You, a time-bending story is told about ancestral inheritances, love, and survival through time and space. In this newly created & unique book form, the audience is led to the center of the work by unfolding the pages back till the reader finds love, connection, and respect while simultaneously calling out the conditions within which that care must traverse. It is a book that tells, reflects, and is full of history while keeping your feet firmly planted in the present. The book form itself feels like unwrapping, pulling off layers of the city and society until we get to the expansive and open center of connection, nature, finding one’s self. This story is one of my Black identity, and my continuous desire to find and connect with my ancestors through nature, writing, and self-discovery. A feat that becomes harder and harder with the confinement & gentrification of the city and the bombardment of ads and technology clouding our thoughts. I Am Coming To See You is a story many people who look like me and the like can deeply relate to. A story of finding yourself as an African American and reconnecting with your loved ones. These 15 pages are devoted to exploring your ancestry, and to find an answer to who you are, you have to look back and talk to someone who has been historically silenced and hidden away from you. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772488489530-YAYWPZZCME1OKRPELD4Y/IAmComingToSeeYou2-1024x683.jpg Entries & Jurors - 2024 Entries - Essence Enwere Minneapolis, MN https://essenceenwere.squarespace.com Instagram: @E_bylon I Am Coming To See You 2023 Screen Printed on Recycled Paper 18″x 5”x3.5” Artist Statement In I Am Coming To See You, a time-bending story is told about ancestral inheritances, love, and survival through time and space. In this newly created & unique book form, the audience is led to the center of the work by unfolding the pages back till the reader finds love, connection, and respect while simultaneously calling out the conditions within which that care must traverse. It is a book that tells, reflects, and is full of history while keeping your feet firmly planted in the present. The book form itself feels like unwrapping, pulling off layers of the city and society until we get to the expansive and open center of connection, nature, finding one’s self. This story is one of my Black identity, and my continuous desire to find and connect with my ancestors through nature, writing, and self-discovery. A feat that becomes harder and harder with the confinement & gentrification of the city and the bombardment of ads and technology clouding our thoughts. I Am Coming To See You is a story many people who look like me and the like can deeply relate to. A story of finding yourself as an African American and reconnecting with your loved ones. These 15 pages are devoted to exploring your ancestry, and to find an answer to who you are, you have to look back and talk to someone who has been historically silenced and hidden away from you. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772488491658-0P1BH5KMXSQEUFM0PVQK/IAmComingToSeeYou3-1024x683.jpg Entries & Jurors - 2024 Entries - Essence Enwere Minneapolis, MN https://essenceenwere.squarespace.com Instagram: @E_bylon I Am Coming To See You 2023 Screen Printed on Recycled Paper 18″x 5”x3.5” Artist Statement In I Am Coming To See You, a time-bending story is told about ancestral inheritances, love, and survival through time and space. In this newly created & unique book form, the audience is led to the center of the work by unfolding the pages back till the reader finds love, connection, and respect while simultaneously calling out the conditions within which that care must traverse. It is a book that tells, reflects, and is full of history while keeping your feet firmly planted in the present. The book form itself feels like unwrapping, pulling off layers of the city and society until we get to the expansive and open center of connection, nature, finding one’s self. This story is one of my Black identity, and my continuous desire to find and connect with my ancestors through nature, writing, and self-discovery. A feat that becomes harder and harder with the confinement & gentrification of the city and the bombardment of ads and technology clouding our thoughts. I Am Coming To See You is a story many people who look like me and the like can deeply relate to. A story of finding yourself as an African American and reconnecting with your loved ones. These 15 pages are devoted to exploring your ancestry, and to find an answer to who you are, you have to look back and talk to someone who has been historically silenced and hidden away from you. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772488493124-U7R60XZM7193Y7282M6P/IAmComingToSeeYou4-1024x683.jpg Entries & Jurors - 2024 Entries - Essence Enwere Minneapolis, MN https://essenceenwere.squarespace.com Instagram: @E_bylon I Am Coming To See You 2023 Screen Printed on Recycled Paper 18″x 5”x3.5” Artist Statement In I Am Coming To See You, a time-bending story is told about ancestral inheritances, love, and survival through time and space. In this newly created & unique book form, the audience is led to the center of the work by unfolding the pages back till the reader finds love, connection, and respect while simultaneously calling out the conditions within which that care must traverse. It is a book that tells, reflects, and is full of history while keeping your feet firmly planted in the present. The book form itself feels like unwrapping, pulling off layers of the city and society until we get to the expansive and open center of connection, nature, finding one’s self. This story is one of my Black identity, and my continuous desire to find and connect with my ancestors through nature, writing, and self-discovery. A feat that becomes harder and harder with the confinement & gentrification of the city and the bombardment of ads and technology clouding our thoughts. I Am Coming To See You is a story many people who look like me and the like can deeply relate to. A story of finding yourself as an African American and reconnecting with your loved ones. These 15 pages are devoted to exploring your ancestry, and to find an answer to who you are, you have to look back and talk to someone who has been historically silenced and hidden away from you. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730055569-IBTCCX5IRGQR41HLH2OY/mcba-prize-2024-lauren-emeritz-water-5.jpg Entries & Jurors - 2024 Entries - Lauren Emeritz Washington, DC www.AbstractOrange.com Water 2024 Handmade Paper, Letterpress Printed with Wood Type 11x7x.5 Artist Statement This book explores water in nature. The text follows the flow of water from drops to streams to rivers and oceans. It juxtaposes the beauty of water in nature with detrimental aspects, such as disease, flooding, and drought. The book is composed of paper handmade by the artist. The process of paper-making uses a lot of water. The book contains the magic of water, even if the water was pressed out of the sheets. Both the text and the paper itself convey the power of paper to shape our lives. See additional images at AbstractOrange.com https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730054344-M3BLOR89YMDGJ06HZGWR/mcba-prize-2024-lauren-emeritz-water-2.jpg Entries & Jurors - 2024 Entries - Lauren Emeritz Washington, DC www.AbstractOrange.com Water 2024 Handmade Paper, Letterpress Printed with Wood Type 11x7x.5 Artist Statement This book explores water in nature. The text follows the flow of water from drops to streams to rivers and oceans. It juxtaposes the beauty of water in nature with detrimental aspects, such as disease, flooding, and drought. The book is composed of paper handmade by the artist. The process of paper-making uses a lot of water. The book contains the magic of water, even if the water was pressed out of the sheets. Both the text and the paper itself convey the power of paper to shape our lives. See additional images at AbstractOrange.com https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730055353-ZLSBYSC4WXF42ZIGABW7/mcba-prize-2024-lauren-emeritz-water-4.jpg Entries & Jurors - 2024 Entries - Lauren Emeritz Washington, DC www.AbstractOrange.com Water 2024 Handmade Paper, Letterpress Printed with Wood Type 11x7x.5 Artist Statement This book explores water in nature. The text follows the flow of water from drops to streams to rivers and oceans. It juxtaposes the beauty of water in nature with detrimental aspects, such as disease, flooding, and drought. The book is composed of paper handmade by the artist. The process of paper-making uses a lot of water. The book contains the magic of water, even if the water was pressed out of the sheets. Both the text and the paper itself convey the power of paper to shape our lives. See additional images at AbstractOrange.com https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730054347-JN1K3EHE6UA83JG5HRLA/mcba-prize-2024-lauren-emeritz-water-3.jpg Entries & Jurors - 2024 Entries - Lauren Emeritz Washington, DC www.AbstractOrange.com Water 2024 Handmade Paper, Letterpress Printed with Wood Type 11x7x.5 Artist Statement This book explores water in nature. The text follows the flow of water from drops to streams to rivers and oceans. It juxtaposes the beauty of water in nature with detrimental aspects, such as disease, flooding, and drought. The book is composed of paper handmade by the artist. The process of paper-making uses a lot of water. The book contains the magic of water, even if the water was pressed out of the sheets. Both the text and the paper itself convey the power of paper to shape our lives. See additional images at AbstractOrange.com https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730000712-FFG1HT0RJAVAFIBLKJM4/mcba-prize-2024-lauren-emeritz-water-1.jpg Entries & Jurors - 2024 Entries - Lauren Emeritz Washington, DC www.AbstractOrange.com Water 2024 Handmade Paper, Letterpress Printed with Wood Type 11x7x.5 Artist Statement This book explores water in nature. The text follows the flow of water from drops to streams to rivers and oceans. It juxtaposes the beauty of water in nature with detrimental aspects, such as disease, flooding, and drought. The book is composed of paper handmade by the artist. The process of paper-making uses a lot of water. The book contains the magic of water, even if the water was pressed out of the sheets. Both the text and the paper itself convey the power of paper to shape our lives. See additional images at AbstractOrange.com https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772731485149-U0GS9J10AAGJ95GWOGSH/mcba-prize-2024-luca-cruzat-beloved-1.jpg Entries & Jurors - 2024 Entries - Luca Cruzat Carbondale, IL www.lucacruzat.com Beloved 2022 etching, dry point, transfers letters 6 x 4 x 1/4 in Artist Statement In time of confinement, children were secluded at home. Families and communities were unprepared to fill in the time, and neither could they fully understand the impact of confinement in children’s lives, the outcome of which was hours spent with technology. My series of prints about children started in 2020, but not until 2022 it took the shape of an accordion book called Beloved. The two components of the book are several etchings and dry points accompanied by a series of adjectives, as text. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772731486141-8DGQMZEBEMGXXN1ROXZX/mcba-prize-2024-luca-cruzat-beloved-2.jpg Entries & Jurors - 2024 Entries - Luca Cruzat Carbondale, IL www.lucacruzat.com Beloved 2022 etching, dry point, transfers letters 6 x 4 x 1/4 in Artist Statement In time of confinement, children were secluded at home. Families and communities were unprepared to fill in the time, and neither could they fully understand the impact of confinement in children’s lives, the outcome of which was hours spent with technology. My series of prints about children started in 2020, but not until 2022 it took the shape of an accordion book called Beloved. The two components of the book are several etchings and dry points accompanied by a series of adjectives, as text. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772731485006-OC7WQJYPURLU5BI8ULBC/mcba-prize-2024-luca-cruzat-beloved-3.jpg Entries & Jurors - 2024 Entries - Luca Cruzat Carbondale, IL www.lucacruzat.com Beloved 2022 etching, dry point, transfers letters 6 x 4 x 1/4 in Artist Statement In time of confinement, children were secluded at home. Families and communities were unprepared to fill in the time, and neither could they fully understand the impact of confinement in children’s lives, the outcome of which was hours spent with technology. My series of prints about children started in 2020, but not until 2022 it took the shape of an accordion book called Beloved. The two components of the book are several etchings and dry points accompanied by a series of adjectives, as text. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772731486816-66AM1JT1PFBFOMUZIKZT/mcba-prize-2024-luca-cruzat-beloved-4.jpg Entries & Jurors - 2024 Entries - Luca Cruzat Carbondale, IL www.lucacruzat.com Beloved 2022 etching, dry point, transfers letters 6 x 4 x 1/4 in Artist Statement In time of confinement, children were secluded at home. Families and communities were unprepared to fill in the time, and neither could they fully understand the impact of confinement in children’s lives, the outcome of which was hours spent with technology. My series of prints about children started in 2020, but not until 2022 it took the shape of an accordion book called Beloved. The two components of the book are several etchings and dry points accompanied by a series of adjectives, as text. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772731487160-ZY2KRMDXKAM3Y2SDP1LN/mcba-prize-2024-luca-cruzat-beloved-5.jpg Entries & Jurors - 2024 Entries - Luca Cruzat Carbondale, IL www.lucacruzat.com Beloved 2022 etching, dry point, transfers letters 6 x 4 x 1/4 in Artist Statement In time of confinement, children were secluded at home. Families and communities were unprepared to fill in the time, and neither could they fully understand the impact of confinement in children’s lives, the outcome of which was hours spent with technology. My series of prints about children started in 2020, but not until 2022 it took the shape of an accordion book called Beloved. The two components of the book are several etchings and dry points accompanied by a series of adjectives, as text. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730696690-8903KRINNGPV8L4I6KVT/mcba-prize-2024-angel-simoneau-fossil-finds-1.jpg Entries & Jurors - 2024 Entries - Angel Simoneau Gorham, ME www.angelworks.space IG: sugarkamisama Fossil Finds 2023 Mixed Media (watercolor, pen + ink, marker) when open: 21.5 L x 11 W x 3 H (tallest point), when closed: 6.5 x 11 x 0.5 Artist Statement Fossil Finds is an illustrated Flag Book about Paleontology; the study of ancient life like dinosaurs and sea creatures. The fossils illustrated as flags in my book are a collection of fossils I enjoy learning about through documentaries, articles, and books. While these fossils would often not be found together in real life, I wanted to create a flag book that encapsulated some of my favorite finds; like the ichthyosaur found by Mary Anning or fossils that are especially fun to look at; such as the famous triceratops. I used many layers of watercolors for each fossil and finished detail work with pen, ink and markers. The background that holds the fossil flags is a light brown paper lightly decorated with watercolor to represent dirt. Each fossil was given a slightly grey backdrop to represent the ‘stone’ or ‘dirt’ behind the fossil to give contrast. In real life, these would blend together more with their given environment they were found in. The black paper wrapping both covers and the bottom layer of the accordion was specifically chosen to help the browns and greys in my fossils pop and give more depth to the book. The cover title is handwritten as I prefer my books to have a fully traditional aspect to them. Finally, the fossil placement is intentionally chaotic. Traditionally, flag books are far more orderly and organized. However, due to the nature of fossil hunting and the various shapes of fossil skulls I had to be a little more sporadic with placement. I wanted the fossils to be spread out and placed in different angles/views because when you are actually digging you find things in all different directions and placements! Sometimes, you only find bits and pieces of something too; but for the sake of my book I wanted my fossils to be more completed. This book represents my love and appreciation for a field I was always fascinated by and I hope it brings you a certain amount of curiosity. While I await the day that I can maybe find a fossil in the real world I will settle for creating books with my own fossils in them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730698535-U5EK9C2X6GQPEX7F2EWC/mcba-prize-2024-angel-simoneau-fossil-finds-2.jpg Entries & Jurors - 2024 Entries - Angel Simoneau Gorham, ME www.angelworks.space IG: sugarkamisama Fossil Finds 2023 Mixed Media (watercolor, pen + ink, marker) when open: 21.5 L x 11 W x 3 H (tallest point), when closed: 6.5 x 11 x 0.5 Artist Statement Fossil Finds is an illustrated Flag Book about Paleontology; the study of ancient life like dinosaurs and sea creatures. The fossils illustrated as flags in my book are a collection of fossils I enjoy learning about through documentaries, articles, and books. While these fossils would often not be found together in real life, I wanted to create a flag book that encapsulated some of my favorite finds; like the ichthyosaur found by Mary Anning or fossils that are especially fun to look at; such as the famous triceratops. I used many layers of watercolors for each fossil and finished detail work with pen, ink and markers. The background that holds the fossil flags is a light brown paper lightly decorated with watercolor to represent dirt. Each fossil was given a slightly grey backdrop to represent the ‘stone’ or ‘dirt’ behind the fossil to give contrast. In real life, these would blend together more with their given environment they were found in. The black paper wrapping both covers and the bottom layer of the accordion was specifically chosen to help the browns and greys in my fossils pop and give more depth to the book. The cover title is handwritten as I prefer my books to have a fully traditional aspect to them. Finally, the fossil placement is intentionally chaotic. Traditionally, flag books are far more orderly and organized. However, due to the nature of fossil hunting and the various shapes of fossil skulls I had to be a little more sporadic with placement. I wanted the fossils to be spread out and placed in different angles/views because when you are actually digging you find things in all different directions and placements! Sometimes, you only find bits and pieces of something too; but for the sake of my book I wanted my fossils to be more completed. This book represents my love and appreciation for a field I was always fascinated by and I hope it brings you a certain amount of curiosity. While I await the day that I can maybe find a fossil in the real world I will settle for creating books with my own fossils in them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730918880-HDW04HFOLRMZRL0BWA1I/mcba-prize-2024-angel-simoneau-fossil-finds-3.jpg Entries & Jurors - 2024 Entries - Angel Simoneau Gorham, ME www.angelworks.space IG: sugarkamisama Fossil Finds 2023 Mixed Media (watercolor, pen + ink, marker) when open: 21.5 L x 11 W x 3 H (tallest point), when closed: 6.5 x 11 x 0.5 Artist Statement Fossil Finds is an illustrated Flag Book about Paleontology; the study of ancient life like dinosaurs and sea creatures. The fossils illustrated as flags in my book are a collection of fossils I enjoy learning about through documentaries, articles, and books. While these fossils would often not be found together in real life, I wanted to create a flag book that encapsulated some of my favorite finds; like the ichthyosaur found by Mary Anning or fossils that are especially fun to look at; such as the famous triceratops. I used many layers of watercolors for each fossil and finished detail work with pen, ink and markers. The background that holds the fossil flags is a light brown paper lightly decorated with watercolor to represent dirt. Each fossil was given a slightly grey backdrop to represent the ‘stone’ or ‘dirt’ behind the fossil to give contrast. In real life, these would blend together more with their given environment they were found in. The black paper wrapping both covers and the bottom layer of the accordion was specifically chosen to help the browns and greys in my fossils pop and give more depth to the book. The cover title is handwritten as I prefer my books to have a fully traditional aspect to them. Finally, the fossil placement is intentionally chaotic. Traditionally, flag books are far more orderly and organized. However, due to the nature of fossil hunting and the various shapes of fossil skulls I had to be a little more sporadic with placement. I wanted the fossils to be spread out and placed in different angles/views because when you are actually digging you find things in all different directions and placements! Sometimes, you only find bits and pieces of something too; but for the sake of my book I wanted my fossils to be more completed. This book represents my love and appreciation for a field I was always fascinated by and I hope it brings you a certain amount of curiosity. While I await the day that I can maybe find a fossil in the real world I will settle for creating books with my own fossils in them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730920408-XP43UX1GI58APIUHW9Z8/mcba-prize-2024-angel-simoneau-fossil-finds-4.jpg Entries & Jurors - 2024 Entries - Angel Simoneau Gorham, ME www.angelworks.space IG: sugarkamisama Fossil Finds 2023 Mixed Media (watercolor, pen + ink, marker) when open: 21.5 L x 11 W x 3 H (tallest point), when closed: 6.5 x 11 x 0.5 Artist Statement Fossil Finds is an illustrated Flag Book about Paleontology; the study of ancient life like dinosaurs and sea creatures. The fossils illustrated as flags in my book are a collection of fossils I enjoy learning about through documentaries, articles, and books. While these fossils would often not be found together in real life, I wanted to create a flag book that encapsulated some of my favorite finds; like the ichthyosaur found by Mary Anning or fossils that are especially fun to look at; such as the famous triceratops. I used many layers of watercolors for each fossil and finished detail work with pen, ink and markers. The background that holds the fossil flags is a light brown paper lightly decorated with watercolor to represent dirt. Each fossil was given a slightly grey backdrop to represent the ‘stone’ or ‘dirt’ behind the fossil to give contrast. In real life, these would blend together more with their given environment they were found in. The black paper wrapping both covers and the bottom layer of the accordion was specifically chosen to help the browns and greys in my fossils pop and give more depth to the book. The cover title is handwritten as I prefer my books to have a fully traditional aspect to them. Finally, the fossil placement is intentionally chaotic. Traditionally, flag books are far more orderly and organized. However, due to the nature of fossil hunting and the various shapes of fossil skulls I had to be a little more sporadic with placement. I wanted the fossils to be spread out and placed in different angles/views because when you are actually digging you find things in all different directions and placements! Sometimes, you only find bits and pieces of something too; but for the sake of my book I wanted my fossils to be more completed. This book represents my love and appreciation for a field I was always fascinated by and I hope it brings you a certain amount of curiosity. While I await the day that I can maybe find a fossil in the real world I will settle for creating books with my own fossils in them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730696522-7Z3ABHLOQDP9ST1NVRLN/mcba-prize-2024-angel-simoneau-fossil-finds-5.jpg Entries & Jurors - 2024 Entries - Angel Simoneau Gorham, ME www.angelworks.space IG: sugarkamisama Fossil Finds 2023 Mixed Media (watercolor, pen + ink, marker) when open: 21.5 L x 11 W x 3 H (tallest point), when closed: 6.5 x 11 x 0.5 Artist Statement Fossil Finds is an illustrated Flag Book about Paleontology; the study of ancient life like dinosaurs and sea creatures. The fossils illustrated as flags in my book are a collection of fossils I enjoy learning about through documentaries, articles, and books. While these fossils would often not be found together in real life, I wanted to create a flag book that encapsulated some of my favorite finds; like the ichthyosaur found by Mary Anning or fossils that are especially fun to look at; such as the famous triceratops. I used many layers of watercolors for each fossil and finished detail work with pen, ink and markers. The background that holds the fossil flags is a light brown paper lightly decorated with watercolor to represent dirt. Each fossil was given a slightly grey backdrop to represent the ‘stone’ or ‘dirt’ behind the fossil to give contrast. In real life, these would blend together more with their given environment they were found in. The black paper wrapping both covers and the bottom layer of the accordion was specifically chosen to help the browns and greys in my fossils pop and give more depth to the book. The cover title is handwritten as I prefer my books to have a fully traditional aspect to them. Finally, the fossil placement is intentionally chaotic. Traditionally, flag books are far more orderly and organized. However, due to the nature of fossil hunting and the various shapes of fossil skulls I had to be a little more sporadic with placement. I wanted the fossils to be spread out and placed in different angles/views because when you are actually digging you find things in all different directions and placements! Sometimes, you only find bits and pieces of something too; but for the sake of my book I wanted my fossils to be more completed. This book represents my love and appreciation for a field I was always fascinated by and I hope it brings you a certain amount of curiosity. While I await the day that I can maybe find a fossil in the real world I will settle for creating books with my own fossils in them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730493607-QO0F0CHYTLQ7D9GR8IVA/mcba-prize-2024-jim-frazer-san-juan-4.jpg Entries & Jurors - 2024 Entries - Jim Frazer Salt Lake City, UT https://jimfrazer.com IG: @frazer.jim San Juan 2024 Digital prints, board, tyvek, acrylic paint, magnets Two volumes, each 16 x 10 x 1.25 inches closed; Accordion unfolds up to 24 x 80 inches max; Maps volume 16 x 20 inches open Artist Statement San Juan is the name of a river in the extreme southeastern corner of Utah. My book uses the river, as experienced both by floating down it over a period of days and by researching the history of the area, as an entry point for meditations about uncertainty and how we know what we know (or think we know) about a place. The meandering course of the river is the unifying element in both the visual and verbal parts of the book. The San Juan has such a distinctive meandering course through its canyon that it is used as a textbook example of this phenomenon. Geologists have found that contrary to intuition, this seemingly inefficient course is the one that best balances all of the various competing forces in a flow. The river resists keeping to a direct course, and I suggest that we can learn from the river’s wisdom accumulated over millennia and embrace a process of meandering between envisioning possibilities and justifying belief. This approach of alternating between imagining what may seem improbable, or is even thought impossible, and discerning how these dreams may perhaps be realized is really the approach of both research scientists and artists. It was, unintentionally, the process of the early Spanish colonizers and European settlers as fantasy fed through their greed and fears to shape their perception of place. In the end, the process of searching after what proved to be not there revealed the actual landscape. The book is in two sections. Each section is comprised of an intertwined combination of words and collaged images. The first section consists of four accordion folios, each with two or three double sided panels. The background for the recto of each panel is a contemporary topographic map of the portion of the river where the trip took place. These can be laid out in a connecting fashion to form a continuous map of the river. The versos of the panels contain additional collage elements and pockets containing text in smaller folios. Some of the images are removable to reveal additional images behind. In some instances, I have combined several of my photographs with each other in the AI program Midjourney to form new images. Sometimes the effect is subtle, other times more fantastical. Counterpoising what was really there with what has been imagined is a reference to the historical stories and accounts about the area that built various fantasies on grains of truth. The second section is a book of maps bound with a checkerboard binding to contain copies of historical maps of the area that speak to the tension between the desire of cartographers to provide accurate information and the desires of the European explorers to promote their fantasies of unknown lands and untold riches that were always just out of reach. Cartographers from as far away as Venice drew maps of the desert where they had never been, and filled the empty spaces with mountains of pure silver and the supposed location of bearded Indians, whose existence was debated by intellectuals such as Voltaire and the naturalist Buffon. The more accurate the maps became, the less information they contained until in 1878, John Wesley Powell simply left the area of the San Juan blank for lack of verified knowledge. San Juan is based on a trip, but it is not a travelogue. It examines the process of exploration, not just the act of a journey in unfamiliar territory, but the process of looking for explanation. It is possible to define a circle by drawing all lines tangent to it. All those lines, however, form a network of intersections outside the shape, objects all on their own. By starting out to define one thing which seems central, a whole system of convergences is revealed. Following a thought path meandering like the San Juan is letting the tangents have their space and allowing those connections, however unlikely, to come forward and present themselves. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730491411-SZ69VVJXAD62NTDMKGFE/mcba-prize-2024-jim-frazer-san-juan-1.jpg Entries & Jurors - 2024 Entries - Jim Frazer Salt Lake City, UT https://jimfrazer.com IG: @frazer.jim San Juan 2024 Digital prints, board, tyvek, acrylic paint, magnets Two volumes, each 16 x 10 x 1.25 inches closed; Accordion unfolds up to 24 x 80 inches max; Maps volume 16 x 20 inches open Artist Statement San Juan is the name of a river in the extreme southeastern corner of Utah. My book uses the river, as experienced both by floating down it over a period of days and by researching the history of the area, as an entry point for meditations about uncertainty and how we know what we know (or think we know) about a place. The meandering course of the river is the unifying element in both the visual and verbal parts of the book. The San Juan has such a distinctive meandering course through its canyon that it is used as a textbook example of this phenomenon. Geologists have found that contrary to intuition, this seemingly inefficient course is the one that best balances all of the various competing forces in a flow. The river resists keeping to a direct course, and I suggest that we can learn from the river’s wisdom accumulated over millennia and embrace a process of meandering between envisioning possibilities and justifying belief. This approach of alternating between imagining what may seem improbable, or is even thought impossible, and discerning how these dreams may perhaps be realized is really the approach of both research scientists and artists. It was, unintentionally, the process of the early Spanish colonizers and European settlers as fantasy fed through their greed and fears to shape their perception of place. In the end, the process of searching after what proved to be not there revealed the actual landscape. The book is in two sections. Each section is comprised of an intertwined combination of words and collaged images. The first section consists of four accordion folios, each with two or three double sided panels. The background for the recto of each panel is a contemporary topographic map of the portion of the river where the trip took place. These can be laid out in a connecting fashion to form a continuous map of the river. The versos of the panels contain additional collage elements and pockets containing text in smaller folios. Some of the images are removable to reveal additional images behind. In some instances, I have combined several of my photographs with each other in the AI program Midjourney to form new images. Sometimes the effect is subtle, other times more fantastical. Counterpoising what was really there with what has been imagined is a reference to the historical stories and accounts about the area that built various fantasies on grains of truth. The second section is a book of maps bound with a checkerboard binding to contain copies of historical maps of the area that speak to the tension between the desire of cartographers to provide accurate information and the desires of the European explorers to promote their fantasies of unknown lands and untold riches that were always just out of reach. Cartographers from as far away as Venice drew maps of the desert where they had never been, and filled the empty spaces with mountains of pure silver and the supposed location of bearded Indians, whose existence was debated by intellectuals such as Voltaire and the naturalist Buffon. The more accurate the maps became, the less information they contained until in 1878, John Wesley Powell simply left the area of the San Juan blank for lack of verified knowledge. San Juan is based on a trip, but it is not a travelogue. It examines the process of exploration, not just the act of a journey in unfamiliar territory, but the process of looking for explanation. It is possible to define a circle by drawing all lines tangent to it. All those lines, however, form a network of intersections outside the shape, objects all on their own. By starting out to define one thing which seems central, a whole system of convergences is revealed. Following a thought path meandering like the San Juan is letting the tangents have their space and allowing those connections, however unlikely, to come forward and present themselves. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730492156-V98DLKBP13V2XKFJN5U5/mcba-prize-2024-jim-frazer-san-juan-2.jpg Entries & Jurors - 2024 Entries - Jim Frazer Salt Lake City, UT https://jimfrazer.com IG: @frazer.jim San Juan 2024 Digital prints, board, tyvek, acrylic paint, magnets Two volumes, each 16 x 10 x 1.25 inches closed; Accordion unfolds up to 24 x 80 inches max; Maps volume 16 x 20 inches open Artist Statement San Juan is the name of a river in the extreme southeastern corner of Utah. My book uses the river, as experienced both by floating down it over a period of days and by researching the history of the area, as an entry point for meditations about uncertainty and how we know what we know (or think we know) about a place. The meandering course of the river is the unifying element in both the visual and verbal parts of the book. The San Juan has such a distinctive meandering course through its canyon that it is used as a textbook example of this phenomenon. Geologists have found that contrary to intuition, this seemingly inefficient course is the one that best balances all of the various competing forces in a flow. The river resists keeping to a direct course, and I suggest that we can learn from the river’s wisdom accumulated over millennia and embrace a process of meandering between envisioning possibilities and justifying belief. This approach of alternating between imagining what may seem improbable, or is even thought impossible, and discerning how these dreams may perhaps be realized is really the approach of both research scientists and artists. It was, unintentionally, the process of the early Spanish colonizers and European settlers as fantasy fed through their greed and fears to shape their perception of place. In the end, the process of searching after what proved to be not there revealed the actual landscape. The book is in two sections. Each section is comprised of an intertwined combination of words and collaged images. The first section consists of four accordion folios, each with two or three double sided panels. The background for the recto of each panel is a contemporary topographic map of the portion of the river where the trip took place. These can be laid out in a connecting fashion to form a continuous map of the river. The versos of the panels contain additional collage elements and pockets containing text in smaller folios. Some of the images are removable to reveal additional images behind. In some instances, I have combined several of my photographs with each other in the AI program Midjourney to form new images. Sometimes the effect is subtle, other times more fantastical. Counterpoising what was really there with what has been imagined is a reference to the historical stories and accounts about the area that built various fantasies on grains of truth. The second section is a book of maps bound with a checkerboard binding to contain copies of historical maps of the area that speak to the tension between the desire of cartographers to provide accurate information and the desires of the European explorers to promote their fantasies of unknown lands and untold riches that were always just out of reach. Cartographers from as far away as Venice drew maps of the desert where they had never been, and filled the empty spaces with mountains of pure silver and the supposed location of bearded Indians, whose existence was debated by intellectuals such as Voltaire and the naturalist Buffon. The more accurate the maps became, the less information they contained until in 1878, John Wesley Powell simply left the area of the San Juan blank for lack of verified knowledge. San Juan is based on a trip, but it is not a travelogue. It examines the process of exploration, not just the act of a journey in unfamiliar territory, but the process of looking for explanation. It is possible to define a circle by drawing all lines tangent to it. All those lines, however, form a network of intersections outside the shape, objects all on their own. By starting out to define one thing which seems central, a whole system of convergences is revealed. Following a thought path meandering like the San Juan is letting the tangents have their space and allowing those connections, however unlikely, to come forward and present themselves. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730493060-R303VRH1913NR19LI5K8/mcba-prize-2024-jim-frazer-san-juan-3.jpg Entries & Jurors - 2024 Entries - Jim Frazer Salt Lake City, UT https://jimfrazer.com IG: @frazer.jim San Juan 2024 Digital prints, board, tyvek, acrylic paint, magnets Two volumes, each 16 x 10 x 1.25 inches closed; Accordion unfolds up to 24 x 80 inches max; Maps volume 16 x 20 inches open Artist Statement San Juan is the name of a river in the extreme southeastern corner of Utah. My book uses the river, as experienced both by floating down it over a period of days and by researching the history of the area, as an entry point for meditations about uncertainty and how we know what we know (or think we know) about a place. The meandering course of the river is the unifying element in both the visual and verbal parts of the book. The San Juan has such a distinctive meandering course through its canyon that it is used as a textbook example of this phenomenon. Geologists have found that contrary to intuition, this seemingly inefficient course is the one that best balances all of the various competing forces in a flow. The river resists keeping to a direct course, and I suggest that we can learn from the river’s wisdom accumulated over millennia and embrace a process of meandering between envisioning possibilities and justifying belief. This approach of alternating between imagining what may seem improbable, or is even thought impossible, and discerning how these dreams may perhaps be realized is really the approach of both research scientists and artists. It was, unintentionally, the process of the early Spanish colonizers and European settlers as fantasy fed through their greed and fears to shape their perception of place. In the end, the process of searching after what proved to be not there revealed the actual landscape. The book is in two sections. Each section is comprised of an intertwined combination of words and collaged images. The first section consists of four accordion folios, each with two or three double sided panels. The background for the recto of each panel is a contemporary topographic map of the portion of the river where the trip took place. These can be laid out in a connecting fashion to form a continuous map of the river. The versos of the panels contain additional collage elements and pockets containing text in smaller folios. Some of the images are removable to reveal additional images behind. In some instances, I have combined several of my photographs with each other in the AI program Midjourney to form new images. Sometimes the effect is subtle, other times more fantastical. Counterpoising what was really there with what has been imagined is a reference to the historical stories and accounts about the area that built various fantasies on grains of truth. The second section is a book of maps bound with a checkerboard binding to contain copies of historical maps of the area that speak to the tension between the desire of cartographers to provide accurate information and the desires of the European explorers to promote their fantasies of unknown lands and untold riches that were always just out of reach. Cartographers from as far away as Venice drew maps of the desert where they had never been, and filled the empty spaces with mountains of pure silver and the supposed location of bearded Indians, whose existence was debated by intellectuals such as Voltaire and the naturalist Buffon. The more accurate the maps became, the less information they contained until in 1878, John Wesley Powell simply left the area of the San Juan blank for lack of verified knowledge. San Juan is based on a trip, but it is not a travelogue. It examines the process of exploration, not just the act of a journey in unfamiliar territory, but the process of looking for explanation. It is possible to define a circle by drawing all lines tangent to it. All those lines, however, form a network of intersections outside the shape, objects all on their own. By starting out to define one thing which seems central, a whole system of convergences is revealed. Following a thought path meandering like the San Juan is letting the tangents have their space and allowing those connections, however unlikely, to come forward and present themselves. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730494869-LLRF69P13Z1MHSJJLNEX/mcba-prize-2024-jim-frazer-san-juan-5.jpg Entries & Jurors - 2024 Entries - Jim Frazer Salt Lake City, UT https://jimfrazer.com IG: @frazer.jim San Juan 2024 Digital prints, board, tyvek, acrylic paint, magnets Two volumes, each 16 x 10 x 1.25 inches closed; Accordion unfolds up to 24 x 80 inches max; Maps volume 16 x 20 inches open Artist Statement San Juan is the name of a river in the extreme southeastern corner of Utah. My book uses the river, as experienced both by floating down it over a period of days and by researching the history of the area, as an entry point for meditations about uncertainty and how we know what we know (or think we know) about a place. The meandering course of the river is the unifying element in both the visual and verbal parts of the book. The San Juan has such a distinctive meandering course through its canyon that it is used as a textbook example of this phenomenon. Geologists have found that contrary to intuition, this seemingly inefficient course is the one that best balances all of the various competing forces in a flow. The river resists keeping to a direct course, and I suggest that we can learn from the river’s wisdom accumulated over millennia and embrace a process of meandering between envisioning possibilities and justifying belief. This approach of alternating between imagining what may seem improbable, or is even thought impossible, and discerning how these dreams may perhaps be realized is really the approach of both research scientists and artists. It was, unintentionally, the process of the early Spanish colonizers and European settlers as fantasy fed through their greed and fears to shape their perception of place. In the end, the process of searching after what proved to be not there revealed the actual landscape. The book is in two sections. Each section is comprised of an intertwined combination of words and collaged images. The first section consists of four accordion folios, each with two or three double sided panels. The background for the recto of each panel is a contemporary topographic map of the portion of the river where the trip took place. These can be laid out in a connecting fashion to form a continuous map of the river. The versos of the panels contain additional collage elements and pockets containing text in smaller folios. Some of the images are removable to reveal additional images behind. In some instances, I have combined several of my photographs with each other in the AI program Midjourney to form new images. Sometimes the effect is subtle, other times more fantastical. Counterpoising what was really there with what has been imagined is a reference to the historical stories and accounts about the area that built various fantasies on grains of truth. The second section is a book of maps bound with a checkerboard binding to contain copies of historical maps of the area that speak to the tension between the desire of cartographers to provide accurate information and the desires of the European explorers to promote their fantasies of unknown lands and untold riches that were always just out of reach. Cartographers from as far away as Venice drew maps of the desert where they had never been, and filled the empty spaces with mountains of pure silver and the supposed location of bearded Indians, whose existence was debated by intellectuals such as Voltaire and the naturalist Buffon. The more accurate the maps became, the less information they contained until in 1878, John Wesley Powell simply left the area of the San Juan blank for lack of verified knowledge. San Juan is based on a trip, but it is not a travelogue. It examines the process of exploration, not just the act of a journey in unfamiliar territory, but the process of looking for explanation. It is possible to define a circle by drawing all lines tangent to it. All those lines, however, form a network of intersections outside the shape, objects all on their own. By starting out to define one thing which seems central, a whole system of convergences is revealed. Following a thought path meandering like the San Juan is letting the tangents have their space and allowing those connections, however unlikely, to come forward and present themselves. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772729750891-CXTYHUOJ4PWAG3S03LF5/mcba-prize-2024-tom-alexander-ten-regrets-1.jpg Entries & Jurors - 2024 Entries - Tom Alexander United Kingdom www.tomalexander.org IG: @tomlxndr Ten Regrets 2024 Card, paper and glue 0.78 x 3.54 x 1.8 Artist Statement Ten Regrets is a rumination on past mistakes and how we cling to them. The book is presented as a series of rolled up scrolls of paper, presented in a manufactured box like a cigarette packet. Each paper demonstrates a regretful incident from the past, with blank spaces for the reader to personalise it to their own experience. Once the reader has added their own details, they are invited to roll the paper back up and burn it. The hope is that by engaging in this process, the reader is able to renegotiate how they feel about these regrets. By packaging it in the same way as a pack of cigarettes, it perhaps also questions whether regrets are themselves an addiction, one that we might be better off without. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772729752204-QBF8CPO0O8BAW6W7YS4U/mcba-prize-2024-tom-alexander-ten-regrets-2.jpg Entries & Jurors - 2024 Entries - Tom Alexander United Kingdom www.tomalexander.org IG: @tomlxndr Ten Regrets 2024 Card, paper and glue 0.78 x 3.54 x 1.8 Artist Statement Ten Regrets is a rumination on past mistakes and how we cling to them. The book is presented as a series of rolled up scrolls of paper, presented in a manufactured box like a cigarette packet. Each paper demonstrates a regretful incident from the past, with blank spaces for the reader to personalise it to their own experience. Once the reader has added their own details, they are invited to roll the paper back up and burn it. The hope is that by engaging in this process, the reader is able to renegotiate how they feel about these regrets. By packaging it in the same way as a pack of cigarettes, it perhaps also questions whether regrets are themselves an addiction, one that we might be better off without. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772729751270-LUA8N1OK9VPIR6N7LR6Y/mcba-prize-2024-tom-alexander-ten-regrets-3.jpg Entries & Jurors - 2024 Entries - Tom Alexander United Kingdom www.tomalexander.org IG: @tomlxndr Ten Regrets 2024 Card, paper and glue 0.78 x 3.54 x 1.8 Artist Statement Ten Regrets is a rumination on past mistakes and how we cling to them. The book is presented as a series of rolled up scrolls of paper, presented in a manufactured box like a cigarette packet. Each paper demonstrates a regretful incident from the past, with blank spaces for the reader to personalise it to their own experience. Once the reader has added their own details, they are invited to roll the paper back up and burn it. The hope is that by engaging in this process, the reader is able to renegotiate how they feel about these regrets. By packaging it in the same way as a pack of cigarettes, it perhaps also questions whether regrets are themselves an addiction, one that we might be better off without. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772729749946-W0JZGHKFVG7BJKTX53OE/mcba-prize-2024-tom-alexander-ten-regrets-5.jpg Entries & Jurors - 2024 Entries - Tom Alexander United Kingdom www.tomalexander.org IG: @tomlxndr Ten Regrets 2024 Card, paper and glue 0.78 x 3.54 x 1.8 Artist Statement Ten Regrets is a rumination on past mistakes and how we cling to them. The book is presented as a series of rolled up scrolls of paper, presented in a manufactured box like a cigarette packet. Each paper demonstrates a regretful incident from the past, with blank spaces for the reader to personalise it to their own experience. Once the reader has added their own details, they are invited to roll the paper back up and burn it. The hope is that by engaging in this process, the reader is able to renegotiate how they feel about these regrets. By packaging it in the same way as a pack of cigarettes, it perhaps also questions whether regrets are themselves an addiction, one that we might be better off without. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772729750170-WROSRZUWV1J8GF5U7NAA/mcba-prize-2024-tom-alexander-ten-regrets-4.jpg Entries & Jurors - 2024 Entries - Tom Alexander United Kingdom www.tomalexander.org IG: @tomlxndr Ten Regrets 2024 Card, paper and glue 0.78 x 3.54 x 1.8 Artist Statement Ten Regrets is a rumination on past mistakes and how we cling to them. The book is presented as a series of rolled up scrolls of paper, presented in a manufactured box like a cigarette packet. Each paper demonstrates a regretful incident from the past, with blank spaces for the reader to personalise it to their own experience. Once the reader has added their own details, they are invited to roll the paper back up and burn it. The hope is that by engaging in this process, the reader is able to renegotiate how they feel about these regrets. By packaging it in the same way as a pack of cigarettes, it perhaps also questions whether regrets are themselves an addiction, one that we might be better off without. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772729512205-LTI6TWYT45N980IQJ5TJ/mcba-prize-2024-sarah-hulsey-allochronologies-5.jpg Entries & Jurors - 2024 Entries - Sarah Hulsey Somerville, MA https://www.sarahhulsey.com IG: @sarahmhulsey Allochronologies 2024 Letterpress from monotype and foundry type, images printed relief from polymer plates 9.875″ x 6.25″ x 1.25″ Artist Statement Allochronologies explores alternate notions of time, all conceivable according to the laws of science, that do not adhere to our ordinary experience. Many people have experienced a desire to know what might have happened, for good or ill, had they made a different decision at a critical juncture. I have become gripped by the idea of revisiting a point in my own past to see all the possible ramifications and outcomes of different choices. In the realm of fiction, there are many stories in which characters achieve this through “time travel.” But even more compelling are stories in which time itself does not operate in the familiar direction. Many of these stories line up in interesting ways with what physicists and philosophers of science think might be possible according to what is known about time and the universe. Each volume of Allochronologies takes one kind of chronology and, using excerpts of fiction by some of the great 20th century writers, creates a book that physically embodies that conception of time. The theory of multiple universes is explored through a story-within-a-story by Jorge Luis Borges; an imagined novel is described in which nine different outcomes are possible depending on the path one chooses through a physical, thumb-index diagram of the plot. Or we may find that at the end of time, the cosmos collapses into a Big Crunch, before undergoing another Big Bang and “swinging back on itself,” as the central character in a story by Italo Calvino imagines; here that possibility is embodied in a volume that can be read cyclically within each opening, as well as identically from the beginning or end of the book. Lastly, a story by Alan Lightman in which time’s arrow runs in reverse—rotten fruit becomes ripe again, one can remember the past, people age in reverse—is explored in multiple backward-running versions: with the sentences reversed, the words reversed, and, mostly oddly, the sounds reversed, thereby enacting a reversal of entropy itself. This book brings together stories that take elegant, esoteric scientific ideas about time from a selection of some of the more imaginative and inventive authors of the 20th century. By juxtaposing these differing stories and manifesting them physically in the way the books are manipulated and read, Allochronologies upends the usually linear order of books and suggests different ways of engaging with the idea of time itself as a function of reading. Taken all together, these alternate chronologies let the mind wander freely, imagining counterfactual scenarios in which one could revisit (or at least an alternate version of oneself could revisit) points already lived and imagine alternative outcomes, alternative lives. Excerpted texts include “April March” from “A Survey of the Works of Herbert Quain” by Jorge Luis Borges, (1941), translated by Andrew Hurley; “t zero” by Italo Calvino (1967), translated by William Weaver; and “2 June 1905” from Einstein’s Dreams by Alan Lightman (1993). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772729510312-Q7JH70Z02Z2IGYV6DZRY/mcba-prize-2024-sarah-hulsey-allochronologies-1.jpg Entries & Jurors - 2024 Entries - Sarah Hulsey Somerville, MA https://www.sarahhulsey.com IG: @sarahmhulsey Allochronologies 2024 Letterpress from monotype and foundry type, images printed relief from polymer plates 9.875″ x 6.25″ x 1.25″ Artist Statement Allochronologies explores alternate notions of time, all conceivable according to the laws of science, that do not adhere to our ordinary experience. Many people have experienced a desire to know what might have happened, for good or ill, had they made a different decision at a critical juncture. I have become gripped by the idea of revisiting a point in my own past to see all the possible ramifications and outcomes of different choices. In the realm of fiction, there are many stories in which characters achieve this through “time travel.” But even more compelling are stories in which time itself does not operate in the familiar direction. Many of these stories line up in interesting ways with what physicists and philosophers of science think might be possible according to what is known about time and the universe. Each volume of Allochronologies takes one kind of chronology and, using excerpts of fiction by some of the great 20th century writers, creates a book that physically embodies that conception of time. The theory of multiple universes is explored through a story-within-a-story by Jorge Luis Borges; an imagined novel is described in which nine different outcomes are possible depending on the path one chooses through a physical, thumb-index diagram of the plot. Or we may find that at the end of time, the cosmos collapses into a Big Crunch, before undergoing another Big Bang and “swinging back on itself,” as the central character in a story by Italo Calvino imagines; here that possibility is embodied in a volume that can be read cyclically within each opening, as well as identically from the beginning or end of the book. Lastly, a story by Alan Lightman in which time’s arrow runs in reverse—rotten fruit becomes ripe again, one can remember the past, people age in reverse—is explored in multiple backward-running versions: with the sentences reversed, the words reversed, and, mostly oddly, the sounds reversed, thereby enacting a reversal of entropy itself. This book brings together stories that take elegant, esoteric scientific ideas about time from a selection of some of the more imaginative and inventive authors of the 20th century. By juxtaposing these differing stories and manifesting them physically in the way the books are manipulated and read, Allochronologies upends the usually linear order of books and suggests different ways of engaging with the idea of time itself as a function of reading. Taken all together, these alternate chronologies let the mind wander freely, imagining counterfactual scenarios in which one could revisit (or at least an alternate version of oneself could revisit) points already lived and imagine alternative outcomes, alternative lives. Excerpted texts include “April March” from “A Survey of the Works of Herbert Quain” by Jorge Luis Borges, (1941), translated by Andrew Hurley; “t zero” by Italo Calvino (1967), translated by William Weaver; and “2 June 1905” from Einstein’s Dreams by Alan Lightman (1993). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772729510242-EGG7JMD08FYOECHESOB7/mcba-prize-2024-sarah-hulsey-allochronologies-2.jpg Entries & Jurors - 2024 Entries - Sarah Hulsey Somerville, MA https://www.sarahhulsey.com IG: @sarahmhulsey Allochronologies 2024 Letterpress from monotype and foundry type, images printed relief from polymer plates 9.875″ x 6.25″ x 1.25″ Artist Statement Allochronologies explores alternate notions of time, all conceivable according to the laws of science, that do not adhere to our ordinary experience. Many people have experienced a desire to know what might have happened, for good or ill, had they made a different decision at a critical juncture. I have become gripped by the idea of revisiting a point in my own past to see all the possible ramifications and outcomes of different choices. In the realm of fiction, there are many stories in which characters achieve this through “time travel.” But even more compelling are stories in which time itself does not operate in the familiar direction. Many of these stories line up in interesting ways with what physicists and philosophers of science think might be possible according to what is known about time and the universe. Each volume of Allochronologies takes one kind of chronology and, using excerpts of fiction by some of the great 20th century writers, creates a book that physically embodies that conception of time. The theory of multiple universes is explored through a story-within-a-story by Jorge Luis Borges; an imagined novel is described in which nine different outcomes are possible depending on the path one chooses through a physical, thumb-index diagram of the plot. Or we may find that at the end of time, the cosmos collapses into a Big Crunch, before undergoing another Big Bang and “swinging back on itself,” as the central character in a story by Italo Calvino imagines; here that possibility is embodied in a volume that can be read cyclically within each opening, as well as identically from the beginning or end of the book. Lastly, a story by Alan Lightman in which time’s arrow runs in reverse—rotten fruit becomes ripe again, one can remember the past, people age in reverse—is explored in multiple backward-running versions: with the sentences reversed, the words reversed, and, mostly oddly, the sounds reversed, thereby enacting a reversal of entropy itself. This book brings together stories that take elegant, esoteric scientific ideas about time from a selection of some of the more imaginative and inventive authors of the 20th century. By juxtaposing these differing stories and manifesting them physically in the way the books are manipulated and read, Allochronologies upends the usually linear order of books and suggests different ways of engaging with the idea of time itself as a function of reading. Taken all together, these alternate chronologies let the mind wander freely, imagining counterfactual scenarios in which one could revisit (or at least an alternate version of oneself could revisit) points already lived and imagine alternative outcomes, alternative lives. Excerpted texts include “April March” from “A Survey of the Works of Herbert Quain” by Jorge Luis Borges, (1941), translated by Andrew Hurley; “t zero” by Italo Calvino (1967), translated by William Weaver; and “2 June 1905” from Einstein’s Dreams by Alan Lightman (1993). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772729511232-C8KVHZ8OQ9ZJ1PUAFPF7/mcba-prize-2024-sarah-hulsey-allochronologies-3.jpg Entries & Jurors - 2024 Entries - Sarah Hulsey Somerville, MA https://www.sarahhulsey.com IG: @sarahmhulsey Allochronologies 2024 Letterpress from monotype and foundry type, images printed relief from polymer plates 9.875″ x 6.25″ x 1.25″ Artist Statement Allochronologies explores alternate notions of time, all conceivable according to the laws of science, that do not adhere to our ordinary experience. Many people have experienced a desire to know what might have happened, for good or ill, had they made a different decision at a critical juncture. I have become gripped by the idea of revisiting a point in my own past to see all the possible ramifications and outcomes of different choices. In the realm of fiction, there are many stories in which characters achieve this through “time travel.” But even more compelling are stories in which time itself does not operate in the familiar direction. Many of these stories line up in interesting ways with what physicists and philosophers of science think might be possible according to what is known about time and the universe. Each volume of Allochronologies takes one kind of chronology and, using excerpts of fiction by some of the great 20th century writers, creates a book that physically embodies that conception of time. The theory of multiple universes is explored through a story-within-a-story by Jorge Luis Borges; an imagined novel is described in which nine different outcomes are possible depending on the path one chooses through a physical, thumb-index diagram of the plot. Or we may find that at the end of time, the cosmos collapses into a Big Crunch, before undergoing another Big Bang and “swinging back on itself,” as the central character in a story by Italo Calvino imagines; here that possibility is embodied in a volume that can be read cyclically within each opening, as well as identically from the beginning or end of the book. Lastly, a story by Alan Lightman in which time’s arrow runs in reverse—rotten fruit becomes ripe again, one can remember the past, people age in reverse—is explored in multiple backward-running versions: with the sentences reversed, the words reversed, and, mostly oddly, the sounds reversed, thereby enacting a reversal of entropy itself. This book brings together stories that take elegant, esoteric scientific ideas about time from a selection of some of the more imaginative and inventive authors of the 20th century. By juxtaposing these differing stories and manifesting them physically in the way the books are manipulated and read, Allochronologies upends the usually linear order of books and suggests different ways of engaging with the idea of time itself as a function of reading. Taken all together, these alternate chronologies let the mind wander freely, imagining counterfactual scenarios in which one could revisit (or at least an alternate version of oneself could revisit) points already lived and imagine alternative outcomes, alternative lives. Excerpted texts include “April March” from “A Survey of the Works of Herbert Quain” by Jorge Luis Borges, (1941), translated by Andrew Hurley; “t zero” by Italo Calvino (1967), translated by William Weaver; and “2 June 1905” from Einstein’s Dreams by Alan Lightman (1993). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772729511346-YYR2W5GF6KJPR2R0JJ3U/mcba-prize-2024-sarah-hulsey-allochronologies-4.jpg Entries & Jurors - 2024 Entries - Sarah Hulsey Somerville, MA https://www.sarahhulsey.com IG: @sarahmhulsey Allochronologies 2024 Letterpress from monotype and foundry type, images printed relief from polymer plates 9.875″ x 6.25″ x 1.25″ Artist Statement Allochronologies explores alternate notions of time, all conceivable according to the laws of science, that do not adhere to our ordinary experience. Many people have experienced a desire to know what might have happened, for good or ill, had they made a different decision at a critical juncture. I have become gripped by the idea of revisiting a point in my own past to see all the possible ramifications and outcomes of different choices. In the realm of fiction, there are many stories in which characters achieve this through “time travel.” But even more compelling are stories in which time itself does not operate in the familiar direction. Many of these stories line up in interesting ways with what physicists and philosophers of science think might be possible according to what is known about time and the universe. Each volume of Allochronologies takes one kind of chronology and, using excerpts of fiction by some of the great 20th century writers, creates a book that physically embodies that conception of time. The theory of multiple universes is explored through a story-within-a-story by Jorge Luis Borges; an imagined novel is described in which nine different outcomes are possible depending on the path one chooses through a physical, thumb-index diagram of the plot. Or we may find that at the end of time, the cosmos collapses into a Big Crunch, before undergoing another Big Bang and “swinging back on itself,” as the central character in a story by Italo Calvino imagines; here that possibility is embodied in a volume that can be read cyclically within each opening, as well as identically from the beginning or end of the book. Lastly, a story by Alan Lightman in which time’s arrow runs in reverse—rotten fruit becomes ripe again, one can remember the past, people age in reverse—is explored in multiple backward-running versions: with the sentences reversed, the words reversed, and, mostly oddly, the sounds reversed, thereby enacting a reversal of entropy itself. This book brings together stories that take elegant, esoteric scientific ideas about time from a selection of some of the more imaginative and inventive authors of the 20th century. By juxtaposing these differing stories and manifesting them physically in the way the books are manipulated and read, Allochronologies upends the usually linear order of books and suggests different ways of engaging with the idea of time itself as a function of reading. Taken all together, these alternate chronologies let the mind wander freely, imagining counterfactual scenarios in which one could revisit (or at least an alternate version of oneself could revisit) points already lived and imagine alternative outcomes, alternative lives. Excerpted texts include “April March” from “A Survey of the Works of Herbert Quain” by Jorge Luis Borges, (1941), translated by Andrew Hurley; “t zero” by Italo Calvino (1967), translated by William Weaver; and “2 June 1905” from Einstein’s Dreams by Alan Lightman (1993). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772729288159-9SC5US272JEU7T934RX3/mcba-prize-2024-ab-gorham-claim-number-2.jpg Entries & Jurors - 2024 Entries - AB, Gorham Omaha, NE www.abgorham.com IG: @gorhamab Claim Number: 27-56T4-25P 2023 Letterpress printed and handsewn leather pillows stuffed with raw flax fiber, bound with copper piping 30″x20″x6″ closed; 30″x40″x6″ open Artist Statement Claim Number: 27-56T4-25P condenses the sensations, colors, and language of an emergency situation, based on the experience in August 2023 of my five year old daughter being hit by a car while riding her scooter. To endure an emergency event of this kind, from a place of privilege, with a positive outcome, was no less shocking or disorienting. This book object uses poetry, other visual representations of language, and materials to spark that sense of urgency and impossibility that accompanies an emergency. Comprised of three leather pillows bound together with copper pipes, the large ‘E’ asks, How do we continue to pay attention when surrounded by chaos?The pillows are letterpress printed using handset metal type in Shaded Bodoni on the leather and Helvetica woodtype on the crash, then stuffed with raw flax fiber. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772729288480-Q2WV1JMLTUTZHZKU6O4K/mcba-prize-2024-ab-gorham-claim-number-1.jpg Entries & Jurors - 2024 Entries - AB, Gorham Omaha, NE www.abgorham.com IG: @gorhamab Claim Number: 27-56T4-25P 2023 Letterpress printed and handsewn leather pillows stuffed with raw flax fiber, bound with copper piping 30″x20″x6″ closed; 30″x40″x6″ open Artist Statement Claim Number: 27-56T4-25P condenses the sensations, colors, and language of an emergency situation, based on the experience in August 2023 of my five year old daughter being hit by a car while riding her scooter. To endure an emergency event of this kind, from a place of privilege, with a positive outcome, was no less shocking or disorienting. This book object uses poetry, other visual representations of language, and materials to spark that sense of urgency and impossibility that accompanies an emergency. Comprised of three leather pillows bound together with copper pipes, the large ‘E’ asks, How do we continue to pay attention when surrounded by chaos?The pillows are letterpress printed using handset metal type in Shaded Bodoni on the leather and Helvetica woodtype on the crash, then stuffed with raw flax fiber. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772729099043-7W4QWDIXPV9MWJQYZG4M/mcba-prize-2024-way-wang-i-forgot-something-before-i-recalled-it-1.jpg Entries & Jurors - 2024 Entries - Way Wang New York wwangstudio@gmail.com I forgot something before I recalled it 2022 Threads on pigment prints, tracing papers, muslin, and adhesive 13.5 × 9 × 0.25 inches Artist Statement Rather than as moving images, my memories often emerge as photographs, one after another, piece by piece. These still fragments of memory appear rather quiet in the fractured flow of time. They crease, blur, and sometimes lose their initial forms and bodies. This artist’s book, I forgot something before I recalled it, was self-published in 2022. During the two years it took to handcraft this book, the images, constantly revisited and mended with threads and stitches, also come from a trip two years prior. The ever-flowing present seems to bring the photographs closer to the sensation of memory, allowing me to realize that memories are always drifting and transforming. Once recalled, the original narrative is rewritten. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772729100387-XQDY8MVMY9DC5XEXLFF2/mcba-prize-2024-way-wang-i-forgot-something-before-i-recalled-it-3.jpg Entries & Jurors - 2024 Entries - Way Wang New York wwangstudio@gmail.com I forgot something before I recalled it 2022 Threads on pigment prints, tracing papers, muslin, and adhesive 13.5 × 9 × 0.25 inches Artist Statement Rather than as moving images, my memories often emerge as photographs, one after another, piece by piece. These still fragments of memory appear rather quiet in the fractured flow of time. They crease, blur, and sometimes lose their initial forms and bodies. This artist’s book, I forgot something before I recalled it, was self-published in 2022. During the two years it took to handcraft this book, the images, constantly revisited and mended with threads and stitches, also come from a trip two years prior. The ever-flowing present seems to bring the photographs closer to the sensation of memory, allowing me to realize that memories are always drifting and transforming. Once recalled, the original narrative is rewritten. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772729099002-QYLLSPC3C0557UIU3VEU/mcba-prize-2024-way-wang-i-forgot-something-before-i-recalled-it-2.jpg Entries & Jurors - 2024 Entries - Way Wang New York wwangstudio@gmail.com I forgot something before I recalled it 2022 Threads on pigment prints, tracing papers, muslin, and adhesive 13.5 × 9 × 0.25 inches Artist Statement Rather than as moving images, my memories often emerge as photographs, one after another, piece by piece. These still fragments of memory appear rather quiet in the fractured flow of time. They crease, blur, and sometimes lose their initial forms and bodies. This artist’s book, I forgot something before I recalled it, was self-published in 2022. During the two years it took to handcraft this book, the images, constantly revisited and mended with threads and stitches, also come from a trip two years prior. The ever-flowing present seems to bring the photographs closer to the sensation of memory, allowing me to realize that memories are always drifting and transforming. Once recalled, the original narrative is rewritten. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772729100997-ETUUGKJH9FGVV1UW7XJI/mcba-prize-2024-way-wang-i-forgot-something-before-i-recalled-it-4.jpg Entries & Jurors - 2024 Entries - Way Wang New York wwangstudio@gmail.com I forgot something before I recalled it 2022 Threads on pigment prints, tracing papers, muslin, and adhesive 13.5 × 9 × 0.25 inches Artist Statement Rather than as moving images, my memories often emerge as photographs, one after another, piece by piece. These still fragments of memory appear rather quiet in the fractured flow of time. They crease, blur, and sometimes lose their initial forms and bodies. This artist’s book, I forgot something before I recalled it, was self-published in 2022. During the two years it took to handcraft this book, the images, constantly revisited and mended with threads and stitches, also come from a trip two years prior. The ever-flowing present seems to bring the photographs closer to the sensation of memory, allowing me to realize that memories are always drifting and transforming. Once recalled, the original narrative is rewritten. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772729100111-GD26DK1A02G78EEQ3P0X/mcba-prize-2024-way-wang-i-forgot-something-before-i-recalled-it-5.jpg Entries & Jurors - 2024 Entries - Way Wang New York wwangstudio@gmail.com I forgot something before I recalled it 2022 Threads on pigment prints, tracing papers, muslin, and adhesive 13.5 × 9 × 0.25 inches Artist Statement Rather than as moving images, my memories often emerge as photographs, one after another, piece by piece. These still fragments of memory appear rather quiet in the fractured flow of time. They crease, blur, and sometimes lose their initial forms and bodies. This artist’s book, I forgot something before I recalled it, was self-published in 2022. During the two years it took to handcraft this book, the images, constantly revisited and mended with threads and stitches, also come from a trip two years prior. The ever-flowing present seems to bring the photographs closer to the sensation of memory, allowing me to realize that memories are always drifting and transforming. Once recalled, the original narrative is rewritten. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772728888401-DED5M9ARB1HWME54P4S9/mcba-prize-2024-ab-gorham-regolith-1.jpg Entries & Jurors - 2024 Entries - AB, Gorham Omaha, NE www.abgorham.com IG: @gorhamab Regolith 2023 Letterpress printed using woodtype on Awagami Shin Inbe and handbound accordion with covers and an enclosure 24″ x 216″ x 18″ open Artist Statement Regolith is a letterpress printed and handbound accordion that uses large woodtype to create a lenticular book of experimental typography. One view of the book says, “EARTH” and the other view says, “MOON.” This book was created while at the InCahoots Residency in Petaluma, CA. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772728888705-HAR0CKDI0JG6WT7E3B3D/mcba-prize-2024-ab-gorham-regolith-2.jpg Entries & Jurors - 2024 Entries - AB, Gorham Omaha, NE www.abgorham.com IG: @gorhamab Regolith 2023 Letterpress printed using woodtype on Awagami Shin Inbe and handbound accordion with covers and an enclosure 24″ x 216″ x 18″ open Artist Statement Regolith is a letterpress printed and handbound accordion that uses large woodtype to create a lenticular book of experimental typography. One view of the book says, “EARTH” and the other view says, “MOON.” This book was created while at the InCahoots Residency in Petaluma, CA. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772654941719-UHX506HG90EUHD13U10L/mcba-prize-2024-denise-bookwalter-sylvan-secrets-2.jpg Entries & Jurors - 2024 Entries - Denise Bookwalter Florida www.denisebookwalter.com IG: @dbbookwalter Sylvan Secrets 2023 Screen Printed on Recycled Paper 18″x 5”x3.5” Artist Statement Sylvan Secrets is a deep dive into the imposed order of naming and cataloging of the natural world and a glimpse into what we can discover within that enforced order. Inspired by Hough’s Encyclopaedia of American Woods by Romeyn Hough, the pages depict the microscopic innards of trees drawn from the wood specimens in the original book. Hough’s book is a catalog of wood veneers collected by Hough himself over nearly forty years, produced in fourteen volumes generally divided by geographic locations. The species are represented by three wood veneer cross sections, scientific names, and common names. Each volume contains twenty-five different species. Volume five, the volume of North Florida trees, is the main inspiration for the book. The three toroidal books are relief printed in gold with images drawn from microscopic photographs of the wood veneers, presenting a unique perspective of the preserved species. Hough’s specimens are a snapshot of the forests of America during the turn of the century and ask us what the collection continues to teach us about our contemporary forestry practices. Naming, ordering, and cataloging are human constructs that allow us to comprehend a world beyond ourselves. Looking deeper into Hough’s specimens reveals new layers of information as they continue to teach us about the hidden secrets in the book’s pages. The book was relief and letterpress printed on Arches Cover and Somerset Book. The sections are enclosed in a wraparound case with a wooden clasp closure. Supported by the Coffey Residency for Book Arts from the George A. Smathers Libraries at the University of Florida. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772654819016-BGMSPVSE1JVYZ1O71KWL/mcba-prize-2024-denise-bookwalter-sylvan-secrets-1.jpg Entries & Jurors - 2024 Entries - Denise Bookwalter Florida www.denisebookwalter.com IG: @dbbookwalter Sylvan Secrets 2023 Screen Printed on Recycled Paper 18″x 5”x3.5” Artist Statement Sylvan Secrets is a deep dive into the imposed order of naming and cataloging of the natural world and a glimpse into what we can discover within that enforced order. Inspired by Hough’s Encyclopaedia of American Woods by Romeyn Hough, the pages depict the microscopic innards of trees drawn from the wood specimens in the original book. Hough’s book is a catalog of wood veneers collected by Hough himself over nearly forty years, produced in fourteen volumes generally divided by geographic locations. The species are represented by three wood veneer cross sections, scientific names, and common names. Each volume contains twenty-five different species. Volume five, the volume of North Florida trees, is the main inspiration for the book. The three toroidal books are relief printed in gold with images drawn from microscopic photographs of the wood veneers, presenting a unique perspective of the preserved species. Hough’s specimens are a snapshot of the forests of America during the turn of the century and ask us what the collection continues to teach us about our contemporary forestry practices. Naming, ordering, and cataloging are human constructs that allow us to comprehend a world beyond ourselves. Looking deeper into Hough’s specimens reveals new layers of information as they continue to teach us about the hidden secrets in the book’s pages. The book was relief and letterpress printed on Arches Cover and Somerset Book. The sections are enclosed in a wraparound case with a wooden clasp closure. Supported by the Coffey Residency for Book Arts from the George A. Smathers Libraries at the University of Florida. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772654942929-4GKBO05P9DR9V0UC6GFY/mcba-prize-2024-denise-bookwalter-sylvan-secrets-3.jpg Entries & Jurors - 2024 Entries - Denise Bookwalter Florida www.denisebookwalter.com IG: @dbbookwalter Sylvan Secrets 2023 Screen Printed on Recycled Paper 18″x 5”x3.5” Artist Statement Sylvan Secrets is a deep dive into the imposed order of naming and cataloging of the natural world and a glimpse into what we can discover within that enforced order. Inspired by Hough’s Encyclopaedia of American Woods by Romeyn Hough, the pages depict the microscopic innards of trees drawn from the wood specimens in the original book. Hough’s book is a catalog of wood veneers collected by Hough himself over nearly forty years, produced in fourteen volumes generally divided by geographic locations. The species are represented by three wood veneer cross sections, scientific names, and common names. Each volume contains twenty-five different species. Volume five, the volume of North Florida trees, is the main inspiration for the book. The three toroidal books are relief printed in gold with images drawn from microscopic photographs of the wood veneers, presenting a unique perspective of the preserved species. Hough’s specimens are a snapshot of the forests of America during the turn of the century and ask us what the collection continues to teach us about our contemporary forestry practices. Naming, ordering, and cataloging are human constructs that allow us to comprehend a world beyond ourselves. Looking deeper into Hough’s specimens reveals new layers of information as they continue to teach us about the hidden secrets in the book’s pages. The book was relief and letterpress printed on Arches Cover and Somerset Book. The sections are enclosed in a wraparound case with a wooden clasp closure. Supported by the Coffey Residency for Book Arts from the George A. Smathers Libraries at the University of Florida. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772654943960-F8WHKFMLBEU5WOEL0X18/mcba-prize-2024-denise-bookwalter-sylvan-secrets-4.jpg Entries & Jurors - 2024 Entries - Denise Bookwalter Florida www.denisebookwalter.com IG: @dbbookwalter Sylvan Secrets 2023 Screen Printed on Recycled Paper 18″x 5”x3.5” Artist Statement Sylvan Secrets is a deep dive into the imposed order of naming and cataloging of the natural world and a glimpse into what we can discover within that enforced order. Inspired by Hough’s Encyclopaedia of American Woods by Romeyn Hough, the pages depict the microscopic innards of trees drawn from the wood specimens in the original book. Hough’s book is a catalog of wood veneers collected by Hough himself over nearly forty years, produced in fourteen volumes generally divided by geographic locations. The species are represented by three wood veneer cross sections, scientific names, and common names. Each volume contains twenty-five different species. Volume five, the volume of North Florida trees, is the main inspiration for the book. The three toroidal books are relief printed in gold with images drawn from microscopic photographs of the wood veneers, presenting a unique perspective of the preserved species. Hough’s specimens are a snapshot of the forests of America during the turn of the century and ask us what the collection continues to teach us about our contemporary forestry practices. Naming, ordering, and cataloging are human constructs that allow us to comprehend a world beyond ourselves. Looking deeper into Hough’s specimens reveals new layers of information as they continue to teach us about the hidden secrets in the book’s pages. The book was relief and letterpress printed on Arches Cover and Somerset Book. The sections are enclosed in a wraparound case with a wooden clasp closure. Supported by the Coffey Residency for Book Arts from the George A. Smathers Libraries at the University of Florida. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772654945098-EM2F88Z4NDPYXJ8Q09O7/mcba-prize-2024-denise-bookwalter-sylvan-secrets-5.jpg Entries & Jurors - 2024 Entries - Denise Bookwalter Florida www.denisebookwalter.com IG: @dbbookwalter Sylvan Secrets 2023 Screen Printed on Recycled Paper 18″x 5”x3.5” Artist Statement Sylvan Secrets is a deep dive into the imposed order of naming and cataloging of the natural world and a glimpse into what we can discover within that enforced order. Inspired by Hough’s Encyclopaedia of American Woods by Romeyn Hough, the pages depict the microscopic innards of trees drawn from the wood specimens in the original book. Hough’s book is a catalog of wood veneers collected by Hough himself over nearly forty years, produced in fourteen volumes generally divided by geographic locations. The species are represented by three wood veneer cross sections, scientific names, and common names. Each volume contains twenty-five different species. Volume five, the volume of North Florida trees, is the main inspiration for the book. The three toroidal books are relief printed in gold with images drawn from microscopic photographs of the wood veneers, presenting a unique perspective of the preserved species. Hough’s specimens are a snapshot of the forests of America during the turn of the century and ask us what the collection continues to teach us about our contemporary forestry practices. Naming, ordering, and cataloging are human constructs that allow us to comprehend a world beyond ourselves. Looking deeper into Hough’s specimens reveals new layers of information as they continue to teach us about the hidden secrets in the book’s pages. The book was relief and letterpress printed on Arches Cover and Somerset Book. The sections are enclosed in a wraparound case with a wooden clasp closure. Supported by the Coffey Residency for Book Arts from the George A. Smathers Libraries at the University of Florida. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772741784919-61E85CTIJ2GM5A7IG6B1/mcba-prize-2024-Natia-Ser-meet-me-at-your-fingertips-1.jpg Entries & Jurors - 2024 Entries - Natia Ser Chicago, IL www.natiaser.com IG: @arkaaive Meet me at your fingertips 2023 Sand and stones from Saugatuck beach, water, inkjet on water-soluble paper, inkjet on paper, inkjet on waterproof cloth paper, book board, book cloth. 12 x 3 x 16 in (opens to 24 x 3 x 16 in) Artist Statement As a Hong Kong-born artist who has been living in the U.S. for 5 years, I explore signs of intimacy that exist in temporal itinerant living through artist books to investigate the ambivalence longing and belonging. My interest in water is informed by my superstitious Chinese mother who believes that the water element poses a danger to my life as indicated by its absence in my Chinese horoscope chart—a notion I approach with compliance and transgression. In December 2021, after having my fortune read for 2022, she called from home and instructed me to minimize outdoor ventures, particularly to the north-east of my Chicago apartment—which by coincidence, points at the shores of Lake Michigan. After more than a year of complying to her request, I packed my bags and spent the summer of 2023 in Saugatuck, Michigan—the epicentre of my mother’s restriction. In Saugatuck, contrary to my mother’s beliefs, I connected with the natural environment and found peace and tranquility in different forms of water: puddles, ponds, rivers and of course—Lake Michigan, but from the other side. When I returned to Chicago, I decided to share this rejuvenating experience through Meet me at your fingertips, an interactive artist book in which viewers are invited to participate in a meditative and playful exchange with a Zen garden by raking water patterns on sand and rearranging stones with their fingers (both components were collected from a beach in Saugatuck). They can then rinse off their sandy fingers in a bowl of water, before dripping the water residues on a water-soluble image of a bubble that would eventually dissolve to reveal ripples. The subsequent acts of destroying and revealing in the two steps would thus reflect my transgression of a curious and tender exploration of the forbidden realm of water. The exterior of the clamshell box shows one continuous pattern, carved into the book board, that runs from the back cover through the spine to the front cover. Referencing the raking patterns in Zen gardens, it symbolizes a stream of water to suggest a continuous flow as my prompt to viewers to participate in the raking with their fingers on the inside. This book, like most of my other books, is meant to be activated by the audience. By inviting the audience to touch the same surfaces of an object that I previously handmade and/or handbound with care, we engage in a private, intimate exchange that transcends time and space. This interaction contributes to the recurring motif of tactility in my practice—whether as a subject, printing material or the object that I commingle my images with. It is informed by a playfulness and curiosity associated with the childishness that I was barred from during my strict Chinese upbringing which I now challenge. It also signals the intimacy and tenderness that I hope to offer and desire, yet fear, from a distant, departed home representing both affection and restriction. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772741784874-YQTMGDUSKQEDUZDL1288/mcba-prize-2024-Natia-Ser-meet-me-at-your-fingertips-2.jpg Entries & Jurors - 2024 Entries - Natia Ser Chicago, IL www.natiaser.com IG: @arkaaive Meet me at your fingertips 2023 Sand and stones from Saugatuck beach, water, inkjet on water-soluble paper, inkjet on paper, inkjet on waterproof cloth paper, book board, book cloth. 12 x 3 x 16 in (opens to 24 x 3 x 16 in) Artist Statement As a Hong Kong-born artist who has been living in the U.S. for 5 years, I explore signs of intimacy that exist in temporal itinerant living through artist books to investigate the ambivalence longing and belonging. My interest in water is informed by my superstitious Chinese mother who believes that the water element poses a danger to my life as indicated by its absence in my Chinese horoscope chart—a notion I approach with compliance and transgression. In December 2021, after having my fortune read for 2022, she called from home and instructed me to minimize outdoor ventures, particularly to the north-east of my Chicago apartment—which by coincidence, points at the shores of Lake Michigan. After more than a year of complying to her request, I packed my bags and spent the summer of 2023 in Saugatuck, Michigan—the epicentre of my mother’s restriction. In Saugatuck, contrary to my mother’s beliefs, I connected with the natural environment and found peace and tranquility in different forms of water: puddles, ponds, rivers and of course—Lake Michigan, but from the other side. When I returned to Chicago, I decided to share this rejuvenating experience through Meet me at your fingertips, an interactive artist book in which viewers are invited to participate in a meditative and playful exchange with a Zen garden by raking water patterns on sand and rearranging stones with their fingers (both components were collected from a beach in Saugatuck). They can then rinse off their sandy fingers in a bowl of water, before dripping the water residues on a water-soluble image of a bubble that would eventually dissolve to reveal ripples. The subsequent acts of destroying and revealing in the two steps would thus reflect my transgression of a curious and tender exploration of the forbidden realm of water. The exterior of the clamshell box shows one continuous pattern, carved into the book board, that runs from the back cover through the spine to the front cover. Referencing the raking patterns in Zen gardens, it symbolizes a stream of water to suggest a continuous flow as my prompt to viewers to participate in the raking with their fingers on the inside. This book, like most of my other books, is meant to be activated by the audience. By inviting the audience to touch the same surfaces of an object that I previously handmade and/or handbound with care, we engage in a private, intimate exchange that transcends time and space. This interaction contributes to the recurring motif of tactility in my practice—whether as a subject, printing material or the object that I commingle my images with. It is informed by a playfulness and curiosity associated with the childishness that I was barred from during my strict Chinese upbringing which I now challenge. It also signals the intimacy and tenderness that I hope to offer and desire, yet fear, from a distant, departed home representing both affection and restriction. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772741785805-FSEK0DT9MQR5OENZCARL/mcba-prize-2024-Natia-Ser-meet-me-at-your-fingertips-3.jpg Entries & Jurors - 2024 Entries - Natia Ser Chicago, IL www.natiaser.com IG: @arkaaive Meet me at your fingertips 2023 Sand and stones from Saugatuck beach, water, inkjet on water-soluble paper, inkjet on paper, inkjet on waterproof cloth paper, book board, book cloth. 12 x 3 x 16 in (opens to 24 x 3 x 16 in) Artist Statement As a Hong Kong-born artist who has been living in the U.S. for 5 years, I explore signs of intimacy that exist in temporal itinerant living through artist books to investigate the ambivalence longing and belonging. My interest in water is informed by my superstitious Chinese mother who believes that the water element poses a danger to my life as indicated by its absence in my Chinese horoscope chart—a notion I approach with compliance and transgression. In December 2021, after having my fortune read for 2022, she called from home and instructed me to minimize outdoor ventures, particularly to the north-east of my Chicago apartment—which by coincidence, points at the shores of Lake Michigan. After more than a year of complying to her request, I packed my bags and spent the summer of 2023 in Saugatuck, Michigan—the epicentre of my mother’s restriction. In Saugatuck, contrary to my mother’s beliefs, I connected with the natural environment and found peace and tranquility in different forms of water: puddles, ponds, rivers and of course—Lake Michigan, but from the other side. When I returned to Chicago, I decided to share this rejuvenating experience through Meet me at your fingertips, an interactive artist book in which viewers are invited to participate in a meditative and playful exchange with a Zen garden by raking water patterns on sand and rearranging stones with their fingers (both components were collected from a beach in Saugatuck). They can then rinse off their sandy fingers in a bowl of water, before dripping the water residues on a water-soluble image of a bubble that would eventually dissolve to reveal ripples. The subsequent acts of destroying and revealing in the two steps would thus reflect my transgression of a curious and tender exploration of the forbidden realm of water. The exterior of the clamshell box shows one continuous pattern, carved into the book board, that runs from the back cover through the spine to the front cover. Referencing the raking patterns in Zen gardens, it symbolizes a stream of water to suggest a continuous flow as my prompt to viewers to participate in the raking with their fingers on the inside. This book, like most of my other books, is meant to be activated by the audience. By inviting the audience to touch the same surfaces of an object that I previously handmade and/or handbound with care, we engage in a private, intimate exchange that transcends time and space. This interaction contributes to the recurring motif of tactility in my practice—whether as a subject, printing material or the object that I commingle my images with. It is informed by a playfulness and curiosity associated with the childishness that I was barred from during my strict Chinese upbringing which I now challenge. It also signals the intimacy and tenderness that I hope to offer and desire, yet fear, from a distant, departed home representing both affection and restriction. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772741785945-51L1YKCGRNU9YCCIQNHF/mcba-prize-2024-Natia-Ser-meet-me-at-your-fingertips-4jpg.jpg Entries & Jurors - 2024 Entries - Natia Ser Chicago, IL www.natiaser.com IG: @arkaaive Meet me at your fingertips 2023 Sand and stones from Saugatuck beach, water, inkjet on water-soluble paper, inkjet on paper, inkjet on waterproof cloth paper, book board, book cloth. 12 x 3 x 16 in (opens to 24 x 3 x 16 in) Artist Statement As a Hong Kong-born artist who has been living in the U.S. for 5 years, I explore signs of intimacy that exist in temporal itinerant living through artist books to investigate the ambivalence longing and belonging. My interest in water is informed by my superstitious Chinese mother who believes that the water element poses a danger to my life as indicated by its absence in my Chinese horoscope chart—a notion I approach with compliance and transgression. In December 2021, after having my fortune read for 2022, she called from home and instructed me to minimize outdoor ventures, particularly to the north-east of my Chicago apartment—which by coincidence, points at the shores of Lake Michigan. After more than a year of complying to her request, I packed my bags and spent the summer of 2023 in Saugatuck, Michigan—the epicentre of my mother’s restriction. In Saugatuck, contrary to my mother’s beliefs, I connected with the natural environment and found peace and tranquility in different forms of water: puddles, ponds, rivers and of course—Lake Michigan, but from the other side. When I returned to Chicago, I decided to share this rejuvenating experience through Meet me at your fingertips, an interactive artist book in which viewers are invited to participate in a meditative and playful exchange with a Zen garden by raking water patterns on sand and rearranging stones with their fingers (both components were collected from a beach in Saugatuck). They can then rinse off their sandy fingers in a bowl of water, before dripping the water residues on a water-soluble image of a bubble that would eventually dissolve to reveal ripples. The subsequent acts of destroying and revealing in the two steps would thus reflect my transgression of a curious and tender exploration of the forbidden realm of water. The exterior of the clamshell box shows one continuous pattern, carved into the book board, that runs from the back cover through the spine to the front cover. Referencing the raking patterns in Zen gardens, it symbolizes a stream of water to suggest a continuous flow as my prompt to viewers to participate in the raking with their fingers on the inside. This book, like most of my other books, is meant to be activated by the audience. By inviting the audience to touch the same surfaces of an object that I previously handmade and/or handbound with care, we engage in a private, intimate exchange that transcends time and space. This interaction contributes to the recurring motif of tactility in my practice—whether as a subject, printing material or the object that I commingle my images with. It is informed by a playfulness and curiosity associated with the childishness that I was barred from during my strict Chinese upbringing which I now challenge. It also signals the intimacy and tenderness that I hope to offer and desire, yet fear, from a distant, departed home representing both affection and restriction. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772741786663-UPVBYF9VMGX2RXHX9EHD/mcba-prize-2024-Natia-Ser-meet-me-at-your-fingertips-5.jpg Entries & Jurors - 2024 Entries - Natia Ser Chicago, IL www.natiaser.com IG: @arkaaive Meet me at your fingertips 2023 Sand and stones from Saugatuck beach, water, inkjet on water-soluble paper, inkjet on paper, inkjet on waterproof cloth paper, book board, book cloth. 12 x 3 x 16 in (opens to 24 x 3 x 16 in) Artist Statement As a Hong Kong-born artist who has been living in the U.S. for 5 years, I explore signs of intimacy that exist in temporal itinerant living through artist books to investigate the ambivalence longing and belonging. My interest in water is informed by my superstitious Chinese mother who believes that the water element poses a danger to my life as indicated by its absence in my Chinese horoscope chart—a notion I approach with compliance and transgression. In December 2021, after having my fortune read for 2022, she called from home and instructed me to minimize outdoor ventures, particularly to the north-east of my Chicago apartment—which by coincidence, points at the shores of Lake Michigan. After more than a year of complying to her request, I packed my bags and spent the summer of 2023 in Saugatuck, Michigan—the epicentre of my mother’s restriction. In Saugatuck, contrary to my mother’s beliefs, I connected with the natural environment and found peace and tranquility in different forms of water: puddles, ponds, rivers and of course—Lake Michigan, but from the other side. When I returned to Chicago, I decided to share this rejuvenating experience through Meet me at your fingertips, an interactive artist book in which viewers are invited to participate in a meditative and playful exchange with a Zen garden by raking water patterns on sand and rearranging stones with their fingers (both components were collected from a beach in Saugatuck). They can then rinse off their sandy fingers in a bowl of water, before dripping the water residues on a water-soluble image of a bubble that would eventually dissolve to reveal ripples. The subsequent acts of destroying and revealing in the two steps would thus reflect my transgression of a curious and tender exploration of the forbidden realm of water. The exterior of the clamshell box shows one continuous pattern, carved into the book board, that runs from the back cover through the spine to the front cover. Referencing the raking patterns in Zen gardens, it symbolizes a stream of water to suggest a continuous flow as my prompt to viewers to participate in the raking with their fingers on the inside. This book, like most of my other books, is meant to be activated by the audience. By inviting the audience to touch the same surfaces of an object that I previously handmade and/or handbound with care, we engage in a private, intimate exchange that transcends time and space. This interaction contributes to the recurring motif of tactility in my practice—whether as a subject, printing material or the object that I commingle my images with. It is informed by a playfulness and curiosity associated with the childishness that I was barred from during my strict Chinese upbringing which I now challenge. It also signals the intimacy and tenderness that I hope to offer and desire, yet fear, from a distant, departed home representing both affection and restriction. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772657064895-MKKDWEIP4XDWZGZ0WCBW/mcba-prize-2024-Paper-Book-Allegory-of-the-Cave-6.jpg Entries & Jurors - 2024 Entries - Paper Book Tokyo, Japan http://yoshosu.blogspot.com/p/test1.html IG: @tinglubookandbox Allegory Of The Cave 2024 Paper, cardboard, brass wire, silk thread, mirror sheets, dry transfer lettering 14.29 x 7.2 x 0.55 Artist Statement I was playing around with the structure of the ‘metamorphic book’ which was invented by Daniel E. Kelm. The rectangular shape reminds me of a cave and Plato’s ‘allegory of the cave’, “Republic (514a-520b, Book VII). ‘Seeing’ and ‘how to see’ had been important in the story. I was always curious about how we see things, this unique geometry structure and the story together were perfect to develop this idea further. One can read this book by turning the pages as usual. It can stand up and move around. It gave a lot of possibilities of ‘seeing’ just as the information age did to us. Truth and falsehood become more and more complicated to see. So I added the mirror sheets inside to resemble social media, smartphones, digital TV and lots more. I selected twelve element words from the story and used the dry transfer lettering on the boards. Two boards shared one word between them. The selected words were: ‘light, shadows, truth, false, reflection, existence, observe, accustom, compelled, liberated, illusion, reality.’ *I had asked and received permission to use the structure by Daniel E. Kelm. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772657063754-U8249WYS9I5H5VZ3BLJA/mcba-prize-2024-Paper-Book-Allegory-of-the-Cave-5.jpg Entries & Jurors - 2024 Entries - Paper Book Tokyo, Japan http://yoshosu.blogspot.com/p/test1.html IG: @tinglubookandbox Allegory Of The Cave 2024 Paper, cardboard, brass wire, silk thread, mirror sheets, dry transfer lettering 14.29 x 7.2 x 0.55 Artist Statement I was playing around with the structure of the ‘metamorphic book’ which was invented by Daniel E. Kelm. The rectangular shape reminds me of a cave and Plato’s ‘allegory of the cave’, “Republic (514a-520b, Book VII). ‘Seeing’ and ‘how to see’ had been important in the story. I was always curious about how we see things, this unique geometry structure and the story together were perfect to develop this idea further. One can read this book by turning the pages as usual. It can stand up and move around. It gave a lot of possibilities of ‘seeing’ just as the information age did to us. Truth and falsehood become more and more complicated to see. So I added the mirror sheets inside to resemble social media, smartphones, digital TV and lots more. I selected twelve element words from the story and used the dry transfer lettering on the boards. Two boards shared one word between them. The selected words were: ‘light, shadows, truth, false, reflection, existence, observe, accustom, compelled, liberated, illusion, reality.’ *I had asked and received permission to use the structure by Daniel E. Kelm. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772657063701-FLVFXG8BZLUF1ZH4RCYP/mcba-prize-2024-Paper-Book-Allegory-of-the-Cave-4.jpg Entries & Jurors - 2024 Entries - Paper Book Tokyo, Japan http://yoshosu.blogspot.com/p/test1.html IG: @tinglubookandbox Allegory Of The Cave 2024 Paper, cardboard, brass wire, silk thread, mirror sheets, dry transfer lettering 14.29 x 7.2 x 0.55 Artist Statement I was playing around with the structure of the ‘metamorphic book’ which was invented by Daniel E. Kelm. The rectangular shape reminds me of a cave and Plato’s ‘allegory of the cave’, “Republic (514a-520b, Book VII). ‘Seeing’ and ‘how to see’ had been important in the story. I was always curious about how we see things, this unique geometry structure and the story together were perfect to develop this idea further. One can read this book by turning the pages as usual. It can stand up and move around. It gave a lot of possibilities of ‘seeing’ just as the information age did to us. Truth and falsehood become more and more complicated to see. So I added the mirror sheets inside to resemble social media, smartphones, digital TV and lots more. I selected twelve element words from the story and used the dry transfer lettering on the boards. Two boards shared one word between them. The selected words were: ‘light, shadows, truth, false, reflection, existence, observe, accustom, compelled, liberated, illusion, reality.’ *I had asked and received permission to use the structure by Daniel E. Kelm. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772657062148-9MPEQQG4HOPT2JVGHS2O/mcba-prize-2024-Paper-Book-Allegory-of-the-Cave-3.jpg Entries & Jurors - 2024 Entries - Paper Book Tokyo, Japan http://yoshosu.blogspot.com/p/test1.html IG: @tinglubookandbox Allegory Of The Cave 2024 Paper, cardboard, brass wire, silk thread, mirror sheets, dry transfer lettering 14.29 x 7.2 x 0.55 Artist Statement I was playing around with the structure of the ‘metamorphic book’ which was invented by Daniel E. Kelm. The rectangular shape reminds me of a cave and Plato’s ‘allegory of the cave’, “Republic (514a-520b, Book VII). ‘Seeing’ and ‘how to see’ had been important in the story. I was always curious about how we see things, this unique geometry structure and the story together were perfect to develop this idea further. One can read this book by turning the pages as usual. It can stand up and move around. It gave a lot of possibilities of ‘seeing’ just as the information age did to us. Truth and falsehood become more and more complicated to see. So I added the mirror sheets inside to resemble social media, smartphones, digital TV and lots more. I selected twelve element words from the story and used the dry transfer lettering on the boards. Two boards shared one word between them. The selected words were: ‘light, shadows, truth, false, reflection, existence, observe, accustom, compelled, liberated, illusion, reality.’ *I had asked and received permission to use the structure by Daniel E. Kelm. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772657062211-1TLWRR5JGBGHVKCAK15D/mcba-prize-2024-Paper-Book-Allegory-of-the-Cave-2.jpg Entries & Jurors - 2024 Entries - Paper Book Tokyo, Japan http://yoshosu.blogspot.com/p/test1.html IG: @tinglubookandbox Allegory Of The Cave 2024 Paper, cardboard, brass wire, silk thread, mirror sheets, dry transfer lettering 14.29 x 7.2 x 0.55 Artist Statement I was playing around with the structure of the ‘metamorphic book’ which was invented by Daniel E. Kelm. The rectangular shape reminds me of a cave and Plato’s ‘allegory of the cave’, “Republic (514a-520b, Book VII). ‘Seeing’ and ‘how to see’ had been important in the story. I was always curious about how we see things, this unique geometry structure and the story together were perfect to develop this idea further. One can read this book by turning the pages as usual. It can stand up and move around. It gave a lot of possibilities of ‘seeing’ just as the information age did to us. Truth and falsehood become more and more complicated to see. So I added the mirror sheets inside to resemble social media, smartphones, digital TV and lots more. I selected twelve element words from the story and used the dry transfer lettering on the boards. Two boards shared one word between them. The selected words were: ‘light, shadows, truth, false, reflection, existence, observe, accustom, compelled, liberated, illusion, reality.’ *I had asked and received permission to use the structure by Daniel E. Kelm. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772657907550-91JNFC57C97S7CGM2DE1/mcba-prize-2024-Leonie-Oakes-Between-the-lines-a-story-lies-3.jpeg Entries & Jurors - 2024 Entries - Leonie Oakes Tasmania, Australia Between the lines a story lies 2022 Letterpress, etching, paper, thread, ribbon 2,364 pages: H 70mm x W 330mm x D 115mm Artist Statement Between the lines a story lies is part of a larger story. Endings and beginnings move in both directions. The story intertwines. “Silently I talk out loud, to myself, inside my head, can you hear me- when I shut my eyes to scream/dream?” With interaction and time a fragmented story reveals. When held this book articulated and moves. This work can be worn around the neck or on the head of the reader/viewer. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772657907289-L44FCO8QDZA1H0UN40NS/mcba-prize-2024-Leonie-Oakes-Between-the-lines-a-story-lies-2.jpeg Entries & Jurors - 2024 Entries - Leonie Oakes Tasmania, Australia Between the lines a story lies 2022 Letterpress, etching, paper, thread, ribbon 2,364 pages: H 70mm x W 330mm x D 115mm Artist Statement Between the lines a story lies is part of a larger story. Endings and beginnings move in both directions. The story intertwines. “Silently I talk out loud, to myself, inside my head, can you hear me- when I shut my eyes to scream/dream?” With interaction and time a fragmented story reveals. When held this book articulated and moves. This work can be worn around the neck or on the head of the reader/viewer. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772658811259-Y33VDVV6KXPAE4YDYRJ7/mcba-prize-2024-Mardy-Sears-Bound-Together-6.jpeg Entries & Jurors - 2024 Entries - Mardy Sears Evanston, IL www.mardysears.com IG: @mardy_searsart Bound Together 2022 Ethiopian binding with walnut covers and cyanotype 3 1/2 X 2 3/4″ X 3″ (when closed) Artist Statement In 2020 I was asked to hand bind a Caxton Club publication, Chicago by the Book, 101 publications that shaped the city and its image, that would be put up for auction along with several other Chicago artist bindings. As I am more of an artist than a binder, I decided to make an artist book using the commercially printed book pages. The first question I asked myself in the process is ‘What shapes Chicago?’ and the answer I gave myself was – the people. I decided to create portraits of 101 Chicagoans to pair with the 101 publications; but how to go about this during a worldwide pandemic? I began at work while the Art Institute of Chicago was shut down and very few people were working in the museum. I wandered the empty galleries looking for those who were still doing their jobs – keeping the museum running. Almost half the portraits in this book were taken at work. I learned the names of colleagues whom I’ve worked with for a decade or more, and the project united us on a personal level at a time when we have been told to keep our distance. I found that the part of this project that filled me with dread – approaching people for photos, ended up giving me the greatest joy. Now that the pandemic has been pronounced endemic, I look back at these portraits and see a moment in time. Many of these people have moved on from their jobs, some I can no longer find to give them a copy of their portrait. But I know their faces, I know their names, and they are Bound Together by time and experience. I needed to make a book of pure portraiture that I could hold in my hand and remember. This is an edition of 8 books in an Ethiopian binding with hand carved walnut covers and cyanotype prints, hinged in a pattern with indigo kozo paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772658809707-50KW3RQ9K1G85ZQG12R5/mcba-prize-2024-Mardy-Sears-Bound-Together-5.jpeg Entries & Jurors - 2024 Entries - Mardy Sears Evanston, IL www.mardysears.com IG: @mardy_searsart Bound Together 2022 Ethiopian binding with walnut covers and cyanotype 3 1/2 X 2 3/4″ X 3″ (when closed) Artist Statement In 2020 I was asked to hand bind a Caxton Club publication, Chicago by the Book, 101 publications that shaped the city and its image, that would be put up for auction along with several other Chicago artist bindings. As I am more of an artist than a binder, I decided to make an artist book using the commercially printed book pages. The first question I asked myself in the process is ‘What shapes Chicago?’ and the answer I gave myself was – the people. I decided to create portraits of 101 Chicagoans to pair with the 101 publications; but how to go about this during a worldwide pandemic? I began at work while the Art Institute of Chicago was shut down and very few people were working in the museum. I wandered the empty galleries looking for those who were still doing their jobs – keeping the museum running. Almost half the portraits in this book were taken at work. I learned the names of colleagues whom I’ve worked with for a decade or more, and the project united us on a personal level at a time when we have been told to keep our distance. I found that the part of this project that filled me with dread – approaching people for photos, ended up giving me the greatest joy. Now that the pandemic has been pronounced endemic, I look back at these portraits and see a moment in time. Many of these people have moved on from their jobs, some I can no longer find to give them a copy of their portrait. But I know their faces, I know their names, and they are Bound Together by time and experience. I needed to make a book of pure portraiture that I could hold in my hand and remember. This is an edition of 8 books in an Ethiopian binding with hand carved walnut covers and cyanotype prints, hinged in a pattern with indigo kozo paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772658808970-Z6NEZTCKZGGXWBBNUQ8T/mcba-prize-2024-Mardy-Sears-Bound-Together-4.jpeg Entries & Jurors - 2024 Entries - Mardy Sears Evanston, IL www.mardysears.com IG: @mardy_searsart Bound Together 2022 Ethiopian binding with walnut covers and cyanotype 3 1/2 X 2 3/4″ X 3″ (when closed) Artist Statement In 2020 I was asked to hand bind a Caxton Club publication, Chicago by the Book, 101 publications that shaped the city and its image, that would be put up for auction along with several other Chicago artist bindings. As I am more of an artist than a binder, I decided to make an artist book using the commercially printed book pages. The first question I asked myself in the process is ‘What shapes Chicago?’ and the answer I gave myself was – the people. I decided to create portraits of 101 Chicagoans to pair with the 101 publications; but how to go about this during a worldwide pandemic? I began at work while the Art Institute of Chicago was shut down and very few people were working in the museum. I wandered the empty galleries looking for those who were still doing their jobs – keeping the museum running. Almost half the portraits in this book were taken at work. I learned the names of colleagues whom I’ve worked with for a decade or more, and the project united us on a personal level at a time when we have been told to keep our distance. I found that the part of this project that filled me with dread – approaching people for photos, ended up giving me the greatest joy. Now that the pandemic has been pronounced endemic, I look back at these portraits and see a moment in time. Many of these people have moved on from their jobs, some I can no longer find to give them a copy of their portrait. But I know their faces, I know their names, and they are Bound Together by time and experience. I needed to make a book of pure portraiture that I could hold in my hand and remember. This is an edition of 8 books in an Ethiopian binding with hand carved walnut covers and cyanotype prints, hinged in a pattern with indigo kozo paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772658807942-P2BERKCE33EXX4U0GQCE/mcba-prize-2024-Mardy-Sears-Bound-Together-2.jpeg Entries & Jurors - 2024 Entries - Mardy Sears Evanston, IL www.mardysears.com IG: @mardy_searsart Bound Together 2022 Ethiopian binding with walnut covers and cyanotype 3 1/2 X 2 3/4″ X 3″ (when closed) Artist Statement In 2020 I was asked to hand bind a Caxton Club publication, Chicago by the Book, 101 publications that shaped the city and its image, that would be put up for auction along with several other Chicago artist bindings. As I am more of an artist than a binder, I decided to make an artist book using the commercially printed book pages. The first question I asked myself in the process is ‘What shapes Chicago?’ and the answer I gave myself was – the people. I decided to create portraits of 101 Chicagoans to pair with the 101 publications; but how to go about this during a worldwide pandemic? I began at work while the Art Institute of Chicago was shut down and very few people were working in the museum. I wandered the empty galleries looking for those who were still doing their jobs – keeping the museum running. Almost half the portraits in this book were taken at work. I learned the names of colleagues whom I’ve worked with for a decade or more, and the project united us on a personal level at a time when we have been told to keep our distance. I found that the part of this project that filled me with dread – approaching people for photos, ended up giving me the greatest joy. Now that the pandemic has been pronounced endemic, I look back at these portraits and see a moment in time. Many of these people have moved on from their jobs, some I can no longer find to give them a copy of their portrait. But I know their faces, I know their names, and they are Bound Together by time and experience. I needed to make a book of pure portraiture that I could hold in my hand and remember. This is an edition of 8 books in an Ethiopian binding with hand carved walnut covers and cyanotype prints, hinged in a pattern with indigo kozo paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772658807999-3LYNXQOQGKR6JHC61W2N/mcba-prize-2024-Mardy-Sears-Bound-Together-3.jpeg Entries & Jurors - 2024 Entries - Mardy Sears Evanston, IL www.mardysears.com IG: @mardy_searsart Bound Together 2022 Ethiopian binding with walnut covers and cyanotype 3 1/2 X 2 3/4″ X 3″ (when closed) Artist Statement In 2020 I was asked to hand bind a Caxton Club publication, Chicago by the Book, 101 publications that shaped the city and its image, that would be put up for auction along with several other Chicago artist bindings. As I am more of an artist than a binder, I decided to make an artist book using the commercially printed book pages. The first question I asked myself in the process is ‘What shapes Chicago?’ and the answer I gave myself was – the people. I decided to create portraits of 101 Chicagoans to pair with the 101 publications; but how to go about this during a worldwide pandemic? I began at work while the Art Institute of Chicago was shut down and very few people were working in the museum. I wandered the empty galleries looking for those who were still doing their jobs – keeping the museum running. Almost half the portraits in this book were taken at work. I learned the names of colleagues whom I’ve worked with for a decade or more, and the project united us on a personal level at a time when we have been told to keep our distance. I found that the part of this project that filled me with dread – approaching people for photos, ended up giving me the greatest joy. Now that the pandemic has been pronounced endemic, I look back at these portraits and see a moment in time. Many of these people have moved on from their jobs, some I can no longer find to give them a copy of their portrait. But I know their faces, I know their names, and they are Bound Together by time and experience. I needed to make a book of pure portraiture that I could hold in my hand and remember. This is an edition of 8 books in an Ethiopian binding with hand carved walnut covers and cyanotype prints, hinged in a pattern with indigo kozo paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772659308873-OEFOWJZL62XJNAD3XWI8/mcba-prize-2024-thorsten-dennerline-fragmented-elements-5.jpg Entries & Jurors - 2024 Entries - Thorsten Dennerline New York https://www.thebirdpress.com IG: thorstendennerline FRAGMENTED ELEMENTS/ WATER, ELECTRICITY, CRYSTAL, PLANTS 2024 Multi-plate photo lithography from hand drawn films, printed both sides, in a 47 in. Hahnemuhle trifold wrapper printed with lithography and letterpress 22×17.5×0.25 inches closed. Variable formats and sizes open Artist Statement This project was initiated during the quarantines of 2020 using a newly acquired Steinmesse & Stollberg DUFA IV press. The intense atmosphere of anxiety and fear at the time, not just from the pandemic but also related to a ubiquitous rise in fascist rhetoric, compelled me to explore a metaphysical space of optimistic fantasy. Not as a retreat, but as a way of asserting humanity and beauty during what felt like a particularly hopeless time. Although I often collaborate with others on my printing projects, this one was solitary. In a sense, my only collaborator was the press itself with its many quirks and painstaking renovation. So in essence, the project documented a conversation with this historical machine. I employed a form of open-ended planning, overprinting layers of transparent colors to create the images, each responding to how the previous one had manifested on the sheet, much like working on a painting. Each of the four pieces is based on broad metaphysical themes as prompts for exploration. The four elements I chose were: Water as a free- owing tide, Electricity as heat energy, Crystal relating to earth and mind energy, and Plants representing all new life. This is not about new age religion or psychedelia, but rather a celebration of fantasy, and also, survival. These impulses were coupled with a parallel interest in the way a book can transform, which can then be built into a new poetic realization—one that is always changing. So in reference to the book as an idea, I planned a folio fold through the middle of each sheet, and then designed an alternative fold-out sculptural version that can be viewed as a relief wall sculpture or on a horizontal plane. In this way, each of the four elements can be viewed in four formats: book folio, relief sculpture,  at side A, or  at side B, making this into a multi-use, interactive, and transforming print object, like a book (see diagram above). This way, each element is more than one thing, transformable in meaning both individually and in conversation with each other. Each element is printed approximately seven times on each side of a sheet of Mohawk Superne paper, using hand-drawn lms exposed onto photosensitive lithographic plates. The trifold cover folios are on Hahnemuhle Copperplate paper. EDITION INFORMATION There are twelve full sets that contain all four elements, each in a specially printed folder numbered I-XII. There are individual prints, also with folders, named and numbered in the following edition sizes: Water: H2O 1-4 Electricity: LIVR 1-7 Crystal: XTL 1-2 Plants: PB6F 1-8. Edition: 12 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772659308414-0ZJD48OW54EGP1MHSNYI/mcba-prize-2024-thorsten-dennerline-fragmented-elements-4.jpg Entries & Jurors - 2024 Entries - Thorsten Dennerline New York https://www.thebirdpress.com IG: thorstendennerline FRAGMENTED ELEMENTS/ WATER, ELECTRICITY, CRYSTAL, PLANTS 2024 Multi-plate photo lithography from hand drawn films, printed both sides, in a 47 in. Hahnemuhle trifold wrapper printed with lithography and letterpress 22×17.5×0.25 inches closed. Variable formats and sizes open Artist Statement This project was initiated during the quarantines of 2020 using a newly acquired Steinmesse & Stollberg DUFA IV press. The intense atmosphere of anxiety and fear at the time, not just from the pandemic but also related to a ubiquitous rise in fascist rhetoric, compelled me to explore a metaphysical space of optimistic fantasy. Not as a retreat, but as a way of asserting humanity and beauty during what felt like a particularly hopeless time. Although I often collaborate with others on my printing projects, this one was solitary. In a sense, my only collaborator was the press itself with its many quirks and painstaking renovation. So in essence, the project documented a conversation with this historical machine. I employed a form of open-ended planning, overprinting layers of transparent colors to create the images, each responding to how the previous one had manifested on the sheet, much like working on a painting. Each of the four pieces is based on broad metaphysical themes as prompts for exploration. The four elements I chose were: Water as a free- owing tide, Electricity as heat energy, Crystal relating to earth and mind energy, and Plants representing all new life. This is not about new age religion or psychedelia, but rather a celebration of fantasy, and also, survival. These impulses were coupled with a parallel interest in the way a book can transform, which can then be built into a new poetic realization—one that is always changing. So in reference to the book as an idea, I planned a folio fold through the middle of each sheet, and then designed an alternative fold-out sculptural version that can be viewed as a relief wall sculpture or on a horizontal plane. In this way, each of the four elements can be viewed in four formats: book folio, relief sculpture,  at side A, or  at side B, making this into a multi-use, interactive, and transforming print object, like a book (see diagram above). This way, each element is more than one thing, transformable in meaning both individually and in conversation with each other. Each element is printed approximately seven times on each side of a sheet of Mohawk Superne paper, using hand-drawn lms exposed onto photosensitive lithographic plates. The trifold cover folios are on Hahnemuhle Copperplate paper. EDITION INFORMATION There are twelve full sets that contain all four elements, each in a specially printed folder numbered I-XII. There are individual prints, also with folders, named and numbered in the following edition sizes: Water: H2O 1-4 Electricity: LIVR 1-7 Crystal: XTL 1-2 Plants: PB6F 1-8. Edition: 12 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772659307580-UOSMH2C6D0G2HMQYVK0O/mcba-prize-2024-thorsten-dennerline-fragmented-elements-3.jpg Entries & Jurors - 2024 Entries - Thorsten Dennerline New York https://www.thebirdpress.com IG: thorstendennerline FRAGMENTED ELEMENTS/ WATER, ELECTRICITY, CRYSTAL, PLANTS 2024 Multi-plate photo lithography from hand drawn films, printed both sides, in a 47 in. Hahnemuhle trifold wrapper printed with lithography and letterpress 22×17.5×0.25 inches closed. Variable formats and sizes open Artist Statement This project was initiated during the quarantines of 2020 using a newly acquired Steinmesse & Stollberg DUFA IV press. The intense atmosphere of anxiety and fear at the time, not just from the pandemic but also related to a ubiquitous rise in fascist rhetoric, compelled me to explore a metaphysical space of optimistic fantasy. Not as a retreat, but as a way of asserting humanity and beauty during what felt like a particularly hopeless time. Although I often collaborate with others on my printing projects, this one was solitary. In a sense, my only collaborator was the press itself with its many quirks and painstaking renovation. So in essence, the project documented a conversation with this historical machine. I employed a form of open-ended planning, overprinting layers of transparent colors to create the images, each responding to how the previous one had manifested on the sheet, much like working on a painting. Each of the four pieces is based on broad metaphysical themes as prompts for exploration. The four elements I chose were: Water as a free- owing tide, Electricity as heat energy, Crystal relating to earth and mind energy, and Plants representing all new life. This is not about new age religion or psychedelia, but rather a celebration of fantasy, and also, survival. These impulses were coupled with a parallel interest in the way a book can transform, which can then be built into a new poetic realization—one that is always changing. So in reference to the book as an idea, I planned a folio fold through the middle of each sheet, and then designed an alternative fold-out sculptural version that can be viewed as a relief wall sculpture or on a horizontal plane. In this way, each of the four elements can be viewed in four formats: book folio, relief sculpture,  at side A, or  at side B, making this into a multi-use, interactive, and transforming print object, like a book (see diagram above). This way, each element is more than one thing, transformable in meaning both individually and in conversation with each other. Each element is printed approximately seven times on each side of a sheet of Mohawk Superne paper, using hand-drawn lms exposed onto photosensitive lithographic plates. The trifold cover folios are on Hahnemuhle Copperplate paper. EDITION INFORMATION There are twelve full sets that contain all four elements, each in a specially printed folder numbered I-XII. There are individual prints, also with folders, named and numbered in the following edition sizes: Water: H2O 1-4 Electricity: LIVR 1-7 Crystal: XTL 1-2 Plants: PB6F 1-8. Edition: 12 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772659307317-UBV4ZLYJCKF44NEA9G7S/mcba-prize-2024-thorsten-dennerline-fragmented-elements-2.jpg Entries & Jurors - 2024 Entries - Thorsten Dennerline New York https://www.thebirdpress.com IG: thorstendennerline FRAGMENTED ELEMENTS/ WATER, ELECTRICITY, CRYSTAL, PLANTS 2024 Multi-plate photo lithography from hand drawn films, printed both sides, in a 47 in. Hahnemuhle trifold wrapper printed with lithography and letterpress 22×17.5×0.25 inches closed. Variable formats and sizes open Artist Statement This project was initiated during the quarantines of 2020 using a newly acquired Steinmesse & Stollberg DUFA IV press. The intense atmosphere of anxiety and fear at the time, not just from the pandemic but also related to a ubiquitous rise in fascist rhetoric, compelled me to explore a metaphysical space of optimistic fantasy. Not as a retreat, but as a way of asserting humanity and beauty during what felt like a particularly hopeless time. Although I often collaborate with others on my printing projects, this one was solitary. In a sense, my only collaborator was the press itself with its many quirks and painstaking renovation. So in essence, the project documented a conversation with this historical machine. I employed a form of open-ended planning, overprinting layers of transparent colors to create the images, each responding to how the previous one had manifested on the sheet, much like working on a painting. Each of the four pieces is based on broad metaphysical themes as prompts for exploration. The four elements I chose were: Water as a free- owing tide, Electricity as heat energy, Crystal relating to earth and mind energy, and Plants representing all new life. This is not about new age religion or psychedelia, but rather a celebration of fantasy, and also, survival. These impulses were coupled with a parallel interest in the way a book can transform, which can then be built into a new poetic realization—one that is always changing. So in reference to the book as an idea, I planned a folio fold through the middle of each sheet, and then designed an alternative fold-out sculptural version that can be viewed as a relief wall sculpture or on a horizontal plane. In this way, each of the four elements can be viewed in four formats: book folio, relief sculpture,  at side A, or  at side B, making this into a multi-use, interactive, and transforming print object, like a book (see diagram above). This way, each element is more than one thing, transformable in meaning both individually and in conversation with each other. Each element is printed approximately seven times on each side of a sheet of Mohawk Superne paper, using hand-drawn lms exposed onto photosensitive lithographic plates. The trifold cover folios are on Hahnemuhle Copperplate paper. EDITION INFORMATION There are twelve full sets that contain all four elements, each in a specially printed folder numbered I-XII. There are individual prints, also with folders, named and numbered in the following edition sizes: Water: H2O 1-4 Electricity: LIVR 1-7 Crystal: XTL 1-2 Plants: PB6F 1-8. Edition: 12 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772659659031-M2DXRITFCF8NK2VF9ALW/mcba-prize-2024-George-Bandy-inside-the-empty-shell-6.jpg Entries & Jurors - 2024 Entries - George Bandy Alexandria, VA inside the empty shell 2024 Paper and color xerography 5″ x 5″ x 3/16″ Artist Statement Inside the empty shell has to do with how our very existence leave marks not only upon us, but on all of those around us. We cannot live without impacting the world with our decisions and/or failures to act. Not choosing is a choice. As an artist and poet I enjoy the opportunity to make artist books. I believe in making art accessible. Art should be affordable and easy to take home and, hopefully, to be enjoyed and cherished for years to come. To this end, I create 5 by 5 inch open edition books which are made with strong texts and images with a few basic tools: Steel ruler, exacto knife, sharpening stone, cutting mat, punch, bone folder, two ¼” staples per book, good cardstock and 32 lb paper for xerography. The colophon, in Papyrus Font, “Handmade” with the year below is finished with my stylized initials penned in archival black ink. My studio/office/dining room is my kitchen table, but the world is my home. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772659658868-JI6YZJWIG20O8JSSU4ZK/mcba-prize-2024-George-Bandy-inside-the-empty-shell-5.jpg Entries & Jurors - 2024 Entries - George Bandy Alexandria, VA inside the empty shell 2024 Paper and color xerography 5″ x 5″ x 3/16″ Artist Statement Inside the empty shell has to do with how our very existence leave marks not only upon us, but on all of those around us. We cannot live without impacting the world with our decisions and/or failures to act. Not choosing is a choice. As an artist and poet I enjoy the opportunity to make artist books. I believe in making art accessible. Art should be affordable and easy to take home and, hopefully, to be enjoyed and cherished for years to come. To this end, I create 5 by 5 inch open edition books which are made with strong texts and images with a few basic tools: Steel ruler, exacto knife, sharpening stone, cutting mat, punch, bone folder, two ¼” staples per book, good cardstock and 32 lb paper for xerography. The colophon, in Papyrus Font, “Handmade” with the year below is finished with my stylized initials penned in archival black ink. My studio/office/dining room is my kitchen table, but the world is my home. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772659657896-CTU3FNL9NBVAEEBYS5HP/mcba-prize-2024-George-Bandy-inside-the-empty-shell-4.jpg Entries & Jurors - 2024 Entries - George Bandy Alexandria, VA inside the empty shell 2024 Paper and color xerography 5″ x 5″ x 3/16″ Artist Statement Inside the empty shell has to do with how our very existence leave marks not only upon us, but on all of those around us. We cannot live without impacting the world with our decisions and/or failures to act. Not choosing is a choice. As an artist and poet I enjoy the opportunity to make artist books. I believe in making art accessible. Art should be affordable and easy to take home and, hopefully, to be enjoyed and cherished for years to come. To this end, I create 5 by 5 inch open edition books which are made with strong texts and images with a few basic tools: Steel ruler, exacto knife, sharpening stone, cutting mat, punch, bone folder, two ¼” staples per book, good cardstock and 32 lb paper for xerography. The colophon, in Papyrus Font, “Handmade” with the year below is finished with my stylized initials penned in archival black ink. My studio/office/dining room is my kitchen table, but the world is my home. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772659657820-DL8VA9LMMAG929FG8V2A/mcba-prize-2024-George-Bandy-inside-the-empty-shell-3.jpg Entries & Jurors - 2024 Entries - George Bandy Alexandria, VA inside the empty shell 2024 Paper and color xerography 5″ x 5″ x 3/16″ Artist Statement Inside the empty shell has to do with how our very existence leave marks not only upon us, but on all of those around us. We cannot live without impacting the world with our decisions and/or failures to act. Not choosing is a choice. As an artist and poet I enjoy the opportunity to make artist books. I believe in making art accessible. Art should be affordable and easy to take home and, hopefully, to be enjoyed and cherished for years to come. To this end, I create 5 by 5 inch open edition books which are made with strong texts and images with a few basic tools: Steel ruler, exacto knife, sharpening stone, cutting mat, punch, bone folder, two ¼” staples per book, good cardstock and 32 lb paper for xerography. The colophon, in Papyrus Font, “Handmade” with the year below is finished with my stylized initials penned in archival black ink. My studio/office/dining room is my kitchen table, but the world is my home. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772659643219-9N1XETS3XWZNH1B34O6N/mcba-prize-2024-George-Bandy-inside-the-empty-shell-2.jpg Entries & Jurors - 2024 Entries - George Bandy Alexandria, VA inside the empty shell 2024 Paper and color xerography 5″ x 5″ x 3/16″ Artist Statement Inside the empty shell has to do with how our very existence leave marks not only upon us, but on all of those around us. We cannot live without impacting the world with our decisions and/or failures to act. Not choosing is a choice. As an artist and poet I enjoy the opportunity to make artist books. I believe in making art accessible. Art should be affordable and easy to take home and, hopefully, to be enjoyed and cherished for years to come. To this end, I create 5 by 5 inch open edition books which are made with strong texts and images with a few basic tools: Steel ruler, exacto knife, sharpening stone, cutting mat, punch, bone folder, two ¼” staples per book, good cardstock and 32 lb paper for xerography. The colophon, in Papyrus Font, “Handmade” with the year below is finished with my stylized initials penned in archival black ink. My studio/office/dining room is my kitchen table, but the world is my home. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772660144041-H6TD2N25SLDUM2LTXCEU/mcba-prize-2024-Katie-Baldwin-Work-To-Be-Done-In-Winter-1.jpg Entries & Jurors - 2024 Entries - Katie Baldwin Huntsville, AL www.katieameliabaldwin.com Instagram: @katieameliabaldwin Work To Be Done In Winter 2023 Book 8.5 x 11.5 x 0.75 inches Artist Statement ‘Work To Be Done In Winter’ is an artist book inspired by The Compleat Gard’ner, written by Jean de LaQuintinie and published posthumously in 1699. I discovered this book while conducting research in the Landscape and Architecture Collection at the Fisher Fine Arts Library in Philadelphia, PA in 2019, as a visiting artist at Common Press. My interest in the collection centered on how humans shaped the world through the aesthetics and functions of gardens in the 17th and 18th centuries. What captured my imagination was how the author’s gardening experience lead to this book. Jean de LaQuintinie designed and built the king’s vegetable garden at Versaille, transforming land that was considered not suitable for farming. He developed cultivation techniques for off-season food production, providing fruit and vegetables year around. His advancements contributed to the improvement of the cultivation of fruit trees and their pruning. Pruning illustrations from Jean de LaQuintine’s book influenced my ink drawings of trees. The text was inspired by the author’s detailed instructions on the work to be done in the garden in order to produce fruit and vegetables all year round. Funding for this project was provided by common press at the University of Pennsylvania, Philadelphia Center for the Book and the Humanities Center at University of Alabama in Huntsville. The research for work to be done in winter began in 2019, was put on hold due to the pandemic, and then designed, printed and bound in 2023 by Katie Baldwin. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772660144221-PW4EJAB0ID0HGEU34VGF/mcba-prize-2024-Katie-Baldwin-Work-To-Be-Done-In-Winter-2.jpg Entries & Jurors - 2024 Entries - Katie Baldwin Huntsville, AL www.katieameliabaldwin.com Instagram: @katieameliabaldwin Work To Be Done In Winter 2023 Book 8.5 x 11.5 x 0.75 inches Artist Statement ‘Work To Be Done In Winter’ is an artist book inspired by The Compleat Gard’ner, written by Jean de LaQuintinie and published posthumously in 1699. I discovered this book while conducting research in the Landscape and Architecture Collection at the Fisher Fine Arts Library in Philadelphia, PA in 2019, as a visiting artist at Common Press. My interest in the collection centered on how humans shaped the world through the aesthetics and functions of gardens in the 17th and 18th centuries. What captured my imagination was how the author’s gardening experience lead to this book. Jean de LaQuintinie designed and built the king’s vegetable garden at Versaille, transforming land that was considered not suitable for farming. He developed cultivation techniques for off-season food production, providing fruit and vegetables year around. His advancements contributed to the improvement of the cultivation of fruit trees and their pruning. Pruning illustrations from Jean de LaQuintine’s book influenced my ink drawings of trees. The text was inspired by the author’s detailed instructions on the work to be done in the garden in order to produce fruit and vegetables all year round. Funding for this project was provided by common press at the University of Pennsylvania, Philadelphia Center for the Book and the Humanities Center at University of Alabama in Huntsville. The research for work to be done in winter began in 2019, was put on hold due to the pandemic, and then designed, printed and bound in 2023 by Katie Baldwin. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772660144898-0EHH3T6GHYWINZOT98G5/mcba-prize-2024-Katie-Baldwin-Work-To-Be-Done-In-Winter-3.jpg Entries & Jurors - 2024 Entries - Katie Baldwin Huntsville, AL www.katieameliabaldwin.com Instagram: @katieameliabaldwin Work To Be Done In Winter 2023 Book 8.5 x 11.5 x 0.75 inches Artist Statement ‘Work To Be Done In Winter’ is an artist book inspired by The Compleat Gard’ner, written by Jean de LaQuintinie and published posthumously in 1699. I discovered this book while conducting research in the Landscape and Architecture Collection at the Fisher Fine Arts Library in Philadelphia, PA in 2019, as a visiting artist at Common Press. My interest in the collection centered on how humans shaped the world through the aesthetics and functions of gardens in the 17th and 18th centuries. What captured my imagination was how the author’s gardening experience lead to this book. Jean de LaQuintinie designed and built the king’s vegetable garden at Versaille, transforming land that was considered not suitable for farming. He developed cultivation techniques for off-season food production, providing fruit and vegetables year around. His advancements contributed to the improvement of the cultivation of fruit trees and their pruning. Pruning illustrations from Jean de LaQuintine’s book influenced my ink drawings of trees. The text was inspired by the author’s detailed instructions on the work to be done in the garden in order to produce fruit and vegetables all year round. Funding for this project was provided by common press at the University of Pennsylvania, Philadelphia Center for the Book and the Humanities Center at University of Alabama in Huntsville. The research for work to be done in winter began in 2019, was put on hold due to the pandemic, and then designed, printed and bound in 2023 by Katie Baldwin. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772659961642-OURD8ETSSGGQZDF0NVBW/mcba-prize-2024-Katie-Baldwin-Work-To-Be-Done-In-Winter-4.jpg Entries & Jurors - 2024 Entries - Katie Baldwin Huntsville, AL www.katieameliabaldwin.com Instagram: @katieameliabaldwin Work To Be Done In Winter 2023 Book 8.5 x 11.5 x 0.75 inches Artist Statement ‘Work To Be Done In Winter’ is an artist book inspired by The Compleat Gard’ner, written by Jean de LaQuintinie and published posthumously in 1699. I discovered this book while conducting research in the Landscape and Architecture Collection at the Fisher Fine Arts Library in Philadelphia, PA in 2019, as a visiting artist at Common Press. My interest in the collection centered on how humans shaped the world through the aesthetics and functions of gardens in the 17th and 18th centuries. What captured my imagination was how the author’s gardening experience lead to this book. Jean de LaQuintinie designed and built the king’s vegetable garden at Versaille, transforming land that was considered not suitable for farming. He developed cultivation techniques for off-season food production, providing fruit and vegetables year around. His advancements contributed to the improvement of the cultivation of fruit trees and their pruning. Pruning illustrations from Jean de LaQuintine’s book influenced my ink drawings of trees. The text was inspired by the author’s detailed instructions on the work to be done in the garden in order to produce fruit and vegetables all year round. Funding for this project was provided by common press at the University of Pennsylvania, Philadelphia Center for the Book and the Humanities Center at University of Alabama in Huntsville. The research for work to be done in winter began in 2019, was put on hold due to the pandemic, and then designed, printed and bound in 2023 by Katie Baldwin. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772660146391-8VSS7ALKM7E02VV4ELOV/mcba-prize-2024-Katie-Baldwin-Work-To-Be-Done-In-Winter-6.jpg Entries & Jurors - 2024 Entries - Katie Baldwin Huntsville, AL www.katieameliabaldwin.com Instagram: @katieameliabaldwin Work To Be Done In Winter 2023 Book 8.5 x 11.5 x 0.75 inches Artist Statement ‘Work To Be Done In Winter’ is an artist book inspired by The Compleat Gard’ner, written by Jean de LaQuintinie and published posthumously in 1699. I discovered this book while conducting research in the Landscape and Architecture Collection at the Fisher Fine Arts Library in Philadelphia, PA in 2019, as a visiting artist at Common Press. My interest in the collection centered on how humans shaped the world through the aesthetics and functions of gardens in the 17th and 18th centuries. What captured my imagination was how the author’s gardening experience lead to this book. Jean de LaQuintinie designed and built the king’s vegetable garden at Versaille, transforming land that was considered not suitable for farming. He developed cultivation techniques for off-season food production, providing fruit and vegetables year around. His advancements contributed to the improvement of the cultivation of fruit trees and their pruning. Pruning illustrations from Jean de LaQuintine’s book influenced my ink drawings of trees. The text was inspired by the author’s detailed instructions on the work to be done in the garden in order to produce fruit and vegetables all year round. Funding for this project was provided by common press at the University of Pennsylvania, Philadelphia Center for the Book and the Humanities Center at University of Alabama in Huntsville. The research for work to be done in winter began in 2019, was put on hold due to the pandemic, and then designed, printed and bound in 2023 by Katie Baldwin. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772660597021-D7MREV1D822LVQO844GE/mcba-prize-2024-Jana-Sim-Connection8-3.jpg Entries & Jurors - 2024 Entries - Jana Sim Republic of Korea www.janasim.com IG: janasim_bookartist Connection #8 2023 Lasercut on Korean newspaper and acrylic 5.5 x 16 x 1” Artist Statement Door symbolizes a pathway from one space to another. Living in the Unites States, the Korean traditional door was the link with my childhood reminiscence and with my family back home in South Korea. I grew up in an environment immersed in Korean traditional carpentry as my father is the national heritage in doors and windows. As a book artist, that nostalgia was expressed in my art works such as my oil painted Korean Door on a Western Door and with my Korean traditional door themed book arts. However, returning to Korea and spending the next decade in a new role as a mother and daughter has given me a different perspective in the way I perceive the same theme. A door sits between both ways, but once opened bridges two spaces with one another. Back in the United States, the Korean traditional door used to signify a pathway to my family and home country, a one way direction. But now back in Korea it connects me to the time of my life where I was solely committed as an artist. For me, the Korean traditional door is the means of connecting the pivoting stages of my life, my past with the present, my home country with the United States, and myself as a mother with my life as an artist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772660599611-VIKGFBYGGNNA2ROS2DLL/mcba-prize-2024-Jana-Sim-Connection8-4.jpg Entries & Jurors - 2024 Entries - Jana Sim Republic of Korea www.janasim.com IG: janasim_bookartist Connection #8 2023 Lasercut on Korean newspaper and acrylic 5.5 x 16 x 1” Artist Statement Door symbolizes a pathway from one space to another. Living in the Unites States, the Korean traditional door was the link with my childhood reminiscence and with my family back home in South Korea. I grew up in an environment immersed in Korean traditional carpentry as my father is the national heritage in doors and windows. As a book artist, that nostalgia was expressed in my art works such as my oil painted Korean Door on a Western Door and with my Korean traditional door themed book arts. However, returning to Korea and spending the next decade in a new role as a mother and daughter has given me a different perspective in the way I perceive the same theme. A door sits between both ways, but once opened bridges two spaces with one another. Back in the United States, the Korean traditional door used to signify a pathway to my family and home country, a one way direction. But now back in Korea it connects me to the time of my life where I was solely committed as an artist. For me, the Korean traditional door is the means of connecting the pivoting stages of my life, my past with the present, my home country with the United States, and myself as a mother with my life as an artist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772660600024-BK2QRKVLODK3T36PXGEC/mcba-prize-2024-Jana-Sim-Connection8-5.jpg Entries & Jurors - 2024 Entries - Jana Sim Republic of Korea www.janasim.com IG: janasim_bookartist Connection #8 2023 Lasercut on Korean newspaper and acrylic 5.5 x 16 x 1” Artist Statement Door symbolizes a pathway from one space to another. Living in the Unites States, the Korean traditional door was the link with my childhood reminiscence and with my family back home in South Korea. I grew up in an environment immersed in Korean traditional carpentry as my father is the national heritage in doors and windows. As a book artist, that nostalgia was expressed in my art works such as my oil painted Korean Door on a Western Door and with my Korean traditional door themed book arts. However, returning to Korea and spending the next decade in a new role as a mother and daughter has given me a different perspective in the way I perceive the same theme. A door sits between both ways, but once opened bridges two spaces with one another. Back in the United States, the Korean traditional door used to signify a pathway to my family and home country, a one way direction. But now back in Korea it connects me to the time of my life where I was solely committed as an artist. For me, the Korean traditional door is the means of connecting the pivoting stages of my life, my past with the present, my home country with the United States, and myself as a mother with my life as an artist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772660602071-7WAV4ZM9OCTB9YP0ND39/mcba-prize-2024-Jana-Sim-Connection8-6.jpg Entries & Jurors - 2024 Entries - Jana Sim Republic of Korea www.janasim.com IG: janasim_bookartist Connection #8 2023 Lasercut on Korean newspaper and acrylic 5.5 x 16 x 1” Artist Statement Door symbolizes a pathway from one space to another. Living in the Unites States, the Korean traditional door was the link with my childhood reminiscence and with my family back home in South Korea. I grew up in an environment immersed in Korean traditional carpentry as my father is the national heritage in doors and windows. As a book artist, that nostalgia was expressed in my art works such as my oil painted Korean Door on a Western Door and with my Korean traditional door themed book arts. However, returning to Korea and spending the next decade in a new role as a mother and daughter has given me a different perspective in the way I perceive the same theme. A door sits between both ways, but once opened bridges two spaces with one another. Back in the United States, the Korean traditional door used to signify a pathway to my family and home country, a one way direction. But now back in Korea it connects me to the time of my life where I was solely committed as an artist. For me, the Korean traditional door is the means of connecting the pivoting stages of my life, my past with the present, my home country with the United States, and myself as a mother with my life as an artist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772660596611-M14CH6BQ43XRMV9DDSYZ/mcba-prize-2024-Jana-Sim-Connection8-1.jpg Entries & Jurors - 2024 Entries - Jana Sim Republic of Korea www.janasim.com IG: janasim_bookartist Connection #8 2023 Lasercut on Korean newspaper and acrylic 5.5 x 16 x 1” Artist Statement Door symbolizes a pathway from one space to another. Living in the Unites States, the Korean traditional door was the link with my childhood reminiscence and with my family back home in South Korea. I grew up in an environment immersed in Korean traditional carpentry as my father is the national heritage in doors and windows. As a book artist, that nostalgia was expressed in my art works such as my oil painted Korean Door on a Western Door and with my Korean traditional door themed book arts. However, returning to Korea and spending the next decade in a new role as a mother and daughter has given me a different perspective in the way I perceive the same theme. A door sits between both ways, but once opened bridges two spaces with one another. Back in the United States, the Korean traditional door used to signify a pathway to my family and home country, a one way direction. But now back in Korea it connects me to the time of my life where I was solely committed as an artist. For me, the Korean traditional door is the means of connecting the pivoting stages of my life, my past with the present, my home country with the United States, and myself as a mother with my life as an artist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772663164887-LZXH6PR41M19NCWVAX5O/mcba-prize-2024-Marie-Payro-Fibers-And-Water-3.jpg Entries & Jurors - 2024 Entries - Marie Payró Chiapas, Mexico Instagram: @mariesolpf Fibers and water 2022 Lithography and movable types on paper handmade from pineapple fibers,cotton and papyrus, codex type craft binding 7x 3x 0.78 Artist Statement Marie Sol Payró The book “Fibers and Water” presents a window into the processes of creating handmade paper. Focusing above all on the processes of handmade paper in Mexico, where the history of paper goes back to pre-Columbian times, being little known and disseminated. Today there are some handmade paper workshops, where the raw materials are collected from the forest, without cutting down the trees following friendly and respectful processes with the environment. I consider it important to emphasize, disseminate and show these trades through art. This project was born as a recognition and homage to this trade, from the reflection that handmade paper is not only a surface on which one simply draws, but also has an intrinsic symbology with inherent characteristics of both the material of which it is made, as well as a cultural heritage related to the symbolic and interculturality of the techniques. Through this project, which is part of a master’s degree in Visual Arts Research from the National Autonomous University of Mexico, I made an artist book that recognizes the processes and poetics that exist in the ancestral trade of making paper from branches, leaves and plants. In it, I simultaneously recognize and make a link to the work of Leñateros Workshop, a workshop of artisan books made by indigenous women in Tsotsil and Tseltal languages, its important history as an independent, intercultural cooperative in San Cristóbal de Las Casas and its relationship with the forest and ecological perspective. I consider this project important since, delving into the processes, the symbology and the deep use of the elements that surround us, makes us use them with greater awareness, with respect and care. Those who know where things come from, how they are manufactured, and the processes of their transformation, have the opportunity to understand and experience other possibilities of understanding, as well as forming a more significant relationship with them. What does it mean to make paper with traditional and manual methods today? What poetics are rescued? What values are preserved? What sounds and senses are recreated? How do the forest and the paper not let go of each other? These are some of the questions that I address and explore through this artist’s book in order to recognize and value the craft of making paper by hand, with an ecological and intercultural perspective as is the case of Leñateros Workshop. The book was made on handmade paper with cotton, pineapple and papyrus fibers. The text was printed in movable type and the images in lithography, with an edition of 105 units in collaboration with La Ceiba Grafica. The images arose from an artistic practice with the members of Leñateros Workshop, as well as the account of poetics, resilience and symbolic materialities of the trade of turning plant leaves into book pages. It is a book that invites to be read in multiple ways, it can be linear from left to right, without interruption since it is a cycle; it can be in pairs of images, since they are arranged in pairs and correspond to a type of poetry of encounter and contrasting images; it can be read as a sculpture that varies in shape as it is handled; and other forms yet to be experimented with. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772663163799-01KW06TSFQGFRT54RGE0/mcba-prize-2024-Marie-Payro-Fibers-And-Water-1.jpg Entries & Jurors - 2024 Entries - Marie Payró Chiapas, Mexico Instagram: @mariesolpf Fibers and water 2022 Lithography and movable types on paper handmade from pineapple fibers,cotton and papyrus, codex type craft binding 7x 3x 0.78 Artist Statement Marie Sol Payró The book “Fibers and Water” presents a window into the processes of creating handmade paper. Focusing above all on the processes of handmade paper in Mexico, where the history of paper goes back to pre-Columbian times, being little known and disseminated. Today there are some handmade paper workshops, where the raw materials are collected from the forest, without cutting down the trees following friendly and respectful processes with the environment. I consider it important to emphasize, disseminate and show these trades through art. This project was born as a recognition and homage to this trade, from the reflection that handmade paper is not only a surface on which one simply draws, but also has an intrinsic symbology with inherent characteristics of both the material of which it is made, as well as a cultural heritage related to the symbolic and interculturality of the techniques. Through this project, which is part of a master’s degree in Visual Arts Research from the National Autonomous University of Mexico, I made an artist book that recognizes the processes and poetics that exist in the ancestral trade of making paper from branches, leaves and plants. In it, I simultaneously recognize and make a link to the work of Leñateros Workshop, a workshop of artisan books made by indigenous women in Tsotsil and Tseltal languages, its important history as an independent, intercultural cooperative in San Cristóbal de Las Casas and its relationship with the forest and ecological perspective. I consider this project important since, delving into the processes, the symbology and the deep use of the elements that surround us, makes us use them with greater awareness, with respect and care. Those who know where things come from, how they are manufactured, and the processes of their transformation, have the opportunity to understand and experience other possibilities of understanding, as well as forming a more significant relationship with them. What does it mean to make paper with traditional and manual methods today? What poetics are rescued? What values are preserved? What sounds and senses are recreated? How do the forest and the paper not let go of each other? These are some of the questions that I address and explore through this artist’s book in order to recognize and value the craft of making paper by hand, with an ecological and intercultural perspective as is the case of Leñateros Workshop. The book was made on handmade paper with cotton, pineapple and papyrus fibers. The text was printed in movable type and the images in lithography, with an edition of 105 units in collaboration with La Ceiba Grafica. The images arose from an artistic practice with the members of Leñateros Workshop, as well as the account of poetics, resilience and symbolic materialities of the trade of turning plant leaves into book pages. It is a book that invites to be read in multiple ways, it can be linear from left to right, without interruption since it is a cycle; it can be in pairs of images, since they are arranged in pairs and correspond to a type of poetry of encounter and contrasting images; it can be read as a sculpture that varies in shape as it is handled; and other forms yet to be experimented with. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772663163959-5EKLSLYDG22MI8YLP7BF/mcba-prize-2024-Marie-Payro-Fibers-And-Water-2.jpg Entries & Jurors - 2024 Entries - Marie Payró Chiapas, Mexico Instagram: @mariesolpf Fibers and water 2022 Lithography and movable types on paper handmade from pineapple fibers,cotton and papyrus, codex type craft binding 7x 3x 0.78 Artist Statement Marie Sol Payró The book “Fibers and Water” presents a window into the processes of creating handmade paper. Focusing above all on the processes of handmade paper in Mexico, where the history of paper goes back to pre-Columbian times, being little known and disseminated. Today there are some handmade paper workshops, where the raw materials are collected from the forest, without cutting down the trees following friendly and respectful processes with the environment. I consider it important to emphasize, disseminate and show these trades through art. This project was born as a recognition and homage to this trade, from the reflection that handmade paper is not only a surface on which one simply draws, but also has an intrinsic symbology with inherent characteristics of both the material of which it is made, as well as a cultural heritage related to the symbolic and interculturality of the techniques. Through this project, which is part of a master’s degree in Visual Arts Research from the National Autonomous University of Mexico, I made an artist book that recognizes the processes and poetics that exist in the ancestral trade of making paper from branches, leaves and plants. In it, I simultaneously recognize and make a link to the work of Leñateros Workshop, a workshop of artisan books made by indigenous women in Tsotsil and Tseltal languages, its important history as an independent, intercultural cooperative in San Cristóbal de Las Casas and its relationship with the forest and ecological perspective. I consider this project important since, delving into the processes, the symbology and the deep use of the elements that surround us, makes us use them with greater awareness, with respect and care. Those who know where things come from, how they are manufactured, and the processes of their transformation, have the opportunity to understand and experience other possibilities of understanding, as well as forming a more significant relationship with them. What does it mean to make paper with traditional and manual methods today? What poetics are rescued? What values are preserved? What sounds and senses are recreated? How do the forest and the paper not let go of each other? These are some of the questions that I address and explore through this artist’s book in order to recognize and value the craft of making paper by hand, with an ecological and intercultural perspective as is the case of Leñateros Workshop. The book was made on handmade paper with cotton, pineapple and papyrus fibers. The text was printed in movable type and the images in lithography, with an edition of 105 units in collaboration with La Ceiba Grafica. The images arose from an artistic practice with the members of Leñateros Workshop, as well as the account of poetics, resilience and symbolic materialities of the trade of turning plant leaves into book pages. It is a book that invites to be read in multiple ways, it can be linear from left to right, without interruption since it is a cycle; it can be in pairs of images, since they are arranged in pairs and correspond to a type of poetry of encounter and contrasting images; it can be read as a sculpture that varies in shape as it is handled; and other forms yet to be experimented with. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772664002358-TMTU79U9IW2B8BYDEDQ2/mcba-prize-2024-Haein-Song-Un-Folded-1.jpg Entries & Jurors - 2024 Entries - Haein Song London, United Kingdom www.haeinsong.com IG: haeinsong_ Un—Folded 2023/ 2024 Cyanotype, Letterpress 12.88 x 10.33 x 0.92 inches Artist Statement A book with sixteen cyanotype images and seven specially commissioned poems by Sam Winston on themes of space, time, and genealogy. Sixteen folded shapes (jong-e-jeop-ki in Korean), all created using the method of interlocking, were unfolded, and lines were drawn where the final folds occurred. These ‘unintended drawings’ were an attempt to reveal the abstract maps or way-findings of the paper foldings, showing a willingness to comprehend the unknown. These drawings were then cyanotype printed on Tosa Washi 28gsm paper. The poems were set in Tisa Sans and letterpress printed from polymer plates using a Vandercook SP15 press. Some lines of the poems were printed on the reverse side with horizontally flipped text, offering the possibility of alternative readings. The images are printed on fore-edge folded sheets, and the poems on single sheets. The book is stab bound with a hard cover and housed in a cloth-covered drawer-style box. Each book is accompanied by a cyanotype print on Zerkall 225gsm paper. All sixteen unfolded paper foldings were layered on top and exposed for half an hour to create the final print. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772664002555-6AZY0W8MPD1MJO46FK8M/mcba-prize-2024-Haein-Song-Un-Folded-2.jpg Entries & Jurors - 2024 Entries - Haein Song London, United Kingdom www.haeinsong.com IG: haeinsong_ Un—Folded 2023/ 2024 Cyanotype, Letterpress 12.88 x 10.33 x 0.92 inches Artist Statement A book with sixteen cyanotype images and seven specially commissioned poems by Sam Winston on themes of space, time, and genealogy. Sixteen folded shapes (jong-e-jeop-ki in Korean), all created using the method of interlocking, were unfolded, and lines were drawn where the final folds occurred. These ‘unintended drawings’ were an attempt to reveal the abstract maps or way-findings of the paper foldings, showing a willingness to comprehend the unknown. These drawings were then cyanotype printed on Tosa Washi 28gsm paper. The poems were set in Tisa Sans and letterpress printed from polymer plates using a Vandercook SP15 press. Some lines of the poems were printed on the reverse side with horizontally flipped text, offering the possibility of alternative readings. The images are printed on fore-edge folded sheets, and the poems on single sheets. The book is stab bound with a hard cover and housed in a cloth-covered drawer-style box. Each book is accompanied by a cyanotype print on Zerkall 225gsm paper. All sixteen unfolded paper foldings were layered on top and exposed for half an hour to create the final print. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772663890044-PC02G6SAQLDYVCN9C8T1/mcba-prize-2024-Haein-Song-Un-Folded-4.jpg Entries & Jurors - 2024 Entries - Haein Song London, United Kingdom www.haeinsong.com IG: haeinsong_ Un—Folded 2023/ 2024 Cyanotype, Letterpress 12.88 x 10.33 x 0.92 inches Artist Statement A book with sixteen cyanotype images and seven specially commissioned poems by Sam Winston on themes of space, time, and genealogy. Sixteen folded shapes (jong-e-jeop-ki in Korean), all created using the method of interlocking, were unfolded, and lines were drawn where the final folds occurred. These ‘unintended drawings’ were an attempt to reveal the abstract maps or way-findings of the paper foldings, showing a willingness to comprehend the unknown. These drawings were then cyanotype printed on Tosa Washi 28gsm paper. The poems were set in Tisa Sans and letterpress printed from polymer plates using a Vandercook SP15 press. Some lines of the poems were printed on the reverse side with horizontally flipped text, offering the possibility of alternative readings. The images are printed on fore-edge folded sheets, and the poems on single sheets. The book is stab bound with a hard cover and housed in a cloth-covered drawer-style box. Each book is accompanied by a cyanotype print on Zerkall 225gsm paper. All sixteen unfolded paper foldings were layered on top and exposed for half an hour to create the final print. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772664004289-UCLDRKXYLF8FNGIL3Y2J/mcba-prize-2024-Haein-Song-Un-Folded-5.jpg Entries & Jurors - 2024 Entries - Haein Song London, United Kingdom www.haeinsong.com IG: haeinsong_ Un—Folded 2023/ 2024 Cyanotype, Letterpress 12.88 x 10.33 x 0.92 inches Artist Statement A book with sixteen cyanotype images and seven specially commissioned poems by Sam Winston on themes of space, time, and genealogy. Sixteen folded shapes (jong-e-jeop-ki in Korean), all created using the method of interlocking, were unfolded, and lines were drawn where the final folds occurred. These ‘unintended drawings’ were an attempt to reveal the abstract maps or way-findings of the paper foldings, showing a willingness to comprehend the unknown. These drawings were then cyanotype printed on Tosa Washi 28gsm paper. The poems were set in Tisa Sans and letterpress printed from polymer plates using a Vandercook SP15 press. Some lines of the poems were printed on the reverse side with horizontally flipped text, offering the possibility of alternative readings. The images are printed on fore-edge folded sheets, and the poems on single sheets. The book is stab bound with a hard cover and housed in a cloth-covered drawer-style box. Each book is accompanied by a cyanotype print on Zerkall 225gsm paper. All sixteen unfolded paper foldings were layered on top and exposed for half an hour to create the final print. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772664005048-KSWTPFFVH4DWV0WVIZMY/mcba-prize-2024-Haein-Song-Un-Folded-6.jpg Entries & Jurors - 2024 Entries - Haein Song London, United Kingdom www.haeinsong.com IG: haeinsong_ Un—Folded 2023/ 2024 Cyanotype, Letterpress 12.88 x 10.33 x 0.92 inches Artist Statement A book with sixteen cyanotype images and seven specially commissioned poems by Sam Winston on themes of space, time, and genealogy. Sixteen folded shapes (jong-e-jeop-ki in Korean), all created using the method of interlocking, were unfolded, and lines were drawn where the final folds occurred. These ‘unintended drawings’ were an attempt to reveal the abstract maps or way-findings of the paper foldings, showing a willingness to comprehend the unknown. These drawings were then cyanotype printed on Tosa Washi 28gsm paper. The poems were set in Tisa Sans and letterpress printed from polymer plates using a Vandercook SP15 press. Some lines of the poems were printed on the reverse side with horizontally flipped text, offering the possibility of alternative readings. The images are printed on fore-edge folded sheets, and the poems on single sheets. The book is stab bound with a hard cover and housed in a cloth-covered drawer-style box. Each book is accompanied by a cyanotype print on Zerkall 225gsm paper. All sixteen unfolded paper foldings were layered on top and exposed for half an hour to create the final print. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772664333061-HKT149ADLZCGDP8T8R2M/mcba-prize-2024-Vibeke-Luther-ORourke-Varvann-5.jpg Entries & Jurors - 2024 Entries - Vibeke Luther O ́Rourke Norway www.crowpress.no/ Vårvann (Spring Meltwater, eng translation) 2023 – 2024 Letterpress, woodcut & hand bookbinding, printed on Japanese paper. Copper, latex and perspex, finished with gold tooling 8.27 x 8.27 inches Artist Statement This project consists of twelve unique books or objects made in a timespan of a year. The starting point of the project is a poem by Norwegian poet Steinar Opstad, Vårvann (Spring Meltwater in English). The poem echoes the writings survived from the Greek philosopher Heraclitus and his fragments on waters´ changeable nature, how it comes together and flows away, always in flux with an unmanageable form and never repeated. The poet interprets and treats water as a charged and mystic substance. Like the sentence: floating roots with tendrils which drag the soul down to the bottom, describes water as dark, bottomless matter with claustrophobic sensations. This captured me and set me to search for materials reflecting changeable, airy, unusual and sometimes unmanageable properties. I chose a fluorescent Perspex sheet covering hand set and letterpress printed pages to emphasize the sentence: Water which makes letters float up from the pages of book. This allows the viewer to look through a glass like surface whilst for example latex is used to underline the feeling and sensation of drowning from the poem: Claustrophobia’s water The water of all barriers and all longings I have worked with Steinar Opstad since 2019 and he has given me permission to use his writing and poetry for many of my Artists´ Books, and together we work under the private press, Crow Press. The collaborative effort has given me a unique insight of writing methods, the struggle of writing poetry, how poetry is produced, edited, rewritten and a lot of times, erased. To this I am grateful as the editions from Crow Press mirrors the poet at work, how I am allowed into the process of writing contemporary poetry and explore methods of presenting poetry through the language of the Artists´ Book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772664331611-FG98D7A7C6ZF968H8TV9/mcba-prize-2024-Vibeke-Luther-ORourke-Varvann-1.jpg Entries & Jurors - 2024 Entries - Vibeke Luther O ́Rourke Norway www.crowpress.no/ Vårvann (Spring Meltwater, eng translation) 2023 – 2024 Letterpress, woodcut & hand bookbinding, printed on Japanese paper. Copper, latex and perspex, finished with gold tooling 8.27 x 8.27 inches Artist Statement This project consists of twelve unique books or objects made in a timespan of a year. The starting point of the project is a poem by Norwegian poet Steinar Opstad, Vårvann (Spring Meltwater in English). The poem echoes the writings survived from the Greek philosopher Heraclitus and his fragments on waters´ changeable nature, how it comes together and flows away, always in flux with an unmanageable form and never repeated. The poet interprets and treats water as a charged and mystic substance. Like the sentence: floating roots with tendrils which drag the soul down to the bottom, describes water as dark, bottomless matter with claustrophobic sensations. This captured me and set me to search for materials reflecting changeable, airy, unusual and sometimes unmanageable properties. I chose a fluorescent Perspex sheet covering hand set and letterpress printed pages to emphasize the sentence: Water which makes letters float up from the pages of book. This allows the viewer to look through a glass like surface whilst for example latex is used to underline the feeling and sensation of drowning from the poem: Claustrophobia’s water The water of all barriers and all longings I have worked with Steinar Opstad since 2019 and he has given me permission to use his writing and poetry for many of my Artists´ Books, and together we work under the private press, Crow Press. The collaborative effort has given me a unique insight of writing methods, the struggle of writing poetry, how poetry is produced, edited, rewritten and a lot of times, erased. To this I am grateful as the editions from Crow Press mirrors the poet at work, how I am allowed into the process of writing contemporary poetry and explore methods of presenting poetry through the language of the Artists´ Book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772664331573-Y9DFFKS776DF01F2ROWD/mcba-prize-2024-Vibeke-Luther-ORourke-Varvann-2.jpg Entries & Jurors - 2024 Entries - Vibeke Luther O ́Rourke Norway www.crowpress.no/ Vårvann (Spring Meltwater, eng translation) 2023 – 2024 Letterpress, woodcut & hand bookbinding, printed on Japanese paper. Copper, latex and perspex, finished with gold tooling 8.27 x 8.27 inches Artist Statement This project consists of twelve unique books or objects made in a timespan of a year. The starting point of the project is a poem by Norwegian poet Steinar Opstad, Vårvann (Spring Meltwater in English). The poem echoes the writings survived from the Greek philosopher Heraclitus and his fragments on waters´ changeable nature, how it comes together and flows away, always in flux with an unmanageable form and never repeated. The poet interprets and treats water as a charged and mystic substance. Like the sentence: floating roots with tendrils which drag the soul down to the bottom, describes water as dark, bottomless matter with claustrophobic sensations. This captured me and set me to search for materials reflecting changeable, airy, unusual and sometimes unmanageable properties. I chose a fluorescent Perspex sheet covering hand set and letterpress printed pages to emphasize the sentence: Water which makes letters float up from the pages of book. This allows the viewer to look through a glass like surface whilst for example latex is used to underline the feeling and sensation of drowning from the poem: Claustrophobia’s water The water of all barriers and all longings I have worked with Steinar Opstad since 2019 and he has given me permission to use his writing and poetry for many of my Artists´ Books, and together we work under the private press, Crow Press. The collaborative effort has given me a unique insight of writing methods, the struggle of writing poetry, how poetry is produced, edited, rewritten and a lot of times, erased. To this I am grateful as the editions from Crow Press mirrors the poet at work, how I am allowed into the process of writing contemporary poetry and explore methods of presenting poetry through the language of the Artists´ Book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772664333042-4ZEWTA4CE3UJR7V8VEYM/mcba-prize-2024-Vibeke-Luther-ORourke-Varvann-3.jpg Entries & Jurors - 2024 Entries - Vibeke Luther O ́Rourke Norway www.crowpress.no/ Vårvann (Spring Meltwater, eng translation) 2023 – 2024 Letterpress, woodcut & hand bookbinding, printed on Japanese paper. Copper, latex and perspex, finished with gold tooling 8.27 x 8.27 inches Artist Statement This project consists of twelve unique books or objects made in a timespan of a year. The starting point of the project is a poem by Norwegian poet Steinar Opstad, Vårvann (Spring Meltwater in English). The poem echoes the writings survived from the Greek philosopher Heraclitus and his fragments on waters´ changeable nature, how it comes together and flows away, always in flux with an unmanageable form and never repeated. The poet interprets and treats water as a charged and mystic substance. Like the sentence: floating roots with tendrils which drag the soul down to the bottom, describes water as dark, bottomless matter with claustrophobic sensations. This captured me and set me to search for materials reflecting changeable, airy, unusual and sometimes unmanageable properties. I chose a fluorescent Perspex sheet covering hand set and letterpress printed pages to emphasize the sentence: Water which makes letters float up from the pages of book. This allows the viewer to look through a glass like surface whilst for example latex is used to underline the feeling and sensation of drowning from the poem: Claustrophobia’s water The water of all barriers and all longings I have worked with Steinar Opstad since 2019 and he has given me permission to use his writing and poetry for many of my Artists´ Books, and together we work under the private press, Crow Press. The collaborative effort has given me a unique insight of writing methods, the struggle of writing poetry, how poetry is produced, edited, rewritten and a lot of times, erased. To this I am grateful as the editions from Crow Press mirrors the poet at work, how I am allowed into the process of writing contemporary poetry and explore methods of presenting poetry through the language of the Artists´ Book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772664334447-PFCMD9J9RYJJLLCNQX20/mcba-prize-2024-Vibeke-Luther-ORourke-Varvann-6.jpg Entries & Jurors - 2024 Entries - Vibeke Luther O ́Rourke Norway www.crowpress.no/ Vårvann (Spring Meltwater, eng translation) 2023 – 2024 Letterpress, woodcut & hand bookbinding, printed on Japanese paper. Copper, latex and perspex, finished with gold tooling 8.27 x 8.27 inches Artist Statement This project consists of twelve unique books or objects made in a timespan of a year. The starting point of the project is a poem by Norwegian poet Steinar Opstad, Vårvann (Spring Meltwater in English). The poem echoes the writings survived from the Greek philosopher Heraclitus and his fragments on waters´ changeable nature, how it comes together and flows away, always in flux with an unmanageable form and never repeated. The poet interprets and treats water as a charged and mystic substance. Like the sentence: floating roots with tendrils which drag the soul down to the bottom, describes water as dark, bottomless matter with claustrophobic sensations. This captured me and set me to search for materials reflecting changeable, airy, unusual and sometimes unmanageable properties. I chose a fluorescent Perspex sheet covering hand set and letterpress printed pages to emphasize the sentence: Water which makes letters float up from the pages of book. This allows the viewer to look through a glass like surface whilst for example latex is used to underline the feeling and sensation of drowning from the poem: Claustrophobia’s water The water of all barriers and all longings I have worked with Steinar Opstad since 2019 and he has given me permission to use his writing and poetry for many of my Artists´ Books, and together we work under the private press, Crow Press. The collaborative effort has given me a unique insight of writing methods, the struggle of writing poetry, how poetry is produced, edited, rewritten and a lot of times, erased. To this I am grateful as the editions from Crow Press mirrors the poet at work, how I am allowed into the process of writing contemporary poetry and explore methods of presenting poetry through the language of the Artists´ Book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730451900-RNTBC7Q4VFPA5UXDJUG3/mcba-prize-2024-Steven-Daiber-Summer-in-the-time-of-smoke-heat-and-rain-3.jpeg Entries & Jurors - 2024 Entries - Steven Daiber Florence, MA www.redtrilliumpress.com/ Summer in the time of smoke, heat, and rain 2023 Stab sewn structure, woodcut, nature print, ink gall ink, decayed paper 13 x 11.5 x .5 Artist Statement Summer in Goshen, MA is a paradise; gardens, sounds of timbering and construction, birds nesting, and young animals wander across my field cameras. The summer of 2023 started with forest fires, smoke and air unfit to breath. Across North America a disjointed jet stream holds a heat doom stationary in the south and west while overwhelming New England in rain. The currents in the Atlantic Ocean are changing and scientists are in awe of the rapidness of the climatic catastrophe. Al Gore’s Inconvenient Truth is no longer a film to contemplate as climate change is happening faster than ever predicted. What can I do? Try to garden harder, improve my pollinator gardens, remove invasive plants, educate my neighbors to native flora and fauna? Small hope and anger to cling to at a time when the climate roils and global leaders’ fiddle. Certain gardens are described as retreats when they are really attacks -Ian Hamilton Finlay Paper: Kyoseishi, Yatsuo, Kozo https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730433983-UY1H07CRL54773D5CV3J/mcba-prize-2024-Steven-Daiber-Summer-in-the-time-of-smoke-heat-and-rain-4.jpeg Entries & Jurors - 2024 Entries - Steven Daiber Florence, MA www.redtrilliumpress.com/ Summer in the time of smoke, heat, and rain 2023 Stab sewn structure, woodcut, nature print, ink gall ink, decayed paper 13 x 11.5 x .5 Artist Statement Summer in Goshen, MA is a paradise; gardens, sounds of timbering and construction, birds nesting, and young animals wander across my field cameras. The summer of 2023 started with forest fires, smoke and air unfit to breath. Across North America a disjointed jet stream holds a heat doom stationary in the south and west while overwhelming New England in rain. The currents in the Atlantic Ocean are changing and scientists are in awe of the rapidness of the climatic catastrophe. Al Gore’s Inconvenient Truth is no longer a film to contemplate as climate change is happening faster than ever predicted. What can I do? Try to garden harder, improve my pollinator gardens, remove invasive plants, educate my neighbors to native flora and fauna? Small hope and anger to cling to at a time when the climate roils and global leaders’ fiddle. Certain gardens are described as retreats when they are really attacks -Ian Hamilton Finlay Paper: Kyoseishi, Yatsuo, Kozo https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730432493-JELB8BU3UV1TVU5DM1SK/mcba-prize-2024-Steven-Daiber-Summer-in-the-time-of-smoke-heat-and-rain-2.jpeg Entries & Jurors - 2024 Entries - Steven Daiber Florence, MA www.redtrilliumpress.com/ Summer in the time of smoke, heat, and rain 2023 Stab sewn structure, woodcut, nature print, ink gall ink, decayed paper 13 x 11.5 x .5 Artist Statement Summer in Goshen, MA is a paradise; gardens, sounds of timbering and construction, birds nesting, and young animals wander across my field cameras. The summer of 2023 started with forest fires, smoke and air unfit to breath. Across North America a disjointed jet stream holds a heat doom stationary in the south and west while overwhelming New England in rain. The currents in the Atlantic Ocean are changing and scientists are in awe of the rapidness of the climatic catastrophe. Al Gore’s Inconvenient Truth is no longer a film to contemplate as climate change is happening faster than ever predicted. What can I do? Try to garden harder, improve my pollinator gardens, remove invasive plants, educate my neighbors to native flora and fauna? Small hope and anger to cling to at a time when the climate roils and global leaders’ fiddle. Certain gardens are described as retreats when they are really attacks -Ian Hamilton Finlay Paper: Kyoseishi, Yatsuo, Kozo https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730434412-N6QDY4CQL9VRHWRR7E4B/mcba-prize-2024-Steven-Daiber-Summer-in-the-time-of-smoke-heat-and-rain-5.jpeg Entries & Jurors - 2024 Entries - Steven Daiber Florence, MA www.redtrilliumpress.com/ Summer in the time of smoke, heat, and rain 2023 Stab sewn structure, woodcut, nature print, ink gall ink, decayed paper 13 x 11.5 x .5 Artist Statement Summer in Goshen, MA is a paradise; gardens, sounds of timbering and construction, birds nesting, and young animals wander across my field cameras. The summer of 2023 started with forest fires, smoke and air unfit to breath. Across North America a disjointed jet stream holds a heat doom stationary in the south and west while overwhelming New England in rain. The currents in the Atlantic Ocean are changing and scientists are in awe of the rapidness of the climatic catastrophe. Al Gore’s Inconvenient Truth is no longer a film to contemplate as climate change is happening faster than ever predicted. What can I do? Try to garden harder, improve my pollinator gardens, remove invasive plants, educate my neighbors to native flora and fauna? Small hope and anger to cling to at a time when the climate roils and global leaders’ fiddle. Certain gardens are described as retreats when they are really attacks -Ian Hamilton Finlay Paper: Kyoseishi, Yatsuo, Kozo https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772730433143-8NB60JCLTKEC0FJRH1IU/mcba-prize-2024-Steven-Daiber-Summer-in-the-time-of-smoke-heat-and-rain-1.jpeg Entries & Jurors - 2024 Entries - Steven Daiber Florence, MA www.redtrilliumpress.com/ Summer in the time of smoke, heat, and rain 2023 Stab sewn structure, woodcut, nature print, ink gall ink, decayed paper 13 x 11.5 x .5 Artist Statement Summer in Goshen, MA is a paradise; gardens, sounds of timbering and construction, birds nesting, and young animals wander across my field cameras. The summer of 2023 started with forest fires, smoke and air unfit to breath. Across North America a disjointed jet stream holds a heat doom stationary in the south and west while overwhelming New England in rain. The currents in the Atlantic Ocean are changing and scientists are in awe of the rapidness of the climatic catastrophe. Al Gore’s Inconvenient Truth is no longer a film to contemplate as climate change is happening faster than ever predicted. What can I do? Try to garden harder, improve my pollinator gardens, remove invasive plants, educate my neighbors to native flora and fauna? Small hope and anger to cling to at a time when the climate roils and global leaders’ fiddle. Certain gardens are described as retreats when they are really attacks -Ian Hamilton Finlay Paper: Kyoseishi, Yatsuo, Kozo https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772573772406-Y0FVBZM1LKUU7D9RIWBO/2024+MCBA+Prize+Entries+Karen+Kunc%2C+%E2%80%9CFire+%26+Ice%E2%80%9D2.jpg Entries & Jurors - 2024 Entries - Karen Kunc Lincoln, NE www.karen-kunc.com www.constellation-studios.net Fire & Ice 2023 Artist book: 7″ x 4″ closed, 7″ x 15.5″ open Watercolor, gouache, ink on basswood pages, sewn binding, accordion with two gatefolds. Artist Statement The interplay of opposites works across the form of this book. Imagining the dangers from wildfires and the known degradation of glaciers and ice caps are stories every day, giving us awareness of inevitable changes. Yet here in one’s hands are the beauty and awe of natural forces at work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772573773872-46Y71NX97DI90AIU3QCS/2024+MCBA+Prize+Entries+Karen+Kunc%2C+%E2%80%9CFire+%26+Ice%E2%80%9D3.jpg Entries & Jurors - 2024 Entries - Karen Kunc Lincoln, NE www.karen-kunc.com www.constellation-studios.net Fire & Ice 2023 Artist book: 7″ x 4″ closed, 7″ x 15.5″ open Watercolor, gouache, ink on basswood pages, sewn binding, accordion with two gatefolds. Artist Statement The interplay of opposites works across the form of this book. Imagining the dangers from wildfires and the known degradation of glaciers and ice caps are stories every day, giving us awareness of inevitable changes. Yet here in one’s hands are the beauty and awe of natural forces at work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772573772626-UFVHAKQP63GYDY7EUZXC/2024+MCBA+Prize+Entries+Karen+Kunc%2C+%E2%80%9CFire+%26+Ice%E2%80%9D.jpg Entries & Jurors - 2024 Entries - Karen Kunc Lincoln, NE www.karen-kunc.com www.constellation-studios.net Fire & Ice 2023 Artist book: 7″ x 4″ closed, 7″ x 15.5″ open Watercolor, gouache, ink on basswood pages, sewn binding, accordion with two gatefolds. Artist Statement The interplay of opposites works across the form of this book. Imagining the dangers from wildfires and the known degradation of glaciers and ice caps are stories every day, giving us awareness of inevitable changes. Yet here in one’s hands are the beauty and awe of natural forces at work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772574702066-SGKMOT4UO5DP3CM78AUE/2024+MCBA+Prize+Entries+Karen+Kunc%2C+%E2%80%9CLabyrinth%E2%80%9D2.jpg Entries & Jurors - 2024 Entries - Karen Kunc Lincoln, NE www.karen-kunc.com www.constellation-studios.net Labyrinth 2023 Etching, letterpress, handmade paper 4.75″ x 2.5″ closed, 4.75″ x 58″ open Artist Statement A selection from The Lost Writings, by Franz Kafka, uncovered by Reiner Stach, translated by Michael Hofmann. The never-ending variations and combinations of classical patterns create a mesmerizing interplay and visual buzz for getting lost and found yet details emerge of small findings in nature and culture. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772574710340-GNEBS8NHCEMGYC7F1T3G/2024+MCBA+Prize+Entries+Karen+Kunc%2C+%E2%80%9CLabyrinth%E2%80%9D3.jpg Entries & Jurors - 2024 Entries - Karen Kunc Lincoln, NE www.karen-kunc.com www.constellation-studios.net Labyrinth 2023 Etching, letterpress, handmade paper 4.75″ x 2.5″ closed, 4.75″ x 58″ open Artist Statement A selection from The Lost Writings, by Franz Kafka, uncovered by Reiner Stach, translated by Michael Hofmann. The never-ending variations and combinations of classical patterns create a mesmerizing interplay and visual buzz for getting lost and found yet details emerge of small findings in nature and culture. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772574719666-1RNU7TOYHQ3QN7V26P15/2024+MCBA+Prize+Entries+Karen+Kunc%2C+%E2%80%9CLabyrinth%E2%80%9D4.jpg Entries & Jurors - 2024 Entries - Karen Kunc Lincoln, NE www.karen-kunc.com www.constellation-studios.net Labyrinth 2023 Etching, letterpress, handmade paper 4.75″ x 2.5″ closed, 4.75″ x 58″ open Artist Statement A selection from The Lost Writings, by Franz Kafka, uncovered by Reiner Stach, translated by Michael Hofmann. The never-ending variations and combinations of classical patterns create a mesmerizing interplay and visual buzz for getting lost and found yet details emerge of small findings in nature and culture. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772575069891-WHAWU8RUZ8HBV0UDJFKP/2024+MCBA+Prize+Entries+Rachel+Epp+Buller%2C+%E2%80%9COne+Hundred+Days+of+Walking%E2%80%9D2.jpeg Entries & Jurors - 2024 Entries - Rachel Epp Buller Newton, KS https://balance.ddtr.net IG: @rebuller74 One Hundred Days of Walking 2023 (following daily walking and drawing in 2022) One hundred accordion books, watercolor, ink, braided cotton Books are 4″ in height but the hanging installation was about 6′ x 12′ Artist Statement Go for a walk every day. Listen to what the snow, ice, sun, wind, trees, birds, structures, and beings tell your body about this place. Keep listening. This is the score I wrote for myself before spending four months in Edmonton, Alberta. As someone trained in Pauline Oliveros’ methods of Deep Listening, I turned to daily walking as a path toward listening and learning in a place that was new to me. The more I walked and the more I listened, the more I recognized and became familiar with the many beings inhabiting this place. Dogs and their walkers became specific over time as we encountered each other repeatedly on the paths. Certain trees became distinct to me as I noticed how they changed in appearance in sunshine or snow showers or evening darkness. I began to recognize the calls of magpies as well as the coyotes and snowshoe hares whose criss-crossing footprints preceded me across snowy landscapes. Each day, with my steps, I aimed to listen, and to keep listening. One Hundred Days of Walking visually represents this conceptual daily practice of walking and listening. One hundred accordion books filled with landscapes and horizons became the basis for this 2023 installation in which I braided 100 feet of cotton to string the books from end to end. When hung from the ceiling (or, alternatively, displayed on a long tabletop), the books become a meandering path. The accumulation of folded paper is a wandering—moving forward, turning back, continuing to walk and listen, step by step. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772575070002-DP3I6Q2QVU5G7H6W5VL2/2024+MCBA+Prize+Entries+Rachel+Epp+Buller%2C+%E2%80%9COne+Hundred+Days+of+Walking%E2%80%9D3.jpeg Entries & Jurors - 2024 Entries - Rachel Epp Buller Newton, KS https://balance.ddtr.net IG: @rebuller74 One Hundred Days of Walking 2023 (following daily walking and drawing in 2022) One hundred accordion books, watercolor, ink, braided cotton Books are 4″ in height but the hanging installation was about 6′ x 12′ Artist Statement Go for a walk every day. Listen to what the snow, ice, sun, wind, trees, birds, structures, and beings tell your body about this place. Keep listening. This is the score I wrote for myself before spending four months in Edmonton, Alberta. As someone trained in Pauline Oliveros’ methods of Deep Listening, I turned to daily walking as a path toward listening and learning in a place that was new to me. The more I walked and the more I listened, the more I recognized and became familiar with the many beings inhabiting this place. Dogs and their walkers became specific over time as we encountered each other repeatedly on the paths. Certain trees became distinct to me as I noticed how they changed in appearance in sunshine or snow showers or evening darkness. I began to recognize the calls of magpies as well as the coyotes and snowshoe hares whose criss-crossing footprints preceded me across snowy landscapes. Each day, with my steps, I aimed to listen, and to keep listening. One Hundred Days of Walking visually represents this conceptual daily practice of walking and listening. One hundred accordion books filled with landscapes and horizons became the basis for this 2023 installation in which I braided 100 feet of cotton to string the books from end to end. When hung from the ceiling (or, alternatively, displayed on a long tabletop), the books become a meandering path. The accumulation of folded paper is a wandering—moving forward, turning back, continuing to walk and listen, step by step. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772575071169-P1G919BZXTBOINOHWYBD/2024+MCBA+Prize+Entries+Rachel+Epp+Buller%2C+%E2%80%9COne+Hundred+Days+of+Walking%E2%80%9D4.jpg Entries & Jurors - 2024 Entries - Rachel Epp Buller Newton, KS https://balance.ddtr.net IG: @rebuller74 One Hundred Days of Walking 2023 (following daily walking and drawing in 2022) One hundred accordion books, watercolor, ink, braided cotton Books are 4″ in height but the hanging installation was about 6′ x 12′ Artist Statement Go for a walk every day. Listen to what the snow, ice, sun, wind, trees, birds, structures, and beings tell your body about this place. Keep listening. This is the score I wrote for myself before spending four months in Edmonton, Alberta. As someone trained in Pauline Oliveros’ methods of Deep Listening, I turned to daily walking as a path toward listening and learning in a place that was new to me. The more I walked and the more I listened, the more I recognized and became familiar with the many beings inhabiting this place. Dogs and their walkers became specific over time as we encountered each other repeatedly on the paths. Certain trees became distinct to me as I noticed how they changed in appearance in sunshine or snow showers or evening darkness. I began to recognize the calls of magpies as well as the coyotes and snowshoe hares whose criss-crossing footprints preceded me across snowy landscapes. Each day, with my steps, I aimed to listen, and to keep listening. One Hundred Days of Walking visually represents this conceptual daily practice of walking and listening. One hundred accordion books filled with landscapes and horizons became the basis for this 2023 installation in which I braided 100 feet of cotton to string the books from end to end. When hung from the ceiling (or, alternatively, displayed on a long tabletop), the books become a meandering path. The accumulation of folded paper is a wandering—moving forward, turning back, continuing to walk and listen, step by step. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772575071644-XC9APKGQD9RS560HY0ZB/2024+MCBA+Prize+Entries+Rachel+Epp+Buller%2C+%E2%80%9COne+Hundred+Days+of+Walking%E2%80%9D5.jpg Entries & Jurors - 2024 Entries - Rachel Epp Buller Newton, KS https://balance.ddtr.net IG: @rebuller74 One Hundred Days of Walking 2023 (following daily walking and drawing in 2022) One hundred accordion books, watercolor, ink, braided cotton Books are 4″ in height but the hanging installation was about 6′ x 12′ Artist Statement Go for a walk every day. Listen to what the snow, ice, sun, wind, trees, birds, structures, and beings tell your body about this place. Keep listening. This is the score I wrote for myself before spending four months in Edmonton, Alberta. As someone trained in Pauline Oliveros’ methods of Deep Listening, I turned to daily walking as a path toward listening and learning in a place that was new to me. The more I walked and the more I listened, the more I recognized and became familiar with the many beings inhabiting this place. Dogs and their walkers became specific over time as we encountered each other repeatedly on the paths. Certain trees became distinct to me as I noticed how they changed in appearance in sunshine or snow showers or evening darkness. I began to recognize the calls of magpies as well as the coyotes and snowshoe hares whose criss-crossing footprints preceded me across snowy landscapes. Each day, with my steps, I aimed to listen, and to keep listening. One Hundred Days of Walking visually represents this conceptual daily practice of walking and listening. One hundred accordion books filled with landscapes and horizons became the basis for this 2023 installation in which I braided 100 feet of cotton to string the books from end to end. When hung from the ceiling (or, alternatively, displayed on a long tabletop), the books become a meandering path. The accumulation of folded paper is a wandering—moving forward, turning back, continuing to walk and listen, step by step. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772575075432-0GV0W2AYJKQYXHK7GEX1/2024+MCBA+Prize+Entries+Rachel+Epp+Buller%2C+%E2%80%9COne+Hundred+Days+of+Walking%E2%80%9D6.jpg Entries & Jurors - 2024 Entries - Rachel Epp Buller Newton, KS https://balance.ddtr.net IG: @rebuller74 One Hundred Days of Walking 2023 (following daily walking and drawing in 2022) One hundred accordion books, watercolor, ink, braided cotton Books are 4″ in height but the hanging installation was about 6′ x 12′ Artist Statement Go for a walk every day. Listen to what the snow, ice, sun, wind, trees, birds, structures, and beings tell your body about this place. Keep listening. This is the score I wrote for myself before spending four months in Edmonton, Alberta. As someone trained in Pauline Oliveros’ methods of Deep Listening, I turned to daily walking as a path toward listening and learning in a place that was new to me. The more I walked and the more I listened, the more I recognized and became familiar with the many beings inhabiting this place. Dogs and their walkers became specific over time as we encountered each other repeatedly on the paths. Certain trees became distinct to me as I noticed how they changed in appearance in sunshine or snow showers or evening darkness. I began to recognize the calls of magpies as well as the coyotes and snowshoe hares whose criss-crossing footprints preceded me across snowy landscapes. Each day, with my steps, I aimed to listen, and to keep listening. One Hundred Days of Walking visually represents this conceptual daily practice of walking and listening. One hundred accordion books filled with landscapes and horizons became the basis for this 2023 installation in which I braided 100 feet of cotton to string the books from end to end. When hung from the ceiling (or, alternatively, displayed on a long tabletop), the books become a meandering path. The accumulation of folded paper is a wandering—moving forward, turning back, continuing to walk and listen, step by step. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772576088586-N0RH5HZH5PLNMCIY14JL/2024+MCBA+Prize+Entries+Paul+Shortt%2C+%E2%80%9CTo+Hold+in+Place%E2%80%9D2.jpg Entries & Jurors - 2024 Entries - Paul Shortt Gainesville, FL IG: @paul_e_shortt To Hold in Place 2022 Risograph and lasercut moveable artist book 11×15″ Artist Statement To Hold In Place is a children’s book for adults that uses images and instructional text found in movable books in the Baldwin Library of Historical Children’s Literature collection to form a story of birds setting themselves free. It includes movable elements, cut outs, and sliding mechanisms. It was inspired by and incorporates elements from materials in the collection such as coloring books, story books, game books, and popup books from Lothar Meggendorfer, and Dean and Sons publishing firm among others. In the spirit of the movable books in the collection, all the mechanical elements are exposed and visible to the reader. The book was created using a Risograph printing machine which is typically used for zines, and combining that with a laser cutter to create a fine art book. To Hold In Place was created a, part of the Coffey Residency for Book Arts at the University of Florida George A. Smathers Libraries This book was printed on a Risograph printing machine at Print St. Pete in St. Petersburg, FL. Edition of 25. 18 pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772576089043-8G3KUVJ6K5MTKTGL9VWR/2024+MCBA+Prize+Entries+Paul+Shortt%2C+%E2%80%9CTo+Hold+in+Place%E2%80%9D3.jpg Entries & Jurors - 2024 Entries - Paul Shortt Gainesville, FL IG: @paul_e_shortt To Hold in Place 2022 Risograph and lasercut moveable artist book 11×15″ Artist Statement To Hold In Place is a children’s book for adults that uses images and instructional text found in movable books in the Baldwin Library of Historical Children’s Literature collection to form a story of birds setting themselves free. It includes movable elements, cut outs, and sliding mechanisms. It was inspired by and incorporates elements from materials in the collection such as coloring books, story books, game books, and popup books from Lothar Meggendorfer, and Dean and Sons publishing firm among others. In the spirit of the movable books in the collection, all the mechanical elements are exposed and visible to the reader. The book was created using a Risograph printing machine which is typically used for zines, and combining that with a laser cutter to create a fine art book. To Hold In Place was created a, part of the Coffey Residency for Book Arts at the University of Florida George A. Smathers Libraries This book was printed on a Risograph printing machine at Print St. Pete in St. Petersburg, FL. Edition of 25. 18 pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772576090223-T6TOQQP7V5Z3XDSEMRJ7/2024+MCBA+Prize+Entries+Paul+Shortt%2C+%E2%80%9CTo+Hold+in+Place%E2%80%9D4.jpg Entries & Jurors - 2024 Entries - Paul Shortt Gainesville, FL IG: @paul_e_shortt To Hold in Place 2022 Risograph and lasercut moveable artist book 11×15″ Artist Statement To Hold In Place is a children’s book for adults that uses images and instructional text found in movable books in the Baldwin Library of Historical Children’s Literature collection to form a story of birds setting themselves free. It includes movable elements, cut outs, and sliding mechanisms. It was inspired by and incorporates elements from materials in the collection such as coloring books, story books, game books, and popup books from Lothar Meggendorfer, and Dean and Sons publishing firm among others. In the spirit of the movable books in the collection, all the mechanical elements are exposed and visible to the reader. The book was created using a Risograph printing machine which is typically used for zines, and combining that with a laser cutter to create a fine art book. To Hold In Place was created a, part of the Coffey Residency for Book Arts at the University of Florida George A. Smathers Libraries This book was printed on a Risograph printing machine at Print St. Pete in St. Petersburg, FL. Edition of 25. 18 pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772576090902-FHELQ4BOEL21BKBDZLHX/2024+MCBA+Prize+Entries+Paul+Shortt%2C+%E2%80%9CTo+Hold+in+Place%E2%80%9D5.jpg Entries & Jurors - 2024 Entries - Paul Shortt Gainesville, FL IG: @paul_e_shortt To Hold in Place 2022 Risograph and lasercut moveable artist book 11×15″ Artist Statement To Hold In Place is a children’s book for adults that uses images and instructional text found in movable books in the Baldwin Library of Historical Children’s Literature collection to form a story of birds setting themselves free. It includes movable elements, cut outs, and sliding mechanisms. It was inspired by and incorporates elements from materials in the collection such as coloring books, story books, game books, and popup books from Lothar Meggendorfer, and Dean and Sons publishing firm among others. In the spirit of the movable books in the collection, all the mechanical elements are exposed and visible to the reader. The book was created using a Risograph printing machine which is typically used for zines, and combining that with a laser cutter to create a fine art book. To Hold In Place was created a, part of the Coffey Residency for Book Arts at the University of Florida George A. Smathers Libraries This book was printed on a Risograph printing machine at Print St. Pete in St. Petersburg, FL. Edition of 25. 18 pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772576091742-ENM3DQ5XFTX3FHGXSUSB/2024+MCBA+Prize+Entries+Paul+Shortt%2C+%E2%80%9CTo+Hold+in+Place%E2%80%9D6.jpg Entries & Jurors - 2024 Entries - Paul Shortt Gainesville, FL IG: @paul_e_shortt To Hold in Place 2022 Risograph and lasercut moveable artist book 11×15″ Artist Statement To Hold In Place is a children’s book for adults that uses images and instructional text found in movable books in the Baldwin Library of Historical Children’s Literature collection to form a story of birds setting themselves free. It includes movable elements, cut outs, and sliding mechanisms. It was inspired by and incorporates elements from materials in the collection such as coloring books, story books, game books, and popup books from Lothar Meggendorfer, and Dean and Sons publishing firm among others. In the spirit of the movable books in the collection, all the mechanical elements are exposed and visible to the reader. The book was created using a Risograph printing machine which is typically used for zines, and combining that with a laser cutter to create a fine art book. To Hold In Place was created a, part of the Coffey Residency for Book Arts at the University of Florida George A. Smathers Libraries This book was printed on a Risograph printing machine at Print St. Pete in St. Petersburg, FL. Edition of 25. 18 pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772725240358-JAP1HDEJCROLK4MUGWUW/MCBA-Prize-2024-Melhorn-Boe-House-Guest-04.jpg Entries & Jurors - 2024 Entries - Lise Melhorn-Boe Kingston, Ontario www.lisemelhornboe.ca House Guest 2024 Textiles and wood, screen-printed 9″ X 8″ X 19″ Artist Statement Elizabeth Bishop’s funny, yet poignant poem “House Guest” is about a depressed seamstress. When questioned, she finally reveals that she would rather be a nun. The dressmaker’s Judy (dummy) is layered with five garments—all based on clothing from the 1960s, as that was the decade in which the poem was written. The first coat was made from fabric from a suit of my mother-in-laws, which she wore in the 1960s. The second coat is a copy of a coat which was worn by Queen Elizabeth II. Removing each of the first four garments reveals a stanza or two screen-printed inside the clothing. The final verse is printed on the front of a 1960’s-era shorter nun’s habit. (The colophon is on the back.) The poem is used with permission from Farrar, Strauss and Giroux, taken from The Complete Poems 1927-1979. The photos show five copies of the edition of 6. I learned to sew as a child and have often used textiles in my feminist artist’s books over the past forty plus years of my bookmaking career. House Guest is the most recent book in a series in which I have been exploring various forms of needlework, using, as text, poetry which explores topics related to sewing, knitting, embroidery etc. as well as the tools used. In the past, I have always chosen a book structure that enhances and enlivens the text or subject matter I am exploring, but this recent work is allowing me to explore the use of textiles as a subject themselves. I am having a great time translating book structures which I have used in the past in paper (like pop-ups and flag books) but making them work in fabric. Sometimes this is a challenge as most textiles are not as stiff as paper. However, in House Guest, the fabric is treated as fabric—I sewed and stuffed the dressmaker’s Judys, then designed and sewed the clothing. The stands were made from pine newel posts and dowel. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772725225104-ZBM4NV60EOTXHZTSIK75/MCBA-Prize-2024-Melhorn-Boe-House-Guest-02.jpg Entries & Jurors - 2024 Entries - Lise Melhorn-Boe Kingston, Ontario www.lisemelhornboe.ca House Guest 2024 Textiles and wood, screen-printed 9″ X 8″ X 19″ Artist Statement Elizabeth Bishop’s funny, yet poignant poem “House Guest” is about a depressed seamstress. When questioned, she finally reveals that she would rather be a nun. The dressmaker’s Judy (dummy) is layered with five garments—all based on clothing from the 1960s, as that was the decade in which the poem was written. The first coat was made from fabric from a suit of my mother-in-laws, which she wore in the 1960s. The second coat is a copy of a coat which was worn by Queen Elizabeth II. Removing each of the first four garments reveals a stanza or two screen-printed inside the clothing. The final verse is printed on the front of a 1960’s-era shorter nun’s habit. (The colophon is on the back.) The poem is used with permission from Farrar, Strauss and Giroux, taken from The Complete Poems 1927-1979. The photos show five copies of the edition of 6. I learned to sew as a child and have often used textiles in my feminist artist’s books over the past forty plus years of my bookmaking career. House Guest is the most recent book in a series in which I have been exploring various forms of needlework, using, as text, poetry which explores topics related to sewing, knitting, embroidery etc. as well as the tools used. In the past, I have always chosen a book structure that enhances and enlivens the text or subject matter I am exploring, but this recent work is allowing me to explore the use of textiles as a subject themselves. I am having a great time translating book structures which I have used in the past in paper (like pop-ups and flag books) but making them work in fabric. Sometimes this is a challenge as most textiles are not as stiff as paper. However, in House Guest, the fabric is treated as fabric—I sewed and stuffed the dressmaker’s Judys, then designed and sewed the clothing. The stands were made from pine newel posts and dowel. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772725225243-K8NBLXL3X9PJOEP3Q9NA/MCBA-Prize-2024-Melhorn-Boe-House-Guest-03.jpg Entries & Jurors - 2024 Entries - Lise Melhorn-Boe Kingston, Ontario www.lisemelhornboe.ca House Guest 2024 Textiles and wood, screen-printed 9″ X 8″ X 19″ Artist Statement Elizabeth Bishop’s funny, yet poignant poem “House Guest” is about a depressed seamstress. When questioned, she finally reveals that she would rather be a nun. The dressmaker’s Judy (dummy) is layered with five garments—all based on clothing from the 1960s, as that was the decade in which the poem was written. The first coat was made from fabric from a suit of my mother-in-laws, which she wore in the 1960s. The second coat is a copy of a coat which was worn by Queen Elizabeth II. Removing each of the first four garments reveals a stanza or two screen-printed inside the clothing. The final verse is printed on the front of a 1960’s-era shorter nun’s habit. (The colophon is on the back.) The poem is used with permission from Farrar, Strauss and Giroux, taken from The Complete Poems 1927-1979. The photos show five copies of the edition of 6. I learned to sew as a child and have often used textiles in my feminist artist’s books over the past forty plus years of my bookmaking career. House Guest is the most recent book in a series in which I have been exploring various forms of needlework, using, as text, poetry which explores topics related to sewing, knitting, embroidery etc. as well as the tools used. In the past, I have always chosen a book structure that enhances and enlivens the text or subject matter I am exploring, but this recent work is allowing me to explore the use of textiles as a subject themselves. I am having a great time translating book structures which I have used in the past in paper (like pop-ups and flag books) but making them work in fabric. Sometimes this is a challenge as most textiles are not as stiff as paper. However, in House Guest, the fabric is treated as fabric—I sewed and stuffed the dressmaker’s Judys, then designed and sewed the clothing. The stands were made from pine newel posts and dowel. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772725244098-ZFT9C42TAP4ACO4ZU49G/MCBA-Prize-2024-Melhorn-Boe-House-Guest-06.jpg Entries & Jurors - 2024 Entries - Lise Melhorn-Boe Kingston, Ontario www.lisemelhornboe.ca House Guest 2024 Textiles and wood, screen-printed 9″ X 8″ X 19″ Artist Statement Elizabeth Bishop’s funny, yet poignant poem “House Guest” is about a depressed seamstress. When questioned, she finally reveals that she would rather be a nun. The dressmaker’s Judy (dummy) is layered with five garments—all based on clothing from the 1960s, as that was the decade in which the poem was written. The first coat was made from fabric from a suit of my mother-in-laws, which she wore in the 1960s. The second coat is a copy of a coat which was worn by Queen Elizabeth II. Removing each of the first four garments reveals a stanza or two screen-printed inside the clothing. The final verse is printed on the front of a 1960’s-era shorter nun’s habit. (The colophon is on the back.) The poem is used with permission from Farrar, Strauss and Giroux, taken from The Complete Poems 1927-1979. The photos show five copies of the edition of 6. I learned to sew as a child and have often used textiles in my feminist artist’s books over the past forty plus years of my bookmaking career. House Guest is the most recent book in a series in which I have been exploring various forms of needlework, using, as text, poetry which explores topics related to sewing, knitting, embroidery etc. as well as the tools used. In the past, I have always chosen a book structure that enhances and enlivens the text or subject matter I am exploring, but this recent work is allowing me to explore the use of textiles as a subject themselves. I am having a great time translating book structures which I have used in the past in paper (like pop-ups and flag books) but making them work in fabric. Sometimes this is a challenge as most textiles are not as stiff as paper. However, in House Guest, the fabric is treated as fabric—I sewed and stuffed the dressmaker’s Judys, then designed and sewed the clothing. The stands were made from pine newel posts and dowel. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772725252178-6T1APUONTGG1EM4BUUXW/MCBA-Prize-2024-Melhorn-Boe-House-Guest-07.jpg Entries & Jurors - 2024 Entries - Lise Melhorn-Boe Kingston, Ontario www.lisemelhornboe.ca House Guest 2024 Textiles and wood, screen-printed 9″ X 8″ X 19″ Artist Statement Elizabeth Bishop’s funny, yet poignant poem “House Guest” is about a depressed seamstress. When questioned, she finally reveals that she would rather be a nun. The dressmaker’s Judy (dummy) is layered with five garments—all based on clothing from the 1960s, as that was the decade in which the poem was written. The first coat was made from fabric from a suit of my mother-in-laws, which she wore in the 1960s. The second coat is a copy of a coat which was worn by Queen Elizabeth II. Removing each of the first four garments reveals a stanza or two screen-printed inside the clothing. The final verse is printed on the front of a 1960’s-era shorter nun’s habit. (The colophon is on the back.) The poem is used with permission from Farrar, Strauss and Giroux, taken from The Complete Poems 1927-1979. The photos show five copies of the edition of 6. I learned to sew as a child and have often used textiles in my feminist artist’s books over the past forty plus years of my bookmaking career. House Guest is the most recent book in a series in which I have been exploring various forms of needlework, using, as text, poetry which explores topics related to sewing, knitting, embroidery etc. as well as the tools used. In the past, I have always chosen a book structure that enhances and enlivens the text or subject matter I am exploring, but this recent work is allowing me to explore the use of textiles as a subject themselves. I am having a great time translating book structures which I have used in the past in paper (like pop-ups and flag books) but making them work in fabric. Sometimes this is a challenge as most textiles are not as stiff as paper. However, in House Guest, the fabric is treated as fabric—I sewed and stuffed the dressmaker’s Judys, then designed and sewed the clothing. The stands were made from pine newel posts and dowel. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772725870179-UIPE3GGJP4T44R3HDP4G/MCBA-Prize-2024-Briand-Hinc-Ad-Horam-01.jpg Entries & Jurors - 2024 Entries - Servane Briand San Francisco, CA www.servanebriand.com Hinc Ad Horam 2023 8.7 x 4.7 x 1.1 closed Artist Statement Hinc Ad Horam, a book of metamorphoses, is about transformation and repetition. It explores the deep connections we have with nature, especially the vegetal world and its seasonal cycles. It does it in the form of a Zhen Xian Bao structure. In Greek mythology and the book of Metamorphoses by Ovid, the world of humans and the world of plants have fluid borders. Women get transformed into trees, men into flowers, babies are born from a tree womb. The book brings these two worlds together. It tells the fleeting beauty of life -the Latin lacrimae rerum or Japanese mono no aware- and the stories of people transforming into plants who themselves get transformed to recreate these stories. While visiting Brittany where I spent every childhood summer, I met with two experts in plants and natural dyes. I created inks and dyes from local plants which I used to dye paper and fabric. The paper in this book was made in Korea by master Samsik Kim who dedicated his entire life to the art of hanji, the Korean paper made of native mulberry trees. I wrote stories from the Book of Metamorphoses with yellow ink on very fine hanji, then made paper thread from it, using the Japanese method named shifu. This paper thread was then woven into small squares using a tiny loom and they are hidden in the flower top boxes on the left side. I transformed some dyed hanji into flower tessellations and put them into the square boxes on the left. The Zhen Xian Bao -needle thread pockets- structure originated in China and women from the Dong, Miao and other minorities made them to store their embroidery threads and needles, and small paper items. This tradition was extensively researched by Ruth Smith and is taught in the US by a wonderful duo, Paula Beardell Krieg and Susan Share. The circle of life/cycle of transformations continues with the pieces of eco-dyed silk that I made in Brittany using native plants. They are backed with hanji and form the larger box as well as the folded structure on the right side of the book. While researching this book, I stumbled upon the poetry of Thanassis Hatzopoulos, a Greek contemporary poet and doctor. His poem Repetition is a Rule of Life resonated with the story I wanted to tell. I made a booklet with his poem and its French and English translations. It lives on the right side of the book, becomes an echo to the stories of Ovid, inspired the Latin title of the book, Hinc Ad Horam, from then to this hour, ancora, uncore, encore, and captures the cyclical repetitions that define a world in which plants and humans co-exist, and constantly merge and communicate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772725869003-5YEX0ZHRKAN1LRIF2K7N/MCBA-Prize-2024-Briand-Hinc-Ad-Horam-02.jpg Entries & Jurors - 2024 Entries - Servane Briand San Francisco, CA www.servanebriand.com Hinc Ad Horam 2023 8.7 x 4.7 x 1.1 closed Artist Statement Hinc Ad Horam, a book of metamorphoses, is about transformation and repetition. It explores the deep connections we have with nature, especially the vegetal world and its seasonal cycles. It does it in the form of a Zhen Xian Bao structure. In Greek mythology and the book of Metamorphoses by Ovid, the world of humans and the world of plants have fluid borders. Women get transformed into trees, men into flowers, babies are born from a tree womb. The book brings these two worlds together. It tells the fleeting beauty of life -the Latin lacrimae rerum or Japanese mono no aware- and the stories of people transforming into plants who themselves get transformed to recreate these stories. While visiting Brittany where I spent every childhood summer, I met with two experts in plants and natural dyes. I created inks and dyes from local plants which I used to dye paper and fabric. The paper in this book was made in Korea by master Samsik Kim who dedicated his entire life to the art of hanji, the Korean paper made of native mulberry trees. I wrote stories from the Book of Metamorphoses with yellow ink on very fine hanji, then made paper thread from it, using the Japanese method named shifu. This paper thread was then woven into small squares using a tiny loom and they are hidden in the flower top boxes on the left side. I transformed some dyed hanji into flower tessellations and put them into the square boxes on the left. The Zhen Xian Bao -needle thread pockets- structure originated in China and women from the Dong, Miao and other minorities made them to store their embroidery threads and needles, and small paper items. This tradition was extensively researched by Ruth Smith and is taught in the US by a wonderful duo, Paula Beardell Krieg and Susan Share. The circle of life/cycle of transformations continues with the pieces of eco-dyed silk that I made in Brittany using native plants. They are backed with hanji and form the larger box as well as the folded structure on the right side of the book. While researching this book, I stumbled upon the poetry of Thanassis Hatzopoulos, a Greek contemporary poet and doctor. His poem Repetition is a Rule of Life resonated with the story I wanted to tell. I made a booklet with his poem and its French and English translations. It lives on the right side of the book, becomes an echo to the stories of Ovid, inspired the Latin title of the book, Hinc Ad Horam, from then to this hour, ancora, uncore, encore, and captures the cyclical repetitions that define a world in which plants and humans co-exist, and constantly merge and communicate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772725886063-Y33WNV0BMFEC69KODVTD/MCBA-Prize-2024-Briand-Hinc-Ad-Horam-04.jpg Entries & Jurors - 2024 Entries - Servane Briand San Francisco, CA www.servanebriand.com Hinc Ad Horam 2023 8.7 x 4.7 x 1.1 closed Artist Statement Hinc Ad Horam, a book of metamorphoses, is about transformation and repetition. It explores the deep connections we have with nature, especially the vegetal world and its seasonal cycles. It does it in the form of a Zhen Xian Bao structure. In Greek mythology and the book of Metamorphoses by Ovid, the world of humans and the world of plants have fluid borders. Women get transformed into trees, men into flowers, babies are born from a tree womb. The book brings these two worlds together. It tells the fleeting beauty of life -the Latin lacrimae rerum or Japanese mono no aware- and the stories of people transforming into plants who themselves get transformed to recreate these stories. While visiting Brittany where I spent every childhood summer, I met with two experts in plants and natural dyes. I created inks and dyes from local plants which I used to dye paper and fabric. The paper in this book was made in Korea by master Samsik Kim who dedicated his entire life to the art of hanji, the Korean paper made of native mulberry trees. I wrote stories from the Book of Metamorphoses with yellow ink on very fine hanji, then made paper thread from it, using the Japanese method named shifu. This paper thread was then woven into small squares using a tiny loom and they are hidden in the flower top boxes on the left side. I transformed some dyed hanji into flower tessellations and put them into the square boxes on the left. The Zhen Xian Bao -needle thread pockets- structure originated in China and women from the Dong, Miao and other minorities made them to store their embroidery threads and needles, and small paper items. This tradition was extensively researched by Ruth Smith and is taught in the US by a wonderful duo, Paula Beardell Krieg and Susan Share. The circle of life/cycle of transformations continues with the pieces of eco-dyed silk that I made in Brittany using native plants. They are backed with hanji and form the larger box as well as the folded structure on the right side of the book. While researching this book, I stumbled upon the poetry of Thanassis Hatzopoulos, a Greek contemporary poet and doctor. His poem Repetition is a Rule of Life resonated with the story I wanted to tell. I made a booklet with his poem and its French and English translations. It lives on the right side of the book, becomes an echo to the stories of Ovid, inspired the Latin title of the book, Hinc Ad Horam, from then to this hour, ancora, uncore, encore, and captures the cyclical repetitions that define a world in which plants and humans co-exist, and constantly merge and communicate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772725894873-FX1JMSJC6LRPJN3HUAMR/MCBA-Prize-2024-Briand-Hinc-Ad-Horam-05.jpg Entries & Jurors - 2024 Entries - Servane Briand San Francisco, CA www.servanebriand.com Hinc Ad Horam 2023 8.7 x 4.7 x 1.1 closed Artist Statement Hinc Ad Horam, a book of metamorphoses, is about transformation and repetition. It explores the deep connections we have with nature, especially the vegetal world and its seasonal cycles. It does it in the form of a Zhen Xian Bao structure. In Greek mythology and the book of Metamorphoses by Ovid, the world of humans and the world of plants have fluid borders. Women get transformed into trees, men into flowers, babies are born from a tree womb. The book brings these two worlds together. It tells the fleeting beauty of life -the Latin lacrimae rerum or Japanese mono no aware- and the stories of people transforming into plants who themselves get transformed to recreate these stories. While visiting Brittany where I spent every childhood summer, I met with two experts in plants and natural dyes. I created inks and dyes from local plants which I used to dye paper and fabric. The paper in this book was made in Korea by master Samsik Kim who dedicated his entire life to the art of hanji, the Korean paper made of native mulberry trees. I wrote stories from the Book of Metamorphoses with yellow ink on very fine hanji, then made paper thread from it, using the Japanese method named shifu. This paper thread was then woven into small squares using a tiny loom and they are hidden in the flower top boxes on the left side. I transformed some dyed hanji into flower tessellations and put them into the square boxes on the left. The Zhen Xian Bao -needle thread pockets- structure originated in China and women from the Dong, Miao and other minorities made them to store their embroidery threads and needles, and small paper items. This tradition was extensively researched by Ruth Smith and is taught in the US by a wonderful duo, Paula Beardell Krieg and Susan Share. The circle of life/cycle of transformations continues with the pieces of eco-dyed silk that I made in Brittany using native plants. They are backed with hanji and form the larger box as well as the folded structure on the right side of the book. While researching this book, I stumbled upon the poetry of Thanassis Hatzopoulos, a Greek contemporary poet and doctor. His poem Repetition is a Rule of Life resonated with the story I wanted to tell. I made a booklet with his poem and its French and English translations. It lives on the right side of the book, becomes an echo to the stories of Ovid, inspired the Latin title of the book, Hinc Ad Horam, from then to this hour, ancora, uncore, encore, and captures the cyclical repetitions that define a world in which plants and humans co-exist, and constantly merge and communicate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772725884091-WWP7CDRUQKVU5UD513FJ/MCBA-Prize-2024-Briand-Hinc-Ad-Horam-03.jpg Entries & Jurors - 2024 Entries - Servane Briand San Francisco, CA www.servanebriand.com Hinc Ad Horam 2023 8.7 x 4.7 x 1.1 closed Artist Statement Hinc Ad Horam, a book of metamorphoses, is about transformation and repetition. It explores the deep connections we have with nature, especially the vegetal world and its seasonal cycles. It does it in the form of a Zhen Xian Bao structure. In Greek mythology and the book of Metamorphoses by Ovid, the world of humans and the world of plants have fluid borders. Women get transformed into trees, men into flowers, babies are born from a tree womb. The book brings these two worlds together. It tells the fleeting beauty of life -the Latin lacrimae rerum or Japanese mono no aware- and the stories of people transforming into plants who themselves get transformed to recreate these stories. While visiting Brittany where I spent every childhood summer, I met with two experts in plants and natural dyes. I created inks and dyes from local plants which I used to dye paper and fabric. The paper in this book was made in Korea by master Samsik Kim who dedicated his entire life to the art of hanji, the Korean paper made of native mulberry trees. I wrote stories from the Book of Metamorphoses with yellow ink on very fine hanji, then made paper thread from it, using the Japanese method named shifu. This paper thread was then woven into small squares using a tiny loom and they are hidden in the flower top boxes on the left side. I transformed some dyed hanji into flower tessellations and put them into the square boxes on the left. The Zhen Xian Bao -needle thread pockets- structure originated in China and women from the Dong, Miao and other minorities made them to store their embroidery threads and needles, and small paper items. This tradition was extensively researched by Ruth Smith and is taught in the US by a wonderful duo, Paula Beardell Krieg and Susan Share. The circle of life/cycle of transformations continues with the pieces of eco-dyed silk that I made in Brittany using native plants. They are backed with hanji and form the larger box as well as the folded structure on the right side of the book. While researching this book, I stumbled upon the poetry of Thanassis Hatzopoulos, a Greek contemporary poet and doctor. His poem Repetition is a Rule of Life resonated with the story I wanted to tell. I made a booklet with his poem and its French and English translations. It lives on the right side of the book, becomes an echo to the stories of Ovid, inspired the Latin title of the book, Hinc Ad Horam, from then to this hour, ancora, uncore, encore, and captures the cyclical repetitions that define a world in which plants and humans co-exist, and constantly merge and communicate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772726395421-WB4V2KLIPB6RTPM4V2IU/mcba-prize-2024-Perry-240-Ripples-my-cupruns-over-01.jpeg Entries & Jurors - 2024 Entries - Chris Perry Ridgefield, CT https://www.csperry.net/ 240 Ripples: my cup(runs over) 2023 Altered book 12 x 16 x 15 Artist Statement flipbooks and cutting paper combining the two and then extending the paper beyond the cover adding a second and then a third book making shapes out of multiple books and then adding paper strips both straight and very acute triangles and then adding more books making bigger shapes not always by connecting the books and then adding gatherings of tiny pieces of paper made from thousands of cuts some making very small triangles others very long and then moving them off the pedestal and onto the wall and then the ceiling and then by making many the same they fill a wall or a room https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772726396503-OVH80OIYJI3RVJWLN6CW/mcba-prize-2024-Perry-240-Ripples-my-cupruns-over-03.jpeg Entries & Jurors - 2024 Entries - Chris Perry Ridgefield, CT https://www.csperry.net/ 240 Ripples: my cup(runs over) 2023 Altered book 12 x 16 x 15 Artist Statement flipbooks and cutting paper combining the two and then extending the paper beyond the cover adding a second and then a third book making shapes out of multiple books and then adding paper strips both straight and very acute triangles and then adding more books making bigger shapes not always by connecting the books and then adding gatherings of tiny pieces of paper made from thousands of cuts some making very small triangles others very long and then moving them off the pedestal and onto the wall and then the ceiling and then by making many the same they fill a wall or a room https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772727031418-UZYBIOT0REC4LTRRN3E7/mcba-prize-2024-Wolff-Of-the-Air-01.jpg Entries & Jurors - 2024 Entries - Stephanie Wolff Norwich, VT www.stephaniewolffstudio.com IG: @stephaniewolffstudio Of the Air 2023 Paper, watercolor, board, bookcloth 7.75 x 6.5 x .875 inches closed Artist Statement What does cold or hot specifically mean if not connected to an actual temperature? What does a sky look like when it’s very cold to the point of freezing? And does the sky look any different when it’s very hot, such as a temperature of three digits measured in Fahrenheit degrees? Do such descriptions of the air bring a particular sky to mind? Or a specific feeling? Of the Air contains weather notations drawn from the almanacs of a 19th century N.J. woman, Anna Blackwood Howell, which were kept from the early 1800s until her death in 1855. These descriptions are interpreted through tiny watercolor paintings, imagined skies of the temperature these words are meant to evoke. As I researched Howell’s almanacs for my larger Along the Banks of My River project, her accounts of weather became a throughline in the work produced. Though she never noted any temperatures in degrees, her reports about the land, the outlook of the day, agricultural events, and her personal feelings perhaps conveyed more through her use of language than anything numbers would have made known. One visual interpretation of these weather terms is shown in this book, but an additional set of the printed pages is provided as cards. These allow for a reader to also create their own translation of words into a visual representation, whether a single person mounts their own paintings, or the cards are reproduced for multiple people or iterations of the process. The book was letterpress printed at May Day Studio with handcoloring and binding done in my own studio, both in Vermont. Bound in a hardcover accordion, with cards in a glassine envelope, and both housed in a wrapper and hardcover slipcase. A variable edition of 18 plus two APs. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772727032373-501M15C03ZM381FWW6UJ/mcba-prize-2024-Wolff-Of-the-Air-03.jpg Entries & Jurors - 2024 Entries - Stephanie Wolff Norwich, VT www.stephaniewolffstudio.com IG: @stephaniewolffstudio Of the Air 2023 Paper, watercolor, board, bookcloth 7.75 x 6.5 x .875 inches closed Artist Statement What does cold or hot specifically mean if not connected to an actual temperature? What does a sky look like when it’s very cold to the point of freezing? And does the sky look any different when it’s very hot, such as a temperature of three digits measured in Fahrenheit degrees? Do such descriptions of the air bring a particular sky to mind? Or a specific feeling? Of the Air contains weather notations drawn from the almanacs of a 19th century N.J. woman, Anna Blackwood Howell, which were kept from the early 1800s until her death in 1855. These descriptions are interpreted through tiny watercolor paintings, imagined skies of the temperature these words are meant to evoke. As I researched Howell’s almanacs for my larger Along the Banks of My River project, her accounts of weather became a throughline in the work produced. Though she never noted any temperatures in degrees, her reports about the land, the outlook of the day, agricultural events, and her personal feelings perhaps conveyed more through her use of language than anything numbers would have made known. One visual interpretation of these weather terms is shown in this book, but an additional set of the printed pages is provided as cards. These allow for a reader to also create their own translation of words into a visual representation, whether a single person mounts their own paintings, or the cards are reproduced for multiple people or iterations of the process. The book was letterpress printed at May Day Studio with handcoloring and binding done in my own studio, both in Vermont. Bound in a hardcover accordion, with cards in a glassine envelope, and both housed in a wrapper and hardcover slipcase. A variable edition of 18 plus two APs. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772727033308-J5LOP4AZHK8Q5WYJ4G6Y/mcba-prize-2024-Wolff-Of-the-Air-05.jpg Entries & Jurors - 2024 Entries - Stephanie Wolff Norwich, VT www.stephaniewolffstudio.com IG: @stephaniewolffstudio Of the Air 2023 Paper, watercolor, board, bookcloth 7.75 x 6.5 x .875 inches closed Artist Statement What does cold or hot specifically mean if not connected to an actual temperature? What does a sky look like when it’s very cold to the point of freezing? And does the sky look any different when it’s very hot, such as a temperature of three digits measured in Fahrenheit degrees? Do such descriptions of the air bring a particular sky to mind? Or a specific feeling? Of the Air contains weather notations drawn from the almanacs of a 19th century N.J. woman, Anna Blackwood Howell, which were kept from the early 1800s until her death in 1855. These descriptions are interpreted through tiny watercolor paintings, imagined skies of the temperature these words are meant to evoke. As I researched Howell’s almanacs for my larger Along the Banks of My River project, her accounts of weather became a throughline in the work produced. Though she never noted any temperatures in degrees, her reports about the land, the outlook of the day, agricultural events, and her personal feelings perhaps conveyed more through her use of language than anything numbers would have made known. One visual interpretation of these weather terms is shown in this book, but an additional set of the printed pages is provided as cards. These allow for a reader to also create their own translation of words into a visual representation, whether a single person mounts their own paintings, or the cards are reproduced for multiple people or iterations of the process. The book was letterpress printed at May Day Studio with handcoloring and binding done in my own studio, both in Vermont. Bound in a hardcover accordion, with cards in a glassine envelope, and both housed in a wrapper and hardcover slipcase. A variable edition of 18 plus two APs. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772727032513-HEB957SYZ1C0W10B7OGC/mcba-prize-2024-Wolff-Of-the-Air-04.jpg Entries & Jurors - 2024 Entries - Stephanie Wolff Norwich, VT www.stephaniewolffstudio.com IG: @stephaniewolffstudio Of the Air 2023 Paper, watercolor, board, bookcloth 7.75 x 6.5 x .875 inches closed Artist Statement What does cold or hot specifically mean if not connected to an actual temperature? What does a sky look like when it’s very cold to the point of freezing? And does the sky look any different when it’s very hot, such as a temperature of three digits measured in Fahrenheit degrees? Do such descriptions of the air bring a particular sky to mind? Or a specific feeling? Of the Air contains weather notations drawn from the almanacs of a 19th century N.J. woman, Anna Blackwood Howell, which were kept from the early 1800s until her death in 1855. These descriptions are interpreted through tiny watercolor paintings, imagined skies of the temperature these words are meant to evoke. As I researched Howell’s almanacs for my larger Along the Banks of My River project, her accounts of weather became a throughline in the work produced. Though she never noted any temperatures in degrees, her reports about the land, the outlook of the day, agricultural events, and her personal feelings perhaps conveyed more through her use of language than anything numbers would have made known. One visual interpretation of these weather terms is shown in this book, but an additional set of the printed pages is provided as cards. These allow for a reader to also create their own translation of words into a visual representation, whether a single person mounts their own paintings, or the cards are reproduced for multiple people or iterations of the process. The book was letterpress printed at May Day Studio with handcoloring and binding done in my own studio, both in Vermont. Bound in a hardcover accordion, with cards in a glassine envelope, and both housed in a wrapper and hardcover slipcase. A variable edition of 18 plus two APs. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772727796484-1GJ0J0S4HYSPPDQ98IYR/mcba-prize-2024-Leopard-Love-in-the-Age-of-Covid-04.jpg Entries & Jurors - 2024 Entries - Sue Leopard Rochester, NY www.leopardstudioeditions.com Love In the Age of Covid (Chance & Intention) (forGeorge) 2023/2024 Collage, letterpress, etchings, hand painting and stencils on a variety of handmade Asian papers, silver inks. Covers of 1/2 inch slabs of plexiglass. Box of silver texture paste paper by Claire Maziarczyk, Japanese silk, and mirror paper. 4x2x5 inches; Concertina opening to 204 inches( 17 feet) Artist Statement Silver Reflections, mirrors, windows, doors, vapors, veils, snippets of time, Books and Being. Slow perceptions, days on end, confusion and clarity, blurs, leaves in the rain, silver page fragments, Light. Lifting shaking arms up, up to the sky. Old days, Dark. The moon comes up, the sun goes down. Memories of beauty approach from across the bay. The sum of all things gives you this one Moment. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772727795290-WGLGFACY1LA5C2MB8KHX/mcba-prize-2024-Leopard-Love-in-the-Age-of-Covid-01.jpg Entries & Jurors - 2024 Entries - Sue Leopard Rochester, NY www.leopardstudioeditions.com Love In the Age of Covid (Chance & Intention) (forGeorge) 2023/2024 Collage, letterpress, etchings, hand painting and stencils on a variety of handmade Asian papers, silver inks. Covers of 1/2 inch slabs of plexiglass. Box of silver texture paste paper by Claire Maziarczyk, Japanese silk, and mirror paper. 4x2x5 inches; Concertina opening to 204 inches( 17 feet) Artist Statement Silver Reflections, mirrors, windows, doors, vapors, veils, snippets of time, Books and Being. Slow perceptions, days on end, confusion and clarity, blurs, leaves in the rain, silver page fragments, Light. Lifting shaking arms up, up to the sky. Old days, Dark. The moon comes up, the sun goes down. Memories of beauty approach from across the bay. The sum of all things gives you this one Moment. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772727797405-X14OKMD8J4X7GAYN9LE8/mcba-prize-2024-Leopard-Love-in-the-Age-of-Covid-05.jpg Entries & Jurors - 2024 Entries - Sue Leopard Rochester, NY www.leopardstudioeditions.com Love In the Age of Covid (Chance & Intention) (forGeorge) 2023/2024 Collage, letterpress, etchings, hand painting and stencils on a variety of handmade Asian papers, silver inks. Covers of 1/2 inch slabs of plexiglass. Box of silver texture paste paper by Claire Maziarczyk, Japanese silk, and mirror paper. 4x2x5 inches; Concertina opening to 204 inches( 17 feet) Artist Statement Silver Reflections, mirrors, windows, doors, vapors, veils, snippets of time, Books and Being. Slow perceptions, days on end, confusion and clarity, blurs, leaves in the rain, silver page fragments, Light. Lifting shaking arms up, up to the sky. Old days, Dark. The moon comes up, the sun goes down. Memories of beauty approach from across the bay. The sum of all things gives you this one Moment. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772727795292-VNW7DL7Y8XD6Z6BPGK22/mcba-prize-2024-Leopard-Love-in-the-Age-of-Covid-02.jpg Entries & Jurors - 2024 Entries - Sue Leopard Rochester, NY www.leopardstudioeditions.com Love In the Age of Covid (Chance & Intention) (forGeorge) 2023/2024 Collage, letterpress, etchings, hand painting and stencils on a variety of handmade Asian papers, silver inks. Covers of 1/2 inch slabs of plexiglass. Box of silver texture paste paper by Claire Maziarczyk, Japanese silk, and mirror paper. 4x2x5 inches; Concertina opening to 204 inches( 17 feet) Artist Statement Silver Reflections, mirrors, windows, doors, vapors, veils, snippets of time, Books and Being. Slow perceptions, days on end, confusion and clarity, blurs, leaves in the rain, silver page fragments, Light. Lifting shaking arms up, up to the sky. Old days, Dark. The moon comes up, the sun goes down. Memories of beauty approach from across the bay. The sum of all things gives you this one Moment. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772727796335-WIQKDHIY0XZRU3ZQN47I/mcba-prize-2024-Leopard-Love-in-the-Age-of-Covid-03.jpg Entries & Jurors - 2024 Entries - Sue Leopard Rochester, NY www.leopardstudioeditions.com Love In the Age of Covid (Chance & Intention) (forGeorge) 2023/2024 Collage, letterpress, etchings, hand painting and stencils on a variety of handmade Asian papers, silver inks. Covers of 1/2 inch slabs of plexiglass. Box of silver texture paste paper by Claire Maziarczyk, Japanese silk, and mirror paper. 4x2x5 inches; Concertina opening to 204 inches( 17 feet) Artist Statement Silver Reflections, mirrors, windows, doors, vapors, veils, snippets of time, Books and Being. Slow perceptions, days on end, confusion and clarity, blurs, leaves in the rain, silver page fragments, Light. Lifting shaking arms up, up to the sky. Old days, Dark. The moon comes up, the sun goes down. Memories of beauty approach from across the bay. The sum of all things gives you this one Moment. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772721702251-IFUK5H02KJ2UQDY4DQQJ/mcba-prize-2024-Cohick-Drift-Fragment-01.jpeg Entries & Jurors - 2024 Entries - Aaron Cohick Louisville, KY https://www.newlightspress.com/ IG: @newlightspress Drift • Fragment 2024 Mixed drawing media and Risograph 5″ x 12.5″ x 1″ (open) Artist Statement Drift • Fragment is an editioned, hand-painted, text-image poem about reading, memory, time, labor, and rest. Each copy contains the same text but the composition of the two-page spreads in each copy is determined by a unique set of random variables. Those variables control the position of each text block, the position and size of the torn pieces, and the layering of all of the elements. In each copy different moments of the text are cropped, obscured, and revealed. The twenty-four page spreads track the hours of the day using a palette of colors that was sampled from photographs of the author’s home and work spaces at different times of day. The colors are consistent from copy to copy. Three threads of text move through the book, each rendered in a different size of an experimental set of modular letterforms called the Threshold Alphabet. The modular system of the Threshold Alphabet is based on windows, doors, and bookshelves. The unfamiliarity of some of the letterforms, combined with the fragmentation and layering of the text, is meant to slow the reader down and expand the time of reading. The goal is to transform reading from an activity of rapid scanning and consumption of information to a space that the reader can dwell in, a space of slow time and careful, open-ended attention. After the entire edition was painted all extant copies of the text, both digital and physical, were destroyed. Each copy of the book is now a whole text, “complete with missing parts,” (Beckett). Every individual reading– finished, in-progress, or potential– across one copy or many– is a layer of the multi-threaded reading that is the true substance of the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772721701916-X8WUYTXU9Z0E7DLY69YE/mcba-prize-2024-Cohick-Drift-Fragment-03.jpg Entries & Jurors - 2024 Entries - Aaron Cohick Louisville, KY https://www.newlightspress.com/ IG: @newlightspress Drift • Fragment 2024 Mixed drawing media and Risograph 5″ x 12.5″ x 1″ (open) Artist Statement Drift • Fragment is an editioned, hand-painted, text-image poem about reading, memory, time, labor, and rest. Each copy contains the same text but the composition of the two-page spreads in each copy is determined by a unique set of random variables. Those variables control the position of each text block, the position and size of the torn pieces, and the layering of all of the elements. In each copy different moments of the text are cropped, obscured, and revealed. The twenty-four page spreads track the hours of the day using a palette of colors that was sampled from photographs of the author’s home and work spaces at different times of day. The colors are consistent from copy to copy. Three threads of text move through the book, each rendered in a different size of an experimental set of modular letterforms called the Threshold Alphabet. The modular system of the Threshold Alphabet is based on windows, doors, and bookshelves. The unfamiliarity of some of the letterforms, combined with the fragmentation and layering of the text, is meant to slow the reader down and expand the time of reading. The goal is to transform reading from an activity of rapid scanning and consumption of information to a space that the reader can dwell in, a space of slow time and careful, open-ended attention. After the entire edition was painted all extant copies of the text, both digital and physical, were destroyed. Each copy of the book is now a whole text, “complete with missing parts,” (Beckett). Every individual reading– finished, in-progress, or potential– across one copy or many– is a layer of the multi-threaded reading that is the true substance of the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772721703074-WAYLWRIG4QFS0PKDGZR5/mcba-prize-2024-Cohick-Drift-Fragment-04.jpg Entries & Jurors - 2024 Entries - Aaron Cohick Louisville, KY https://www.newlightspress.com/ IG: @newlightspress Drift • Fragment 2024 Mixed drawing media and Risograph 5″ x 12.5″ x 1″ (open) Artist Statement Drift • Fragment is an editioned, hand-painted, text-image poem about reading, memory, time, labor, and rest. Each copy contains the same text but the composition of the two-page spreads in each copy is determined by a unique set of random variables. Those variables control the position of each text block, the position and size of the torn pieces, and the layering of all of the elements. In each copy different moments of the text are cropped, obscured, and revealed. The twenty-four page spreads track the hours of the day using a palette of colors that was sampled from photographs of the author’s home and work spaces at different times of day. The colors are consistent from copy to copy. Three threads of text move through the book, each rendered in a different size of an experimental set of modular letterforms called the Threshold Alphabet. The modular system of the Threshold Alphabet is based on windows, doors, and bookshelves. The unfamiliarity of some of the letterforms, combined with the fragmentation and layering of the text, is meant to slow the reader down and expand the time of reading. The goal is to transform reading from an activity of rapid scanning and consumption of information to a space that the reader can dwell in, a space of slow time and careful, open-ended attention. After the entire edition was painted all extant copies of the text, both digital and physical, were destroyed. Each copy of the book is now a whole text, “complete with missing parts,” (Beckett). Every individual reading– finished, in-progress, or potential– across one copy or many– is a layer of the multi-threaded reading that is the true substance of the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772721700518-YCUL33VLQMWZS396TUI7/mcba-prize-2024-Cohick-Drift-Fragment-05.jpg Entries & Jurors - 2024 Entries - Aaron Cohick Louisville, KY https://www.newlightspress.com/ IG: @newlightspress Drift • Fragment 2024 Mixed drawing media and Risograph 5″ x 12.5″ x 1″ (open) Artist Statement Drift • Fragment is an editioned, hand-painted, text-image poem about reading, memory, time, labor, and rest. Each copy contains the same text but the composition of the two-page spreads in each copy is determined by a unique set of random variables. Those variables control the position of each text block, the position and size of the torn pieces, and the layering of all of the elements. In each copy different moments of the text are cropped, obscured, and revealed. The twenty-four page spreads track the hours of the day using a palette of colors that was sampled from photographs of the author’s home and work spaces at different times of day. The colors are consistent from copy to copy. Three threads of text move through the book, each rendered in a different size of an experimental set of modular letterforms called the Threshold Alphabet. The modular system of the Threshold Alphabet is based on windows, doors, and bookshelves. The unfamiliarity of some of the letterforms, combined with the fragmentation and layering of the text, is meant to slow the reader down and expand the time of reading. The goal is to transform reading from an activity of rapid scanning and consumption of information to a space that the reader can dwell in, a space of slow time and careful, open-ended attention. After the entire edition was painted all extant copies of the text, both digital and physical, were destroyed. Each copy of the book is now a whole text, “complete with missing parts,” (Beckett). Every individual reading– finished, in-progress, or potential– across one copy or many– is a layer of the multi-threaded reading that is the true substance of the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772724338125-L9J3Q4IYCG249E0IXTBE/mcba-prize-2024-shattuck-treed-05.jpg Entries & Jurors - 2024 Entries - Carolyn Shattuck Rutland, VT www.shattuckgallery.com TREED 2023 Crocheted accordion book with poems BE LIKE A TREE by Joann Raptor and CROCHET, by Shiloh Morrison -Wool, washi paper, gel pen paper H- 9″ x W- 25″x D- 2″ Artist Statement One evening I was crocheting an afghan and I had the idea to create an artists book . I combined 2 artistic approaches into one. Several poems had resonated with me . They spoke of hope and healing. BE LIKE A TREE Stay grounded Connect with your roots. Turn over a new leaf. Bend before you break. Enjoy your unique beauty. Keep growing Joann Raptis CROCHET I’m weaving with yarn crocheting stitches across my heart sewing up my wounds allowing release through art a slipknot here a whipstitch there I weave and weaveas I crochet into repair the frayed edges of my soul SHILOH MORRISON https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772724335804-TEO4AP8DFQ21QIHW1ERL/mcba-prize-2024-shattuck-treed-01.jpg Entries & Jurors - 2024 Entries - Carolyn Shattuck Rutland, VT www.shattuckgallery.com TREED 2023 Crocheted accordion book with poems BE LIKE A TREE by Joann Raptor and CROCHET, by Shiloh Morrison -Wool, washi paper, gel pen paper H- 9″ x W- 25″x D- 2″ Artist Statement One evening I was crocheting an afghan and I had the idea to create an artists book . I combined 2 artistic approaches into one. Several poems had resonated with me . They spoke of hope and healing. BE LIKE A TREE Stay grounded Connect with your roots. Turn over a new leaf. Bend before you break. Enjoy your unique beauty. Keep growing Joann Raptis CROCHET I’m weaving with yarn crocheting stitches across my heart sewing up my wounds allowing release through art a slipknot here a whipstitch there I weave and weaveas I crochet into repair the frayed edges of my soul SHILOH MORRISON https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772724336972-Q3RT0DB60CGSRKDQL3JD/mcba-prize-2024-shattuck-treed-03.jpg Entries & Jurors - 2024 Entries - Carolyn Shattuck Rutland, VT www.shattuckgallery.com TREED 2023 Crocheted accordion book with poems BE LIKE A TREE by Joann Raptor and CROCHET, by Shiloh Morrison -Wool, washi paper, gel pen paper H- 9″ x W- 25″x D- 2″ Artist Statement One evening I was crocheting an afghan and I had the idea to create an artists book . I combined 2 artistic approaches into one. Several poems had resonated with me . They spoke of hope and healing. BE LIKE A TREE Stay grounded Connect with your roots. Turn over a new leaf. Bend before you break. Enjoy your unique beauty. Keep growing Joann Raptis CROCHET I’m weaving with yarn crocheting stitches across my heart sewing up my wounds allowing release through art a slipknot here a whipstitch there I weave and weaveas I crochet into repair the frayed edges of my soul SHILOH MORRISON https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772724338338-HAFFH5095BJBXNLARDXQ/mcba-prize-2024-shattuck-treed-06.jpg Entries & Jurors - 2024 Entries - Carolyn Shattuck Rutland, VT www.shattuckgallery.com TREED 2023 Crocheted accordion book with poems BE LIKE A TREE by Joann Raptor and CROCHET, by Shiloh Morrison -Wool, washi paper, gel pen paper H- 9″ x W- 25″x D- 2″ Artist Statement One evening I was crocheting an afghan and I had the idea to create an artists book . I combined 2 artistic approaches into one. Several poems had resonated with me . They spoke of hope and healing. BE LIKE A TREE Stay grounded Connect with your roots. Turn over a new leaf. Bend before you break. Enjoy your unique beauty. Keep growing Joann Raptis CROCHET I’m weaving with yarn crocheting stitches across my heart sewing up my wounds allowing release through art a slipknot here a whipstitch there I weave and weaveas I crochet into repair the frayed edges of my soul SHILOH MORRISON https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772724337346-KHGB9GG0KTNXZ43PQCIH/mcba-prize-2024-shattuck-treed-04.jpg Entries & Jurors - 2024 Entries - Carolyn Shattuck Rutland, VT www.shattuckgallery.com TREED 2023 Crocheted accordion book with poems BE LIKE A TREE by Joann Raptor and CROCHET, by Shiloh Morrison -Wool, washi paper, gel pen paper H- 9″ x W- 25″x D- 2″ Artist Statement One evening I was crocheting an afghan and I had the idea to create an artists book . I combined 2 artistic approaches into one. Several poems had resonated with me . They spoke of hope and healing. BE LIKE A TREE Stay grounded Connect with your roots. Turn over a new leaf. Bend before you break. Enjoy your unique beauty. Keep growing Joann Raptis CROCHET I’m weaving with yarn crocheting stitches across my heart sewing up my wounds allowing release through art a slipknot here a whipstitch there I weave and weaveas I crochet into repair the frayed edges of my soul SHILOH MORRISON https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772722317609-OAFKTHKDA5M6IZMYAAVS/mcba-prize-2024-Aya-Masumoto-Heartbeat-01.jpg Entries & Jurors - 2024 Entries - Aya Masumoto Japan IG: @aya.0347 Heartbeat 2023 Paper 4.7×3.9×1.18 Artist Statement Aya is a letterpress artist and researcher in Japan. She graduated from Kyoto Seika University with a degree in printmaking. She worked in printing studios in Japan and Taiwan, and later studied typesetting at the University of Braunschweig in Germany. Her work always uses letterpress and takes the form of books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772722320079-NQE7IMRS1T9ZW38PDS2M/mcba-prize-2024-Aya-Masumoto-Heartbeat-05.jpg Entries & Jurors - 2024 Entries - Aya Masumoto Japan IG: @aya.0347 Heartbeat 2023 Paper 4.7×3.9×1.18 Artist Statement Aya is a letterpress artist and researcher in Japan. She graduated from Kyoto Seika University with a degree in printmaking. She worked in printing studios in Japan and Taiwan, and later studied typesetting at the University of Braunschweig in Germany. Her work always uses letterpress and takes the form of books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772722319094-0WTVHU5B2G62LV8BNZ9R/mcba-prize-2024-Aya-Masumoto-Heartbeat-04.jpg Entries & Jurors - 2024 Entries - Aya Masumoto Japan IG: @aya.0347 Heartbeat 2023 Paper 4.7×3.9×1.18 Artist Statement Aya is a letterpress artist and researcher in Japan. She graduated from Kyoto Seika University with a degree in printmaking. She worked in printing studios in Japan and Taiwan, and later studied typesetting at the University of Braunschweig in Germany. Her work always uses letterpress and takes the form of books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772722318685-VDXY8BGHS065D6AHMJLU/mcba-prize-2024-Aya-Masumoto-Heartbeat-03.jpg Entries & Jurors - 2024 Entries - Aya Masumoto Japan IG: @aya.0347 Heartbeat 2023 Paper 4.7×3.9×1.18 Artist Statement Aya is a letterpress artist and researcher in Japan. She graduated from Kyoto Seika University with a degree in printmaking. She worked in printing studios in Japan and Taiwan, and later studied typesetting at the University of Braunschweig in Germany. Her work always uses letterpress and takes the form of books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772722317606-96JZ5Q0A3GI8OAXLH8Z3/mcba-prize-2024-Aya-Masumoto-Heartbeat-02.jpg Entries & Jurors - 2024 Entries - Aya Masumoto Japan IG: @aya.0347 Heartbeat 2023 Paper 4.7×3.9×1.18 Artist Statement Aya is a letterpress artist and researcher in Japan. She graduated from Kyoto Seika University with a degree in printmaking. She worked in printing studios in Japan and Taiwan, and later studied typesetting at the University of Braunschweig in Germany. Her work always uses letterpress and takes the form of books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772816721157-67CD7OQYXQ6GVG5XMBMW/mcba-prize-2024-Michelle-Ho-Boxes-in-Boxes-1.jpeg Entries & Jurors - 2024 Entries - Michelle Ho Brooklyn, NY https://www.instagram.com/mmmichelleho/ Boxes in Boxes in Boxes and nothing 2023 Box structures constructed with book board, book cloth, and ribbons, accompanied by round pebbles. Writing printed with risograph. 11.25” x 11.25” x 17.5” Artist Statement “Boxes in Boxes in Boxes and nothing” is a self-reflective artist’s book comprised of box structures, drawers containing small round pebbles, ribbons, and writing. Through engagement, this interactive work reveals and communicates my obsession with and understanding of “control”. For a long time, and perhaps even now, I have felt an inherent need to understand my surroundings in a black-and-white manner, seeking clear and definitive answers to what is good or bad, right or wrong, should be or shouldn’t be. My perspective on life has been akin to chess – I have the free will to make choices, but these choices are limited to a definitive number of options based on the rules of this world; I can choose which chess pieces to move, but pawns can only move forward, and castling is only done between a king and a rook. Because of this fixed mindset, I felt frustration and confusion when I witnessed others bending those rules, which I didn’t realize were even possible. Eventually, I realized that my inability to be flexible and let go of control was causing self-destruction. “Boxes in Boxes in Boxes and nothing” shares this obsession with control and the consequential self-destructive experience through interactive engagement. “Boxes in Boxes in Boxes and nothing”, typically displayed on a table, features layers of box structures stacked with pull-out drawers that open from the sides. Each drawer contains a handful of small white pebbles and operates by pulling the attached ribbon. As viewers pull out each drawer, the pebbles spill out, spreading far beyond the table and creating an unexpected mess with clattering sounds. The pebbles scatter extensively that it would take considerable effort to gather them all and restore the structures to their original “complete” form, placing the viewer in a stress- inducing situation where they lack control. At the bottom of the layer lies a card with writing in Korean, my mother tongue. The words express my thoughts behind this work and also offer comfort to the viewer amidst the chaos created by my work. The center of the boxes is hollow; as the viewer continues to untie the ribbons and dismantle the stack, more light shines through the hollow center, gradually revealing the card with writing from a top-down view. The writing on the card translates to: always looking for the answer, though there aren’t answers for everything, there are times when I feel destructed by the tiniest bump. hope this uneasiness is imaginary because I hope for my real self to be of something more unwavering. wanting to defy destruction, to be able to control everything may be too much greed. why does a mere human try to carry so much. Original text in Korean: 모든 것에 대한 답이 없는데도 모든 것의 답을 찾으려 하고, 잘하다가도 단 하나의 티끌만으로 무너지는 것 같을 때가 있다. 이 불안 가짜이길 바란다. 원래의 나는 더 굳건한 사람이길 바라기 때문이다. 아예 무너지지 않길 바라는 것, 모든 것을 통제할수 있길 바라는 것음 너무 많은 욕심인지도 모른다. 겨우 인간 주제에 왜 이렇게 많은 걸 짊어지려 하는 걸까. The tall, rigid boxes and solid structures visualize the control and restrictions I’ve placed on myself and also represent my ideal self, reflecting my desire to be of something unwavering. By the end of the interaction, what was once a structure that seemed to embody the idea of completeness becomes literally nothing, illustrating the futility of chasing such a concept. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772816721172-NZV9UEPKCIKT7XGK420A/mcba-prize-2024-Michelle-Ho-Boxes-in-Boxes-2.jpeg Entries & Jurors - 2024 Entries - Michelle Ho Brooklyn, NY https://www.instagram.com/mmmichelleho/ Boxes in Boxes in Boxes and nothing 2023 Box structures constructed with book board, book cloth, and ribbons, accompanied by round pebbles. Writing printed with risograph. 11.25” x 11.25” x 17.5” Artist Statement “Boxes in Boxes in Boxes and nothing” is a self-reflective artist’s book comprised of box structures, drawers containing small round pebbles, ribbons, and writing. Through engagement, this interactive work reveals and communicates my obsession with and understanding of “control”. For a long time, and perhaps even now, I have felt an inherent need to understand my surroundings in a black-and-white manner, seeking clear and definitive answers to what is good or bad, right or wrong, should be or shouldn’t be. My perspective on life has been akin to chess – I have the free will to make choices, but these choices are limited to a definitive number of options based on the rules of this world; I can choose which chess pieces to move, but pawns can only move forward, and castling is only done between a king and a rook. Because of this fixed mindset, I felt frustration and confusion when I witnessed others bending those rules, which I didn’t realize were even possible. Eventually, I realized that my inability to be flexible and let go of control was causing self-destruction. “Boxes in Boxes in Boxes and nothing” shares this obsession with control and the consequential self-destructive experience through interactive engagement. “Boxes in Boxes in Boxes and nothing”, typically displayed on a table, features layers of box structures stacked with pull-out drawers that open from the sides. Each drawer contains a handful of small white pebbles and operates by pulling the attached ribbon. As viewers pull out each drawer, the pebbles spill out, spreading far beyond the table and creating an unexpected mess with clattering sounds. The pebbles scatter extensively that it would take considerable effort to gather them all and restore the structures to their original “complete” form, placing the viewer in a stress- inducing situation where they lack control. At the bottom of the layer lies a card with writing in Korean, my mother tongue. The words express my thoughts behind this work and also offer comfort to the viewer amidst the chaos created by my work. The center of the boxes is hollow; as the viewer continues to untie the ribbons and dismantle the stack, more light shines through the hollow center, gradually revealing the card with writing from a top-down view. The writing on the card translates to: always looking for the answer, though there aren’t answers for everything, there are times when I feel destructed by the tiniest bump. hope this uneasiness is imaginary because I hope for my real self to be of something more unwavering. wanting to defy destruction, to be able to control everything may be too much greed. why does a mere human try to carry so much. Original text in Korean: 모든 것에 대한 답이 없는데도 모든 것의 답을 찾으려 하고, 잘하다가도 단 하나의 티끌만으로 무너지는 것 같을 때가 있다. 이 불안 가짜이길 바란다. 원래의 나는 더 굳건한 사람이길 바라기 때문이다. 아예 무너지지 않길 바라는 것, 모든 것을 통제할수 있길 바라는 것음 너무 많은 욕심인지도 모른다. 겨우 인간 주제에 왜 이렇게 많은 걸 짊어지려 하는 걸까. The tall, rigid boxes and solid structures visualize the control and restrictions I’ve placed on myself and also represent my ideal self, reflecting my desire to be of something unwavering. By the end of the interaction, what was once a structure that seemed to embody the idea of completeness becomes literally nothing, illustrating the futility of chasing such a concept. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772816723504-A4QI5YMAUR0FWWK7HQDZ/mcba-prize-2024-Michelle-Ho-Boxes-in-Boxes-3.jpeg Entries & Jurors - 2024 Entries - Michelle Ho Brooklyn, NY https://www.instagram.com/mmmichelleho/ Boxes in Boxes in Boxes and nothing 2023 Box structures constructed with book board, book cloth, and ribbons, accompanied by round pebbles. Writing printed with risograph. 11.25” x 11.25” x 17.5” Artist Statement “Boxes in Boxes in Boxes and nothing” is a self-reflective artist’s book comprised of box structures, drawers containing small round pebbles, ribbons, and writing. Through engagement, this interactive work reveals and communicates my obsession with and understanding of “control”. For a long time, and perhaps even now, I have felt an inherent need to understand my surroundings in a black-and-white manner, seeking clear and definitive answers to what is good or bad, right or wrong, should be or shouldn’t be. My perspective on life has been akin to chess – I have the free will to make choices, but these choices are limited to a definitive number of options based on the rules of this world; I can choose which chess pieces to move, but pawns can only move forward, and castling is only done between a king and a rook. Because of this fixed mindset, I felt frustration and confusion when I witnessed others bending those rules, which I didn’t realize were even possible. Eventually, I realized that my inability to be flexible and let go of control was causing self-destruction. “Boxes in Boxes in Boxes and nothing” shares this obsession with control and the consequential self-destructive experience through interactive engagement. “Boxes in Boxes in Boxes and nothing”, typically displayed on a table, features layers of box structures stacked with pull-out drawers that open from the sides. Each drawer contains a handful of small white pebbles and operates by pulling the attached ribbon. As viewers pull out each drawer, the pebbles spill out, spreading far beyond the table and creating an unexpected mess with clattering sounds. The pebbles scatter extensively that it would take considerable effort to gather them all and restore the structures to their original “complete” form, placing the viewer in a stress- inducing situation where they lack control. At the bottom of the layer lies a card with writing in Korean, my mother tongue. The words express my thoughts behind this work and also offer comfort to the viewer amidst the chaos created by my work. The center of the boxes is hollow; as the viewer continues to untie the ribbons and dismantle the stack, more light shines through the hollow center, gradually revealing the card with writing from a top-down view. The writing on the card translates to: always looking for the answer, though there aren’t answers for everything, there are times when I feel destructed by the tiniest bump. hope this uneasiness is imaginary because I hope for my real self to be of something more unwavering. wanting to defy destruction, to be able to control everything may be too much greed. why does a mere human try to carry so much. Original text in Korean: 모든 것에 대한 답이 없는데도 모든 것의 답을 찾으려 하고, 잘하다가도 단 하나의 티끌만으로 무너지는 것 같을 때가 있다. 이 불안 가짜이길 바란다. 원래의 나는 더 굳건한 사람이길 바라기 때문이다. 아예 무너지지 않길 바라는 것, 모든 것을 통제할수 있길 바라는 것음 너무 많은 욕심인지도 모른다. 겨우 인간 주제에 왜 이렇게 많은 걸 짊어지려 하는 걸까. The tall, rigid boxes and solid structures visualize the control and restrictions I’ve placed on myself and also represent my ideal self, reflecting my desire to be of something unwavering. By the end of the interaction, what was once a structure that seemed to embody the idea of completeness becomes literally nothing, illustrating the futility of chasing such a concept. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772816723868-F0QNAY3QD963GVMI0L1P/mcba-prize-2024-Michelle-Ho-Boxes-in-Boxes-4.jpeg Entries & Jurors - 2024 Entries - Michelle Ho Brooklyn, NY https://www.instagram.com/mmmichelleho/ Boxes in Boxes in Boxes and nothing 2023 Box structures constructed with book board, book cloth, and ribbons, accompanied by round pebbles. Writing printed with risograph. 11.25” x 11.25” x 17.5” Artist Statement “Boxes in Boxes in Boxes and nothing” is a self-reflective artist’s book comprised of box structures, drawers containing small round pebbles, ribbons, and writing. Through engagement, this interactive work reveals and communicates my obsession with and understanding of “control”. For a long time, and perhaps even now, I have felt an inherent need to understand my surroundings in a black-and-white manner, seeking clear and definitive answers to what is good or bad, right or wrong, should be or shouldn’t be. My perspective on life has been akin to chess – I have the free will to make choices, but these choices are limited to a definitive number of options based on the rules of this world; I can choose which chess pieces to move, but pawns can only move forward, and castling is only done between a king and a rook. Because of this fixed mindset, I felt frustration and confusion when I witnessed others bending those rules, which I didn’t realize were even possible. Eventually, I realized that my inability to be flexible and let go of control was causing self-destruction. “Boxes in Boxes in Boxes and nothing” shares this obsession with control and the consequential self-destructive experience through interactive engagement. “Boxes in Boxes in Boxes and nothing”, typically displayed on a table, features layers of box structures stacked with pull-out drawers that open from the sides. Each drawer contains a handful of small white pebbles and operates by pulling the attached ribbon. As viewers pull out each drawer, the pebbles spill out, spreading far beyond the table and creating an unexpected mess with clattering sounds. The pebbles scatter extensively that it would take considerable effort to gather them all and restore the structures to their original “complete” form, placing the viewer in a stress- inducing situation where they lack control. At the bottom of the layer lies a card with writing in Korean, my mother tongue. The words express my thoughts behind this work and also offer comfort to the viewer amidst the chaos created by my work. The center of the boxes is hollow; as the viewer continues to untie the ribbons and dismantle the stack, more light shines through the hollow center, gradually revealing the card with writing from a top-down view. The writing on the card translates to: always looking for the answer, though there aren’t answers for everything, there are times when I feel destructed by the tiniest bump. hope this uneasiness is imaginary because I hope for my real self to be of something more unwavering. wanting to defy destruction, to be able to control everything may be too much greed. why does a mere human try to carry so much. Original text in Korean: 모든 것에 대한 답이 없는데도 모든 것의 답을 찾으려 하고, 잘하다가도 단 하나의 티끌만으로 무너지는 것 같을 때가 있다. 이 불안 가짜이길 바란다. 원래의 나는 더 굳건한 사람이길 바라기 때문이다. 아예 무너지지 않길 바라는 것, 모든 것을 통제할수 있길 바라는 것음 너무 많은 욕심인지도 모른다. 겨우 인간 주제에 왜 이렇게 많은 걸 짊어지려 하는 걸까. The tall, rigid boxes and solid structures visualize the control and restrictions I’ve placed on myself and also represent my ideal self, reflecting my desire to be of something unwavering. By the end of the interaction, what was once a structure that seemed to embody the idea of completeness becomes literally nothing, illustrating the futility of chasing such a concept. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772816725631-XT6TH2VHL2KRFX4P2OF2/mcba-prize-2024-Michelle-Ho-Boxes-in-Boxes-5.jpeg Entries & Jurors - 2024 Entries - Michelle Ho Brooklyn, NY https://www.instagram.com/mmmichelleho/ Boxes in Boxes in Boxes and nothing 2023 Box structures constructed with book board, book cloth, and ribbons, accompanied by round pebbles. Writing printed with risograph. 11.25” x 11.25” x 17.5” Artist Statement “Boxes in Boxes in Boxes and nothing” is a self-reflective artist’s book comprised of box structures, drawers containing small round pebbles, ribbons, and writing. Through engagement, this interactive work reveals and communicates my obsession with and understanding of “control”. For a long time, and perhaps even now, I have felt an inherent need to understand my surroundings in a black-and-white manner, seeking clear and definitive answers to what is good or bad, right or wrong, should be or shouldn’t be. My perspective on life has been akin to chess – I have the free will to make choices, but these choices are limited to a definitive number of options based on the rules of this world; I can choose which chess pieces to move, but pawns can only move forward, and castling is only done between a king and a rook. Because of this fixed mindset, I felt frustration and confusion when I witnessed others bending those rules, which I didn’t realize were even possible. Eventually, I realized that my inability to be flexible and let go of control was causing self-destruction. “Boxes in Boxes in Boxes and nothing” shares this obsession with control and the consequential self-destructive experience through interactive engagement. “Boxes in Boxes in Boxes and nothing”, typically displayed on a table, features layers of box structures stacked with pull-out drawers that open from the sides. Each drawer contains a handful of small white pebbles and operates by pulling the attached ribbon. As viewers pull out each drawer, the pebbles spill out, spreading far beyond the table and creating an unexpected mess with clattering sounds. The pebbles scatter extensively that it would take considerable effort to gather them all and restore the structures to their original “complete” form, placing the viewer in a stress- inducing situation where they lack control. At the bottom of the layer lies a card with writing in Korean, my mother tongue. The words express my thoughts behind this work and also offer comfort to the viewer amidst the chaos created by my work. The center of the boxes is hollow; as the viewer continues to untie the ribbons and dismantle the stack, more light shines through the hollow center, gradually revealing the card with writing from a top-down view. The writing on the card translates to: always looking for the answer, though there aren’t answers for everything, there are times when I feel destructed by the tiniest bump. hope this uneasiness is imaginary because I hope for my real self to be of something more unwavering. wanting to defy destruction, to be able to control everything may be too much greed. why does a mere human try to carry so much. Original text in Korean: 모든 것에 대한 답이 없는데도 모든 것의 답을 찾으려 하고, 잘하다가도 단 하나의 티끌만으로 무너지는 것 같을 때가 있다. 이 불안 가짜이길 바란다. 원래의 나는 더 굳건한 사람이길 바라기 때문이다. 아예 무너지지 않길 바라는 것, 모든 것을 통제할수 있길 바라는 것음 너무 많은 욕심인지도 모른다. 겨우 인간 주제에 왜 이렇게 많은 걸 짊어지려 하는 걸까. The tall, rigid boxes and solid structures visualize the control and restrictions I’ve placed on myself and also represent my ideal self, reflecting my desire to be of something unwavering. By the end of the interaction, what was once a structure that seemed to embody the idea of completeness becomes literally nothing, illustrating the futility of chasing such a concept. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772816993897-05788W9FKFLE2PJXFP3O/mcba-prize-2024-qinyan-liu-beats-of-goodbye-1.jpg Entries & Jurors - 2024 Entries - Qinyan Liu Queens, NY https://designdorisliu.cargo.site/ IG: @shirorie_3 Beats of Goodbye 2024 Mixed paper (uncoated paper, vellum, cardstock) and slide film 6 x 8 inch Artist Statement When I see a bird flying by, I hear the whizzes of the wind through its feathers. And those are the beats when there are people saying at the same time—welcome home and goodbye. Deriving from the realm of travel photography, I found myself obsessed with photographing moving objects and moving scenes. This original photo book deliberately selects pictures from several past trips, resulting in a compilation of flying birds, planes, window views in a speeding train. By poetic curation of images, it explores the intricate emotional dynamics between traveling and returning, staying and running away. In addition to imagery, text, and typography, the book creates paradoxical rhythms and beats echoing the title by putting dark cardstock jacket and vellum foldouts together in contrast. While the interiors were offset printed, each jacket was stamped by hand, endowing it with another layer of undetermined, subtle nature. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772816993922-4ZY1VCYT59N8Z0TETKGB/mcba-prize-2024-qinyan-liu-beats-of-goodbye-2.jpg Entries & Jurors - 2024 Entries - Qinyan Liu Queens, NY https://designdorisliu.cargo.site/ IG: @shirorie_3 Beats of Goodbye 2024 Mixed paper (uncoated paper, vellum, cardstock) and slide film 6 x 8 inch Artist Statement When I see a bird flying by, I hear the whizzes of the wind through its feathers. And those are the beats when there are people saying at the same time—welcome home and goodbye. Deriving from the realm of travel photography, I found myself obsessed with photographing moving objects and moving scenes. This original photo book deliberately selects pictures from several past trips, resulting in a compilation of flying birds, planes, window views in a speeding train. By poetic curation of images, it explores the intricate emotional dynamics between traveling and returning, staying and running away. In addition to imagery, text, and typography, the book creates paradoxical rhythms and beats echoing the title by putting dark cardstock jacket and vellum foldouts together in contrast. While the interiors were offset printed, each jacket was stamped by hand, endowing it with another layer of undetermined, subtle nature. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772816995120-EBTIG0GRNEC0M01SS7BE/mcba-prize-2024-qinyan-liu-beats-of-goodbye-3.jpg Entries & Jurors - 2024 Entries - Qinyan Liu Queens, NY https://designdorisliu.cargo.site/ IG: @shirorie_3 Beats of Goodbye 2024 Mixed paper (uncoated paper, vellum, cardstock) and slide film 6 x 8 inch Artist Statement When I see a bird flying by, I hear the whizzes of the wind through its feathers. And those are the beats when there are people saying at the same time—welcome home and goodbye. Deriving from the realm of travel photography, I found myself obsessed with photographing moving objects and moving scenes. This original photo book deliberately selects pictures from several past trips, resulting in a compilation of flying birds, planes, window views in a speeding train. By poetic curation of images, it explores the intricate emotional dynamics between traveling and returning, staying and running away. In addition to imagery, text, and typography, the book creates paradoxical rhythms and beats echoing the title by putting dark cardstock jacket and vellum foldouts together in contrast. While the interiors were offset printed, each jacket was stamped by hand, endowing it with another layer of undetermined, subtle nature. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772816995447-FIWBB6N0Q48NSL4QMK5N/mcba-prize-2024-qinyan-liu-beats-of-goodbye-4.jpg Entries & Jurors - 2024 Entries - Qinyan Liu Queens, NY https://designdorisliu.cargo.site/ IG: @shirorie_3 Beats of Goodbye 2024 Mixed paper (uncoated paper, vellum, cardstock) and slide film 6 x 8 inch Artist Statement When I see a bird flying by, I hear the whizzes of the wind through its feathers. And those are the beats when there are people saying at the same time—welcome home and goodbye. Deriving from the realm of travel photography, I found myself obsessed with photographing moving objects and moving scenes. This original photo book deliberately selects pictures from several past trips, resulting in a compilation of flying birds, planes, window views in a speeding train. By poetic curation of images, it explores the intricate emotional dynamics between traveling and returning, staying and running away. In addition to imagery, text, and typography, the book creates paradoxical rhythms and beats echoing the title by putting dark cardstock jacket and vellum foldouts together in contrast. While the interiors were offset printed, each jacket was stamped by hand, endowing it with another layer of undetermined, subtle nature. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772816996605-9RWDUR5K19SEF3AZW08C/mcba-prize-2024-qinyan-liu-beats-of-goodbye-5.jpg Entries & Jurors - 2024 Entries - Qinyan Liu Queens, NY https://designdorisliu.cargo.site/ IG: @shirorie_3 Beats of Goodbye 2024 Mixed paper (uncoated paper, vellum, cardstock) and slide film 6 x 8 inch Artist Statement When I see a bird flying by, I hear the whizzes of the wind through its feathers. And those are the beats when there are people saying at the same time—welcome home and goodbye. Deriving from the realm of travel photography, I found myself obsessed with photographing moving objects and moving scenes. This original photo book deliberately selects pictures from several past trips, resulting in a compilation of flying birds, planes, window views in a speeding train. By poetic curation of images, it explores the intricate emotional dynamics between traveling and returning, staying and running away. In addition to imagery, text, and typography, the book creates paradoxical rhythms and beats echoing the title by putting dark cardstock jacket and vellum foldouts together in contrast. While the interiors were offset printed, each jacket was stamped by hand, endowing it with another layer of undetermined, subtle nature. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817301455-QKS8AK6P73QODWQGV8UR/mcba-prize-2024-qinyan-liu-distant-flash-1.jpg Entries & Jurors - 2024 Entries - Qinyan Liu Queens, NY https://designdorisliu.cargo.site/ IG: @shirorie_3 Distant Flash 2022-2023 Mixed paper: uncoated paper, vellum, metallic cardstock 4.5 x 8 inch Artist Statement The obsession with taking photos, especially in travel, seems to be a major contemporary symptom from the sociologists’ perspective. Does traveling with our camera at hand all along mean that it replaces our real experience? Focusing on the overlapped realm of photography and travel, “Distant Flash” attempts to imagine this topic with an optimistic vision. In the form of a three-volume photobook set, it explores how the photographic practice can intervene and transform our embodied experience, not replace it, with our initiative at play. In each volume, the photographs are deliberately curated and “installed” within the printed mediums, juxtaposed with poetic quotes and freewriting text. Various printing and binding techniques also add to the visual effects of the books—mixed paper layers, french folds, two reversed halves of each volume—constructing immersive ways of viewing similar to an exhibition in a physical space. Each volume respectively emphasizes the three aspects of experience (Time, Space, and Sociality) transformed under the mediation of the photo-taking act. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817183298-73O0YHFK57F83O1YJGSP/mcba-prize-2024-eilot-tuerie-genesis-3.jpg Entries & Jurors - 2024 Entries - Eîlot Tuerie San Francisco, CA https://www.eilottuerie.org/ Genesis 2024 Paper 3.25 x 4 x 3.25 inches Artist Statement Genesis is a hand-made paper ball made of the pages of the Book of Genesis taken from a discarded Bible found in a box on a sidewalk. At its core is the first half-page of the Book of Exodus. Genesis’s pages were carefully removed by working the spine in a left-right motion. The pages were crumpled in reverse order, last to first, so the work’s title could be seen. Genesis can be read by peeling or unwrapping the pages that constitute it. Left as it is, it can be used to play ball. It has been successfully shot like a basketball into a bedroom trash bin on numerous occasions. Genesis is part of a series of paper balls, all derived from removed pages of found books in public places, that questions who were are, where we are going, and what will be left behind. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817181927-H7B5ZT8OV1ZK42GOFBQ5/mcba-prize-2024-eilot-tuerie-genesis-1.jpg Entries & Jurors - 2024 Entries - Eîlot Tuerie San Francisco, CA https://www.eilottuerie.org/ Genesis 2024 Paper 3.25 x 4 x 3.25 inches Artist Statement Genesis is a hand-made paper ball made of the pages of the Book of Genesis taken from a discarded Bible found in a box on a sidewalk. At its core is the first half-page of the Book of Exodus. Genesis’s pages were carefully removed by working the spine in a left-right motion. The pages were crumpled in reverse order, last to first, so the work’s title could be seen. Genesis can be read by peeling or unwrapping the pages that constitute it. Left as it is, it can be used to play ball. It has been successfully shot like a basketball into a bedroom trash bin on numerous occasions. Genesis is part of a series of paper balls, all derived from removed pages of found books in public places, that questions who were are, where we are going, and what will be left behind. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817181957-HKTPWBC0AZNAY1D8WSMU/mcba-prize-2024-eilot-tuerie-genesis-2.jpg Entries & Jurors - 2024 Entries - Eîlot Tuerie San Francisco, CA https://www.eilottuerie.org/ Genesis 2024 Paper 3.25 x 4 x 3.25 inches Artist Statement Genesis is a hand-made paper ball made of the pages of the Book of Genesis taken from a discarded Bible found in a box on a sidewalk. At its core is the first half-page of the Book of Exodus. Genesis’s pages were carefully removed by working the spine in a left-right motion. The pages were crumpled in reverse order, last to first, so the work’s title could be seen. Genesis can be read by peeling or unwrapping the pages that constitute it. Left as it is, it can be used to play ball. It has been successfully shot like a basketball into a bedroom trash bin on numerous occasions. Genesis is part of a series of paper balls, all derived from removed pages of found books in public places, that questions who were are, where we are going, and what will be left behind. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817183537-LJBWO00UHJHU97P1Q24B/mcba-prize-2024-eilot-tuerie-genesis-4.jpg Entries & Jurors - 2024 Entries - Eîlot Tuerie San Francisco, CA https://www.eilottuerie.org/ Genesis 2024 Paper 3.25 x 4 x 3.25 inches Artist Statement Genesis is a hand-made paper ball made of the pages of the Book of Genesis taken from a discarded Bible found in a box on a sidewalk. At its core is the first half-page of the Book of Exodus. Genesis’s pages were carefully removed by working the spine in a left-right motion. The pages were crumpled in reverse order, last to first, so the work’s title could be seen. Genesis can be read by peeling or unwrapping the pages that constitute it. Left as it is, it can be used to play ball. It has been successfully shot like a basketball into a bedroom trash bin on numerous occasions. Genesis is part of a series of paper balls, all derived from removed pages of found books in public places, that questions who were are, where we are going, and what will be left behind. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817301463-0JUD2LZA1HKYXPJT8U25/mcba-prize-2024-qinyan-liu-distant-flash-2.jpg Entries & Jurors - 2024 Entries - Qinyan Liu Queens, NY https://designdorisliu.cargo.site/ IG: @shirorie_3 Distant Flash 2022-2023 Mixed paper: uncoated paper, vellum, metallic cardstock 4.5 x 8 inch Artist Statement The obsession with taking photos, especially in travel, seems to be a major contemporary symptom from the sociologists’ perspective. Does traveling with our camera at hand all along mean that it replaces our real experience? Focusing on the overlapped realm of photography and travel, “Distant Flash” attempts to imagine this topic with an optimistic vision. In the form of a three-volume photobook set, it explores how the photographic practice can intervene and transform our embodied experience, not replace it, with our initiative at play. In each volume, the photographs are deliberately curated and “installed” within the printed mediums, juxtaposed with poetic quotes and freewriting text. Various printing and binding techniques also add to the visual effects of the books—mixed paper layers, french folds, two reversed halves of each volume—constructing immersive ways of viewing similar to an exhibition in a physical space. Each volume respectively emphasizes the three aspects of experience (Time, Space, and Sociality) transformed under the mediation of the photo-taking act. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817302612-M8F8963S7W929YUOT08P/mcba-prize-2024-qinyan-liu-distant-flash-3.jpg Entries & Jurors - 2024 Entries - Qinyan Liu Queens, NY https://designdorisliu.cargo.site/ IG: @shirorie_3 Distant Flash 2022-2023 Mixed paper: uncoated paper, vellum, metallic cardstock 4.5 x 8 inch Artist Statement The obsession with taking photos, especially in travel, seems to be a major contemporary symptom from the sociologists’ perspective. Does traveling with our camera at hand all along mean that it replaces our real experience? Focusing on the overlapped realm of photography and travel, “Distant Flash” attempts to imagine this topic with an optimistic vision. In the form of a three-volume photobook set, it explores how the photographic practice can intervene and transform our embodied experience, not replace it, with our initiative at play. In each volume, the photographs are deliberately curated and “installed” within the printed mediums, juxtaposed with poetic quotes and freewriting text. Various printing and binding techniques also add to the visual effects of the books—mixed paper layers, french folds, two reversed halves of each volume—constructing immersive ways of viewing similar to an exhibition in a physical space. Each volume respectively emphasizes the three aspects of experience (Time, Space, and Sociality) transformed under the mediation of the photo-taking act. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817302988-6BW1P6II4E2TMF44U34F/mcba-prize-2024-qinyan-liu-distant-flash-4.jpg Entries & Jurors - 2024 Entries - Qinyan Liu Queens, NY https://designdorisliu.cargo.site/ IG: @shirorie_3 Distant Flash 2022-2023 Mixed paper: uncoated paper, vellum, metallic cardstock 4.5 x 8 inch Artist Statement The obsession with taking photos, especially in travel, seems to be a major contemporary symptom from the sociologists’ perspective. Does traveling with our camera at hand all along mean that it replaces our real experience? Focusing on the overlapped realm of photography and travel, “Distant Flash” attempts to imagine this topic with an optimistic vision. In the form of a three-volume photobook set, it explores how the photographic practice can intervene and transform our embodied experience, not replace it, with our initiative at play. In each volume, the photographs are deliberately curated and “installed” within the printed mediums, juxtaposed with poetic quotes and freewriting text. Various printing and binding techniques also add to the visual effects of the books—mixed paper layers, french folds, two reversed halves of each volume—constructing immersive ways of viewing similar to an exhibition in a physical space. Each volume respectively emphasizes the three aspects of experience (Time, Space, and Sociality) transformed under the mediation of the photo-taking act. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817303876-F5ULQ32FH2AY6UOK36EP/mcba-prize-2024-qinyan-liu-distant-flash-5.jpg Entries & Jurors - 2024 Entries - Qinyan Liu Queens, NY https://designdorisliu.cargo.site/ IG: @shirorie_3 Distant Flash 2022-2023 Mixed paper: uncoated paper, vellum, metallic cardstock 4.5 x 8 inch Artist Statement The obsession with taking photos, especially in travel, seems to be a major contemporary symptom from the sociologists’ perspective. Does traveling with our camera at hand all along mean that it replaces our real experience? Focusing on the overlapped realm of photography and travel, “Distant Flash” attempts to imagine this topic with an optimistic vision. In the form of a three-volume photobook set, it explores how the photographic practice can intervene and transform our embodied experience, not replace it, with our initiative at play. In each volume, the photographs are deliberately curated and “installed” within the printed mediums, juxtaposed with poetic quotes and freewriting text. Various printing and binding techniques also add to the visual effects of the books—mixed paper layers, french folds, two reversed halves of each volume—constructing immersive ways of viewing similar to an exhibition in a physical space. Each volume respectively emphasizes the three aspects of experience (Time, Space, and Sociality) transformed under the mediation of the photo-taking act. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817414214-YSLILDITIX7J6THNY9GM/mcba-prize-2024-amanda-mcfarland-along-a-river-2.jpeg Entries & Jurors - 2024 Entries - Amanda McFarland Cary, NC IG: @amanda_paints_shapes along a river 2024 Acrylic, pen, pencil, collage on paper 96 inches X 1/2 inch X 10 inches Artist Statement McFarland paints large scale abstract paintings on paper and folds them into books. The paper folding allows new abstract forms and unexpected combination in the pieces. This piece stems from a dream and has two sides—a visual poem and a recollection. The books unfold and fold in the direction that the viewer chooses, the stories are nonlinear. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817415679-MHFOMTMYLC0XFAP0OB0N/mcba-prize-2024-amanda-mcfarland-along-a-river-3.jpeg Entries & Jurors - 2024 Entries - Amanda McFarland Cary, NC IG: @amanda_paints_shapes along a river 2024 Acrylic, pen, pencil, collage on paper 96 inches X 1/2 inch X 10 inches Artist Statement McFarland paints large scale abstract paintings on paper and folds them into books. The paper folding allows new abstract forms and unexpected combination in the pieces. This piece stems from a dream and has two sides—a visual poem and a recollection. The books unfold and fold in the direction that the viewer chooses, the stories are nonlinear. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817414127-AW7K5VTA3GVGBB3TOVG4/mcba-prize-2024-amanda-mcfarland-along-a-river-1.jpeg Entries & Jurors - 2024 Entries - Amanda McFarland Cary, NC IG: @amanda_paints_shapes along a river 2024 Acrylic, pen, pencil, collage on paper 96 inches X 1/2 inch X 10 inches Artist Statement McFarland paints large scale abstract paintings on paper and folds them into books. The paper folding allows new abstract forms and unexpected combination in the pieces. This piece stems from a dream and has two sides—a visual poem and a recollection. The books unfold and fold in the direction that the viewer chooses, the stories are nonlinear. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817417162-EXYP3IITITM4F5V5QRXK/mcba-prize-2024-amanda-mcfarland-along-a-river-5.jpeg Entries & Jurors - 2024 Entries - Amanda McFarland Cary, NC IG: @amanda_paints_shapes along a river 2024 Acrylic, pen, pencil, collage on paper 96 inches X 1/2 inch X 10 inches Artist Statement McFarland paints large scale abstract paintings on paper and folds them into books. The paper folding allows new abstract forms and unexpected combination in the pieces. This piece stems from a dream and has two sides—a visual poem and a recollection. The books unfold and fold in the direction that the viewer chooses, the stories are nonlinear. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817415925-TRDJ68NXCZIRJF5CHEKQ/mcba-prize-2024-amanda-mcfarland-along-a-river-4.jpeg Entries & Jurors - 2024 Entries - Amanda McFarland Cary, NC IG: @amanda_paints_shapes along a river 2024 Acrylic, pen, pencil, collage on paper 96 inches X 1/2 inch X 10 inches Artist Statement McFarland paints large scale abstract paintings on paper and folds them into books. The paper folding allows new abstract forms and unexpected combination in the pieces. This piece stems from a dream and has two sides—a visual poem and a recollection. The books unfold and fold in the direction that the viewer chooses, the stories are nonlinear. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817622087-KLW6VDR3JLYVHQYR0QK9/mcba-prize-2024-ravikumar-kashi-limbo-3.jpeg Entries & Jurors - 2024 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com IG: @ravikumarkashi Limbo 2024 Cotton rag fiber pulp L11″ x W15″ x H7″ Artist Statement Limbo serves as a visual metaphor for being unable to move—stuck between the pages of a book or at a critical juncture in life. It’s about being in a position where one cannot move forward or backward, caught in a state of suspension. Like a fly trapped in ointment, one is ensnared, unable to stay or let go. The artwork is crafted from cotton rag fibre pulp, cast and constructed into its final form. The book form is created by casting in a mould, with gum-like details added later -meticulously built-up layer by layer, supported by internal threads. The cover is made from pigmented handmade paper crafted from cotton rag. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817619961-QHYMB8BETWHJYJ6UOVQR/mcba-prize-2024-ravikumar-kashi-limbo-1.jpeg Entries & Jurors - 2024 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com IG: @ravikumarkashi Limbo 2024 Cotton rag fiber pulp L11″ x W15″ x H7″ Artist Statement Limbo serves as a visual metaphor for being unable to move—stuck between the pages of a book or at a critical juncture in life. It’s about being in a position where one cannot move forward or backward, caught in a state of suspension. Like a fly trapped in ointment, one is ensnared, unable to stay or let go. The artwork is crafted from cotton rag fibre pulp, cast and constructed into its final form. The book form is created by casting in a mould, with gum-like details added later -meticulously built-up layer by layer, supported by internal threads. The cover is made from pigmented handmade paper crafted from cotton rag. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817620073-ZFMFV24E2SLHJHTJZLB0/mcba-prize-2024-ravikumar-kashi-limbo-2.jpeg Entries & Jurors - 2024 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com IG: @ravikumarkashi Limbo 2024 Cotton rag fiber pulp L11″ x W15″ x H7″ Artist Statement Limbo serves as a visual metaphor for being unable to move—stuck between the pages of a book or at a critical juncture in life. It’s about being in a position where one cannot move forward or backward, caught in a state of suspension. Like a fly trapped in ointment, one is ensnared, unable to stay or let go. The artwork is crafted from cotton rag fibre pulp, cast and constructed into its final form. The book form is created by casting in a mould, with gum-like details added later -meticulously built-up layer by layer, supported by internal threads. The cover is made from pigmented handmade paper crafted from cotton rag. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817622436-TRIRZBKVC93MN33PTWK4/mcba-prize-2024-ravikumar-kashi-limbo-4.jpeg Entries & Jurors - 2024 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com IG: @ravikumarkashi Limbo 2024 Cotton rag fiber pulp L11″ x W15″ x H7″ Artist Statement Limbo serves as a visual metaphor for being unable to move—stuck between the pages of a book or at a critical juncture in life. It’s about being in a position where one cannot move forward or backward, caught in a state of suspension. Like a fly trapped in ointment, one is ensnared, unable to stay or let go. The artwork is crafted from cotton rag fibre pulp, cast and constructed into its final form. The book form is created by casting in a mould, with gum-like details added later -meticulously built-up layer by layer, supported by internal threads. The cover is made from pigmented handmade paper crafted from cotton rag. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817623567-RHPJB8ZKFU0L983HYTGO/mcba-prize-2024-ravikumar-kashi-limbo-5.jpeg Entries & Jurors - 2024 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com IG: @ravikumarkashi Limbo 2024 Cotton rag fiber pulp L11″ x W15″ x H7″ Artist Statement Limbo serves as a visual metaphor for being unable to move—stuck between the pages of a book or at a critical juncture in life. It’s about being in a position where one cannot move forward or backward, caught in a state of suspension. Like a fly trapped in ointment, one is ensnared, unable to stay or let go. The artwork is crafted from cotton rag fibre pulp, cast and constructed into its final form. The book form is created by casting in a mould, with gum-like details added later -meticulously built-up layer by layer, supported by internal threads. The cover is made from pigmented handmade paper crafted from cotton rag. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818807188-UV50VOY1KCIHEDG249G6/mcba-prize-2024-Lucy-Rose-Till-and-Sheldon-Till-Campbell-Chicory-2.jpeg Entries & Jurors - 2024 Entries - Lucy Rose Till-Campbell & Sheldon Till-Campbell Forest Park, IL Instagram: @lucyrosetillcampbell Instagram: @sheldontillcampbell www.tillcampbell.com Chicory 2023-2024 Clamshell box with hand-illustrated paper cubes (edition of 5) 5×3.75×1.5″ Artist Statement Chicory is a work of children’s literature that takes advantage of narrative and relational possibilities provided by unbound cube pages. Lucy Rose began rendering the universe of these woodland characters as a way to communicate with our niece and nephews who live in the Czech Republic. This book took shape in response to our brother and sister-in-law giving birth to their third child. Each character in the book is based on one of their three children, and the book provides a shared space. It is hard to communicate with toddlers and babies long distance; they struggle to understand FaceTime calls and emails. But they have no problem understanding play and comics about a trio of greenish elves who live in the woods and go on innocuous and adorable adventures. Chicory features four separate narrative arcs in the form of six cubes. Each side of each cube is one frame of one story. The reader can attempt to reconstruct them according to our intention or they can rearrange them at will. Of the remaining cubes, three include the faces of the characters, Cranberry, Milkweed and Chicory, in six different emotional states. The last three cubes are flowers, a tea set and various things found on the table in the acorn home where they live. We worked at a delicate, miniature scale to heighten the gem-like character of the book and embody the richness of imaginative experience children encounter in very small locations or objects. The narrative world of the book is a sweet and beautiful one, free from peril, but suffused with desire and a quiet melancholy. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818807382-Q8D2CMTFI0LQGHWZ68TA/mcba-prize-2024-Lucy-Rose-Till-and-Sheldon-Till-Campbell-Chicory-1.jpg Entries & Jurors - 2024 Entries - Lucy Rose Till-Campbell & Sheldon Till-Campbell Forest Park, IL Instagram: @lucyrosetillcampbell Instagram: @sheldontillcampbell www.tillcampbell.com Chicory 2023-2024 Clamshell box with hand-illustrated paper cubes (edition of 5) 5×3.75×1.5″ Artist Statement Chicory is a work of children’s literature that takes advantage of narrative and relational possibilities provided by unbound cube pages. Lucy Rose began rendering the universe of these woodland characters as a way to communicate with our niece and nephews who live in the Czech Republic. This book took shape in response to our brother and sister-in-law giving birth to their third child. Each character in the book is based on one of their three children, and the book provides a shared space. It is hard to communicate with toddlers and babies long distance; they struggle to understand FaceTime calls and emails. But they have no problem understanding play and comics about a trio of greenish elves who live in the woods and go on innocuous and adorable adventures. Chicory features four separate narrative arcs in the form of six cubes. Each side of each cube is one frame of one story. The reader can attempt to reconstruct them according to our intention or they can rearrange them at will. Of the remaining cubes, three include the faces of the characters, Cranberry, Milkweed and Chicory, in six different emotional states. The last three cubes are flowers, a tea set and various things found on the table in the acorn home where they live. We worked at a delicate, miniature scale to heighten the gem-like character of the book and embody the richness of imaginative experience children encounter in very small locations or objects. The narrative world of the book is a sweet and beautiful one, free from peril, but suffused with desire and a quiet melancholy. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818808404-1JUQDV5YMZOQ086CN0FC/mcba-prize-2024-Lucy-Rose-Till-and-Sheldon-Till-Campbell-Chicory-3.jpeg Entries & Jurors - 2024 Entries - Lucy Rose Till-Campbell & Sheldon Till-Campbell Forest Park, IL Instagram: @lucyrosetillcampbell Instagram: @sheldontillcampbell www.tillcampbell.com Chicory 2023-2024 Clamshell box with hand-illustrated paper cubes (edition of 5) 5×3.75×1.5″ Artist Statement Chicory is a work of children’s literature that takes advantage of narrative and relational possibilities provided by unbound cube pages. Lucy Rose began rendering the universe of these woodland characters as a way to communicate with our niece and nephews who live in the Czech Republic. This book took shape in response to our brother and sister-in-law giving birth to their third child. Each character in the book is based on one of their three children, and the book provides a shared space. It is hard to communicate with toddlers and babies long distance; they struggle to understand FaceTime calls and emails. But they have no problem understanding play and comics about a trio of greenish elves who live in the woods and go on innocuous and adorable adventures. Chicory features four separate narrative arcs in the form of six cubes. Each side of each cube is one frame of one story. The reader can attempt to reconstruct them according to our intention or they can rearrange them at will. Of the remaining cubes, three include the faces of the characters, Cranberry, Milkweed and Chicory, in six different emotional states. The last three cubes are flowers, a tea set and various things found on the table in the acorn home where they live. We worked at a delicate, miniature scale to heighten the gem-like character of the book and embody the richness of imaginative experience children encounter in very small locations or objects. The narrative world of the book is a sweet and beautiful one, free from peril, but suffused with desire and a quiet melancholy. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818808751-FOY68CJ5EQFTR09MST50/mcba-prize-2024-Lucy-Rose-Till-and-Sheldon-Till-Campbell-Chicory-4.jpeg Entries & Jurors - 2024 Entries - Lucy Rose Till-Campbell & Sheldon Till-Campbell Forest Park, IL Instagram: @lucyrosetillcampbell Instagram: @sheldontillcampbell www.tillcampbell.com Chicory 2023-2024 Clamshell box with hand-illustrated paper cubes (edition of 5) 5×3.75×1.5″ Artist Statement Chicory is a work of children’s literature that takes advantage of narrative and relational possibilities provided by unbound cube pages. Lucy Rose began rendering the universe of these woodland characters as a way to communicate with our niece and nephews who live in the Czech Republic. This book took shape in response to our brother and sister-in-law giving birth to their third child. Each character in the book is based on one of their three children, and the book provides a shared space. It is hard to communicate with toddlers and babies long distance; they struggle to understand FaceTime calls and emails. But they have no problem understanding play and comics about a trio of greenish elves who live in the woods and go on innocuous and adorable adventures. Chicory features four separate narrative arcs in the form of six cubes. Each side of each cube is one frame of one story. The reader can attempt to reconstruct them according to our intention or they can rearrange them at will. Of the remaining cubes, three include the faces of the characters, Cranberry, Milkweed and Chicory, in six different emotional states. The last three cubes are flowers, a tea set and various things found on the table in the acorn home where they live. We worked at a delicate, miniature scale to heighten the gem-like character of the book and embody the richness of imaginative experience children encounter in very small locations or objects. The narrative world of the book is a sweet and beautiful one, free from peril, but suffused with desire and a quiet melancholy. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819089364-6SU4X7XZO4JI5TBYA8X0/mcba-prize-2024-iris-wright-carrion-1.jpeg Entries & Jurors - 2024 Entries - Iris Wright Providence, RI https://iriswrite.com/ https://www.instagram.com/iris.write/ CARRION 2023 artists book (letterpress on Neenah cotton paper using handset type, pressure printing, and linoleum carving; lasercut stardream paper on thread; digitally designed bookcloth; lasercut and carved bookboard; and lokta paper) 9.25in x 12in x 2.25in when open, and 2.75in x 1in x 2.25in Artist Statement CARRION tells a concise narrative about seeing omens. It can be read as a linear narrative and further opened by pulling the center spread outward to reveal an inner cityscape with strung celestial objects across five chambers. Its wrap cover snaps shut via magnet, and it is small enough to fit in your pocket when closed. I made this book in an edition of 18, so its version of the city of Providence can live in multiple places simultaneously. I began writing this book the summer after I graduated college. At my commencement ceremony, the head of the Visual Art Department, Leslie Bostrom, gave a speech on the resilience of sparrows and their ability to thrive anywhere, intending to inspire us young artists to make art in every version of our futures. During that summer I took many walks through Providence, looking for signs that I was on the right path. Repeatedly I encountered dead sparrows at my feet. Each time, I stopped to say a silent goodbye to these strangers. I interpreted them as signs, perhaps of death, of being in the wrong place, or of my failure to make art in the wake of change. A part of me saw the pattern as challenging me to oppose the omen, by living with intention, by honoring my new city, and by making work that would impress a former version of myself. Perhaps their prophecy is inevitable or unknowable, or perhaps my encounters are coincidence, but interpreting them as omens inspired this eerie homage to my city. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819089387-46V4ZT8R3W5XCVAAABE8/mcba-prize-2024-iris-wright-carrion-2.jpeg Entries & Jurors - 2024 Entries - Iris Wright Providence, RI https://iriswrite.com/ https://www.instagram.com/iris.write/ CARRION 2023 artists book (letterpress on Neenah cotton paper using handset type, pressure printing, and linoleum carving; lasercut stardream paper on thread; digitally designed bookcloth; lasercut and carved bookboard; and lokta paper) 9.25in x 12in x 2.25in when open, and 2.75in x 1in x 2.25in Artist Statement CARRION tells a concise narrative about seeing omens. It can be read as a linear narrative and further opened by pulling the center spread outward to reveal an inner cityscape with strung celestial objects across five chambers. Its wrap cover snaps shut via magnet, and it is small enough to fit in your pocket when closed. I made this book in an edition of 18, so its version of the city of Providence can live in multiple places simultaneously. I began writing this book the summer after I graduated college. At my commencement ceremony, the head of the Visual Art Department, Leslie Bostrom, gave a speech on the resilience of sparrows and their ability to thrive anywhere, intending to inspire us young artists to make art in every version of our futures. During that summer I took many walks through Providence, looking for signs that I was on the right path. Repeatedly I encountered dead sparrows at my feet. Each time, I stopped to say a silent goodbye to these strangers. I interpreted them as signs, perhaps of death, of being in the wrong place, or of my failure to make art in the wake of change. A part of me saw the pattern as challenging me to oppose the omen, by living with intention, by honoring my new city, and by making work that would impress a former version of myself. Perhaps their prophecy is inevitable or unknowable, or perhaps my encounters are coincidence, but interpreting them as omens inspired this eerie homage to my city. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819091302-4Q2NXSJ2BIKFEQB6418U/mcba-prize-2024-iris-wright-carrion-3.jpeg Entries & Jurors - 2024 Entries - Iris Wright Providence, RI https://iriswrite.com/ https://www.instagram.com/iris.write/ CARRION 2023 artists book (letterpress on Neenah cotton paper using handset type, pressure printing, and linoleum carving; lasercut stardream paper on thread; digitally designed bookcloth; lasercut and carved bookboard; and lokta paper) 9.25in x 12in x 2.25in when open, and 2.75in x 1in x 2.25in Artist Statement CARRION tells a concise narrative about seeing omens. It can be read as a linear narrative and further opened by pulling the center spread outward to reveal an inner cityscape with strung celestial objects across five chambers. Its wrap cover snaps shut via magnet, and it is small enough to fit in your pocket when closed. I made this book in an edition of 18, so its version of the city of Providence can live in multiple places simultaneously. I began writing this book the summer after I graduated college. At my commencement ceremony, the head of the Visual Art Department, Leslie Bostrom, gave a speech on the resilience of sparrows and their ability to thrive anywhere, intending to inspire us young artists to make art in every version of our futures. During that summer I took many walks through Providence, looking for signs that I was on the right path. Repeatedly I encountered dead sparrows at my feet. Each time, I stopped to say a silent goodbye to these strangers. I interpreted them as signs, perhaps of death, of being in the wrong place, or of my failure to make art in the wake of change. A part of me saw the pattern as challenging me to oppose the omen, by living with intention, by honoring my new city, and by making work that would impress a former version of myself. Perhaps their prophecy is inevitable or unknowable, or perhaps my encounters are coincidence, but interpreting them as omens inspired this eerie homage to my city. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819091562-8HKCU1FNS8WKR4WR2F11/mcba-prize-2024-iris-wright-carrion-4.jpeg Entries & Jurors - 2024 Entries - Iris Wright Providence, RI https://iriswrite.com/ https://www.instagram.com/iris.write/ CARRION 2023 artists book (letterpress on Neenah cotton paper using handset type, pressure printing, and linoleum carving; lasercut stardream paper on thread; digitally designed bookcloth; lasercut and carved bookboard; and lokta paper) 9.25in x 12in x 2.25in when open, and 2.75in x 1in x 2.25in Artist Statement CARRION tells a concise narrative about seeing omens. It can be read as a linear narrative and further opened by pulling the center spread outward to reveal an inner cityscape with strung celestial objects across five chambers. Its wrap cover snaps shut via magnet, and it is small enough to fit in your pocket when closed. I made this book in an edition of 18, so its version of the city of Providence can live in multiple places simultaneously. I began writing this book the summer after I graduated college. At my commencement ceremony, the head of the Visual Art Department, Leslie Bostrom, gave a speech on the resilience of sparrows and their ability to thrive anywhere, intending to inspire us young artists to make art in every version of our futures. During that summer I took many walks through Providence, looking for signs that I was on the right path. Repeatedly I encountered dead sparrows at my feet. Each time, I stopped to say a silent goodbye to these strangers. I interpreted them as signs, perhaps of death, of being in the wrong place, or of my failure to make art in the wake of change. A part of me saw the pattern as challenging me to oppose the omen, by living with intention, by honoring my new city, and by making work that would impress a former version of myself. Perhaps their prophecy is inevitable or unknowable, or perhaps my encounters are coincidence, but interpreting them as omens inspired this eerie homage to my city. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819092589-0NT4HWZN6WBC2QLJNMSE/mcba-prize-2024-iris-wright-carrion-5.jpeg Entries & Jurors - 2024 Entries - Iris Wright Providence, RI https://iriswrite.com/ https://www.instagram.com/iris.write/ CARRION 2023 artists book (letterpress on Neenah cotton paper using handset type, pressure printing, and linoleum carving; lasercut stardream paper on thread; digitally designed bookcloth; lasercut and carved bookboard; and lokta paper) 9.25in x 12in x 2.25in when open, and 2.75in x 1in x 2.25in Artist Statement CARRION tells a concise narrative about seeing omens. It can be read as a linear narrative and further opened by pulling the center spread outward to reveal an inner cityscape with strung celestial objects across five chambers. Its wrap cover snaps shut via magnet, and it is small enough to fit in your pocket when closed. I made this book in an edition of 18, so its version of the city of Providence can live in multiple places simultaneously. I began writing this book the summer after I graduated college. At my commencement ceremony, the head of the Visual Art Department, Leslie Bostrom, gave a speech on the resilience of sparrows and their ability to thrive anywhere, intending to inspire us young artists to make art in every version of our futures. During that summer I took many walks through Providence, looking for signs that I was on the right path. Repeatedly I encountered dead sparrows at my feet. Each time, I stopped to say a silent goodbye to these strangers. I interpreted them as signs, perhaps of death, of being in the wrong place, or of my failure to make art in the wake of change. A part of me saw the pattern as challenging me to oppose the omen, by living with intention, by honoring my new city, and by making work that would impress a former version of myself. Perhaps their prophecy is inevitable or unknowable, or perhaps my encounters are coincidence, but interpreting them as omens inspired this eerie homage to my city. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819308267-XHHMK563MRX1YA1X44U0/mcba-prize-2024-Amanda-Maciuba-Book-Looking-for-Rain-2.jpeg Entries & Jurors - 2024 Entries - Amanda Maciuba & Mary Wharff Northampton, MA www.amandamaciuba.com IG: @amandamaymaciuba Book Looking for Rain 2022 Casebound artist’s book, Oil-based & regular Sharpie, graphite, ballpoint pen, crayola fine point markers, & ink on mixed paper (includes handmade abaca, kozo, cotton, flax) and yupo 6”x 6” (6” x 12” expanded) Artist Statement “Book Looking for Rain” is designed and fabricated by Amanda Maciuba using traditional, handmade bookbinding techniques and materials. It features images drawn with a mix of oil-based and water-based media. The original images consist of tally marks (meant to represent the passage of time), roadside fences, headlines from the Weather.com App, roadways and the path of three rivers, The Columbia, Iowa and Connecticut. The book was attached to the front bumper of Kyle Peet’s van, otherwise known as the Ride Share Gallery, from June 16th to August 16th of 2022. The work was intended to change over time depending on the weather it encountered as it traveled around the Pacific Northwest, mostly in Walla Walla, Washington. Accidental encounters with it at the local grocery store or a trailhead by viewers was meant to encourage critical contemplation of the ever-increasing extreme weather events throughout the United States that are exacerbated by human-caused climate change. The final result is a collaboration between Maciuba, Peets and the local weather encountered by the book while affixed to Peet’s van (The Ride Share Gallery), in the mostly drought-starved Pacific Northwest in the Summer of 2022. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819309758-I9AY9LX6BFIX9AVEU3B6/mcba-prize-2024-Amanda-Maciuba-Book-Looking-for-Rain-3.jpeg Entries & Jurors - 2024 Entries - Amanda Maciuba & Mary Wharff Northampton, MA www.amandamaciuba.com IG: @amandamaymaciuba Book Looking for Rain 2022 Casebound artist’s book, Oil-based & regular Sharpie, graphite, ballpoint pen, crayola fine point markers, & ink on mixed paper (includes handmade abaca, kozo, cotton, flax) and yupo 6”x 6” (6” x 12” expanded) Artist Statement “Book Looking for Rain” is designed and fabricated by Amanda Maciuba using traditional, handmade bookbinding techniques and materials. It features images drawn with a mix of oil-based and water-based media. The original images consist of tally marks (meant to represent the passage of time), roadside fences, headlines from the Weather.com App, roadways and the path of three rivers, The Columbia, Iowa and Connecticut. The book was attached to the front bumper of Kyle Peet’s van, otherwise known as the Ride Share Gallery, from June 16th to August 16th of 2022. The work was intended to change over time depending on the weather it encountered as it traveled around the Pacific Northwest, mostly in Walla Walla, Washington. Accidental encounters with it at the local grocery store or a trailhead by viewers was meant to encourage critical contemplation of the ever-increasing extreme weather events throughout the United States that are exacerbated by human-caused climate change. The final result is a collaboration between Maciuba, Peets and the local weather encountered by the book while affixed to Peet’s van (The Ride Share Gallery), in the mostly drought-starved Pacific Northwest in the Summer of 2022. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819310431-IPGV1LLF1O7TDEYJ1YXF/mcba-prize-2024-Amanda-Maciuba-Book-Looking-for-Rain-4.jpeg Entries & Jurors - 2024 Entries - Amanda Maciuba & Mary Wharff Northampton, MA www.amandamaciuba.com IG: @amandamaymaciuba Book Looking for Rain 2022 Casebound artist’s book, Oil-based & regular Sharpie, graphite, ballpoint pen, crayola fine point markers, & ink on mixed paper (includes handmade abaca, kozo, cotton, flax) and yupo 6”x 6” (6” x 12” expanded) Artist Statement “Book Looking for Rain” is designed and fabricated by Amanda Maciuba using traditional, handmade bookbinding techniques and materials. It features images drawn with a mix of oil-based and water-based media. The original images consist of tally marks (meant to represent the passage of time), roadside fences, headlines from the Weather.com App, roadways and the path of three rivers, The Columbia, Iowa and Connecticut. The book was attached to the front bumper of Kyle Peet’s van, otherwise known as the Ride Share Gallery, from June 16th to August 16th of 2022. The work was intended to change over time depending on the weather it encountered as it traveled around the Pacific Northwest, mostly in Walla Walla, Washington. Accidental encounters with it at the local grocery store or a trailhead by viewers was meant to encourage critical contemplation of the ever-increasing extreme weather events throughout the United States that are exacerbated by human-caused climate change. The final result is a collaboration between Maciuba, Peets and the local weather encountered by the book while affixed to Peet’s van (The Ride Share Gallery), in the mostly drought-starved Pacific Northwest in the Summer of 2022. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819311478-S3EGRMV1MULVIDYX2ZGW/mcba-prize-2024-Amanda-Maciuba-Book-Looking-for-Rain-5.jpeg Entries & Jurors - 2024 Entries - Amanda Maciuba & Mary Wharff Northampton, MA www.amandamaciuba.com IG: @amandamaymaciuba Book Looking for Rain 2022 Casebound artist’s book, Oil-based & regular Sharpie, graphite, ballpoint pen, crayola fine point markers, & ink on mixed paper (includes handmade abaca, kozo, cotton, flax) and yupo 6”x 6” (6” x 12” expanded) Artist Statement “Book Looking for Rain” is designed and fabricated by Amanda Maciuba using traditional, handmade bookbinding techniques and materials. It features images drawn with a mix of oil-based and water-based media. The original images consist of tally marks (meant to represent the passage of time), roadside fences, headlines from the Weather.com App, roadways and the path of three rivers, The Columbia, Iowa and Connecticut. The book was attached to the front bumper of Kyle Peet’s van, otherwise known as the Ride Share Gallery, from June 16th to August 16th of 2022. The work was intended to change over time depending on the weather it encountered as it traveled around the Pacific Northwest, mostly in Walla Walla, Washington. Accidental encounters with it at the local grocery store or a trailhead by viewers was meant to encourage critical contemplation of the ever-increasing extreme weather events throughout the United States that are exacerbated by human-caused climate change. The final result is a collaboration between Maciuba, Peets and the local weather encountered by the book while affixed to Peet’s van (The Ride Share Gallery), in the mostly drought-starved Pacific Northwest in the Summer of 2022. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819308613-MB2NW0NPR4W7AUWWFLA3/mcba-prize-2024-Amanda-Maciuba-Book-Looking-for-Rain-1.jpeg Entries & Jurors - 2024 Entries - Amanda Maciuba & Mary Wharff Northampton, MA www.amandamaciuba.com IG: @amandamaymaciuba Book Looking for Rain 2022 Casebound artist’s book, Oil-based & regular Sharpie, graphite, ballpoint pen, crayola fine point markers, & ink on mixed paper (includes handmade abaca, kozo, cotton, flax) and yupo 6”x 6” (6” x 12” expanded) Artist Statement “Book Looking for Rain” is designed and fabricated by Amanda Maciuba using traditional, handmade bookbinding techniques and materials. It features images drawn with a mix of oil-based and water-based media. The original images consist of tally marks (meant to represent the passage of time), roadside fences, headlines from the Weather.com App, roadways and the path of three rivers, The Columbia, Iowa and Connecticut. The book was attached to the front bumper of Kyle Peet’s van, otherwise known as the Ride Share Gallery, from June 16th to August 16th of 2022. The work was intended to change over time depending on the weather it encountered as it traveled around the Pacific Northwest, mostly in Walla Walla, Washington. Accidental encounters with it at the local grocery store or a trailhead by viewers was meant to encourage critical contemplation of the ever-increasing extreme weather events throughout the United States that are exacerbated by human-caused climate change. The final result is a collaboration between Maciuba, Peets and the local weather encountered by the book while affixed to Peet’s van (The Ride Share Gallery), in the mostly drought-starved Pacific Northwest in the Summer of 2022. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819546043-48L1JE99K5UP2228ASPC/mcba-prize-2024-Priya-Pereira-Amev-Camilo-Pereira-Moon-5.jpg Entries & Jurors - 2024 Entries - Priya Pereira & Amev Camilo Pereira Mumbai, India www.pixiebks.com MOON 2024 3mm kappa board, 330 gsm coated black card, 250 gsm silver card, ‘waraq’ silver foil 8 5/8″ X 6 9/16″ X 1.5″ Artist Statement A joint mother-son collaboration resulted in a book with three sections. Two parts black – night, one part silver – moon. Black text on black pages, silver text on silver pages, hidden, unhidden like the moon in the cloudy night sky… like the moon in the book. The silvery effect of the moon was created using Waraq – an edible avatar of silver, beaten into fragile sheets, traditionally smeared on Indian sweets. This craft is mainly practiced by the Pannigars, a community originally hailing from Afghanistan, but settled for generations in Jaipur, Rajasthan India. For ‘Moon’, Waraq was sourced from an original Pannigar family who gave me the material and also taught me how to use it on the book. ‘Moon’ is a completely handmade book – hand-applied Waraq, hand-lettered and hand-bound. The body of the book is thick-set with thick pages, fat letters and globs of silver. Even the poem holds gravitas, in stark contrast to its light and luminous subject. Amev Camilo Pereira, my younger son, wrote the poem after a month of living alone this February in his namesake grandfather’s village house in Goa, India. Handling the book will leave you with bits of Waraq on your hands, a generous offering from the silver moon. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819541741-XICQVQPP5EU44KKFHO2X/mcba-prize-2024-Priya-Pereira-Amev-Camilo-Pereira-Moon-1.jpg Entries & Jurors - 2024 Entries - Priya Pereira & Amev Camilo Pereira Mumbai, India www.pixiebks.com MOON 2024 3mm kappa board, 330 gsm coated black card, 250 gsm silver card, ‘waraq’ silver foil 8 5/8″ X 6 9/16″ X 1.5″ Artist Statement A joint mother-son collaboration resulted in a book with three sections. Two parts black – night, one part silver – moon. Black text on black pages, silver text on silver pages, hidden, unhidden like the moon in the cloudy night sky… like the moon in the book. The silvery effect of the moon was created using Waraq – an edible avatar of silver, beaten into fragile sheets, traditionally smeared on Indian sweets. This craft is mainly practiced by the Pannigars, a community originally hailing from Afghanistan, but settled for generations in Jaipur, Rajasthan India. For ‘Moon’, Waraq was sourced from an original Pannigar family who gave me the material and also taught me how to use it on the book. ‘Moon’ is a completely handmade book – hand-applied Waraq, hand-lettered and hand-bound. The body of the book is thick-set with thick pages, fat letters and globs of silver. Even the poem holds gravitas, in stark contrast to its light and luminous subject. Amev Camilo Pereira, my younger son, wrote the poem after a month of living alone this February in his namesake grandfather’s village house in Goa, India. Handling the book will leave you with bits of Waraq on your hands, a generous offering from the silver moon. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819542172-R6VUYZA8AS2OYAXZVG48/mcba-prize-2024-Priya-Pereira-Amev-Camilo-Pereira-Moon-2.jpg Entries & Jurors - 2024 Entries - Priya Pereira & Amev Camilo Pereira Mumbai, India www.pixiebks.com MOON 2024 3mm kappa board, 330 gsm coated black card, 250 gsm silver card, ‘waraq’ silver foil 8 5/8″ X 6 9/16″ X 1.5″ Artist Statement A joint mother-son collaboration resulted in a book with three sections. Two parts black – night, one part silver – moon. Black text on black pages, silver text on silver pages, hidden, unhidden like the moon in the cloudy night sky… like the moon in the book. The silvery effect of the moon was created using Waraq – an edible avatar of silver, beaten into fragile sheets, traditionally smeared on Indian sweets. This craft is mainly practiced by the Pannigars, a community originally hailing from Afghanistan, but settled for generations in Jaipur, Rajasthan India. For ‘Moon’, Waraq was sourced from an original Pannigar family who gave me the material and also taught me how to use it on the book. ‘Moon’ is a completely handmade book – hand-applied Waraq, hand-lettered and hand-bound. The body of the book is thick-set with thick pages, fat letters and globs of silver. Even the poem holds gravitas, in stark contrast to its light and luminous subject. Amev Camilo Pereira, my younger son, wrote the poem after a month of living alone this February in his namesake grandfather’s village house in Goa, India. Handling the book will leave you with bits of Waraq on your hands, a generous offering from the silver moon. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819544325-DEMUI9HAAR4H28I65QHV/mcba-prize-2024-Priya-Pereira-Amev-Camilo-Pereira-Moon-3.jpg Entries & Jurors - 2024 Entries - Priya Pereira & Amev Camilo Pereira Mumbai, India www.pixiebks.com MOON 2024 3mm kappa board, 330 gsm coated black card, 250 gsm silver card, ‘waraq’ silver foil 8 5/8″ X 6 9/16″ X 1.5″ Artist Statement A joint mother-son collaboration resulted in a book with three sections. Two parts black – night, one part silver – moon. Black text on black pages, silver text on silver pages, hidden, unhidden like the moon in the cloudy night sky… like the moon in the book. The silvery effect of the moon was created using Waraq – an edible avatar of silver, beaten into fragile sheets, traditionally smeared on Indian sweets. This craft is mainly practiced by the Pannigars, a community originally hailing from Afghanistan, but settled for generations in Jaipur, Rajasthan India. For ‘Moon’, Waraq was sourced from an original Pannigar family who gave me the material and also taught me how to use it on the book. ‘Moon’ is a completely handmade book – hand-applied Waraq, hand-lettered and hand-bound. The body of the book is thick-set with thick pages, fat letters and globs of silver. Even the poem holds gravitas, in stark contrast to its light and luminous subject. Amev Camilo Pereira, my younger son, wrote the poem after a month of living alone this February in his namesake grandfather’s village house in Goa, India. Handling the book will leave you with bits of Waraq on your hands, a generous offering from the silver moon. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819544999-LAZDWVBVUBT5B9ZEQNSD/mcba-prize-2024-Priya-Pereira-Amev-Camilo-Pereira-Moon-4.jpg Entries & Jurors - 2024 Entries - Priya Pereira & Amev Camilo Pereira Mumbai, India www.pixiebks.com MOON 2024 3mm kappa board, 330 gsm coated black card, 250 gsm silver card, ‘waraq’ silver foil 8 5/8″ X 6 9/16″ X 1.5″ Artist Statement A joint mother-son collaboration resulted in a book with three sections. Two parts black – night, one part silver – moon. Black text on black pages, silver text on silver pages, hidden, unhidden like the moon in the cloudy night sky… like the moon in the book. The silvery effect of the moon was created using Waraq – an edible avatar of silver, beaten into fragile sheets, traditionally smeared on Indian sweets. This craft is mainly practiced by the Pannigars, a community originally hailing from Afghanistan, but settled for generations in Jaipur, Rajasthan India. For ‘Moon’, Waraq was sourced from an original Pannigar family who gave me the material and also taught me how to use it on the book. ‘Moon’ is a completely handmade book – hand-applied Waraq, hand-lettered and hand-bound. The body of the book is thick-set with thick pages, fat letters and globs of silver. Even the poem holds gravitas, in stark contrast to its light and luminous subject. Amev Camilo Pereira, my younger son, wrote the poem after a month of living alone this February in his namesake grandfather’s village house in Goa, India. Handling the book will leave you with bits of Waraq on your hands, a generous offering from the silver moon. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819761394-VRRPP6LSOHM237CB6FB9/mcba-prize-2024-Erika-Rier-Sometimes-There-Are-Stories-1.jpeg Entries & Jurors - 2024 Entries - Erika Rier Portland, OR https://www.erikarier.com https://www.instagram.com/erika_rier/ Sometimes There Are Stories 2023 Original paintings were gouache, book is paper, ink, adhesive 8″x52″ Artist Statement Sometimes There Are Stories was written during a very difficult time when my partner was recovering from a serious injury and I was recovering from my second surgery of 2023. I wanted a book that had a simple narrative that helped people to think about their personal stories and how they might affect their lives. I felt that using the form of a pop-up book added to the sense of discovery and hopefully added a little wonder and playfulness to what my be a tender subject. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819761825-KQCBDDHORB9HBR1XBEVR/mcba-prize-2024-Erika-Rier-Sometimes-There-Are-Stories-2.jpeg Entries & Jurors - 2024 Entries - Erika Rier Portland, OR https://www.erikarier.com https://www.instagram.com/erika_rier/ Sometimes There Are Stories 2023 Original paintings were gouache, book is paper, ink, adhesive 8″x52″ Artist Statement Sometimes There Are Stories was written during a very difficult time when my partner was recovering from a serious injury and I was recovering from my second surgery of 2023. I wanted a book that had a simple narrative that helped people to think about their personal stories and how they might affect their lives. I felt that using the form of a pop-up book added to the sense of discovery and hopefully added a little wonder and playfulness to what my be a tender subject. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819763680-RQH9I4YS3QHPR0X9UMFY/mcba-prize-2024-Erika-Rier-Sometimes-There-Are-Stories-3.jpeg Entries & Jurors - 2024 Entries - Erika Rier Portland, OR https://www.erikarier.com https://www.instagram.com/erika_rier/ Sometimes There Are Stories 2023 Original paintings were gouache, book is paper, ink, adhesive 8″x52″ Artist Statement Sometimes There Are Stories was written during a very difficult time when my partner was recovering from a serious injury and I was recovering from my second surgery of 2023. I wanted a book that had a simple narrative that helped people to think about their personal stories and how they might affect their lives. I felt that using the form of a pop-up book added to the sense of discovery and hopefully added a little wonder and playfulness to what my be a tender subject. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819763895-E2KYTWMI5JKI83FL4C3N/mcba-prize-2024-Erika-Rier-Sometimes-There-Are-Stories-4.jpeg Entries & Jurors - 2024 Entries - Erika Rier Portland, OR https://www.erikarier.com https://www.instagram.com/erika_rier/ Sometimes There Are Stories 2023 Original paintings were gouache, book is paper, ink, adhesive 8″x52″ Artist Statement Sometimes There Are Stories was written during a very difficult time when my partner was recovering from a serious injury and I was recovering from my second surgery of 2023. I wanted a book that had a simple narrative that helped people to think about their personal stories and how they might affect their lives. I felt that using the form of a pop-up book added to the sense of discovery and hopefully added a little wonder and playfulness to what my be a tender subject. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819953544-TB73N12OGV7Q27A2QU3V/mcba-prize-2024-Tyler-Starr-Flags-Placards-1.jpeg Entries & Jurors - 2024 Entries - Tyler Starr Davidson, NC www.tylerstarr.com Flags, Placards, and Illicit Climbers of the Capitol Insurrection (January 6, 2021) 2022 Pigment prints on Moab Entrada Rag Bright 190 gm coated with Moab Desert Spray. Archival painting of page edges. Custom hardcover case binding with rounded spine, foil stamping on front, back, spine, and interior. Custom clamshell with tunnel component and foil stamping on front, back and spine. 9″ x 11.5″ x 1.25″; 72 pages Artist Statement Flags, Placards, and Illicit Climbers is a 72-page artist’s book based on hours of January 6th footage scoured for images of rioters scaling walls to flank security on the Capitol Grounds. Context is provided with a thorough survey of the flags and placards carried by participants shedding light on their affiliations, motivations, and ideologies, including those aligned with far-right extremist movements and individuals with conspiratorial views of the election. Examples extracted from the flood of imagery offer insights into the violent insurgency including sign-making aesthetics, physical gestures, and fashion preferences. The book design is influenced by brochures found at historical sites, presenting accessible nuggets of complex information distilled from primary documentation, inviting viewers to discover and investigate for themselves. A critical contribution to this project comes from the open-source intelligence community who organized extensive amounts of January 6th footage on websites to assist the FBI with crowdsourcing the identification of perpetrators. This project acknowledges the important archiving work of citizen volunteers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819953422-KHXLYGB3WAUF78B82BCS/mcba-prize-2024-Tyler-Starr-Flags-Placards-2.jpeg Entries & Jurors - 2024 Entries - Tyler Starr Davidson, NC www.tylerstarr.com Flags, Placards, and Illicit Climbers of the Capitol Insurrection (January 6, 2021) 2022 Pigment prints on Moab Entrada Rag Bright 190 gm coated with Moab Desert Spray. Archival painting of page edges. Custom hardcover case binding with rounded spine, foil stamping on front, back, spine, and interior. Custom clamshell with tunnel component and foil stamping on front, back and spine. 9″ x 11.5″ x 1.25″; 72 pages Artist Statement Flags, Placards, and Illicit Climbers is a 72-page artist’s book based on hours of January 6th footage scoured for images of rioters scaling walls to flank security on the Capitol Grounds. Context is provided with a thorough survey of the flags and placards carried by participants shedding light on their affiliations, motivations, and ideologies, including those aligned with far-right extremist movements and individuals with conspiratorial views of the election. Examples extracted from the flood of imagery offer insights into the violent insurgency including sign-making aesthetics, physical gestures, and fashion preferences. The book design is influenced by brochures found at historical sites, presenting accessible nuggets of complex information distilled from primary documentation, inviting viewers to discover and investigate for themselves. A critical contribution to this project comes from the open-source intelligence community who organized extensive amounts of January 6th footage on websites to assist the FBI with crowdsourcing the identification of perpetrators. This project acknowledges the important archiving work of citizen volunteers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819955117-M1398MSNY0C0Q4GQCG0P/mcba-prize-2024-Tyler-Starr-Flags-Placards-3.jpeg Entries & Jurors - 2024 Entries - Tyler Starr Davidson, NC www.tylerstarr.com Flags, Placards, and Illicit Climbers of the Capitol Insurrection (January 6, 2021) 2022 Pigment prints on Moab Entrada Rag Bright 190 gm coated with Moab Desert Spray. Archival painting of page edges. Custom hardcover case binding with rounded spine, foil stamping on front, back, spine, and interior. Custom clamshell with tunnel component and foil stamping on front, back and spine. 9″ x 11.5″ x 1.25″; 72 pages Artist Statement Flags, Placards, and Illicit Climbers is a 72-page artist’s book based on hours of January 6th footage scoured for images of rioters scaling walls to flank security on the Capitol Grounds. Context is provided with a thorough survey of the flags and placards carried by participants shedding light on their affiliations, motivations, and ideologies, including those aligned with far-right extremist movements and individuals with conspiratorial views of the election. Examples extracted from the flood of imagery offer insights into the violent insurgency including sign-making aesthetics, physical gestures, and fashion preferences. The book design is influenced by brochures found at historical sites, presenting accessible nuggets of complex information distilled from primary documentation, inviting viewers to discover and investigate for themselves. A critical contribution to this project comes from the open-source intelligence community who organized extensive amounts of January 6th footage on websites to assist the FBI with crowdsourcing the identification of perpetrators. This project acknowledges the important archiving work of citizen volunteers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819955306-F64AW0Q29L7BUBGSRKUI/mcba-prize-2024-Tyler-Starr-Flags-Placards-4.jpeg Entries & Jurors - 2024 Entries - Tyler Starr Davidson, NC www.tylerstarr.com Flags, Placards, and Illicit Climbers of the Capitol Insurrection (January 6, 2021) 2022 Pigment prints on Moab Entrada Rag Bright 190 gm coated with Moab Desert Spray. Archival painting of page edges. Custom hardcover case binding with rounded spine, foil stamping on front, back, spine, and interior. Custom clamshell with tunnel component and foil stamping on front, back and spine. 9″ x 11.5″ x 1.25″; 72 pages Artist Statement Flags, Placards, and Illicit Climbers is a 72-page artist’s book based on hours of January 6th footage scoured for images of rioters scaling walls to flank security on the Capitol Grounds. Context is provided with a thorough survey of the flags and placards carried by participants shedding light on their affiliations, motivations, and ideologies, including those aligned with far-right extremist movements and individuals with conspiratorial views of the election. Examples extracted from the flood of imagery offer insights into the violent insurgency including sign-making aesthetics, physical gestures, and fashion preferences. The book design is influenced by brochures found at historical sites, presenting accessible nuggets of complex information distilled from primary documentation, inviting viewers to discover and investigate for themselves. A critical contribution to this project comes from the open-source intelligence community who organized extensive amounts of January 6th footage on websites to assist the FBI with crowdsourcing the identification of perpetrators. This project acknowledges the important archiving work of citizen volunteers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819956578-BXIOD8C1KNK2Y4U4O8JA/mcba-prize-2024-Tyler-Starr-Flags-Placards-5.jpeg Entries & Jurors - 2024 Entries - Tyler Starr Davidson, NC www.tylerstarr.com Flags, Placards, and Illicit Climbers of the Capitol Insurrection (January 6, 2021) 2022 Pigment prints on Moab Entrada Rag Bright 190 gm coated with Moab Desert Spray. Archival painting of page edges. Custom hardcover case binding with rounded spine, foil stamping on front, back, spine, and interior. Custom clamshell with tunnel component and foil stamping on front, back and spine. 9″ x 11.5″ x 1.25″; 72 pages Artist Statement Flags, Placards, and Illicit Climbers is a 72-page artist’s book based on hours of January 6th footage scoured for images of rioters scaling walls to flank security on the Capitol Grounds. Context is provided with a thorough survey of the flags and placards carried by participants shedding light on their affiliations, motivations, and ideologies, including those aligned with far-right extremist movements and individuals with conspiratorial views of the election. Examples extracted from the flood of imagery offer insights into the violent insurgency including sign-making aesthetics, physical gestures, and fashion preferences. The book design is influenced by brochures found at historical sites, presenting accessible nuggets of complex information distilled from primary documentation, inviting viewers to discover and investigate for themselves. A critical contribution to this project comes from the open-source intelligence community who organized extensive amounts of January 6th footage on websites to assist the FBI with crowdsourcing the identification of perpetrators. This project acknowledges the important archiving work of citizen volunteers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820233315-3RS1OZJ8L32ZT5XR07UB/mcba-prize-2024-amanda-mcfarland-there-was-a-path-1.jpeg Entries & Jurors - 2024 Entries - Amanda McFarland Cary, NC IG: @amanda_paints_shapes there was a path 2024 Acrylic, pencil, pen on paper 96 inches X 1/2 inch X 14 inches Artist Statement I fold large scale paintings into book forms. Folding generates unexpected breaks and reveals new forms in the paintings. This piece stems from dreams and becoming aware of when I have strayed. The book unfolds and folds in the direction that the viewer chooses, the dream-telling is nonlinear. I make books to explore what is felt and what isn’t felt, what is truth and what is imagined, when to rise and when to dream. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820235513-CBLOKAMKK0INCPO33BF6/mcba-prize-2024-amanda-mcfarland-there-was-a-path-4.jpeg Entries & Jurors - 2024 Entries - Amanda McFarland Cary, NC IG: @amanda_paints_shapes there was a path 2024 Acrylic, pencil, pen on paper 96 inches X 1/2 inch X 14 inches Artist Statement I fold large scale paintings into book forms. Folding generates unexpected breaks and reveals new forms in the paintings. This piece stems from dreams and becoming aware of when I have strayed. The book unfolds and folds in the direction that the viewer chooses, the dream-telling is nonlinear. I make books to explore what is felt and what isn’t felt, what is truth and what is imagined, when to rise and when to dream. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820233314-1ISZEW8XG5LF484HZEXA/mcba-prize-2024-amanda-mcfarland-there-was-a-path-2.jpeg Entries & Jurors - 2024 Entries - Amanda McFarland Cary, NC IG: @amanda_paints_shapes there was a path 2024 Acrylic, pencil, pen on paper 96 inches X 1/2 inch X 14 inches Artist Statement I fold large scale paintings into book forms. Folding generates unexpected breaks and reveals new forms in the paintings. This piece stems from dreams and becoming aware of when I have strayed. The book unfolds and folds in the direction that the viewer chooses, the dream-telling is nonlinear. I make books to explore what is felt and what isn’t felt, what is truth and what is imagined, when to rise and when to dream. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820235114-1E75CFEBQYLTORMF8C0G/mcba-prize-2024-amanda-mcfarland-there-was-a-path-3.jpeg Entries & Jurors - 2024 Entries - Amanda McFarland Cary, NC IG: @amanda_paints_shapes there was a path 2024 Acrylic, pencil, pen on paper 96 inches X 1/2 inch X 14 inches Artist Statement I fold large scale paintings into book forms. Folding generates unexpected breaks and reveals new forms in the paintings. This piece stems from dreams and becoming aware of when I have strayed. The book unfolds and folds in the direction that the viewer chooses, the dream-telling is nonlinear. I make books to explore what is felt and what isn’t felt, what is truth and what is imagined, when to rise and when to dream. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820236821-9PLIKBVYJ4SZEJH7LYVV/mcba-prize-2024-amanda-mcfarland-there-was-a-path-5.jpeg Entries & Jurors - 2024 Entries - Amanda McFarland Cary, NC IG: @amanda_paints_shapes there was a path 2024 Acrylic, pencil, pen on paper 96 inches X 1/2 inch X 14 inches Artist Statement I fold large scale paintings into book forms. Folding generates unexpected breaks and reveals new forms in the paintings. This piece stems from dreams and becoming aware of when I have strayed. The book unfolds and folds in the direction that the viewer chooses, the dream-telling is nonlinear. I make books to explore what is felt and what isn’t felt, what is truth and what is imagined, when to rise and when to dream. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820364752-V8KL47J4PAYKX82GBROY/mcba-prize-2024-ravikumar-kashi-visceral-paths-1.jpg Entries & Jurors - 2024 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com IG: @ravikumarkashi Visceral paths 2024 PLA plastic filaments and cotton rag fiber pulp L14″ x W20″ x H2.5″ Artist Statement My artwork, ‘Visceral Paths,’ delves deeply into the theme of interconnectedness between our inner and outer worlds, using natural and anatomical imagery to highlight this complex web of relationships. At its core, the piece can be appreciated as a visceral image that evokes elements of the human body and nature. The intricate links and intersections within the artwork may remind viewers of the brain, lungs, blood vessels, or plant root systems. These forms illustrate a network of life, both tangible and imagined, emphasizing the complexity and interconnectedness present in living organisms. The image also resembles the inner structure of the paper, especially plant-based fibres, seen under a Microscope. From my perspective, we exist at the intersection where the visceral body connects with the outer world through invisible pathways. This interpretation presents my work as a visual metaphor for the countless connections that bridge our internal experiences with the external environment. These pathways transmit stimuli and nourishment from the outside world into our inner being and convey our responses outward. This continuous exchange underscores the dynamic interplay between the individual and their surroundings. In a broader sense, my work also reflects the intricate connections among people. Our moods and actions influence one another, illustrating that no one is truly isolated. In the age of globalization, every corner of the world is affected by events elsewhere, reinforcing the idea that the earth functions as a single organism, like a hive. The creation of this piece in cotton rag fibre pulp, supported by an inner structure made of PLA plastic, further enhances its layered complexity. The use of these materials to draw paths, adding layer upon layer, results in the intricate form that embodies the theme of interconnectedness. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820364790-Y5W7L0JDZM8HVFHF61D7/mcba-prize-2024-ravikumar-kashi-visceral-paths-2.jpg Entries & Jurors - 2024 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com IG: @ravikumarkashi Visceral paths 2024 PLA plastic filaments and cotton rag fiber pulp L14″ x W20″ x H2.5″ Artist Statement My artwork, ‘Visceral Paths,’ delves deeply into the theme of interconnectedness between our inner and outer worlds, using natural and anatomical imagery to highlight this complex web of relationships. At its core, the piece can be appreciated as a visceral image that evokes elements of the human body and nature. The intricate links and intersections within the artwork may remind viewers of the brain, lungs, blood vessels, or plant root systems. These forms illustrate a network of life, both tangible and imagined, emphasizing the complexity and interconnectedness present in living organisms. The image also resembles the inner structure of the paper, especially plant-based fibres, seen under a Microscope. From my perspective, we exist at the intersection where the visceral body connects with the outer world through invisible pathways. This interpretation presents my work as a visual metaphor for the countless connections that bridge our internal experiences with the external environment. These pathways transmit stimuli and nourishment from the outside world into our inner being and convey our responses outward. This continuous exchange underscores the dynamic interplay between the individual and their surroundings. In a broader sense, my work also reflects the intricate connections among people. Our moods and actions influence one another, illustrating that no one is truly isolated. In the age of globalization, every corner of the world is affected by events elsewhere, reinforcing the idea that the earth functions as a single organism, like a hive. The creation of this piece in cotton rag fibre pulp, supported by an inner structure made of PLA plastic, further enhances its layered complexity. The use of these materials to draw paths, adding layer upon layer, results in the intricate form that embodies the theme of interconnectedness. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820367210-94FTI73TD0DS6MF9P6M9/mcba-prize-2024-ravikumar-kashi-visceral-paths-3.jpg Entries & Jurors - 2024 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com IG: @ravikumarkashi Visceral paths 2024 PLA plastic filaments and cotton rag fiber pulp L14″ x W20″ x H2.5″ Artist Statement My artwork, ‘Visceral Paths,’ delves deeply into the theme of interconnectedness between our inner and outer worlds, using natural and anatomical imagery to highlight this complex web of relationships. At its core, the piece can be appreciated as a visceral image that evokes elements of the human body and nature. The intricate links and intersections within the artwork may remind viewers of the brain, lungs, blood vessels, or plant root systems. These forms illustrate a network of life, both tangible and imagined, emphasizing the complexity and interconnectedness present in living organisms. The image also resembles the inner structure of the paper, especially plant-based fibres, seen under a Microscope. From my perspective, we exist at the intersection where the visceral body connects with the outer world through invisible pathways. This interpretation presents my work as a visual metaphor for the countless connections that bridge our internal experiences with the external environment. These pathways transmit stimuli and nourishment from the outside world into our inner being and convey our responses outward. This continuous exchange underscores the dynamic interplay between the individual and their surroundings. In a broader sense, my work also reflects the intricate connections among people. Our moods and actions influence one another, illustrating that no one is truly isolated. In the age of globalization, every corner of the world is affected by events elsewhere, reinforcing the idea that the earth functions as a single organism, like a hive. The creation of this piece in cotton rag fibre pulp, supported by an inner structure made of PLA plastic, further enhances its layered complexity. The use of these materials to draw paths, adding layer upon layer, results in the intricate form that embodies the theme of interconnectedness. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820367444-NONMS6A4UT3RU1V5QXH3/mcba-prize-2024-ravikumar-kashi-visceral-paths-4.jpg Entries & Jurors - 2024 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com IG: @ravikumarkashi Visceral paths 2024 PLA plastic filaments and cotton rag fiber pulp L14″ x W20″ x H2.5″ Artist Statement My artwork, ‘Visceral Paths,’ delves deeply into the theme of interconnectedness between our inner and outer worlds, using natural and anatomical imagery to highlight this complex web of relationships. At its core, the piece can be appreciated as a visceral image that evokes elements of the human body and nature. The intricate links and intersections within the artwork may remind viewers of the brain, lungs, blood vessels, or plant root systems. These forms illustrate a network of life, both tangible and imagined, emphasizing the complexity and interconnectedness present in living organisms. The image also resembles the inner structure of the paper, especially plant-based fibres, seen under a Microscope. From my perspective, we exist at the intersection where the visceral body connects with the outer world through invisible pathways. This interpretation presents my work as a visual metaphor for the countless connections that bridge our internal experiences with the external environment. These pathways transmit stimuli and nourishment from the outside world into our inner being and convey our responses outward. This continuous exchange underscores the dynamic interplay between the individual and their surroundings. In a broader sense, my work also reflects the intricate connections among people. Our moods and actions influence one another, illustrating that no one is truly isolated. In the age of globalization, every corner of the world is affected by events elsewhere, reinforcing the idea that the earth functions as a single organism, like a hive. The creation of this piece in cotton rag fibre pulp, supported by an inner structure made of PLA plastic, further enhances its layered complexity. The use of these materials to draw paths, adding layer upon layer, results in the intricate form that embodies the theme of interconnectedness. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820368607-CC453BJDHOI9ND4NRNX6/mcba-prize-2024-ravikumar-kashi-visceral-paths-5.jpg Entries & Jurors - 2024 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com IG: @ravikumarkashi Visceral paths 2024 PLA plastic filaments and cotton rag fiber pulp L14″ x W20″ x H2.5″ Artist Statement My artwork, ‘Visceral Paths,’ delves deeply into the theme of interconnectedness between our inner and outer worlds, using natural and anatomical imagery to highlight this complex web of relationships. At its core, the piece can be appreciated as a visceral image that evokes elements of the human body and nature. The intricate links and intersections within the artwork may remind viewers of the brain, lungs, blood vessels, or plant root systems. These forms illustrate a network of life, both tangible and imagined, emphasizing the complexity and interconnectedness present in living organisms. The image also resembles the inner structure of the paper, especially plant-based fibres, seen under a Microscope. From my perspective, we exist at the intersection where the visceral body connects with the outer world through invisible pathways. This interpretation presents my work as a visual metaphor for the countless connections that bridge our internal experiences with the external environment. These pathways transmit stimuli and nourishment from the outside world into our inner being and convey our responses outward. This continuous exchange underscores the dynamic interplay between the individual and their surroundings. In a broader sense, my work also reflects the intricate connections among people. Our moods and actions influence one another, illustrating that no one is truly isolated. In the age of globalization, every corner of the world is affected by events elsewhere, reinforcing the idea that the earth functions as a single organism, like a hive. The creation of this piece in cotton rag fibre pulp, supported by an inner structure made of PLA plastic, further enhances its layered complexity. The use of these materials to draw paths, adding layer upon layer, results in the intricate form that embodies the theme of interconnectedness. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772821255605-X14OWNNPKJW2NAOCWRO8/mcba-prize-2024-Craig-EtAl-Of-The-Earth-1.jpg Entries & Jurors - 2024 Entries - Craig Alan Huber, Michael Strickland, and team Craig Alan Huber Michael Strickland Daniel Kelm Amy Borezo Lisa Van Pelt Arthur Larson Zoë Goehring Washington State https://veritaseditions.com https://www.instagram.com/veritaseditions/ https://www.michaelstricklandimages.com/ https://www.shelterbookworks.com/ https://hortontankgraphics.com/ https://www.cavepaper.com/ https://www.lvpbookbinding.com/ Of The Earth 2024 Fine Press Edition with original color carbon-transfer photographic prints 18.5 x 15.5 x 3.5 Artist Statement As I began to create images for this collection, I wanted a way to embody the desert in both the images and the prints and to capture fleeting moments, often found in deep canyons of the southwestern US. My goal was to create the same emotion for the viewer that I felt when seeing the composition pop into focus on the ground glass of my camera. I want you to smell the musty air on a crisp autumn morning and listen for the deafening silence. To see these prints are to see and feel a piece of the desert and Of The Earth. —Michael Strickland Book Details: Containing six-color carbon transfer prints made by Michael Strickland, presented in a removable binding capable of being de-constructed for framing and exhibition of all prints, then re-constructed for display and storage as a book. Prints made using pigments of pulverized earth from around the world Accompanying text from Michael Strickland and Geologist Karl Mueller. Third-generation wire-edge binding design by Daniel Kelm. Clamshell case with Cave Paper inserts and samples of the six earth pigments used in the prints and cover. Custom book covers, each one a unique artifact letterpress printed on a Vandercook IV press by Horton Tank Graphics. Blind de-bossed interior front and rear book covers, showing topography map of the regional area where the photographs were made available with either 10 or 15 unique prints. Limited to an edition of 20 numbered copies, and lettered copies A-G. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772821255677-89H70SML0J2XD9HJZ9Y5/mcba-prize-2024-Craig-EtAl-Of-The-Earth-2.jpg Entries & Jurors - 2024 Entries - Craig Alan Huber, Michael Strickland, and team Craig Alan Huber Michael Strickland Daniel Kelm Amy Borezo Lisa Van Pelt Arthur Larson Zoë Goehring Washington State https://veritaseditions.com https://www.instagram.com/veritaseditions/ https://www.michaelstricklandimages.com/ https://www.shelterbookworks.com/ https://hortontankgraphics.com/ https://www.cavepaper.com/ https://www.lvpbookbinding.com/ Of The Earth 2024 Fine Press Edition with original color carbon-transfer photographic prints 18.5 x 15.5 x 3.5 Artist Statement As I began to create images for this collection, I wanted a way to embody the desert in both the images and the prints and to capture fleeting moments, often found in deep canyons of the southwestern US. My goal was to create the same emotion for the viewer that I felt when seeing the composition pop into focus on the ground glass of my camera. I want you to smell the musty air on a crisp autumn morning and listen for the deafening silence. To see these prints are to see and feel a piece of the desert and Of The Earth. —Michael Strickland Book Details: Containing six-color carbon transfer prints made by Michael Strickland, presented in a removable binding capable of being de-constructed for framing and exhibition of all prints, then re-constructed for display and storage as a book. Prints made using pigments of pulverized earth from around the world Accompanying text from Michael Strickland and Geologist Karl Mueller. Third-generation wire-edge binding design by Daniel Kelm. Clamshell case with Cave Paper inserts and samples of the six earth pigments used in the prints and cover. Custom book covers, each one a unique artifact letterpress printed on a Vandercook IV press by Horton Tank Graphics. Blind de-bossed interior front and rear book covers, showing topography map of the regional area where the photographs were made available with either 10 or 15 unique prints. Limited to an edition of 20 numbered copies, and lettered copies A-G. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772821256781-VFO4R4LXL3MTUURNJ4HI/mcba-prize-2024-Craig-EtAl-Of-The-Earth-3.jpg Entries & Jurors - 2024 Entries - Craig Alan Huber, Michael Strickland, and team Craig Alan Huber Michael Strickland Daniel Kelm Amy Borezo Lisa Van Pelt Arthur Larson Zoë Goehring Washington State https://veritaseditions.com https://www.instagram.com/veritaseditions/ https://www.michaelstricklandimages.com/ https://www.shelterbookworks.com/ https://hortontankgraphics.com/ https://www.cavepaper.com/ https://www.lvpbookbinding.com/ Of The Earth 2024 Fine Press Edition with original color carbon-transfer photographic prints 18.5 x 15.5 x 3.5 Artist Statement As I began to create images for this collection, I wanted a way to embody the desert in both the images and the prints and to capture fleeting moments, often found in deep canyons of the southwestern US. My goal was to create the same emotion for the viewer that I felt when seeing the composition pop into focus on the ground glass of my camera. I want you to smell the musty air on a crisp autumn morning and listen for the deafening silence. To see these prints are to see and feel a piece of the desert and Of The Earth. —Michael Strickland Book Details: Containing six-color carbon transfer prints made by Michael Strickland, presented in a removable binding capable of being de-constructed for framing and exhibition of all prints, then re-constructed for display and storage as a book. Prints made using pigments of pulverized earth from around the world Accompanying text from Michael Strickland and Geologist Karl Mueller. Third-generation wire-edge binding design by Daniel Kelm. Clamshell case with Cave Paper inserts and samples of the six earth pigments used in the prints and cover. Custom book covers, each one a unique artifact letterpress printed on a Vandercook IV press by Horton Tank Graphics. Blind de-bossed interior front and rear book covers, showing topography map of the regional area where the photographs were made available with either 10 or 15 unique prints. Limited to an edition of 20 numbered copies, and lettered copies A-G. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772821256865-VEYV0DYN3ETW4MBV6AGR/mcba-prize-2024-Craig-EtAl-Of-The-Earth-4.jpg Entries & Jurors - 2024 Entries - Craig Alan Huber, Michael Strickland, and team Craig Alan Huber Michael Strickland Daniel Kelm Amy Borezo Lisa Van Pelt Arthur Larson Zoë Goehring Washington State https://veritaseditions.com https://www.instagram.com/veritaseditions/ https://www.michaelstricklandimages.com/ https://www.shelterbookworks.com/ https://hortontankgraphics.com/ https://www.cavepaper.com/ https://www.lvpbookbinding.com/ Of The Earth 2024 Fine Press Edition with original color carbon-transfer photographic prints 18.5 x 15.5 x 3.5 Artist Statement As I began to create images for this collection, I wanted a way to embody the desert in both the images and the prints and to capture fleeting moments, often found in deep canyons of the southwestern US. My goal was to create the same emotion for the viewer that I felt when seeing the composition pop into focus on the ground glass of my camera. I want you to smell the musty air on a crisp autumn morning and listen for the deafening silence. To see these prints are to see and feel a piece of the desert and Of The Earth. —Michael Strickland Book Details: Containing six-color carbon transfer prints made by Michael Strickland, presented in a removable binding capable of being de-constructed for framing and exhibition of all prints, then re-constructed for display and storage as a book. Prints made using pigments of pulverized earth from around the world Accompanying text from Michael Strickland and Geologist Karl Mueller. Third-generation wire-edge binding design by Daniel Kelm. Clamshell case with Cave Paper inserts and samples of the six earth pigments used in the prints and cover. Custom book covers, each one a unique artifact letterpress printed on a Vandercook IV press by Horton Tank Graphics. Blind de-bossed interior front and rear book covers, showing topography map of the regional area where the photographs were made available with either 10 or 15 unique prints. Limited to an edition of 20 numbered copies, and lettered copies A-G. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772821257740-MIC8SQEZN28OVVRYZUPQ/mcba-prize-2024-Craig-EtAl-Of-The-Earth-5.jpg Entries & Jurors - 2024 Entries - Craig Alan Huber, Michael Strickland, and team Craig Alan Huber Michael Strickland Daniel Kelm Amy Borezo Lisa Van Pelt Arthur Larson Zoë Goehring Washington State https://veritaseditions.com https://www.instagram.com/veritaseditions/ https://www.michaelstricklandimages.com/ https://www.shelterbookworks.com/ https://hortontankgraphics.com/ https://www.cavepaper.com/ https://www.lvpbookbinding.com/ Of The Earth 2024 Fine Press Edition with original color carbon-transfer photographic prints 18.5 x 15.5 x 3.5 Artist Statement As I began to create images for this collection, I wanted a way to embody the desert in both the images and the prints and to capture fleeting moments, often found in deep canyons of the southwestern US. My goal was to create the same emotion for the viewer that I felt when seeing the composition pop into focus on the ground glass of my camera. I want you to smell the musty air on a crisp autumn morning and listen for the deafening silence. To see these prints are to see and feel a piece of the desert and Of The Earth. —Michael Strickland Book Details: Containing six-color carbon transfer prints made by Michael Strickland, presented in a removable binding capable of being de-constructed for framing and exhibition of all prints, then re-constructed for display and storage as a book. Prints made using pigments of pulverized earth from around the world Accompanying text from Michael Strickland and Geologist Karl Mueller. Third-generation wire-edge binding design by Daniel Kelm. Clamshell case with Cave Paper inserts and samples of the six earth pigments used in the prints and cover. Custom book covers, each one a unique artifact letterpress printed on a Vandercook IV press by Horton Tank Graphics. Blind de-bossed interior front and rear book covers, showing topography map of the regional area where the photographs were made available with either 10 or 15 unique prints. Limited to an edition of 20 numbered copies, and lettered copies A-G. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772821855726-4ECDN5ODIP2X3QIJIW2K/mcba-prize-2024-Bruna-Kim_Oshiro-materia-1.jpg Entries & Jurors - 2024 Entries - Bruna Kim Oshiro São Paulo, Brazil https://www.instagram.com/bruna_kim/?locale=pt_BR https://brunakim.wixsite.com/website materia 2023 Wood 9.84 x 8.07 x 3.93 Artist Statement The word “materia” comes from the romans’ attempt to translate the greek term “hylé” into latin. Hyle means wood, and the word “materia” must have designated something similar. However, when the greeks used the word “hylé”, they were not thinking in the generic sense of the term, but were referring to the wood stored in the carpenters’ workshops. For them, it was about finding a word that could express opposition to the concept of “form.” (FLUSSER, 2007) I chose “matéria” to title this book because I think that, like the greeks, materia (something near to “raw material”) is what we get from nature and give form, inform, transform. I was surprised and happy that the word is linked to wood. Which is this material that has invited me to approach. The images in the book come from classic illustrations of anatomy dialoging with pictures of hands of two craftsmen (a woodworker and a blacksmith). Also some words were engraved into the pages, these word are connected to the handwork and our relations with the tools. The book have ten pages, some of these has fold or turn mechanisms, inviting to interaction. The idea of a woodbook surrounds me because I am a printmaker and woodworker. I have been studying artist’s book and wood for a while. With “materia’ I could find a way to express my admiration to the wood and to the craft, through the tools. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772821855867-2VISM6G90Q10TYXOS73V/mcba-prize-2024-Bruna-Kim_Oshiro-materia-2.jpg Entries & Jurors - 2024 Entries - Bruna Kim Oshiro São Paulo, Brazil https://www.instagram.com/bruna_kim/?locale=pt_BR https://brunakim.wixsite.com/website materia 2023 Wood 9.84 x 8.07 x 3.93 Artist Statement The word “materia” comes from the romans’ attempt to translate the greek term “hylé” into latin. Hyle means wood, and the word “materia” must have designated something similar. However, when the greeks used the word “hylé”, they were not thinking in the generic sense of the term, but were referring to the wood stored in the carpenters’ workshops. For them, it was about finding a word that could express opposition to the concept of “form.” (FLUSSER, 2007) I chose “matéria” to title this book because I think that, like the greeks, materia (something near to “raw material”) is what we get from nature and give form, inform, transform. I was surprised and happy that the word is linked to wood. Which is this material that has invited me to approach. The images in the book come from classic illustrations of anatomy dialoging with pictures of hands of two craftsmen (a woodworker and a blacksmith). Also some words were engraved into the pages, these word are connected to the handwork and our relations with the tools. The book have ten pages, some of these has fold or turn mechanisms, inviting to interaction. The idea of a woodbook surrounds me because I am a printmaker and woodworker. I have been studying artist’s book and wood for a while. With “materia’ I could find a way to express my admiration to the wood and to the craft, through the tools. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772821857093-ADIBASP5XR8GR2ABPFBO/mcba-prize-2024-Bruna-Kim_Oshiro-materia-3.jpg Entries & Jurors - 2024 Entries - Bruna Kim Oshiro São Paulo, Brazil https://www.instagram.com/bruna_kim/?locale=pt_BR https://brunakim.wixsite.com/website materia 2023 Wood 9.84 x 8.07 x 3.93 Artist Statement The word “materia” comes from the romans’ attempt to translate the greek term “hylé” into latin. Hyle means wood, and the word “materia” must have designated something similar. However, when the greeks used the word “hylé”, they were not thinking in the generic sense of the term, but were referring to the wood stored in the carpenters’ workshops. For them, it was about finding a word that could express opposition to the concept of “form.” (FLUSSER, 2007) I chose “matéria” to title this book because I think that, like the greeks, materia (something near to “raw material”) is what we get from nature and give form, inform, transform. I was surprised and happy that the word is linked to wood. Which is this material that has invited me to approach. The images in the book come from classic illustrations of anatomy dialoging with pictures of hands of two craftsmen (a woodworker and a blacksmith). Also some words were engraved into the pages, these word are connected to the handwork and our relations with the tools. The book have ten pages, some of these has fold or turn mechanisms, inviting to interaction. The idea of a woodbook surrounds me because I am a printmaker and woodworker. I have been studying artist’s book and wood for a while. With “materia’ I could find a way to express my admiration to the wood and to the craft, through the tools. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772821857468-XQK36FG5L326G1LNTMAP/mcba-prize-2024-Bruna-Kim_Oshiro-materia-4.jpg Entries & Jurors - 2024 Entries - Bruna Kim Oshiro São Paulo, Brazil https://www.instagram.com/bruna_kim/?locale=pt_BR https://brunakim.wixsite.com/website materia 2023 Wood 9.84 x 8.07 x 3.93 Artist Statement The word “materia” comes from the romans’ attempt to translate the greek term “hylé” into latin. Hyle means wood, and the word “materia” must have designated something similar. However, when the greeks used the word “hylé”, they were not thinking in the generic sense of the term, but were referring to the wood stored in the carpenters’ workshops. For them, it was about finding a word that could express opposition to the concept of “form.” (FLUSSER, 2007) I chose “matéria” to title this book because I think that, like the greeks, materia (something near to “raw material”) is what we get from nature and give form, inform, transform. I was surprised and happy that the word is linked to wood. Which is this material that has invited me to approach. The images in the book come from classic illustrations of anatomy dialoging with pictures of hands of two craftsmen (a woodworker and a blacksmith). Also some words were engraved into the pages, these word are connected to the handwork and our relations with the tools. The book have ten pages, some of these has fold or turn mechanisms, inviting to interaction. The idea of a woodbook surrounds me because I am a printmaker and woodworker. I have been studying artist’s book and wood for a while. With “materia’ I could find a way to express my admiration to the wood and to the craft, through the tools. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772821858489-K53HWB0G2DMTXPVD2FBP/mcba-prize-2024-Bruna-Kim_Oshiro-materia-5.jpg Entries & Jurors - 2024 Entries - Bruna Kim Oshiro São Paulo, Brazil https://www.instagram.com/bruna_kim/?locale=pt_BR https://brunakim.wixsite.com/website materia 2023 Wood 9.84 x 8.07 x 3.93 Artist Statement The word “materia” comes from the romans’ attempt to translate the greek term “hylé” into latin. Hyle means wood, and the word “materia” must have designated something similar. However, when the greeks used the word “hylé”, they were not thinking in the generic sense of the term, but were referring to the wood stored in the carpenters’ workshops. For them, it was about finding a word that could express opposition to the concept of “form.” (FLUSSER, 2007) I chose “matéria” to title this book because I think that, like the greeks, materia (something near to “raw material”) is what we get from nature and give form, inform, transform. I was surprised and happy that the word is linked to wood. Which is this material that has invited me to approach. The images in the book come from classic illustrations of anatomy dialoging with pictures of hands of two craftsmen (a woodworker and a blacksmith). Also some words were engraved into the pages, these word are connected to the handwork and our relations with the tools. The book have ten pages, some of these has fold or turn mechanisms, inviting to interaction. The idea of a woodbook surrounds me because I am a printmaker and woodworker. I have been studying artist’s book and wood for a while. With “materia’ I could find a way to express my admiration to the wood and to the craft, through the tools. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772823115715-Z9IAJ9FQV9HPS6EGKBA6/mcba-prize-2024-Insiya-Dhatt-Vidai-1.jpg Entries & Jurors - 2024 Entries - Insiya Dhatt San Fransisco, CA insiya@insiya.com IG: @insiyadhatt Vidai 2022 12 x 9 x 1” closed Artist Statement Vidai is the ceremony in Indian marriages of saying farewell to your family – when a bride leaves her parents’ house to go to start a new life with her husband in his house. After this ceremony, the bride becomes a guest in her parents’ house and must fit into the house and family of the groom. The book is a two-sided accordion and includes the poem Hands Latticed written by Athena Kashyap in her book Sita’s Choice about her grandmother’s experience in an arranged marriage. The book opens with the poem that aptly describes the trepidation faced by a young bride and a lifetime of molding to meet the expectations of an ideal wife. After the last page, the cover opens on the other side to give a glimpse of the artist’s experience with an arranged marriage. 11 pages. Double-sided accordion. Bound like a wedding album with henna-colored handmade Japanese Momi Kyoseishi paper and covered in a bridal sari to represent the life of a married woman. The henna hands art was laser engraved on handmade Indian cotton rag paper using an Epilog Fusion Pro laser. The text is letterpress printed using Garamond typeface on a Vandercook cylinder press. Signed and numbered by the artist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772823118901-9FM3ORVKOVXWC5XBAPEC/mcba-prize-2024-Insiya-Dhatt-Vidai-4.jpeg Entries & Jurors - 2024 Entries - Insiya Dhatt San Fransisco, CA insiya@insiya.com IG: @insiyadhatt Vidai 2022 12 x 9 x 1” closed Artist Statement Vidai is the ceremony in Indian marriages of saying farewell to your family – when a bride leaves her parents’ house to go to start a new life with her husband in his house. After this ceremony, the bride becomes a guest in her parents’ house and must fit into the house and family of the groom. The book is a two-sided accordion and includes the poem Hands Latticed written by Athena Kashyap in her book Sita’s Choice about her grandmother’s experience in an arranged marriage. The book opens with the poem that aptly describes the trepidation faced by a young bride and a lifetime of molding to meet the expectations of an ideal wife. After the last page, the cover opens on the other side to give a glimpse of the artist’s experience with an arranged marriage. 11 pages. Double-sided accordion. Bound like a wedding album with henna-colored handmade Japanese Momi Kyoseishi paper and covered in a bridal sari to represent the life of a married woman. The henna hands art was laser engraved on handmade Indian cotton rag paper using an Epilog Fusion Pro laser. The text is letterpress printed using Garamond typeface on a Vandercook cylinder press. Signed and numbered by the artist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772823115919-UQ6TRXPP1WM9PRGC687R/mcba-prize-2024-Insiya-Dhatt-Vidai-2.jpg Entries & Jurors - 2024 Entries - Insiya Dhatt San Fransisco, CA insiya@insiya.com IG: @insiyadhatt Vidai 2022 12 x 9 x 1” closed Artist Statement Vidai is the ceremony in Indian marriages of saying farewell to your family – when a bride leaves her parents’ house to go to start a new life with her husband in his house. After this ceremony, the bride becomes a guest in her parents’ house and must fit into the house and family of the groom. The book is a two-sided accordion and includes the poem Hands Latticed written by Athena Kashyap in her book Sita’s Choice about her grandmother’s experience in an arranged marriage. The book opens with the poem that aptly describes the trepidation faced by a young bride and a lifetime of molding to meet the expectations of an ideal wife. After the last page, the cover opens on the other side to give a glimpse of the artist’s experience with an arranged marriage. 11 pages. Double-sided accordion. Bound like a wedding album with henna-colored handmade Japanese Momi Kyoseishi paper and covered in a bridal sari to represent the life of a married woman. The henna hands art was laser engraved on handmade Indian cotton rag paper using an Epilog Fusion Pro laser. The text is letterpress printed using Garamond typeface on a Vandercook cylinder press. Signed and numbered by the artist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772823118663-BLVWPNWCOAUVOROSKOWB/mcba-prize-2024-Insiya-Dhatt-Vidai-3.jpg Entries & Jurors - 2024 Entries - Insiya Dhatt San Fransisco, CA insiya@insiya.com IG: @insiyadhatt Vidai 2022 12 x 9 x 1” closed Artist Statement Vidai is the ceremony in Indian marriages of saying farewell to your family – when a bride leaves her parents’ house to go to start a new life with her husband in his house. After this ceremony, the bride becomes a guest in her parents’ house and must fit into the house and family of the groom. The book is a two-sided accordion and includes the poem Hands Latticed written by Athena Kashyap in her book Sita’s Choice about her grandmother’s experience in an arranged marriage. The book opens with the poem that aptly describes the trepidation faced by a young bride and a lifetime of molding to meet the expectations of an ideal wife. After the last page, the cover opens on the other side to give a glimpse of the artist’s experience with an arranged marriage. 11 pages. Double-sided accordion. Bound like a wedding album with henna-colored handmade Japanese Momi Kyoseishi paper and covered in a bridal sari to represent the life of a married woman. The henna hands art was laser engraved on handmade Indian cotton rag paper using an Epilog Fusion Pro laser. The text is letterpress printed using Garamond typeface on a Vandercook cylinder press. Signed and numbered by the artist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822018291-PKALTRCBZVAEYBQCGN5W/mcba-prize-2024-Insiya-Dhatt-Dreams-1.jpg Entries & Jurors - 2024 Entries - Insiya Dhatt San Fransisco, CA insiya@insiya.com IG: @insiyadhatt Dreams 2023 Book, Wood, Paper 12×9 x 3″ Artist Statement Dreams is a conceptual project that symbolizes the elusive nature of dreams and aspirations. As individuals engage in assembling the mobile and personalizing the accompanying books, they embark on a transformative journey of self-expression and discovery. The project prompts contemplation and balance of aspirations in shaping our lives and explores the connection between dreams and our lived experiences. The materials used in the project include light-colored Kozuke paper, intricately laser-cut wood hooks, and connectors. All these components are carefully enclosed in a box shaped like a book, adding an element of anticipation and storytelling to the experience. As individuals thread and construct the mobile, they have the opportunity to weave their own dreams and aspirations into the artwork. The books act as blank canvases, inviting the addition of personal stories, musings, and reflections. Dreams is a variable edition consisting of 10 sets, each featuring 8-10 hangers and 20+ hooks. Each set comes with a variation of books. Included are: Paper case bound books, with blank Mohawk SuperFine text paper and accordion folded books made from a single sheet of cut patterns. All the books are covered with Kokuze paper that has been laser etched with patterns & words. The box and mobile, crafted by the artist, are made from Baltic wood and incorporate a living hinge technique, enabling a graceful curve. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822017950-Q3QCG8WW8RLK3PVAJHNW/mcba-prize-2024-Insiya-Dhatt-Dreams-2.jpg Entries & Jurors - 2024 Entries - Insiya Dhatt San Fransisco, CA insiya@insiya.com IG: @insiyadhatt Dreams 2023 Book, Wood, Paper 12×9 x 3″ Artist Statement Dreams is a conceptual project that symbolizes the elusive nature of dreams and aspirations. As individuals engage in assembling the mobile and personalizing the accompanying books, they embark on a transformative journey of self-expression and discovery. The project prompts contemplation and balance of aspirations in shaping our lives and explores the connection between dreams and our lived experiences. The materials used in the project include light-colored Kozuke paper, intricately laser-cut wood hooks, and connectors. All these components are carefully enclosed in a box shaped like a book, adding an element of anticipation and storytelling to the experience. As individuals thread and construct the mobile, they have the opportunity to weave their own dreams and aspirations into the artwork. The books act as blank canvases, inviting the addition of personal stories, musings, and reflections. Dreams is a variable edition consisting of 10 sets, each featuring 8-10 hangers and 20+ hooks. Each set comes with a variation of books. Included are: Paper case bound books, with blank Mohawk SuperFine text paper and accordion folded books made from a single sheet of cut patterns. All the books are covered with Kokuze paper that has been laser etched with patterns & words. The box and mobile, crafted by the artist, are made from Baltic wood and incorporate a living hinge technique, enabling a graceful curve. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822020123-XAP89VKG2EURNDN0W7S8/mcba-prize-2024-Insiya-Dhatt-Dreams-4.jpg Entries & Jurors - 2024 Entries - Insiya Dhatt San Fransisco, CA insiya@insiya.com IG: @insiyadhatt Dreams 2023 Book, Wood, Paper 12×9 x 3″ Artist Statement Dreams is a conceptual project that symbolizes the elusive nature of dreams and aspirations. As individuals engage in assembling the mobile and personalizing the accompanying books, they embark on a transformative journey of self-expression and discovery. The project prompts contemplation and balance of aspirations in shaping our lives and explores the connection between dreams and our lived experiences. The materials used in the project include light-colored Kozuke paper, intricately laser-cut wood hooks, and connectors. All these components are carefully enclosed in a box shaped like a book, adding an element of anticipation and storytelling to the experience. As individuals thread and construct the mobile, they have the opportunity to weave their own dreams and aspirations into the artwork. The books act as blank canvases, inviting the addition of personal stories, musings, and reflections. Dreams is a variable edition consisting of 10 sets, each featuring 8-10 hangers and 20+ hooks. Each set comes with a variation of books. Included are: Paper case bound books, with blank Mohawk SuperFine text paper and accordion folded books made from a single sheet of cut patterns. All the books are covered with Kokuze paper that has been laser etched with patterns & words. The box and mobile, crafted by the artist, are made from Baltic wood and incorporate a living hinge technique, enabling a graceful curve. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822021452-WMZ8HYEUEG5SIGDAV9M5/mcba-prize-2024-Insiya-Dhatt-Dreams-5.jpg Entries & Jurors - 2024 Entries - Insiya Dhatt San Fransisco, CA insiya@insiya.com IG: @insiyadhatt Dreams 2023 Book, Wood, Paper 12×9 x 3″ Artist Statement Dreams is a conceptual project that symbolizes the elusive nature of dreams and aspirations. As individuals engage in assembling the mobile and personalizing the accompanying books, they embark on a transformative journey of self-expression and discovery. The project prompts contemplation and balance of aspirations in shaping our lives and explores the connection between dreams and our lived experiences. The materials used in the project include light-colored Kozuke paper, intricately laser-cut wood hooks, and connectors. All these components are carefully enclosed in a box shaped like a book, adding an element of anticipation and storytelling to the experience. As individuals thread and construct the mobile, they have the opportunity to weave their own dreams and aspirations into the artwork. The books act as blank canvases, inviting the addition of personal stories, musings, and reflections. Dreams is a variable edition consisting of 10 sets, each featuring 8-10 hangers and 20+ hooks. Each set comes with a variation of books. Included are: Paper case bound books, with blank Mohawk SuperFine text paper and accordion folded books made from a single sheet of cut patterns. All the books are covered with Kokuze paper that has been laser etched with patterns & words. The box and mobile, crafted by the artist, are made from Baltic wood and incorporate a living hinge technique, enabling a graceful curve. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772822019599-1L7N31MM399XG7M6T6ZC/mcba-prize-2024-Insiya-Dhatt-Dreams-3.jpg Entries & Jurors - 2024 Entries - Insiya Dhatt San Fransisco, CA insiya@insiya.com IG: @insiyadhatt Dreams 2023 Book, Wood, Paper 12×9 x 3″ Artist Statement Dreams is a conceptual project that symbolizes the elusive nature of dreams and aspirations. As individuals engage in assembling the mobile and personalizing the accompanying books, they embark on a transformative journey of self-expression and discovery. The project prompts contemplation and balance of aspirations in shaping our lives and explores the connection between dreams and our lived experiences. The materials used in the project include light-colored Kozuke paper, intricately laser-cut wood hooks, and connectors. All these components are carefully enclosed in a box shaped like a book, adding an element of anticipation and storytelling to the experience. As individuals thread and construct the mobile, they have the opportunity to weave their own dreams and aspirations into the artwork. The books act as blank canvases, inviting the addition of personal stories, musings, and reflections. Dreams is a variable edition consisting of 10 sets, each featuring 8-10 hangers and 20+ hooks. Each set comes with a variation of books. Included are: Paper case bound books, with blank Mohawk SuperFine text paper and accordion folded books made from a single sheet of cut patterns. All the books are covered with Kokuze paper that has been laser etched with patterns & words. The box and mobile, crafted by the artist, are made from Baltic wood and incorporate a living hinge technique, enabling a graceful curve. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773169072713-M7QV45SL9RGCF2ENIGJG/mcba-prize-2024-Kristin-Ziegler-Hot-Pants-1.jpg Entries & Jurors - 2024 Entries - Kristin Ziegler Centre Hall, PA spacepastepress.com Hot Pants 2024 Denim 12″ x 8.5″ x 2.5″ Artist Statement In recent years I’ve been looking more critically at the components that make up my work and making a shift towards material reuse, thrift, and adopting art practices that are accessible to others. When an exhibit themed Blue surfaced, I pulled out three pairs of vintage painted and inked denim that I’ve been holding onto for twenty-five years. They are covered in imagery that spoke to me as a younger human. I wore them often, every patch and mend a symbol of sartorial defiance. I also scrounged thrift stores, made, or embellished my own clothes, and wore much of what I had until it was threadbare. Then it was punk; now these practices are part of the slow fashion movement and the adornment is called visible mending. I cut and reorganized my once beloved denim into the cover and pages of Hot Pants. There were unexpected emotions as I mended holes, embroidered around existing images and remembered my teenage self. Hot Pants embodies both the techniques and aesthetics of visible mending, as well as the frayed temperament of adolescence. I am not what I wear, yet my wardrobe plays a part in my identity, socioeconomic status, consumer choices, and values. In choosing to mend my clothes I acknowledge the process that goes into a garment’s manufacture. In the case of Hot Pants, a cotton seed eventually became a pair of jeans, and human hands and hearts were involved in every step to get there. Twenty-five years later I’m finding that mending and making still quietly weaves the threads of defiance, hope, and change. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773169072902-VP0SL8UBQTHI72DNO5J7/mcba-prize-2024-Kristin-Ziegler-Hot-Pants-2.jpg Entries & Jurors - 2024 Entries - Kristin Ziegler Centre Hall, PA spacepastepress.com Hot Pants 2024 Denim 12″ x 8.5″ x 2.5″ Artist Statement In recent years I’ve been looking more critically at the components that make up my work and making a shift towards material reuse, thrift, and adopting art practices that are accessible to others. When an exhibit themed Blue surfaced, I pulled out three pairs of vintage painted and inked denim that I’ve been holding onto for twenty-five years. They are covered in imagery that spoke to me as a younger human. I wore them often, every patch and mend a symbol of sartorial defiance. I also scrounged thrift stores, made, or embellished my own clothes, and wore much of what I had until it was threadbare. Then it was punk; now these practices are part of the slow fashion movement and the adornment is called visible mending. I cut and reorganized my once beloved denim into the cover and pages of Hot Pants. There were unexpected emotions as I mended holes, embroidered around existing images and remembered my teenage self. Hot Pants embodies both the techniques and aesthetics of visible mending, as well as the frayed temperament of adolescence. I am not what I wear, yet my wardrobe plays a part in my identity, socioeconomic status, consumer choices, and values. In choosing to mend my clothes I acknowledge the process that goes into a garment’s manufacture. In the case of Hot Pants, a cotton seed eventually became a pair of jeans, and human hands and hearts were involved in every step to get there. Twenty-five years later I’m finding that mending and making still quietly weaves the threads of defiance, hope, and change. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773169075105-Y9MLF6ZMTSYSC6YI82WS/mcba-prize-2024-Kristin-Ziegler-Hot-Pants-3.jpg Entries & Jurors - 2024 Entries - Kristin Ziegler Centre Hall, PA spacepastepress.com Hot Pants 2024 Denim 12″ x 8.5″ x 2.5″ Artist Statement In recent years I’ve been looking more critically at the components that make up my work and making a shift towards material reuse, thrift, and adopting art practices that are accessible to others. When an exhibit themed Blue surfaced, I pulled out three pairs of vintage painted and inked denim that I’ve been holding onto for twenty-five years. They are covered in imagery that spoke to me as a younger human. I wore them often, every patch and mend a symbol of sartorial defiance. I also scrounged thrift stores, made, or embellished my own clothes, and wore much of what I had until it was threadbare. Then it was punk; now these practices are part of the slow fashion movement and the adornment is called visible mending. I cut and reorganized my once beloved denim into the cover and pages of Hot Pants. There were unexpected emotions as I mended holes, embroidered around existing images and remembered my teenage self. Hot Pants embodies both the techniques and aesthetics of visible mending, as well as the frayed temperament of adolescence. I am not what I wear, yet my wardrobe plays a part in my identity, socioeconomic status, consumer choices, and values. In choosing to mend my clothes I acknowledge the process that goes into a garment’s manufacture. In the case of Hot Pants, a cotton seed eventually became a pair of jeans, and human hands and hearts were involved in every step to get there. Twenty-five years later I’m finding that mending and making still quietly weaves the threads of defiance, hope, and change. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773169075273-I0YGZV8TPRJPL3MG0O5D/mcba-prize-2024-Kristin-Ziegler-Hot-Pants-4.jpg Entries & Jurors - 2024 Entries - Kristin Ziegler Centre Hall, PA spacepastepress.com Hot Pants 2024 Denim 12″ x 8.5″ x 2.5″ Artist Statement In recent years I’ve been looking more critically at the components that make up my work and making a shift towards material reuse, thrift, and adopting art practices that are accessible to others. When an exhibit themed Blue surfaced, I pulled out three pairs of vintage painted and inked denim that I’ve been holding onto for twenty-five years. They are covered in imagery that spoke to me as a younger human. I wore them often, every patch and mend a symbol of sartorial defiance. I also scrounged thrift stores, made, or embellished my own clothes, and wore much of what I had until it was threadbare. Then it was punk; now these practices are part of the slow fashion movement and the adornment is called visible mending. I cut and reorganized my once beloved denim into the cover and pages of Hot Pants. There were unexpected emotions as I mended holes, embroidered around existing images and remembered my teenage self. Hot Pants embodies both the techniques and aesthetics of visible mending, as well as the frayed temperament of adolescence. I am not what I wear, yet my wardrobe plays a part in my identity, socioeconomic status, consumer choices, and values. In choosing to mend my clothes I acknowledge the process that goes into a garment’s manufacture. In the case of Hot Pants, a cotton seed eventually became a pair of jeans, and human hands and hearts were involved in every step to get there. Twenty-five years later I’m finding that mending and making still quietly weaves the threads of defiance, hope, and change. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773169076776-A9F1MX8S3M5N0KVW9UV9/mcba-prize-2024-Kristin-Ziegler-Hot-Pants-5.jpg Entries & Jurors - 2024 Entries - Kristin Ziegler Centre Hall, PA spacepastepress.com Hot Pants 2024 Denim 12″ x 8.5″ x 2.5″ Artist Statement In recent years I’ve been looking more critically at the components that make up my work and making a shift towards material reuse, thrift, and adopting art practices that are accessible to others. When an exhibit themed Blue surfaced, I pulled out three pairs of vintage painted and inked denim that I’ve been holding onto for twenty-five years. They are covered in imagery that spoke to me as a younger human. I wore them often, every patch and mend a symbol of sartorial defiance. I also scrounged thrift stores, made, or embellished my own clothes, and wore much of what I had until it was threadbare. Then it was punk; now these practices are part of the slow fashion movement and the adornment is called visible mending. I cut and reorganized my once beloved denim into the cover and pages of Hot Pants. There were unexpected emotions as I mended holes, embroidered around existing images and remembered my teenage self. Hot Pants embodies both the techniques and aesthetics of visible mending, as well as the frayed temperament of adolescence. I am not what I wear, yet my wardrobe plays a part in my identity, socioeconomic status, consumer choices, and values. In choosing to mend my clothes I acknowledge the process that goes into a garment’s manufacture. In the case of Hot Pants, a cotton seed eventually became a pair of jeans, and human hands and hearts were involved in every step to get there. Twenty-five years later I’m finding that mending and making still quietly weaves the threads of defiance, hope, and change. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773169554304-8M91VY7P5TNGJ6TVYDFE/mcba-prize-2024-Kelsey-Reiman-Snap-to-Grid-2.jpg Entries & Jurors - 2024 Entries - Kelsey Reiman Reno, NV http://www.kelseyreiman.com/ Snap to Grid 2022 Pressure prints on Kitakata Paper 6.125″ x 5.75″ x 2.125″ (closed box) Artist Statement Snap to Grid is an artist book and animation that employs real and arbitrary systems to explore the relationship between digital and analog processes and analytical and playful approaches. When closed, the book structure shows a series of squares that are stacked on top of each other, systemically rotating, changing in size, and shifting in color. When open, the book reveals a long accordion structure that is a linear representation of the animation. The animation was made in response to a musical composition written by Christopher Pierce which responds to the book structure. The animation shows a shape that is transforming while rotating and orbiting the center of a circle. It begins as an eight-pointed quilt star and gradually changes into other star and flower-like shapes inspired by decorative motifs. Waves radiate from the circle’s center and spirographs populate the circle in response to a bell chiming in the music. Together these elements evoke ideas of planetary motion and waves of sound or light energy. The color of the image gradually transitions through a complete spectrum of colors. The persistence of vision that allows the viewer to see a series of frames as a smooth animation also impacts their perception of the color that they are seeing, depending on what was seen before and after. But the color also slightly flickers throughout the animation and exposes the imperfections in the printing. The title Snap to Grid refers to the fantasy of complete digital control and perfect adherence to a system. But the animation reveals the impossibility of humans acting as infallible machines and questions whether that is a worthwhile goal. As an artist who works within the context of letterpress and book arts, I enjoy working within the constraints of these mediums, which are dictated by the machinery, processes, traditions, conventions, and rules of the mediums. I impose additional constraints onto my work by creating book structures that follow mathematical and geometric rules of my own making. I seek to find sets of rules that result in resolved outcomes and find comfort in being able to predict and control my work. But I also question what rules are real, which are arbitrary, which are superstitious, and if adherence to these rules ensures success or is instead detrimental. While I carefully engineer my book structures, I work with color more intuitively. I am interested in colors that glow, shift, and change depending on the light, the colors surrounding them, and the materials that they are printed on. I find beauty in the uncertainty of color. By juxtaposing an intuitive use of color with a rigid book structure, I hope to question my desire to control things in an unpredictable world, rather than seeing possibility in uncertainty. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773169553893-2BF03NRL5T9MYRTC21A4/mcba-prize-2024-Kelsey-Reiman-Snap-to-Grid-3.jpg Entries & Jurors - 2024 Entries - Kelsey Reiman Reno, NV http://www.kelseyreiman.com/ Snap to Grid 2022 Pressure prints on Kitakata Paper 6.125″ x 5.75″ x 2.125″ (closed box) Artist Statement Snap to Grid is an artist book and animation that employs real and arbitrary systems to explore the relationship between digital and analog processes and analytical and playful approaches. When closed, the book structure shows a series of squares that are stacked on top of each other, systemically rotating, changing in size, and shifting in color. When open, the book reveals a long accordion structure that is a linear representation of the animation. The animation was made in response to a musical composition written by Christopher Pierce which responds to the book structure. The animation shows a shape that is transforming while rotating and orbiting the center of a circle. It begins as an eight-pointed quilt star and gradually changes into other star and flower-like shapes inspired by decorative motifs. Waves radiate from the circle’s center and spirographs populate the circle in response to a bell chiming in the music. Together these elements evoke ideas of planetary motion and waves of sound or light energy. The color of the image gradually transitions through a complete spectrum of colors. The persistence of vision that allows the viewer to see a series of frames as a smooth animation also impacts their perception of the color that they are seeing, depending on what was seen before and after. But the color also slightly flickers throughout the animation and exposes the imperfections in the printing. The title Snap to Grid refers to the fantasy of complete digital control and perfect adherence to a system. But the animation reveals the impossibility of humans acting as infallible machines and questions whether that is a worthwhile goal. As an artist who works within the context of letterpress and book arts, I enjoy working within the constraints of these mediums, which are dictated by the machinery, processes, traditions, conventions, and rules of the mediums. I impose additional constraints onto my work by creating book structures that follow mathematical and geometric rules of my own making. I seek to find sets of rules that result in resolved outcomes and find comfort in being able to predict and control my work. But I also question what rules are real, which are arbitrary, which are superstitious, and if adherence to these rules ensures success or is instead detrimental. While I carefully engineer my book structures, I work with color more intuitively. I am interested in colors that glow, shift, and change depending on the light, the colors surrounding them, and the materials that they are printed on. I find beauty in the uncertainty of color. By juxtaposing an intuitive use of color with a rigid book structure, I hope to question my desire to control things in an unpredictable world, rather than seeing possibility in uncertainty. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773169555910-MXJDN410U7TN5KK8J97I/mcba-prize-2024-Kelsey-Reiman-Snap-to-Grid-4.jpg Entries & Jurors - 2024 Entries - Kelsey Reiman Reno, NV http://www.kelseyreiman.com/ Snap to Grid 2022 Pressure prints on Kitakata Paper 6.125″ x 5.75″ x 2.125″ (closed box) Artist Statement Snap to Grid is an artist book and animation that employs real and arbitrary systems to explore the relationship between digital and analog processes and analytical and playful approaches. When closed, the book structure shows a series of squares that are stacked on top of each other, systemically rotating, changing in size, and shifting in color. When open, the book reveals a long accordion structure that is a linear representation of the animation. The animation was made in response to a musical composition written by Christopher Pierce which responds to the book structure. The animation shows a shape that is transforming while rotating and orbiting the center of a circle. It begins as an eight-pointed quilt star and gradually changes into other star and flower-like shapes inspired by decorative motifs. Waves radiate from the circle’s center and spirographs populate the circle in response to a bell chiming in the music. Together these elements evoke ideas of planetary motion and waves of sound or light energy. The color of the image gradually transitions through a complete spectrum of colors. The persistence of vision that allows the viewer to see a series of frames as a smooth animation also impacts their perception of the color that they are seeing, depending on what was seen before and after. But the color also slightly flickers throughout the animation and exposes the imperfections in the printing. The title Snap to Grid refers to the fantasy of complete digital control and perfect adherence to a system. But the animation reveals the impossibility of humans acting as infallible machines and questions whether that is a worthwhile goal. As an artist who works within the context of letterpress and book arts, I enjoy working within the constraints of these mediums, which are dictated by the machinery, processes, traditions, conventions, and rules of the mediums. I impose additional constraints onto my work by creating book structures that follow mathematical and geometric rules of my own making. I seek to find sets of rules that result in resolved outcomes and find comfort in being able to predict and control my work. But I also question what rules are real, which are arbitrary, which are superstitious, and if adherence to these rules ensures success or is instead detrimental. While I carefully engineer my book structures, I work with color more intuitively. I am interested in colors that glow, shift, and change depending on the light, the colors surrounding them, and the materials that they are printed on. I find beauty in the uncertainty of color. By juxtaposing an intuitive use of color with a rigid book structure, I hope to question my desire to control things in an unpredictable world, rather than seeing possibility in uncertainty. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773169555779-HA2Y73ELQGUZKY5Y410P/mcba-prize-2024-Kelsey-Reiman-Snap-to-Grid-5.jpg Entries & Jurors - 2024 Entries - Kelsey Reiman Reno, NV http://www.kelseyreiman.com/ Snap to Grid 2022 Pressure prints on Kitakata Paper 6.125″ x 5.75″ x 2.125″ (closed box) Artist Statement Snap to Grid is an artist book and animation that employs real and arbitrary systems to explore the relationship between digital and analog processes and analytical and playful approaches. When closed, the book structure shows a series of squares that are stacked on top of each other, systemically rotating, changing in size, and shifting in color. When open, the book reveals a long accordion structure that is a linear representation of the animation. The animation was made in response to a musical composition written by Christopher Pierce which responds to the book structure. The animation shows a shape that is transforming while rotating and orbiting the center of a circle. It begins as an eight-pointed quilt star and gradually changes into other star and flower-like shapes inspired by decorative motifs. Waves radiate from the circle’s center and spirographs populate the circle in response to a bell chiming in the music. Together these elements evoke ideas of planetary motion and waves of sound or light energy. The color of the image gradually transitions through a complete spectrum of colors. The persistence of vision that allows the viewer to see a series of frames as a smooth animation also impacts their perception of the color that they are seeing, depending on what was seen before and after. But the color also slightly flickers throughout the animation and exposes the imperfections in the printing. The title Snap to Grid refers to the fantasy of complete digital control and perfect adherence to a system. But the animation reveals the impossibility of humans acting as infallible machines and questions whether that is a worthwhile goal. As an artist who works within the context of letterpress and book arts, I enjoy working within the constraints of these mediums, which are dictated by the machinery, processes, traditions, conventions, and rules of the mediums. I impose additional constraints onto my work by creating book structures that follow mathematical and geometric rules of my own making. I seek to find sets of rules that result in resolved outcomes and find comfort in being able to predict and control my work. But I also question what rules are real, which are arbitrary, which are superstitious, and if adherence to these rules ensures success or is instead detrimental. While I carefully engineer my book structures, I work with color more intuitively. I am interested in colors that glow, shift, and change depending on the light, the colors surrounding them, and the materials that they are printed on. I find beauty in the uncertainty of color. By juxtaposing an intuitive use of color with a rigid book structure, I hope to question my desire to control things in an unpredictable world, rather than seeing possibility in uncertainty. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773169260083-FO72LUELLPGMPXT9PW16/mcba-prize-2024-Kelsey-Reiman-Snap-to-Grid-1.jpg Entries & Jurors - 2024 Entries - Kelsey Reiman Reno, NV http://www.kelseyreiman.com/ Snap to Grid 2022 Pressure prints on Kitakata Paper 6.125″ x 5.75″ x 2.125″ (closed box) Artist Statement Snap to Grid is an artist book and animation that employs real and arbitrary systems to explore the relationship between digital and analog processes and analytical and playful approaches. When closed, the book structure shows a series of squares that are stacked on top of each other, systemically rotating, changing in size, and shifting in color. When open, the book reveals a long accordion structure that is a linear representation of the animation. The animation was made in response to a musical composition written by Christopher Pierce which responds to the book structure. The animation shows a shape that is transforming while rotating and orbiting the center of a circle. It begins as an eight-pointed quilt star and gradually changes into other star and flower-like shapes inspired by decorative motifs. Waves radiate from the circle’s center and spirographs populate the circle in response to a bell chiming in the music. Together these elements evoke ideas of planetary motion and waves of sound or light energy. The color of the image gradually transitions through a complete spectrum of colors. The persistence of vision that allows the viewer to see a series of frames as a smooth animation also impacts their perception of the color that they are seeing, depending on what was seen before and after. But the color also slightly flickers throughout the animation and exposes the imperfections in the printing. The title Snap to Grid refers to the fantasy of complete digital control and perfect adherence to a system. But the animation reveals the impossibility of humans acting as infallible machines and questions whether that is a worthwhile goal. As an artist who works within the context of letterpress and book arts, I enjoy working within the constraints of these mediums, which are dictated by the machinery, processes, traditions, conventions, and rules of the mediums. I impose additional constraints onto my work by creating book structures that follow mathematical and geometric rules of my own making. I seek to find sets of rules that result in resolved outcomes and find comfort in being able to predict and control my work. But I also question what rules are real, which are arbitrary, which are superstitious, and if adherence to these rules ensures success or is instead detrimental. While I carefully engineer my book structures, I work with color more intuitively. I am interested in colors that glow, shift, and change depending on the light, the colors surrounding them, and the materials that they are printed on. I find beauty in the uncertainty of color. By juxtaposing an intuitive use of color with a rigid book structure, I hope to question my desire to control things in an unpredictable world, rather than seeing possibility in uncertainty. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773169918206-VTIN43ZQ3ZO0OZPBW66G/mcba-prize-2024-Sarah-Ann-Jump-The-Island-1.jpg Entries & Jurors - 2024 Entries - Sarah Ann Jump Brooklyn, NY sajump.com IG: sarahannjump The Island 2023 Unique artist’s book: wooden covers, leather spine with linen thread, handmade phragmites paper with nature embeds, instant film photographs, miniature notebook 6″ x 9″ x 3″ (closed) Artist Statement As the land sinks and the waters rise, my father’s favorite place is fated to join the open waters of the Chesapeake Bay in the coming years. The hunting cabin he’s built over the decades is still a refuge from tidal flooding. But like tracking a child’s growth, the wall inside is marked with the heights of recent storm surges. Reconnecting with a place that occupies my childhood memories came with a growing urgency to document and preserve it in hopes that the artist’s book will outlast the island. The Island showcases instant film photographs that capture a portrait of the private hunting island, eerie and beautiful, with hints of its human caretakers. Its cypress wood covers were once part of the cabin. Each page is unique in texture, color, and shape thanks to the handmade paper that uses only phragmites — the invasive reed species taking over Maryland’s wetlands. Nature findings, like snake skin sheds, bayberry leaves, and mushrooms, are embedded in the pages and joined by less natural findings like toilet paper from the outhouse and paint chips peeled from the cabin. Flipping through its pages brings forward the smell of the brackish marsh with hints of Old Bay seasoning. A miniature, hand-sewn composition notebook, much like the one that lives at the island for its visitors to write in, waits for the viewer in the back pocket. It shares the artist’s personal connection to the place through family photos and journal entries spanning 1993 to 2023, from ages 3 months to 30 years. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773169918755-YF354MUPTYUNOZI5TE6V/mcba-prize-2024-Sarah-Ann-Jump-The-Island-2.jpg Entries & Jurors - 2024 Entries - Sarah Ann Jump Brooklyn, NY sajump.com IG: sarahannjump The Island 2023 Unique artist’s book: wooden covers, leather spine with linen thread, handmade phragmites paper with nature embeds, instant film photographs, miniature notebook 6″ x 9″ x 3″ (closed) Artist Statement As the land sinks and the waters rise, my father’s favorite place is fated to join the open waters of the Chesapeake Bay in the coming years. The hunting cabin he’s built over the decades is still a refuge from tidal flooding. But like tracking a child’s growth, the wall inside is marked with the heights of recent storm surges. Reconnecting with a place that occupies my childhood memories came with a growing urgency to document and preserve it in hopes that the artist’s book will outlast the island. The Island showcases instant film photographs that capture a portrait of the private hunting island, eerie and beautiful, with hints of its human caretakers. Its cypress wood covers were once part of the cabin. Each page is unique in texture, color, and shape thanks to the handmade paper that uses only phragmites — the invasive reed species taking over Maryland’s wetlands. Nature findings, like snake skin sheds, bayberry leaves, and mushrooms, are embedded in the pages and joined by less natural findings like toilet paper from the outhouse and paint chips peeled from the cabin. Flipping through its pages brings forward the smell of the brackish marsh with hints of Old Bay seasoning. A miniature, hand-sewn composition notebook, much like the one that lives at the island for its visitors to write in, waits for the viewer in the back pocket. It shares the artist’s personal connection to the place through family photos and journal entries spanning 1993 to 2023, from ages 3 months to 30 years. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773169926786-0KQI5HDG9NJZ0S7U038K/mcba-prize-2024-Sarah-Ann-Jump-The-Island-3.jpg Entries & Jurors - 2024 Entries - Sarah Ann Jump Brooklyn, NY sajump.com IG: sarahannjump The Island 2023 Unique artist’s book: wooden covers, leather spine with linen thread, handmade phragmites paper with nature embeds, instant film photographs, miniature notebook 6″ x 9″ x 3″ (closed) Artist Statement As the land sinks and the waters rise, my father’s favorite place is fated to join the open waters of the Chesapeake Bay in the coming years. The hunting cabin he’s built over the decades is still a refuge from tidal flooding. But like tracking a child’s growth, the wall inside is marked with the heights of recent storm surges. Reconnecting with a place that occupies my childhood memories came with a growing urgency to document and preserve it in hopes that the artist’s book will outlast the island. The Island showcases instant film photographs that capture a portrait of the private hunting island, eerie and beautiful, with hints of its human caretakers. Its cypress wood covers were once part of the cabin. Each page is unique in texture, color, and shape thanks to the handmade paper that uses only phragmites — the invasive reed species taking over Maryland’s wetlands. Nature findings, like snake skin sheds, bayberry leaves, and mushrooms, are embedded in the pages and joined by less natural findings like toilet paper from the outhouse and paint chips peeled from the cabin. Flipping through its pages brings forward the smell of the brackish marsh with hints of Old Bay seasoning. A miniature, hand-sewn composition notebook, much like the one that lives at the island for its visitors to write in, waits for the viewer in the back pocket. It shares the artist’s personal connection to the place through family photos and journal entries spanning 1993 to 2023, from ages 3 months to 30 years. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773169925993-XRQ727GMQ6TJYUTH9O2F/mcba-prize-2024-Sarah-Ann-Jump-The-Island-4.jpg Entries & Jurors - 2024 Entries - Sarah Ann Jump Brooklyn, NY sajump.com IG: sarahannjump The Island 2023 Unique artist’s book: wooden covers, leather spine with linen thread, handmade phragmites paper with nature embeds, instant film photographs, miniature notebook 6″ x 9″ x 3″ (closed) Artist Statement As the land sinks and the waters rise, my father’s favorite place is fated to join the open waters of the Chesapeake Bay in the coming years. The hunting cabin he’s built over the decades is still a refuge from tidal flooding. But like tracking a child’s growth, the wall inside is marked with the heights of recent storm surges. Reconnecting with a place that occupies my childhood memories came with a growing urgency to document and preserve it in hopes that the artist’s book will outlast the island. The Island showcases instant film photographs that capture a portrait of the private hunting island, eerie and beautiful, with hints of its human caretakers. Its cypress wood covers were once part of the cabin. Each page is unique in texture, color, and shape thanks to the handmade paper that uses only phragmites — the invasive reed species taking over Maryland’s wetlands. Nature findings, like snake skin sheds, bayberry leaves, and mushrooms, are embedded in the pages and joined by less natural findings like toilet paper from the outhouse and paint chips peeled from the cabin. Flipping through its pages brings forward the smell of the brackish marsh with hints of Old Bay seasoning. A miniature, hand-sewn composition notebook, much like the one that lives at the island for its visitors to write in, waits for the viewer in the back pocket. It shares the artist’s personal connection to the place through family photos and journal entries spanning 1993 to 2023, from ages 3 months to 30 years. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773169929702-XSZINKPID0D1TTM3F5MZ/mcba-prize-2024-Sarah-Ann-Jump-The-Island-5.jpg Entries & Jurors - 2024 Entries - Sarah Ann Jump Brooklyn, NY sajump.com IG: sarahannjump The Island 2023 Unique artist’s book: wooden covers, leather spine with linen thread, handmade phragmites paper with nature embeds, instant film photographs, miniature notebook 6″ x 9″ x 3″ (closed) Artist Statement As the land sinks and the waters rise, my father’s favorite place is fated to join the open waters of the Chesapeake Bay in the coming years. The hunting cabin he’s built over the decades is still a refuge from tidal flooding. But like tracking a child’s growth, the wall inside is marked with the heights of recent storm surges. Reconnecting with a place that occupies my childhood memories came with a growing urgency to document and preserve it in hopes that the artist’s book will outlast the island. The Island showcases instant film photographs that capture a portrait of the private hunting island, eerie and beautiful, with hints of its human caretakers. Its cypress wood covers were once part of the cabin. Each page is unique in texture, color, and shape thanks to the handmade paper that uses only phragmites — the invasive reed species taking over Maryland’s wetlands. Nature findings, like snake skin sheds, bayberry leaves, and mushrooms, are embedded in the pages and joined by less natural findings like toilet paper from the outhouse and paint chips peeled from the cabin. Flipping through its pages brings forward the smell of the brackish marsh with hints of Old Bay seasoning. A miniature, hand-sewn composition notebook, much like the one that lives at the island for its visitors to write in, waits for the viewer in the back pocket. It shares the artist’s personal connection to the place through family photos and journal entries spanning 1993 to 2023, from ages 3 months to 30 years. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773170122681-MF5213O0P258NZBU2WZW/mcba-prize-2024-Tegan-Daly-Field-and-Grove-2.jpg Entries & Jurors - 2024 Entries - Tegan Daly Iowa City, IA Field & Grove 2024 Letterpress (polymer plates and metal type), handmade paper (hemp,cotton, flax), leather 6 x 8.5 Artist Statement An investigation of place is central to Field & Grove, which incorporates materials and text that engage with the regional ecology of the Midwest. I sought to take the aesthetic of a poetry fine binding and push it toward an artist book through an interplay of imagery and whitespace that enhances the experience of the text. Each major element of the book holds equal weight for me artistically: the text, images, materials, and the binding. Field & Grove contains a series of eight original poems divided into two parts. My written work has often taken the form of “place-based” poetry and essays. I am interested in the way that spaces, both outdoor and indoor, can affect our psyches. In particular, what stories do overlooked places tell? Viewed from the outside, places such as these are dubbed “flyover states,” a term that, as a Midwesterner, I find frustratingly ignorant, yet not without reason. In heavily agricultural areas, there can be a sense of loss of place due to the imposed uniformity of monocrops. The Midwest contains a diversity of landscapes, yet, in the “flyover state” mentality, these bioregions and landscapes blur and become one enormous mass defined by what they are not: they are not urban; they are not coasts. This work, then, speaks from the Midwest, and from the rural perspective, in the hopes of creating a conversation around what the Midwest is, rather than what it is not. It is a perspective intrinsically tied to agriculture. Field & Grove recognizes a love of the pastoral and an acceptance of the necessity of using land to feed people, while simultaneously critiquing modern agriculture’s industrial reshaping of the land for immediate returns and profits. These poems linger on the natural, yet acknowledge a proximity to human structures. I am interested in the overlap, and in the transitional moments of one giving way to the other. Each of the two sections, “Field,” followed by “Grove” contains four original poems alongside a series of images which were produced using the “nature printing” method. Using this method, I applied either block printing ink or acrylic paint to locally harvested plant samples using a brayer, and made monoprints of the plants themselves. I then converted these prints into polymer plates in order to letterpress print them. All of the text in the book is printed from handset metal type. The text paper used in Field & Grove was handmade using a blend of local hemp and recycled cotton fabric. It was important for me to use fiber that was both representative of the place where it was made, and environmentally responsible. I processed the hemp fiber by hand ― from cutting down the hemp plants, to steaming, stripping and scraping the bast fibers, to beating the pulp, and finally forming the sheets. The book also contains folios of overbeaten flax paper which are transparent and printed with images that interact with both the verso and the recto of the spreads in which they appear, as seen in images 3 and 4. As a writer, text is central to my work as a book artist. I often take inspiration from the shape of a poem and the way it appears on a page when considering an image to accompany it. The incorporation of transparent sheets of paper gave me the opportunity to both to nestle an image against a poem, and to then allow the poem to stand alone by flipping the page. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773170124245-XLF9N0JLG4DWSQ1XHYDV/mcba-prize-2024-Tegan-Daly-Field-and-Grove-3.jpg Entries & Jurors - 2024 Entries - Tegan Daly Iowa City, IA Field & Grove 2024 Letterpress (polymer plates and metal type), handmade paper (hemp,cotton, flax), leather 6 x 8.5 Artist Statement An investigation of place is central to Field & Grove, which incorporates materials and text that engage with the regional ecology of the Midwest. I sought to take the aesthetic of a poetry fine binding and push it toward an artist book through an interplay of imagery and whitespace that enhances the experience of the text. Each major element of the book holds equal weight for me artistically: the text, images, materials, and the binding. Field & Grove contains a series of eight original poems divided into two parts. My written work has often taken the form of “place-based” poetry and essays. I am interested in the way that spaces, both outdoor and indoor, can affect our psyches. In particular, what stories do overlooked places tell? Viewed from the outside, places such as these are dubbed “flyover states,” a term that, as a Midwesterner, I find frustratingly ignorant, yet not without reason. In heavily agricultural areas, there can be a sense of loss of place due to the imposed uniformity of monocrops. The Midwest contains a diversity of landscapes, yet, in the “flyover state” mentality, these bioregions and landscapes blur and become one enormous mass defined by what they are not: they are not urban; they are not coasts. This work, then, speaks from the Midwest, and from the rural perspective, in the hopes of creating a conversation around what the Midwest is, rather than what it is not. It is a perspective intrinsically tied to agriculture. Field & Grove recognizes a love of the pastoral and an acceptance of the necessity of using land to feed people, while simultaneously critiquing modern agriculture’s industrial reshaping of the land for immediate returns and profits. These poems linger on the natural, yet acknowledge a proximity to human structures. I am interested in the overlap, and in the transitional moments of one giving way to the other. Each of the two sections, “Field,” followed by “Grove” contains four original poems alongside a series of images which were produced using the “nature printing” method. Using this method, I applied either block printing ink or acrylic paint to locally harvested plant samples using a brayer, and made monoprints of the plants themselves. I then converted these prints into polymer plates in order to letterpress print them. All of the text in the book is printed from handset metal type. The text paper used in Field & Grove was handmade using a blend of local hemp and recycled cotton fabric. It was important for me to use fiber that was both representative of the place where it was made, and environmentally responsible. I processed the hemp fiber by hand ― from cutting down the hemp plants, to steaming, stripping and scraping the bast fibers, to beating the pulp, and finally forming the sheets. The book also contains folios of overbeaten flax paper which are transparent and printed with images that interact with both the verso and the recto of the spreads in which they appear, as seen in images 3 and 4. As a writer, text is central to my work as a book artist. I often take inspiration from the shape of a poem and the way it appears on a page when considering an image to accompany it. The incorporation of transparent sheets of paper gave me the opportunity to both to nestle an image against a poem, and to then allow the poem to stand alone by flipping the page. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773170124286-Y23VX155ZD8RGZYV1TVV/mcba-prize-2024-Tegan-Daly-Field-and-Grove-4.jpg Entries & Jurors - 2024 Entries - Tegan Daly Iowa City, IA Field & Grove 2024 Letterpress (polymer plates and metal type), handmade paper (hemp,cotton, flax), leather 6 x 8.5 Artist Statement An investigation of place is central to Field & Grove, which incorporates materials and text that engage with the regional ecology of the Midwest. I sought to take the aesthetic of a poetry fine binding and push it toward an artist book through an interplay of imagery and whitespace that enhances the experience of the text. Each major element of the book holds equal weight for me artistically: the text, images, materials, and the binding. Field & Grove contains a series of eight original poems divided into two parts. My written work has often taken the form of “place-based” poetry and essays. I am interested in the way that spaces, both outdoor and indoor, can affect our psyches. In particular, what stories do overlooked places tell? Viewed from the outside, places such as these are dubbed “flyover states,” a term that, as a Midwesterner, I find frustratingly ignorant, yet not without reason. In heavily agricultural areas, there can be a sense of loss of place due to the imposed uniformity of monocrops. The Midwest contains a diversity of landscapes, yet, in the “flyover state” mentality, these bioregions and landscapes blur and become one enormous mass defined by what they are not: they are not urban; they are not coasts. This work, then, speaks from the Midwest, and from the rural perspective, in the hopes of creating a conversation around what the Midwest is, rather than what it is not. It is a perspective intrinsically tied to agriculture. Field & Grove recognizes a love of the pastoral and an acceptance of the necessity of using land to feed people, while simultaneously critiquing modern agriculture’s industrial reshaping of the land for immediate returns and profits. These poems linger on the natural, yet acknowledge a proximity to human structures. I am interested in the overlap, and in the transitional moments of one giving way to the other. Each of the two sections, “Field,” followed by “Grove” contains four original poems alongside a series of images which were produced using the “nature printing” method. Using this method, I applied either block printing ink or acrylic paint to locally harvested plant samples using a brayer, and made monoprints of the plants themselves. I then converted these prints into polymer plates in order to letterpress print them. All of the text in the book is printed from handset metal type. The text paper used in Field & Grove was handmade using a blend of local hemp and recycled cotton fabric. It was important for me to use fiber that was both representative of the place where it was made, and environmentally responsible. I processed the hemp fiber by hand ― from cutting down the hemp plants, to steaming, stripping and scraping the bast fibers, to beating the pulp, and finally forming the sheets. The book also contains folios of overbeaten flax paper which are transparent and printed with images that interact with both the verso and the recto of the spreads in which they appear, as seen in images 3 and 4. As a writer, text is central to my work as a book artist. I often take inspiration from the shape of a poem and the way it appears on a page when considering an image to accompany it. The incorporation of transparent sheets of paper gave me the opportunity to both to nestle an image against a poem, and to then allow the poem to stand alone by flipping the page. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773170125441-LZZ9YL5JRDDSXPGM1BUY/mcba-prize-2024-Tegan-Daly-Field-and-Grove-5.jpg Entries & Jurors - 2024 Entries - Tegan Daly Iowa City, IA Field & Grove 2024 Letterpress (polymer plates and metal type), handmade paper (hemp,cotton, flax), leather 6 x 8.5 Artist Statement An investigation of place is central to Field & Grove, which incorporates materials and text that engage with the regional ecology of the Midwest. I sought to take the aesthetic of a poetry fine binding and push it toward an artist book through an interplay of imagery and whitespace that enhances the experience of the text. Each major element of the book holds equal weight for me artistically: the text, images, materials, and the binding. Field & Grove contains a series of eight original poems divided into two parts. My written work has often taken the form of “place-based” poetry and essays. I am interested in the way that spaces, both outdoor and indoor, can affect our psyches. In particular, what stories do overlooked places tell? Viewed from the outside, places such as these are dubbed “flyover states,” a term that, as a Midwesterner, I find frustratingly ignorant, yet not without reason. In heavily agricultural areas, there can be a sense of loss of place due to the imposed uniformity of monocrops. The Midwest contains a diversity of landscapes, yet, in the “flyover state” mentality, these bioregions and landscapes blur and become one enormous mass defined by what they are not: they are not urban; they are not coasts. This work, then, speaks from the Midwest, and from the rural perspective, in the hopes of creating a conversation around what the Midwest is, rather than what it is not. It is a perspective intrinsically tied to agriculture. Field & Grove recognizes a love of the pastoral and an acceptance of the necessity of using land to feed people, while simultaneously critiquing modern agriculture’s industrial reshaping of the land for immediate returns and profits. These poems linger on the natural, yet acknowledge a proximity to human structures. I am interested in the overlap, and in the transitional moments of one giving way to the other. Each of the two sections, “Field,” followed by “Grove” contains four original poems alongside a series of images which were produced using the “nature printing” method. Using this method, I applied either block printing ink or acrylic paint to locally harvested plant samples using a brayer, and made monoprints of the plants themselves. I then converted these prints into polymer plates in order to letterpress print them. All of the text in the book is printed from handset metal type. The text paper used in Field & Grove was handmade using a blend of local hemp and recycled cotton fabric. It was important for me to use fiber that was both representative of the place where it was made, and environmentally responsible. I processed the hemp fiber by hand ― from cutting down the hemp plants, to steaming, stripping and scraping the bast fibers, to beating the pulp, and finally forming the sheets. The book also contains folios of overbeaten flax paper which are transparent and printed with images that interact with both the verso and the recto of the spreads in which they appear, as seen in images 3 and 4. As a writer, text is central to my work as a book artist. I often take inspiration from the shape of a poem and the way it appears on a page when considering an image to accompany it. The incorporation of transparent sheets of paper gave me the opportunity to both to nestle an image against a poem, and to then allow the poem to stand alone by flipping the page. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773170122639-CSHE6F2WA3BT3NMOXPO1/mcba-prize-2024-Tegan-Daly-Field-and-Grove-1.jpg Entries & Jurors - 2024 Entries - Tegan Daly Iowa City, IA Field & Grove 2024 Letterpress (polymer plates and metal type), handmade paper (hemp,cotton, flax), leather 6 x 8.5 Artist Statement An investigation of place is central to Field & Grove, which incorporates materials and text that engage with the regional ecology of the Midwest. I sought to take the aesthetic of a poetry fine binding and push it toward an artist book through an interplay of imagery and whitespace that enhances the experience of the text. Each major element of the book holds equal weight for me artistically: the text, images, materials, and the binding. Field & Grove contains a series of eight original poems divided into two parts. My written work has often taken the form of “place-based” poetry and essays. I am interested in the way that spaces, both outdoor and indoor, can affect our psyches. In particular, what stories do overlooked places tell? Viewed from the outside, places such as these are dubbed “flyover states,” a term that, as a Midwesterner, I find frustratingly ignorant, yet not without reason. In heavily agricultural areas, there can be a sense of loss of place due to the imposed uniformity of monocrops. The Midwest contains a diversity of landscapes, yet, in the “flyover state” mentality, these bioregions and landscapes blur and become one enormous mass defined by what they are not: they are not urban; they are not coasts. This work, then, speaks from the Midwest, and from the rural perspective, in the hopes of creating a conversation around what the Midwest is, rather than what it is not. It is a perspective intrinsically tied to agriculture. Field & Grove recognizes a love of the pastoral and an acceptance of the necessity of using land to feed people, while simultaneously critiquing modern agriculture’s industrial reshaping of the land for immediate returns and profits. These poems linger on the natural, yet acknowledge a proximity to human structures. I am interested in the overlap, and in the transitional moments of one giving way to the other. Each of the two sections, “Field,” followed by “Grove” contains four original poems alongside a series of images which were produced using the “nature printing” method. Using this method, I applied either block printing ink or acrylic paint to locally harvested plant samples using a brayer, and made monoprints of the plants themselves. I then converted these prints into polymer plates in order to letterpress print them. All of the text in the book is printed from handset metal type. The text paper used in Field & Grove was handmade using a blend of local hemp and recycled cotton fabric. It was important for me to use fiber that was both representative of the place where it was made, and environmentally responsible. I processed the hemp fiber by hand ― from cutting down the hemp plants, to steaming, stripping and scraping the bast fibers, to beating the pulp, and finally forming the sheets. The book also contains folios of overbeaten flax paper which are transparent and printed with images that interact with both the verso and the recto of the spreads in which they appear, as seen in images 3 and 4. As a writer, text is central to my work as a book artist. I often take inspiration from the shape of a poem and the way it appears on a page when considering an image to accompany it. The incorporation of transparent sheets of paper gave me the opportunity to both to nestle an image against a poem, and to then allow the poem to stand alone by flipping the page. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773170879078-2HYURGQ0XXTRZ8RNRN41/mcba-prize-2024-Heather-Doyle-Maier-Wild-Goose-Chase-2.jpg Entries & Jurors - 2024 Entries - Heather Doyle-Maier Denver, CO Wild Goose Chase 2023 Paper, fabric, thread, tyvek, steel, repurposed corset pieces 6 x 8.75 x 1.25 Artist Statement “Wild Goose Chase” was inspired by a vintage corset belonging to the grandmother of a friend. A farm woman living and raising a family on the plains of Eastern Colorado, one might wonder why she felt she needed a corset at all. To shape her figure? To maintain her identity as lovely and slender? To try to control her appearance by sheer force, out of habit? It was impossible to know the story, yet this corset, with its rigid steel bones and tight-wrapped lacings and its distinctive molding of bust and waist, was clearly well-used and, for her at least, it served an essential purpose. A book of collected family recipes from the same friend told a different sort of story, and that story was about food. Instructions for scrumptious dishes filled that little cookbook: yummy sauces, tasty meat preparations, baked goods and delicious desserts, many with unknown pronunciations. There were recipes (dozens and dozens) for holiday food and comfort food and foods for particular events, notes (extensive) on who the recipe has been passed down from and to, and debates (clearly ongoing) about whether this version was Grandma’s original, or not, or if it was at least as good as. Essential purposes were clear here too: reinforce the bonds of family, demonstrate your cultural identity, and keep your large family fed and proudly able to farm their own land. The relationships between women and food and bodies and control are complex, layered, and spring-loaded. In response to these two specific artifacts, I built a book that explores and enacts those tensions. Gleaned from personal interviews, five narratives inside the book relate different women’s memories of eating and family and home. Familiar foods are printed on delicate pink triangles that are incorporated into a quilt pattern, a “wild goose chase,” that is laid out on a field of a fancy lace pattern. Delicate femininity abounds in the materials, the textures, the aesthetic. Amidst this preciousness and nostalgia, however, is a tight grip: pages are stitched tightly in multiple lines, steel corset bones and ball bearings are embedded in the lacework, and a long list of “tips” for weight control is inscribed on the backside. When closed, the accordion-style book is also held tightly together with corset bindings, which must be assertively reckoned with before opening the book or viewing its contents, and to “read” the book is to reckon with not only specific histories inside but to one’s own deeply embedded relationship to body and food and to the control of both. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773170880913-X0LT7LRI0Z6I5PZSN0FS/mcba-prize-2024-Heather-Doyle-Maier-Wild-Goose-Chase-3.jpg Entries & Jurors - 2024 Entries - Heather Doyle-Maier Denver, CO Wild Goose Chase 2023 Paper, fabric, thread, tyvek, steel, repurposed corset pieces 6 x 8.75 x 1.25 Artist Statement “Wild Goose Chase” was inspired by a vintage corset belonging to the grandmother of a friend. A farm woman living and raising a family on the plains of Eastern Colorado, one might wonder why she felt she needed a corset at all. To shape her figure? To maintain her identity as lovely and slender? To try to control her appearance by sheer force, out of habit? It was impossible to know the story, yet this corset, with its rigid steel bones and tight-wrapped lacings and its distinctive molding of bust and waist, was clearly well-used and, for her at least, it served an essential purpose. A book of collected family recipes from the same friend told a different sort of story, and that story was about food. Instructions for scrumptious dishes filled that little cookbook: yummy sauces, tasty meat preparations, baked goods and delicious desserts, many with unknown pronunciations. There were recipes (dozens and dozens) for holiday food and comfort food and foods for particular events, notes (extensive) on who the recipe has been passed down from and to, and debates (clearly ongoing) about whether this version was Grandma’s original, or not, or if it was at least as good as. Essential purposes were clear here too: reinforce the bonds of family, demonstrate your cultural identity, and keep your large family fed and proudly able to farm their own land. The relationships between women and food and bodies and control are complex, layered, and spring-loaded. In response to these two specific artifacts, I built a book that explores and enacts those tensions. Gleaned from personal interviews, five narratives inside the book relate different women’s memories of eating and family and home. Familiar foods are printed on delicate pink triangles that are incorporated into a quilt pattern, a “wild goose chase,” that is laid out on a field of a fancy lace pattern. Delicate femininity abounds in the materials, the textures, the aesthetic. Amidst this preciousness and nostalgia, however, is a tight grip: pages are stitched tightly in multiple lines, steel corset bones and ball bearings are embedded in the lacework, and a long list of “tips” for weight control is inscribed on the backside. When closed, the accordion-style book is also held tightly together with corset bindings, which must be assertively reckoned with before opening the book or viewing its contents, and to “read” the book is to reckon with not only specific histories inside but to one’s own deeply embedded relationship to body and food and to the control of both. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773170881042-O23OW845579U03C7BYSB/mcba-prize-2024-Heather-Doyle-Maier-Wild-Goose-Chase-4.jpg Entries & Jurors - 2024 Entries - Heather Doyle-Maier Denver, CO Wild Goose Chase 2023 Paper, fabric, thread, tyvek, steel, repurposed corset pieces 6 x 8.75 x 1.25 Artist Statement “Wild Goose Chase” was inspired by a vintage corset belonging to the grandmother of a friend. A farm woman living and raising a family on the plains of Eastern Colorado, one might wonder why she felt she needed a corset at all. To shape her figure? To maintain her identity as lovely and slender? To try to control her appearance by sheer force, out of habit? It was impossible to know the story, yet this corset, with its rigid steel bones and tight-wrapped lacings and its distinctive molding of bust and waist, was clearly well-used and, for her at least, it served an essential purpose. A book of collected family recipes from the same friend told a different sort of story, and that story was about food. Instructions for scrumptious dishes filled that little cookbook: yummy sauces, tasty meat preparations, baked goods and delicious desserts, many with unknown pronunciations. There were recipes (dozens and dozens) for holiday food and comfort food and foods for particular events, notes (extensive) on who the recipe has been passed down from and to, and debates (clearly ongoing) about whether this version was Grandma’s original, or not, or if it was at least as good as. Essential purposes were clear here too: reinforce the bonds of family, demonstrate your cultural identity, and keep your large family fed and proudly able to farm their own land. The relationships between women and food and bodies and control are complex, layered, and spring-loaded. In response to these two specific artifacts, I built a book that explores and enacts those tensions. Gleaned from personal interviews, five narratives inside the book relate different women’s memories of eating and family and home. Familiar foods are printed on delicate pink triangles that are incorporated into a quilt pattern, a “wild goose chase,” that is laid out on a field of a fancy lace pattern. Delicate femininity abounds in the materials, the textures, the aesthetic. Amidst this preciousness and nostalgia, however, is a tight grip: pages are stitched tightly in multiple lines, steel corset bones and ball bearings are embedded in the lacework, and a long list of “tips” for weight control is inscribed on the backside. When closed, the accordion-style book is also held tightly together with corset bindings, which must be assertively reckoned with before opening the book or viewing its contents, and to “read” the book is to reckon with not only specific histories inside but to one’s own deeply embedded relationship to body and food and to the control of both. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773170882183-J0W7N09JP24W17UMYNDY/mcba-prize-2024-Heather-Doyle-Maier-Wild-Goose-Chase-5.jpg Entries & Jurors - 2024 Entries - Heather Doyle-Maier Denver, CO Wild Goose Chase 2023 Paper, fabric, thread, tyvek, steel, repurposed corset pieces 6 x 8.75 x 1.25 Artist Statement “Wild Goose Chase” was inspired by a vintage corset belonging to the grandmother of a friend. A farm woman living and raising a family on the plains of Eastern Colorado, one might wonder why she felt she needed a corset at all. To shape her figure? To maintain her identity as lovely and slender? To try to control her appearance by sheer force, out of habit? It was impossible to know the story, yet this corset, with its rigid steel bones and tight-wrapped lacings and its distinctive molding of bust and waist, was clearly well-used and, for her at least, it served an essential purpose. A book of collected family recipes from the same friend told a different sort of story, and that story was about food. Instructions for scrumptious dishes filled that little cookbook: yummy sauces, tasty meat preparations, baked goods and delicious desserts, many with unknown pronunciations. There were recipes (dozens and dozens) for holiday food and comfort food and foods for particular events, notes (extensive) on who the recipe has been passed down from and to, and debates (clearly ongoing) about whether this version was Grandma’s original, or not, or if it was at least as good as. Essential purposes were clear here too: reinforce the bonds of family, demonstrate your cultural identity, and keep your large family fed and proudly able to farm their own land. The relationships between women and food and bodies and control are complex, layered, and spring-loaded. In response to these two specific artifacts, I built a book that explores and enacts those tensions. Gleaned from personal interviews, five narratives inside the book relate different women’s memories of eating and family and home. Familiar foods are printed on delicate pink triangles that are incorporated into a quilt pattern, a “wild goose chase,” that is laid out on a field of a fancy lace pattern. Delicate femininity abounds in the materials, the textures, the aesthetic. Amidst this preciousness and nostalgia, however, is a tight grip: pages are stitched tightly in multiple lines, steel corset bones and ball bearings are embedded in the lacework, and a long list of “tips” for weight control is inscribed on the backside. When closed, the accordion-style book is also held tightly together with corset bindings, which must be assertively reckoned with before opening the book or viewing its contents, and to “read” the book is to reckon with not only specific histories inside but to one’s own deeply embedded relationship to body and food and to the control of both. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773170878825-OULOH1CNBIQC363SPD6A/mcba-prize-2024-Heather-Doyle-Maier-Wild-Goose-Chase-1.jpg Entries & Jurors - 2024 Entries - Heather Doyle-Maier Denver, CO Wild Goose Chase 2023 Paper, fabric, thread, tyvek, steel, repurposed corset pieces 6 x 8.75 x 1.25 Artist Statement “Wild Goose Chase” was inspired by a vintage corset belonging to the grandmother of a friend. A farm woman living and raising a family on the plains of Eastern Colorado, one might wonder why she felt she needed a corset at all. To shape her figure? To maintain her identity as lovely and slender? To try to control her appearance by sheer force, out of habit? It was impossible to know the story, yet this corset, with its rigid steel bones and tight-wrapped lacings and its distinctive molding of bust and waist, was clearly well-used and, for her at least, it served an essential purpose. A book of collected family recipes from the same friend told a different sort of story, and that story was about food. Instructions for scrumptious dishes filled that little cookbook: yummy sauces, tasty meat preparations, baked goods and delicious desserts, many with unknown pronunciations. There were recipes (dozens and dozens) for holiday food and comfort food and foods for particular events, notes (extensive) on who the recipe has been passed down from and to, and debates (clearly ongoing) about whether this version was Grandma’s original, or not, or if it was at least as good as. Essential purposes were clear here too: reinforce the bonds of family, demonstrate your cultural identity, and keep your large family fed and proudly able to farm their own land. The relationships between women and food and bodies and control are complex, layered, and spring-loaded. In response to these two specific artifacts, I built a book that explores and enacts those tensions. Gleaned from personal interviews, five narratives inside the book relate different women’s memories of eating and family and home. Familiar foods are printed on delicate pink triangles that are incorporated into a quilt pattern, a “wild goose chase,” that is laid out on a field of a fancy lace pattern. Delicate femininity abounds in the materials, the textures, the aesthetic. Amidst this preciousness and nostalgia, however, is a tight grip: pages are stitched tightly in multiple lines, steel corset bones and ball bearings are embedded in the lacework, and a long list of “tips” for weight control is inscribed on the backside. When closed, the accordion-style book is also held tightly together with corset bindings, which must be assertively reckoned with before opening the book or viewing its contents, and to “read” the book is to reckon with not only specific histories inside but to one’s own deeply embedded relationship to body and food and to the control of both. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171172190-AQ9EEP1W30S9P8QCD7M6/mcba-prize-2024-Richard-Zauft-Eidolon-5.jpg Entries & Jurors - 2024 Entries - Richard Zauft Sudbury, MA https://www.richardzaufteditions.com/ EIDOLON 2024 Letterpress printed book 13.125 x 9.3 x 1 Artist Statement THE HANDMADE BOOK IS AN ORCHESTRATED OBJECT that every viewer will experience differently. Each encounter is a unique event that is filtered through the lens of one’s culture, life experience, and the prevailing climate. My goal is to create a fusion of abstract ideas and physical interpretation that reveals new meaning through material and form. Through a process of continual experimentation and revision, I strive to integrate all the design elements (typography, image, materials, color, texture, page design and sequence, structure, and weight) to serve the book’s content in harmony and balance. The final orchestration, with sensitivity and restraint, should reveal new intellectual insights for the reader, amplified by the sensual dimension that only a handmade book can impart. ……. The Eidolon, as described by Homer in The Illiad as a spirit-double and messenger of a once living person, fascinated numerous nineteenth-century era poets. Their romantic conceptions of the Eidolon as a reincarnated being of mysterious and inexplicable transmutation paralleled the Spiritualist Movement interests in mediums and séances of the time. As literature and poetry pivoted toward the terrain of nature and internal emotion, the Eidolon was invoked as a terrible and fearsome entity encountered in the wild and in one’s dreams. The evolution of the Eidolon can be traced from a desperate and pleading ghost, into a vengeful and irresistible force embodied in Achilles’ wrath, into a malevolent wraith that haunted both the woods and the mind. The quest to find out more about these allied concepts is what compelled me to undertake this project. Starting with, and following various definitions of an Eidolon compiled through numerous references, I divided the book into four chapters. The Invocation (chapter one) is the conversation from The Illiad. The Summoning (chapter two) nd The Possession (chapter three) are the deconstructed, reconstructed, and reordered writings of selected poets that invoked the attributes of the Eidolon. The Reckoning (chapter four) is my account of a nightmare encounter with my own Eidolon. The attempt of this staging, and the trajectory of this entirely new narrative, is to provide a deeper nd more comprehensive understanding of the Eidolon as a powerful and eternal force that may be recalled at anytime through one‘s own misdeeds and misjudgments. The physical expression of this book centers on the concept of the spirit visiting the physical world. This is demonstrated through the translucency of the plexiglass covers and the Japanese paper – both yield only a partial view of the text on the other side. The goatskin binding is a medieval style that contrasts starkly with the modern plexiglass covers. These disparate materials were chosen to help amplify this ancient tale brought forward to modern times. Readers will notice that every page is designed with text running between the lines of other text. This text treatment represents the spiritual that resides within the corporeal, as the Eidolon resides in the body. Last, the voices of the Eidolon, and its victims, are presented through six different text treatments. In this modern day Greek chorus, the text fades away, is obscured, or is a cacophony of overlapping voices. The Eidolon thus resides everywhere and nowhere at the same time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171171303-ZAX5XBRBZQYSTNF8WIPS/mcba-prize-2024-Richard-Zauft-Eidolon-4.jpg Entries & Jurors - 2024 Entries - Richard Zauft Sudbury, MA https://www.richardzaufteditions.com/ EIDOLON 2024 Letterpress printed book 13.125 x 9.3 x 1 Artist Statement THE HANDMADE BOOK IS AN ORCHESTRATED OBJECT that every viewer will experience differently. Each encounter is a unique event that is filtered through the lens of one’s culture, life experience, and the prevailing climate. My goal is to create a fusion of abstract ideas and physical interpretation that reveals new meaning through material and form. Through a process of continual experimentation and revision, I strive to integrate all the design elements (typography, image, materials, color, texture, page design and sequence, structure, and weight) to serve the book’s content in harmony and balance. The final orchestration, with sensitivity and restraint, should reveal new intellectual insights for the reader, amplified by the sensual dimension that only a handmade book can impart. ……. The Eidolon, as described by Homer in The Illiad as a spirit-double and messenger of a once living person, fascinated numerous nineteenth-century era poets. Their romantic conceptions of the Eidolon as a reincarnated being of mysterious and inexplicable transmutation paralleled the Spiritualist Movement interests in mediums and séances of the time. As literature and poetry pivoted toward the terrain of nature and internal emotion, the Eidolon was invoked as a terrible and fearsome entity encountered in the wild and in one’s dreams. The evolution of the Eidolon can be traced from a desperate and pleading ghost, into a vengeful and irresistible force embodied in Achilles’ wrath, into a malevolent wraith that haunted both the woods and the mind. The quest to find out more about these allied concepts is what compelled me to undertake this project. Starting with, and following various definitions of an Eidolon compiled through numerous references, I divided the book into four chapters. The Invocation (chapter one) is the conversation from The Illiad. The Summoning (chapter two) nd The Possession (chapter three) are the deconstructed, reconstructed, and reordered writings of selected poets that invoked the attributes of the Eidolon. The Reckoning (chapter four) is my account of a nightmare encounter with my own Eidolon. The attempt of this staging, and the trajectory of this entirely new narrative, is to provide a deeper nd more comprehensive understanding of the Eidolon as a powerful and eternal force that may be recalled at anytime through one‘s own misdeeds and misjudgments. The physical expression of this book centers on the concept of the spirit visiting the physical world. This is demonstrated through the translucency of the plexiglass covers and the Japanese paper – both yield only a partial view of the text on the other side. The goatskin binding is a medieval style that contrasts starkly with the modern plexiglass covers. These disparate materials were chosen to help amplify this ancient tale brought forward to modern times. Readers will notice that every page is designed with text running between the lines of other text. This text treatment represents the spiritual that resides within the corporeal, as the Eidolon resides in the body. Last, the voices of the Eidolon, and its victims, are presented through six different text treatments. In this modern day Greek chorus, the text fades away, is obscured, or is a cacophony of overlapping voices. The Eidolon thus resides everywhere and nowhere at the same time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171170504-604WQ86GQVRQ7VGEJ8OE/mcba-prize-2024-Richard-Zauft-Eidolon-3.jpg Entries & Jurors - 2024 Entries - Richard Zauft Sudbury, MA https://www.richardzaufteditions.com/ EIDOLON 2024 Letterpress printed book 13.125 x 9.3 x 1 Artist Statement THE HANDMADE BOOK IS AN ORCHESTRATED OBJECT that every viewer will experience differently. Each encounter is a unique event that is filtered through the lens of one’s culture, life experience, and the prevailing climate. My goal is to create a fusion of abstract ideas and physical interpretation that reveals new meaning through material and form. Through a process of continual experimentation and revision, I strive to integrate all the design elements (typography, image, materials, color, texture, page design and sequence, structure, and weight) to serve the book’s content in harmony and balance. The final orchestration, with sensitivity and restraint, should reveal new intellectual insights for the reader, amplified by the sensual dimension that only a handmade book can impart. ……. The Eidolon, as described by Homer in The Illiad as a spirit-double and messenger of a once living person, fascinated numerous nineteenth-century era poets. Their romantic conceptions of the Eidolon as a reincarnated being of mysterious and inexplicable transmutation paralleled the Spiritualist Movement interests in mediums and séances of the time. As literature and poetry pivoted toward the terrain of nature and internal emotion, the Eidolon was invoked as a terrible and fearsome entity encountered in the wild and in one’s dreams. The evolution of the Eidolon can be traced from a desperate and pleading ghost, into a vengeful and irresistible force embodied in Achilles’ wrath, into a malevolent wraith that haunted both the woods and the mind. The quest to find out more about these allied concepts is what compelled me to undertake this project. Starting with, and following various definitions of an Eidolon compiled through numerous references, I divided the book into four chapters. The Invocation (chapter one) is the conversation from The Illiad. The Summoning (chapter two) nd The Possession (chapter three) are the deconstructed, reconstructed, and reordered writings of selected poets that invoked the attributes of the Eidolon. The Reckoning (chapter four) is my account of a nightmare encounter with my own Eidolon. The attempt of this staging, and the trajectory of this entirely new narrative, is to provide a deeper nd more comprehensive understanding of the Eidolon as a powerful and eternal force that may be recalled at anytime through one‘s own misdeeds and misjudgments. The physical expression of this book centers on the concept of the spirit visiting the physical world. This is demonstrated through the translucency of the plexiglass covers and the Japanese paper – both yield only a partial view of the text on the other side. The goatskin binding is a medieval style that contrasts starkly with the modern plexiglass covers. These disparate materials were chosen to help amplify this ancient tale brought forward to modern times. Readers will notice that every page is designed with text running between the lines of other text. This text treatment represents the spiritual that resides within the corporeal, as the Eidolon resides in the body. Last, the voices of the Eidolon, and its victims, are presented through six different text treatments. In this modern day Greek chorus, the text fades away, is obscured, or is a cacophony of overlapping voices. The Eidolon thus resides everywhere and nowhere at the same time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171169381-WAPPP3C18LR8LC2KWIFM/mcba-prize-2024-Richard-Zauft-Eidolon-2.jpg Entries & Jurors - 2024 Entries - Richard Zauft Sudbury, MA https://www.richardzaufteditions.com/ EIDOLON 2024 Letterpress printed book 13.125 x 9.3 x 1 Artist Statement THE HANDMADE BOOK IS AN ORCHESTRATED OBJECT that every viewer will experience differently. Each encounter is a unique event that is filtered through the lens of one’s culture, life experience, and the prevailing climate. My goal is to create a fusion of abstract ideas and physical interpretation that reveals new meaning through material and form. Through a process of continual experimentation and revision, I strive to integrate all the design elements (typography, image, materials, color, texture, page design and sequence, structure, and weight) to serve the book’s content in harmony and balance. The final orchestration, with sensitivity and restraint, should reveal new intellectual insights for the reader, amplified by the sensual dimension that only a handmade book can impart. ……. The Eidolon, as described by Homer in The Illiad as a spirit-double and messenger of a once living person, fascinated numerous nineteenth-century era poets. Their romantic conceptions of the Eidolon as a reincarnated being of mysterious and inexplicable transmutation paralleled the Spiritualist Movement interests in mediums and séances of the time. As literature and poetry pivoted toward the terrain of nature and internal emotion, the Eidolon was invoked as a terrible and fearsome entity encountered in the wild and in one’s dreams. The evolution of the Eidolon can be traced from a desperate and pleading ghost, into a vengeful and irresistible force embodied in Achilles’ wrath, into a malevolent wraith that haunted both the woods and the mind. The quest to find out more about these allied concepts is what compelled me to undertake this project. Starting with, and following various definitions of an Eidolon compiled through numerous references, I divided the book into four chapters. The Invocation (chapter one) is the conversation from The Illiad. The Summoning (chapter two) nd The Possession (chapter three) are the deconstructed, reconstructed, and reordered writings of selected poets that invoked the attributes of the Eidolon. The Reckoning (chapter four) is my account of a nightmare encounter with my own Eidolon. The attempt of this staging, and the trajectory of this entirely new narrative, is to provide a deeper nd more comprehensive understanding of the Eidolon as a powerful and eternal force that may be recalled at anytime through one‘s own misdeeds and misjudgments. The physical expression of this book centers on the concept of the spirit visiting the physical world. This is demonstrated through the translucency of the plexiglass covers and the Japanese paper – both yield only a partial view of the text on the other side. The goatskin binding is a medieval style that contrasts starkly with the modern plexiglass covers. These disparate materials were chosen to help amplify this ancient tale brought forward to modern times. Readers will notice that every page is designed with text running between the lines of other text. This text treatment represents the spiritual that resides within the corporeal, as the Eidolon resides in the body. Last, the voices of the Eidolon, and its victims, are presented through six different text treatments. In this modern day Greek chorus, the text fades away, is obscured, or is a cacophony of overlapping voices. The Eidolon thus resides everywhere and nowhere at the same time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171169026-6LENQUPPMRIWJEZFUA6I/mcba-prize-2024-Richard-Zauft-Eidolon-1.jpg Entries & Jurors - 2024 Entries - Richard Zauft Sudbury, MA https://www.richardzaufteditions.com/ EIDOLON 2024 Letterpress printed book 13.125 x 9.3 x 1 Artist Statement THE HANDMADE BOOK IS AN ORCHESTRATED OBJECT that every viewer will experience differently. Each encounter is a unique event that is filtered through the lens of one’s culture, life experience, and the prevailing climate. My goal is to create a fusion of abstract ideas and physical interpretation that reveals new meaning through material and form. Through a process of continual experimentation and revision, I strive to integrate all the design elements (typography, image, materials, color, texture, page design and sequence, structure, and weight) to serve the book’s content in harmony and balance. The final orchestration, with sensitivity and restraint, should reveal new intellectual insights for the reader, amplified by the sensual dimension that only a handmade book can impart. ……. The Eidolon, as described by Homer in The Illiad as a spirit-double and messenger of a once living person, fascinated numerous nineteenth-century era poets. Their romantic conceptions of the Eidolon as a reincarnated being of mysterious and inexplicable transmutation paralleled the Spiritualist Movement interests in mediums and séances of the time. As literature and poetry pivoted toward the terrain of nature and internal emotion, the Eidolon was invoked as a terrible and fearsome entity encountered in the wild and in one’s dreams. The evolution of the Eidolon can be traced from a desperate and pleading ghost, into a vengeful and irresistible force embodied in Achilles’ wrath, into a malevolent wraith that haunted both the woods and the mind. The quest to find out more about these allied concepts is what compelled me to undertake this project. Starting with, and following various definitions of an Eidolon compiled through numerous references, I divided the book into four chapters. The Invocation (chapter one) is the conversation from The Illiad. The Summoning (chapter two) nd The Possession (chapter three) are the deconstructed, reconstructed, and reordered writings of selected poets that invoked the attributes of the Eidolon. The Reckoning (chapter four) is my account of a nightmare encounter with my own Eidolon. The attempt of this staging, and the trajectory of this entirely new narrative, is to provide a deeper nd more comprehensive understanding of the Eidolon as a powerful and eternal force that may be recalled at anytime through one‘s own misdeeds and misjudgments. The physical expression of this book centers on the concept of the spirit visiting the physical world. This is demonstrated through the translucency of the plexiglass covers and the Japanese paper – both yield only a partial view of the text on the other side. The goatskin binding is a medieval style that contrasts starkly with the modern plexiglass covers. These disparate materials were chosen to help amplify this ancient tale brought forward to modern times. Readers will notice that every page is designed with text running between the lines of other text. This text treatment represents the spiritual that resides within the corporeal, as the Eidolon resides in the body. Last, the voices of the Eidolon, and its victims, are presented through six different text treatments. In this modern day Greek chorus, the text fades away, is obscured, or is a cacophony of overlapping voices. The Eidolon thus resides everywhere and nowhere at the same time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171405746-1FDRPT3WYAQZOO89RDXV/mcba-prize-2024-Patricia-Smith-Claire-Fouquet-So-Many-Seeds-2.jpg Entries & Jurors - 2024 Entries - Patricia Smith & Claire Fouquet Philadelphia, PA pattysmithartist.com fouquetandsmithcollaborations.com So Many Seeds 2023 Woodblock/ Jacob’s Ladder 3 inches by 3 inches closed, 3 inches by 18 inches open Artist Statement Created in 2023, the book/object, So Many Seeds by Patty Smith and Claire Fouquet addresses the war in Ukraine through image, text and, structure. Upon opening the enclosure the viewer finds an original water color by Fouquet, of a sunflower, Ukraine’s national flower. When one removes the Jacob’s ladder from its box, two sides can be seen. The black and white images are of weapons of war intermingled with sunflower seeds. The color images are of sunflowers in bloom. The sunflower has long been an important part of the Ukrainian and global economy, as well as a symbol of peace. Since the war, beginning in 2022, it has taken on greater meaning, representing resistance, unity and hope and used internationally as a display of support for Ukraine. When the Jacob’s ladder is manipulated the text is revealed, clarifying the images. Destruction and pain on one side, on the other, resilience and hope. When flipped again the narrative becomes mute, not unlike the media coverage that has diminished over time. The cascading of the object brings to mind how one action affects another as a war has global consequences. The title and parts of the text are inspired by a video dating from the start of the war in which an elderly Ukrainian woman encounters a young Russian soldier/occupier and offers him sunflower seeds, telling him to put them in his pocket so that his death on Ukrainian soil will yield “….Bright yellow sunflowers against a bright blue sky” (Jeremy Cliff, the New Statesman). So Many Seeds was designed, printed and bound by the artists in an edition of 50. Each box is signed and numbered. When closed the book measures 3”x 3”. The images are woodblock prints on Arches paper and the text is inkjet on Evolon strips. The enclosure is a silk chemise with a ceramic sunflower seed for a clasp. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171407680-65FZSI03OWOLNJ4M2CBS/mcba-prize-2024-Patricia-Smith-Claire-Fouquet-So-Many-Seeds-3.jpg Entries & Jurors - 2024 Entries - Patricia Smith & Claire Fouquet Philadelphia, PA pattysmithartist.com fouquetandsmithcollaborations.com So Many Seeds 2023 Woodblock/ Jacob’s Ladder 3 inches by 3 inches closed, 3 inches by 18 inches open Artist Statement Created in 2023, the book/object, So Many Seeds by Patty Smith and Claire Fouquet addresses the war in Ukraine through image, text and, structure. Upon opening the enclosure the viewer finds an original water color by Fouquet, of a sunflower, Ukraine’s national flower. When one removes the Jacob’s ladder from its box, two sides can be seen. The black and white images are of weapons of war intermingled with sunflower seeds. The color images are of sunflowers in bloom. The sunflower has long been an important part of the Ukrainian and global economy, as well as a symbol of peace. Since the war, beginning in 2022, it has taken on greater meaning, representing resistance, unity and hope and used internationally as a display of support for Ukraine. When the Jacob’s ladder is manipulated the text is revealed, clarifying the images. Destruction and pain on one side, on the other, resilience and hope. When flipped again the narrative becomes mute, not unlike the media coverage that has diminished over time. The cascading of the object brings to mind how one action affects another as a war has global consequences. The title and parts of the text are inspired by a video dating from the start of the war in which an elderly Ukrainian woman encounters a young Russian soldier/occupier and offers him sunflower seeds, telling him to put them in his pocket so that his death on Ukrainian soil will yield “….Bright yellow sunflowers against a bright blue sky” (Jeremy Cliff, the New Statesman). So Many Seeds was designed, printed and bound by the artists in an edition of 50. Each box is signed and numbered. When closed the book measures 3”x 3”. The images are woodblock prints on Arches paper and the text is inkjet on Evolon strips. The enclosure is a silk chemise with a ceramic sunflower seed for a clasp. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171410241-GP66LYCPUPXB767MHKKN/mcba-prize-2024-Patricia-Smith-Claire-Fouquet-So-Many-Seeds-4.jpg Entries & Jurors - 2024 Entries - Patricia Smith & Claire Fouquet Philadelphia, PA pattysmithartist.com fouquetandsmithcollaborations.com So Many Seeds 2023 Woodblock/ Jacob’s Ladder 3 inches by 3 inches closed, 3 inches by 18 inches open Artist Statement Created in 2023, the book/object, So Many Seeds by Patty Smith and Claire Fouquet addresses the war in Ukraine through image, text and, structure. Upon opening the enclosure the viewer finds an original water color by Fouquet, of a sunflower, Ukraine’s national flower. When one removes the Jacob’s ladder from its box, two sides can be seen. The black and white images are of weapons of war intermingled with sunflower seeds. The color images are of sunflowers in bloom. The sunflower has long been an important part of the Ukrainian and global economy, as well as a symbol of peace. Since the war, beginning in 2022, it has taken on greater meaning, representing resistance, unity and hope and used internationally as a display of support for Ukraine. When the Jacob’s ladder is manipulated the text is revealed, clarifying the images. Destruction and pain on one side, on the other, resilience and hope. When flipped again the narrative becomes mute, not unlike the media coverage that has diminished over time. The cascading of the object brings to mind how one action affects another as a war has global consequences. The title and parts of the text are inspired by a video dating from the start of the war in which an elderly Ukrainian woman encounters a young Russian soldier/occupier and offers him sunflower seeds, telling him to put them in his pocket so that his death on Ukrainian soil will yield “….Bright yellow sunflowers against a bright blue sky” (Jeremy Cliff, the New Statesman). So Many Seeds was designed, printed and bound by the artists in an edition of 50. Each box is signed and numbered. When closed the book measures 3”x 3”. The images are woodblock prints on Arches paper and the text is inkjet on Evolon strips. The enclosure is a silk chemise with a ceramic sunflower seed for a clasp. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171410242-9K7OW7NSSHL4KQSEBH9G/mcba-prize-2024-Patricia-Smith-Claire-Fouquet-So-Many-Seeds-5.jpg Entries & Jurors - 2024 Entries - Patricia Smith & Claire Fouquet Philadelphia, PA pattysmithartist.com fouquetandsmithcollaborations.com So Many Seeds 2023 Woodblock/ Jacob’s Ladder 3 inches by 3 inches closed, 3 inches by 18 inches open Artist Statement Created in 2023, the book/object, So Many Seeds by Patty Smith and Claire Fouquet addresses the war in Ukraine through image, text and, structure. Upon opening the enclosure the viewer finds an original water color by Fouquet, of a sunflower, Ukraine’s national flower. When one removes the Jacob’s ladder from its box, two sides can be seen. The black and white images are of weapons of war intermingled with sunflower seeds. The color images are of sunflowers in bloom. The sunflower has long been an important part of the Ukrainian and global economy, as well as a symbol of peace. Since the war, beginning in 2022, it has taken on greater meaning, representing resistance, unity and hope and used internationally as a display of support for Ukraine. When the Jacob’s ladder is manipulated the text is revealed, clarifying the images. Destruction and pain on one side, on the other, resilience and hope. When flipped again the narrative becomes mute, not unlike the media coverage that has diminished over time. The cascading of the object brings to mind how one action affects another as a war has global consequences. The title and parts of the text are inspired by a video dating from the start of the war in which an elderly Ukrainian woman encounters a young Russian soldier/occupier and offers him sunflower seeds, telling him to put them in his pocket so that his death on Ukrainian soil will yield “….Bright yellow sunflowers against a bright blue sky” (Jeremy Cliff, the New Statesman). So Many Seeds was designed, printed and bound by the artists in an edition of 50. Each box is signed and numbered. When closed the book measures 3”x 3”. The images are woodblock prints on Arches paper and the text is inkjet on Evolon strips. The enclosure is a silk chemise with a ceramic sunflower seed for a clasp. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171406555-J21ZK5ZXJLN3JJNR0NH1/mcba-prize-2024-Patricia-Smith-Claire-Fouquet-So-Many-Seeds-1.jpg Entries & Jurors - 2024 Entries - Patricia Smith & Claire Fouquet Philadelphia, PA pattysmithartist.com fouquetandsmithcollaborations.com So Many Seeds 2023 Woodblock/ Jacob’s Ladder 3 inches by 3 inches closed, 3 inches by 18 inches open Artist Statement Created in 2023, the book/object, So Many Seeds by Patty Smith and Claire Fouquet addresses the war in Ukraine through image, text and, structure. Upon opening the enclosure the viewer finds an original water color by Fouquet, of a sunflower, Ukraine’s national flower. When one removes the Jacob’s ladder from its box, two sides can be seen. The black and white images are of weapons of war intermingled with sunflower seeds. The color images are of sunflowers in bloom. The sunflower has long been an important part of the Ukrainian and global economy, as well as a symbol of peace. Since the war, beginning in 2022, it has taken on greater meaning, representing resistance, unity and hope and used internationally as a display of support for Ukraine. When the Jacob’s ladder is manipulated the text is revealed, clarifying the images. Destruction and pain on one side, on the other, resilience and hope. When flipped again the narrative becomes mute, not unlike the media coverage that has diminished over time. The cascading of the object brings to mind how one action affects another as a war has global consequences. The title and parts of the text are inspired by a video dating from the start of the war in which an elderly Ukrainian woman encounters a young Russian soldier/occupier and offers him sunflower seeds, telling him to put them in his pocket so that his death on Ukrainian soil will yield “….Bright yellow sunflowers against a bright blue sky” (Jeremy Cliff, the New Statesman). So Many Seeds was designed, printed and bound by the artists in an edition of 50. Each box is signed and numbered. When closed the book measures 3”x 3”. The images are woodblock prints on Arches paper and the text is inkjet on Evolon strips. The enclosure is a silk chemise with a ceramic sunflower seed for a clasp. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171669779-9B0PRMD9CXC4UPCZT9HY/mcba-prize-2024-Kyung-Eun-You-Happy-Bakery-5.jpg Entries & Jurors - 2024 Entries - Kyung Eun You Woodside, NY youkyungeun.com IG: kyungeunyou Happy Bakery 2024 Risograph, paper mache cover, perfect binding, slip case 9″ x 9″ x 4″ Artist Statement Happy Bakery is a 52 page comic about a character with a smiley-face balloon head. The story unfolds how the character started wearing a balloon head and what happens to it. It is an edition of 50: number 1-20 are in a slipcase box with paper mache dome covers; and number 21-50 are bound with flat hardcovers. Pages were risograph printed on Mohawk Superfine Smooth in two colors, cornflower and black, and cut to a circle shape. Books are perfect bound with Neenah Astrobrights Blast-off Blue. The book was developed during the artist’s Book Artist in Residence program at the Center for Book Arts in New York in 2023. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171666745-GGEE0K2Q00W13ZN9KFD2/mcba-prize-2024-Kyung-Eun-You-Happy-Bakery-1.jpg Entries & Jurors - 2024 Entries - Kyung Eun You Woodside, NY youkyungeun.com IG: kyungeunyou Happy Bakery 2024 Risograph, paper mache cover, perfect binding, slip case 9″ x 9″ x 4″ Artist Statement Happy Bakery is a 52 page comic about a character with a smiley-face balloon head. The story unfolds how the character started wearing a balloon head and what happens to it. It is an edition of 50: number 1-20 are in a slipcase box with paper mache dome covers; and number 21-50 are bound with flat hardcovers. Pages were risograph printed on Mohawk Superfine Smooth in two colors, cornflower and black, and cut to a circle shape. Books are perfect bound with Neenah Astrobrights Blast-off Blue. The book was developed during the artist’s Book Artist in Residence program at the Center for Book Arts in New York in 2023. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171666749-9O7IGXBF36YIRF9DUM1I/mcba-prize-2024-Kyung-Eun-You-Happy-Bakery-2.jpg Entries & Jurors - 2024 Entries - Kyung Eun You Woodside, NY youkyungeun.com IG: kyungeunyou Happy Bakery 2024 Risograph, paper mache cover, perfect binding, slip case 9″ x 9″ x 4″ Artist Statement Happy Bakery is a 52 page comic about a character with a smiley-face balloon head. The story unfolds how the character started wearing a balloon head and what happens to it. It is an edition of 50: number 1-20 are in a slipcase box with paper mache dome covers; and number 21-50 are bound with flat hardcovers. Pages were risograph printed on Mohawk Superfine Smooth in two colors, cornflower and black, and cut to a circle shape. Books are perfect bound with Neenah Astrobrights Blast-off Blue. The book was developed during the artist’s Book Artist in Residence program at the Center for Book Arts in New York in 2023. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171668790-TF25UU43KPS0KIHVNQ49/mcba-prize-2024-Kyung-Eun-You-Happy-Bakery-3.jpg Entries & Jurors - 2024 Entries - Kyung Eun You Woodside, NY youkyungeun.com IG: kyungeunyou Happy Bakery 2024 Risograph, paper mache cover, perfect binding, slip case 9″ x 9″ x 4″ Artist Statement Happy Bakery is a 52 page comic about a character with a smiley-face balloon head. The story unfolds how the character started wearing a balloon head and what happens to it. It is an edition of 50: number 1-20 are in a slipcase box with paper mache dome covers; and number 21-50 are bound with flat hardcovers. Pages were risograph printed on Mohawk Superfine Smooth in two colors, cornflower and black, and cut to a circle shape. Books are perfect bound with Neenah Astrobrights Blast-off Blue. The book was developed during the artist’s Book Artist in Residence program at the Center for Book Arts in New York in 2023. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171668602-YE97AJOWZHWN82MGIF58/mcba-prize-2024-Kyung-Eun-You-Happy-Bakery-4.jpg Entries & Jurors - 2024 Entries - Kyung Eun You Woodside, NY youkyungeun.com IG: kyungeunyou Happy Bakery 2024 Risograph, paper mache cover, perfect binding, slip case 9″ x 9″ x 4″ Artist Statement Happy Bakery is a 52 page comic about a character with a smiley-face balloon head. The story unfolds how the character started wearing a balloon head and what happens to it. It is an edition of 50: number 1-20 are in a slipcase box with paper mache dome covers; and number 21-50 are bound with flat hardcovers. Pages were risograph printed on Mohawk Superfine Smooth in two colors, cornflower and black, and cut to a circle shape. Books are perfect bound with Neenah Astrobrights Blast-off Blue. The book was developed during the artist’s Book Artist in Residence program at the Center for Book Arts in New York in 2023. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171807121-EO04JA8X34MPCX3E3MME/mcba-prize-2024-Jennifer-Scheuer-Foxglove-2.jpg Entries & Jurors - 2024 Entries - Jennifer Scheuer Woodside, NY www.jenniferscheuer.com IG: @love.litho Foxglove 2024 Relief, silkscreen, sewing, book arts 7.5″ x 7.5″ x 3″ box, 7.25″x 7.25″ x 13″ extended Artist Statement Foxglove is a sewn paper structure contained in a silk box, the work can be lifted to extend to reveal an illustration of a foxglove flower. Much of my work is about the history of herbal medicine, and a historical idea called the Doctrine of Signatures that suggests that plants can inform us how to use them as they have visual cues. Foxglove is a plant that was historically identified as a plant for the heart, the plant is toxic and has a long history with pharmacology. The box has a delicate gold line illustrating a heart beat. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171806791-RZS3TD6POMEF06IPD5GC/mcba-prize-2024-Jennifer-Scheuer-Foxglove-1.jpg Entries & Jurors - 2024 Entries - Jennifer Scheuer Woodside, NY www.jenniferscheuer.com IG: @love.litho Foxglove 2024 Relief, silkscreen, sewing, book arts 7.5″ x 7.5″ x 3″ box, 7.25″x 7.25″ x 13″ extended Artist Statement Foxglove is a sewn paper structure contained in a silk box, the work can be lifted to extend to reveal an illustration of a foxglove flower. Much of my work is about the history of herbal medicine, and a historical idea called the Doctrine of Signatures that suggests that plants can inform us how to use them as they have visual cues. Foxglove is a plant that was historically identified as a plant for the heart, the plant is toxic and has a long history with pharmacology. The box has a delicate gold line illustrating a heart beat. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172228194-U902VK3V2G2EI1VK7HAM/mcba-prize-2024-Amanda-Maciuba-Mary-Wharff-Riverence-point-5.jpg Entries & Jurors - 2024 Entries - Amanda Maciuba & Mary Wharff Northampton, MA www.amandamaciuba.com IG: @amandamaymaciuba riverence point 2023 Japanese stab-bound artist’s book. intaglio, laser-cut relief & polymer plates 6” x 18” (6″ x 30″ open) Artist Statement Through first-hand exploration of the visible and invisible marks of human hands on the landscape my creative practice investigates our relationships with the environment over time, forefronting the impacts of human driven climate change. I expose and reconsider the layered histories of specific locations: from the geologic forces that shaped the land, to impacts of indigenous communities and Western colonialism, to the current practices of development, destruction, and restoration by the local communities I interact with every day. I call attention to how human actions and climate change are transforming our current environment, and create a space for mourning and reflection on the environments that are already irrevocably altered beyond repair. As I respond directly to the environment in which I am situated, my work examines and critiques representations of place throughout history, highlighting the current and future state of human-driven climate change. riverence point is a collaboration between myself and the poet Mary Wharff, which seeks to celebrate the Missouri River watershed. It was inspired by the confluence of the Kaw (Kansas) River and Missouri River in Kansas City, Kansas, and has expanded to consider multiple points within the watershed. This project considers how water shapes human life and how our actions impact river environments. It explores difficult aspects of human relationships with rivers, and at the same time, offers a way to ground our interactions from a more humble place. A place of awe, gratitude, and reciprocity. Kaw Point and Kansas City occupy the traditional, ancestral, and unceded lands of Indigenous Peoples. The area has been home to numerous Indigenous Nations going back thousands of years, and also to many tribes relocated to and through the area by force over the last several hundred years due to settler colonialism. These nations have included the Missouria, Kickapoo, Oto, Kanza (also known as Kaw Nation), Osage, Shawnee, and Delaware. The poem was written by Mary Wharff in January of 2017. The images are a combination of etchings, laser-cut relief prints, and monotypes created and printed on mulberry paper by Amanda Maciuba. The type was printed letterpress in Optima. The book was designed, printed and bound by Amanda Maciuba at In Cahoots Residency in Petaluma, California, in the Summer of 2022. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172227953-WILW9I413B4HGLQ4KIOV/mcba-prize-2024-Amanda-Maciuba-Mary-Wharff-Riverence-point-4.jpg Entries & Jurors - 2024 Entries - Amanda Maciuba & Mary Wharff Northampton, MA www.amandamaciuba.com IG: @amandamaymaciuba riverence point 2023 Japanese stab-bound artist’s book. intaglio, laser-cut relief & polymer plates 6” x 18” (6″ x 30″ open) Artist Statement Through first-hand exploration of the visible and invisible marks of human hands on the landscape my creative practice investigates our relationships with the environment over time, forefronting the impacts of human driven climate change. I expose and reconsider the layered histories of specific locations: from the geologic forces that shaped the land, to impacts of indigenous communities and Western colonialism, to the current practices of development, destruction, and restoration by the local communities I interact with every day. I call attention to how human actions and climate change are transforming our current environment, and create a space for mourning and reflection on the environments that are already irrevocably altered beyond repair. As I respond directly to the environment in which I am situated, my work examines and critiques representations of place throughout history, highlighting the current and future state of human-driven climate change. riverence point is a collaboration between myself and the poet Mary Wharff, which seeks to celebrate the Missouri River watershed. It was inspired by the confluence of the Kaw (Kansas) River and Missouri River in Kansas City, Kansas, and has expanded to consider multiple points within the watershed. This project considers how water shapes human life and how our actions impact river environments. It explores difficult aspects of human relationships with rivers, and at the same time, offers a way to ground our interactions from a more humble place. A place of awe, gratitude, and reciprocity. Kaw Point and Kansas City occupy the traditional, ancestral, and unceded lands of Indigenous Peoples. The area has been home to numerous Indigenous Nations going back thousands of years, and also to many tribes relocated to and through the area by force over the last several hundred years due to settler colonialism. These nations have included the Missouria, Kickapoo, Oto, Kanza (also known as Kaw Nation), Osage, Shawnee, and Delaware. The poem was written by Mary Wharff in January of 2017. The images are a combination of etchings, laser-cut relief prints, and monotypes created and printed on mulberry paper by Amanda Maciuba. The type was printed letterpress in Optima. The book was designed, printed and bound by Amanda Maciuba at In Cahoots Residency in Petaluma, California, in the Summer of 2022. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172225380-HO90Z09R9BEMUZXJ90HX/mcba-prize-2024-Amanda-Maciuba-Mary-Wharff-Riverence-point-2.jpeg Entries & Jurors - 2024 Entries - Amanda Maciuba & Mary Wharff Northampton, MA www.amandamaciuba.com IG: @amandamaymaciuba riverence point 2023 Japanese stab-bound artist’s book. intaglio, laser-cut relief & polymer plates 6” x 18” (6″ x 30″ open) Artist Statement Through first-hand exploration of the visible and invisible marks of human hands on the landscape my creative practice investigates our relationships with the environment over time, forefronting the impacts of human driven climate change. I expose and reconsider the layered histories of specific locations: from the geologic forces that shaped the land, to impacts of indigenous communities and Western colonialism, to the current practices of development, destruction, and restoration by the local communities I interact with every day. I call attention to how human actions and climate change are transforming our current environment, and create a space for mourning and reflection on the environments that are already irrevocably altered beyond repair. As I respond directly to the environment in which I am situated, my work examines and critiques representations of place throughout history, highlighting the current and future state of human-driven climate change. riverence point is a collaboration between myself and the poet Mary Wharff, which seeks to celebrate the Missouri River watershed. It was inspired by the confluence of the Kaw (Kansas) River and Missouri River in Kansas City, Kansas, and has expanded to consider multiple points within the watershed. This project considers how water shapes human life and how our actions impact river environments. It explores difficult aspects of human relationships with rivers, and at the same time, offers a way to ground our interactions from a more humble place. A place of awe, gratitude, and reciprocity. Kaw Point and Kansas City occupy the traditional, ancestral, and unceded lands of Indigenous Peoples. The area has been home to numerous Indigenous Nations going back thousands of years, and also to many tribes relocated to and through the area by force over the last several hundred years due to settler colonialism. These nations have included the Missouria, Kickapoo, Oto, Kanza (also known as Kaw Nation), Osage, Shawnee, and Delaware. The poem was written by Mary Wharff in January of 2017. The images are a combination of etchings, laser-cut relief prints, and monotypes created and printed on mulberry paper by Amanda Maciuba. The type was printed letterpress in Optima. The book was designed, printed and bound by Amanda Maciuba at In Cahoots Residency in Petaluma, California, in the Summer of 2022. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172226627-7J7PLD5I2JXA49Y6TWJC/mcba-prize-2024-Amanda-Maciuba-Mary-Wharff-Riverence-point-3.jpeg Entries & Jurors - 2024 Entries - Amanda Maciuba & Mary Wharff Northampton, MA www.amandamaciuba.com IG: @amandamaymaciuba riverence point 2023 Japanese stab-bound artist’s book. intaglio, laser-cut relief & polymer plates 6” x 18” (6″ x 30″ open) Artist Statement Through first-hand exploration of the visible and invisible marks of human hands on the landscape my creative practice investigates our relationships with the environment over time, forefronting the impacts of human driven climate change. I expose and reconsider the layered histories of specific locations: from the geologic forces that shaped the land, to impacts of indigenous communities and Western colonialism, to the current practices of development, destruction, and restoration by the local communities I interact with every day. I call attention to how human actions and climate change are transforming our current environment, and create a space for mourning and reflection on the environments that are already irrevocably altered beyond repair. As I respond directly to the environment in which I am situated, my work examines and critiques representations of place throughout history, highlighting the current and future state of human-driven climate change. riverence point is a collaboration between myself and the poet Mary Wharff, which seeks to celebrate the Missouri River watershed. It was inspired by the confluence of the Kaw (Kansas) River and Missouri River in Kansas City, Kansas, and has expanded to consider multiple points within the watershed. This project considers how water shapes human life and how our actions impact river environments. It explores difficult aspects of human relationships with rivers, and at the same time, offers a way to ground our interactions from a more humble place. A place of awe, gratitude, and reciprocity. Kaw Point and Kansas City occupy the traditional, ancestral, and unceded lands of Indigenous Peoples. The area has been home to numerous Indigenous Nations going back thousands of years, and also to many tribes relocated to and through the area by force over the last several hundred years due to settler colonialism. These nations have included the Missouria, Kickapoo, Oto, Kanza (also known as Kaw Nation), Osage, Shawnee, and Delaware. The poem was written by Mary Wharff in January of 2017. The images are a combination of etchings, laser-cut relief prints, and monotypes created and printed on mulberry paper by Amanda Maciuba. The type was printed letterpress in Optima. The book was designed, printed and bound by Amanda Maciuba at In Cahoots Residency in Petaluma, California, in the Summer of 2022. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172226120-NX0NKO55ZGT8R1WGHVSJ/mcba-prize-2024-Amanda-Maciuba-Mary-Wharff-Riverence-point-1.jpeg Entries & Jurors - 2024 Entries - Amanda Maciuba & Mary Wharff Northampton, MA www.amandamaciuba.com IG: @amandamaymaciuba riverence point 2023 Japanese stab-bound artist’s book. intaglio, laser-cut relief & polymer plates 6” x 18” (6″ x 30″ open) Artist Statement Through first-hand exploration of the visible and invisible marks of human hands on the landscape my creative practice investigates our relationships with the environment over time, forefronting the impacts of human driven climate change. I expose and reconsider the layered histories of specific locations: from the geologic forces that shaped the land, to impacts of indigenous communities and Western colonialism, to the current practices of development, destruction, and restoration by the local communities I interact with every day. I call attention to how human actions and climate change are transforming our current environment, and create a space for mourning and reflection on the environments that are already irrevocably altered beyond repair. As I respond directly to the environment in which I am situated, my work examines and critiques representations of place throughout history, highlighting the current and future state of human-driven climate change. riverence point is a collaboration between myself and the poet Mary Wharff, which seeks to celebrate the Missouri River watershed. It was inspired by the confluence of the Kaw (Kansas) River and Missouri River in Kansas City, Kansas, and has expanded to consider multiple points within the watershed. This project considers how water shapes human life and how our actions impact river environments. It explores difficult aspects of human relationships with rivers, and at the same time, offers a way to ground our interactions from a more humble place. A place of awe, gratitude, and reciprocity. Kaw Point and Kansas City occupy the traditional, ancestral, and unceded lands of Indigenous Peoples. The area has been home to numerous Indigenous Nations going back thousands of years, and also to many tribes relocated to and through the area by force over the last several hundred years due to settler colonialism. These nations have included the Missouria, Kickapoo, Oto, Kanza (also known as Kaw Nation), Osage, Shawnee, and Delaware. The poem was written by Mary Wharff in January of 2017. The images are a combination of etchings, laser-cut relief prints, and monotypes created and printed on mulberry paper by Amanda Maciuba. The type was printed letterpress in Optima. The book was designed, printed and bound by Amanda Maciuba at In Cahoots Residency in Petaluma, California, in the Summer of 2022. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172524411-TUYSCG3Y8TFOO1RIG159/mcba-prize-2024-Maro-Vandorou-Priestess-5.jpg Entries & Jurors - 2024 Entries - Maro Vandorou Bay Area, CA https://www.ateliervandorou.com IG: atelier_vandorou/ a-ne-mo-i-je-re-ja ” — “priestess of the winds 2023-2024 Folios of handmade translucent Abaca, end covers and slipcase in Enduro Ice film coated with Kozo, Text screen printed in 3 variants: white ink, translucent ink gilded with platinum pigment and bespoke ink of Fra Angelico Lapis Lazuli pigment book closed 13″ x 5.2″ x 1″ . Concertina binding of 6 folios open to 13 feet Artist Statement “a-ne-mo-i-je-re-ja” This artist book is a letter across time to the Minoan “priestess of the winds” from the island of Crete. She is a spectral figure whose name “a-ne-mo-i-je-re-ja” is on two clay tablets discovered during the Knossos palace excavations by Evans. The tablets are inscribed in the syllabic dialect of Linear B, dating approximately to 1380 BC. The worship and control of the winds was of paramount importance for the Minoans, a powerful seafaring nation known for its thalassocracy. I first encountered “a-ne-mo-i-je-re-ja” in Eleni Ladia’s 2013 archeognnostic study, “Demonology or Discourses on Demons.” Ten years later, the notion of a wind priestess haunting, I delved deep into Minoan life, art, religion, women’s roles, fashion and the intricacies of Linear B. Engaging with scholars, archeologists, linguists, I explored Crete’s Minoan ruins, all to trace the elusive priestess. Upon my return to California, I designed a book with a concertina binding of 6 folios unfurling to 13 feet. The paper is handmade frag-ile Abaca. The text written in modern Greek is transliterated into Linear B. It is screen printed with a bespoke ink of Fra Angelico Lapis Lazuli pigment from Afghanistan. The deep blue of the ink and accent washi of the slipcase reference the blue of the Knossos palace frescoes. End covers and slipcase are in translucent Enduro Ice film coated with Kozo paper. “a-ne-mo-i-je-re-ja” is an exploration, a yearning to give form to the intangible, convey emotion and visually render the enigmatic presence of this elusive priestess of the winds. The text in the long-lost dialect of Linear B has beautiful syllabograms, however it is silent and inaccessible. And yet as artist Shirin Salehi (2023) writes “in the space of the illegible, a way of reading, which resists definition, is being discovered, reluctant to be fully deciphered, it remains unknowable, and yet it is open to exploration. Embracing the strangeness instead of rejecting it, allows not to let any message prevail, offering openness.” Currently, I am completing a companion to this artist book, a sound-scape using my voice, braided and woven readings of the original poetic text in Linear B, modern Greek and English. It can be accessed here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172523017-C2TT6JXDOB9NXKK44L1F/mcba-prize-2024-Maro-Vandorou-Priestess-4.jpg Entries & Jurors - 2024 Entries - Maro Vandorou Bay Area, CA https://www.ateliervandorou.com IG: atelier_vandorou/ a-ne-mo-i-je-re-ja ” — “priestess of the winds 2023-2024 Folios of handmade translucent Abaca, end covers and slipcase in Enduro Ice film coated with Kozo, Text screen printed in 3 variants: white ink, translucent ink gilded with platinum pigment and bespoke ink of Fra Angelico Lapis Lazuli pigment book closed 13″ x 5.2″ x 1″ . Concertina binding of 6 folios open to 13 feet Artist Statement “a-ne-mo-i-je-re-ja” This artist book is a letter across time to the Minoan “priestess of the winds” from the island of Crete. She is a spectral figure whose name “a-ne-mo-i-je-re-ja” is on two clay tablets discovered during the Knossos palace excavations by Evans. The tablets are inscribed in the syllabic dialect of Linear B, dating approximately to 1380 BC. The worship and control of the winds was of paramount importance for the Minoans, a powerful seafaring nation known for its thalassocracy. I first encountered “a-ne-mo-i-je-re-ja” in Eleni Ladia’s 2013 archeognnostic study, “Demonology or Discourses on Demons.” Ten years later, the notion of a wind priestess haunting, I delved deep into Minoan life, art, religion, women’s roles, fashion and the intricacies of Linear B. Engaging with scholars, archeologists, linguists, I explored Crete’s Minoan ruins, all to trace the elusive priestess. Upon my return to California, I designed a book with a concertina binding of 6 folios unfurling to 13 feet. The paper is handmade frag-ile Abaca. The text written in modern Greek is transliterated into Linear B. It is screen printed with a bespoke ink of Fra Angelico Lapis Lazuli pigment from Afghanistan. The deep blue of the ink and accent washi of the slipcase reference the blue of the Knossos palace frescoes. End covers and slipcase are in translucent Enduro Ice film coated with Kozo paper. “a-ne-mo-i-je-re-ja” is an exploration, a yearning to give form to the intangible, convey emotion and visually render the enigmatic presence of this elusive priestess of the winds. The text in the long-lost dialect of Linear B has beautiful syllabograms, however it is silent and inaccessible. And yet as artist Shirin Salehi (2023) writes “in the space of the illegible, a way of reading, which resists definition, is being discovered, reluctant to be fully deciphered, it remains unknowable, and yet it is open to exploration. Embracing the strangeness instead of rejecting it, allows not to let any message prevail, offering openness.” Currently, I am completing a companion to this artist book, a sound-scape using my voice, braided and woven readings of the original poetic text in Linear B, modern Greek and English. It can be accessed here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172523110-W1N1MJY8YQ7TABSP5QJ5/mcba-prize-2024-Maro-Vandorou-Priestess-3.jpg Entries & Jurors - 2024 Entries - Maro Vandorou Bay Area, CA https://www.ateliervandorou.com IG: atelier_vandorou/ a-ne-mo-i-je-re-ja ” — “priestess of the winds 2023-2024 Folios of handmade translucent Abaca, end covers and slipcase in Enduro Ice film coated with Kozo, Text screen printed in 3 variants: white ink, translucent ink gilded with platinum pigment and bespoke ink of Fra Angelico Lapis Lazuli pigment book closed 13″ x 5.2″ x 1″ . Concertina binding of 6 folios open to 13 feet Artist Statement “a-ne-mo-i-je-re-ja” This artist book is a letter across time to the Minoan “priestess of the winds” from the island of Crete. She is a spectral figure whose name “a-ne-mo-i-je-re-ja” is on two clay tablets discovered during the Knossos palace excavations by Evans. The tablets are inscribed in the syllabic dialect of Linear B, dating approximately to 1380 BC. The worship and control of the winds was of paramount importance for the Minoans, a powerful seafaring nation known for its thalassocracy. I first encountered “a-ne-mo-i-je-re-ja” in Eleni Ladia’s 2013 archeognnostic study, “Demonology or Discourses on Demons.” Ten years later, the notion of a wind priestess haunting, I delved deep into Minoan life, art, religion, women’s roles, fashion and the intricacies of Linear B. Engaging with scholars, archeologists, linguists, I explored Crete’s Minoan ruins, all to trace the elusive priestess. Upon my return to California, I designed a book with a concertina binding of 6 folios unfurling to 13 feet. The paper is handmade frag-ile Abaca. The text written in modern Greek is transliterated into Linear B. It is screen printed with a bespoke ink of Fra Angelico Lapis Lazuli pigment from Afghanistan. The deep blue of the ink and accent washi of the slipcase reference the blue of the Knossos palace frescoes. End covers and slipcase are in translucent Enduro Ice film coated with Kozo paper. “a-ne-mo-i-je-re-ja” is an exploration, a yearning to give form to the intangible, convey emotion and visually render the enigmatic presence of this elusive priestess of the winds. The text in the long-lost dialect of Linear B has beautiful syllabograms, however it is silent and inaccessible. And yet as artist Shirin Salehi (2023) writes “in the space of the illegible, a way of reading, which resists definition, is being discovered, reluctant to be fully deciphered, it remains unknowable, and yet it is open to exploration. Embracing the strangeness instead of rejecting it, allows not to let any message prevail, offering openness.” Currently, I am completing a companion to this artist book, a sound-scape using my voice, braided and woven readings of the original poetic text in Linear B, modern Greek and English. It can be accessed here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172521118-OYJGKWUFUOHLWQU7ADMG/mcba-prize-2024-Maro-Vandorou-Priestess-1.jpg Entries & Jurors - 2024 Entries - Maro Vandorou Bay Area, CA https://www.ateliervandorou.com IG: atelier_vandorou/ a-ne-mo-i-je-re-ja ” — “priestess of the winds 2023-2024 Folios of handmade translucent Abaca, end covers and slipcase in Enduro Ice film coated with Kozo, Text screen printed in 3 variants: white ink, translucent ink gilded with platinum pigment and bespoke ink of Fra Angelico Lapis Lazuli pigment book closed 13″ x 5.2″ x 1″ . Concertina binding of 6 folios open to 13 feet Artist Statement “a-ne-mo-i-je-re-ja” This artist book is a letter across time to the Minoan “priestess of the winds” from the island of Crete. She is a spectral figure whose name “a-ne-mo-i-je-re-ja” is on two clay tablets discovered during the Knossos palace excavations by Evans. The tablets are inscribed in the syllabic dialect of Linear B, dating approximately to 1380 BC. The worship and control of the winds was of paramount importance for the Minoans, a powerful seafaring nation known for its thalassocracy. I first encountered “a-ne-mo-i-je-re-ja” in Eleni Ladia’s 2013 archeognnostic study, “Demonology or Discourses on Demons.” Ten years later, the notion of a wind priestess haunting, I delved deep into Minoan life, art, religion, women’s roles, fashion and the intricacies of Linear B. Engaging with scholars, archeologists, linguists, I explored Crete’s Minoan ruins, all to trace the elusive priestess. Upon my return to California, I designed a book with a concertina binding of 6 folios unfurling to 13 feet. The paper is handmade frag-ile Abaca. The text written in modern Greek is transliterated into Linear B. It is screen printed with a bespoke ink of Fra Angelico Lapis Lazuli pigment from Afghanistan. The deep blue of the ink and accent washi of the slipcase reference the blue of the Knossos palace frescoes. End covers and slipcase are in translucent Enduro Ice film coated with Kozo paper. “a-ne-mo-i-je-re-ja” is an exploration, a yearning to give form to the intangible, convey emotion and visually render the enigmatic presence of this elusive priestess of the winds. The text in the long-lost dialect of Linear B has beautiful syllabograms, however it is silent and inaccessible. And yet as artist Shirin Salehi (2023) writes “in the space of the illegible, a way of reading, which resists definition, is being discovered, reluctant to be fully deciphered, it remains unknowable, and yet it is open to exploration. Embracing the strangeness instead of rejecting it, allows not to let any message prevail, offering openness.” Currently, I am completing a companion to this artist book, a sound-scape using my voice, braided and woven readings of the original poetic text in Linear B, modern Greek and English. It can be accessed here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172521133-9C0CZDNIEJ3S3R95IP74/mcba-prize-2024-Maro-Vandorou-Priestess-2.jpg Entries & Jurors - 2024 Entries - Maro Vandorou Bay Area, CA https://www.ateliervandorou.com IG: atelier_vandorou/ a-ne-mo-i-je-re-ja ” — “priestess of the winds 2023-2024 Folios of handmade translucent Abaca, end covers and slipcase in Enduro Ice film coated with Kozo, Text screen printed in 3 variants: white ink, translucent ink gilded with platinum pigment and bespoke ink of Fra Angelico Lapis Lazuli pigment book closed 13″ x 5.2″ x 1″ . Concertina binding of 6 folios open to 13 feet Artist Statement “a-ne-mo-i-je-re-ja” This artist book is a letter across time to the Minoan “priestess of the winds” from the island of Crete. She is a spectral figure whose name “a-ne-mo-i-je-re-ja” is on two clay tablets discovered during the Knossos palace excavations by Evans. The tablets are inscribed in the syllabic dialect of Linear B, dating approximately to 1380 BC. The worship and control of the winds was of paramount importance for the Minoans, a powerful seafaring nation known for its thalassocracy. I first encountered “a-ne-mo-i-je-re-ja” in Eleni Ladia’s 2013 archeognnostic study, “Demonology or Discourses on Demons.” Ten years later, the notion of a wind priestess haunting, I delved deep into Minoan life, art, religion, women’s roles, fashion and the intricacies of Linear B. Engaging with scholars, archeologists, linguists, I explored Crete’s Minoan ruins, all to trace the elusive priestess. Upon my return to California, I designed a book with a concertina binding of 6 folios unfurling to 13 feet. The paper is handmade frag-ile Abaca. The text written in modern Greek is transliterated into Linear B. It is screen printed with a bespoke ink of Fra Angelico Lapis Lazuli pigment from Afghanistan. The deep blue of the ink and accent washi of the slipcase reference the blue of the Knossos palace frescoes. End covers and slipcase are in translucent Enduro Ice film coated with Kozo paper. “a-ne-mo-i-je-re-ja” is an exploration, a yearning to give form to the intangible, convey emotion and visually render the enigmatic presence of this elusive priestess of the winds. The text in the long-lost dialect of Linear B has beautiful syllabograms, however it is silent and inaccessible. And yet as artist Shirin Salehi (2023) writes “in the space of the illegible, a way of reading, which resists definition, is being discovered, reluctant to be fully deciphered, it remains unknowable, and yet it is open to exploration. Embracing the strangeness instead of rejecting it, allows not to let any message prevail, offering openness.” Currently, I am completing a companion to this artist book, a sound-scape using my voice, braided and woven readings of the original poetic text in Linear B, modern Greek and English. It can be accessed here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172694827-7A1HP1PPM2N4JFWR4WKE/mcba-prize-2024-Jan-Owens-Word-to-the-world-1.jpg Entries & Jurors - 2024 Entries - Jan Owen Belfast, ME www.JanOwenArt.com Words to the World, Walt & Emily 2024 Handlettered coptic sewn book 22.5 x 11 x 14.5 Artist Statement “Words to the World, Walt & Emily” began with 3 sheets of Cave Paper, 2 black, 1 brown and these became the 3 signatures of the book. Inside each signature are layers of different sized papers that reflect the poems. I chose Walt Whitman and Emily Dickinson because they are iconic American poets who lived through the Civil War in a divided country like today. They wrote about nature, the universe and Whitman also wrote about the country and the War. Since Whitman worked as a printer and loved typography, I used more formal calligraphy for his poems. Dickinson’s poems were written in a loose Italic on wispy white papers. The other openings have a brush mark, a line of poetry and my letter to Walt or Emily about their poetry. Artist books displayed in cases are always frustrating as we wish to turn the pages to see more. I wanted to make each of the signature openings interesting and complex. Still missing would be the ability to touch these handmade papers and feel the weaving—the real pleasures of holding a book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172694916-VQB2EUET47YXBDJPY9DL/mcba-prize-2024-Jan-Owens-Word-to-the-world-2.jpg Entries & Jurors - 2024 Entries - Jan Owen Belfast, ME www.JanOwenArt.com Words to the World, Walt & Emily 2024 Handlettered coptic sewn book 22.5 x 11 x 14.5 Artist Statement “Words to the World, Walt & Emily” began with 3 sheets of Cave Paper, 2 black, 1 brown and these became the 3 signatures of the book. Inside each signature are layers of different sized papers that reflect the poems. I chose Walt Whitman and Emily Dickinson because they are iconic American poets who lived through the Civil War in a divided country like today. They wrote about nature, the universe and Whitman also wrote about the country and the War. Since Whitman worked as a printer and loved typography, I used more formal calligraphy for his poems. Dickinson’s poems were written in a loose Italic on wispy white papers. The other openings have a brush mark, a line of poetry and my letter to Walt or Emily about their poetry. Artist books displayed in cases are always frustrating as we wish to turn the pages to see more. I wanted to make each of the signature openings interesting and complex. Still missing would be the ability to touch these handmade papers and feel the weaving—the real pleasures of holding a book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172697588-T44Q6PIHP5I2UMNJTPRL/mcba-prize-2024-Jan-Owens-Word-to-the-world-3.jpg Entries & Jurors - 2024 Entries - Jan Owen Belfast, ME www.JanOwenArt.com Words to the World, Walt & Emily 2024 Handlettered coptic sewn book 22.5 x 11 x 14.5 Artist Statement “Words to the World, Walt & Emily” began with 3 sheets of Cave Paper, 2 black, 1 brown and these became the 3 signatures of the book. Inside each signature are layers of different sized papers that reflect the poems. I chose Walt Whitman and Emily Dickinson because they are iconic American poets who lived through the Civil War in a divided country like today. They wrote about nature, the universe and Whitman also wrote about the country and the War. Since Whitman worked as a printer and loved typography, I used more formal calligraphy for his poems. Dickinson’s poems were written in a loose Italic on wispy white papers. The other openings have a brush mark, a line of poetry and my letter to Walt or Emily about their poetry. Artist books displayed in cases are always frustrating as we wish to turn the pages to see more. I wanted to make each of the signature openings interesting and complex. Still missing would be the ability to touch these handmade papers and feel the weaving—the real pleasures of holding a book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172698102-JBJ5M1JGPJ8QJOJL4I5Z/mcba-prize-2024-Jan-Owens-Word-to-the-world-4.jpg Entries & Jurors - 2024 Entries - Jan Owen Belfast, ME www.JanOwenArt.com Words to the World, Walt & Emily 2024 Handlettered coptic sewn book 22.5 x 11 x 14.5 Artist Statement “Words to the World, Walt & Emily” began with 3 sheets of Cave Paper, 2 black, 1 brown and these became the 3 signatures of the book. Inside each signature are layers of different sized papers that reflect the poems. I chose Walt Whitman and Emily Dickinson because they are iconic American poets who lived through the Civil War in a divided country like today. They wrote about nature, the universe and Whitman also wrote about the country and the War. Since Whitman worked as a printer and loved typography, I used more formal calligraphy for his poems. Dickinson’s poems were written in a loose Italic on wispy white papers. The other openings have a brush mark, a line of poetry and my letter to Walt or Emily about their poetry. Artist books displayed in cases are always frustrating as we wish to turn the pages to see more. I wanted to make each of the signature openings interesting and complex. Still missing would be the ability to touch these handmade papers and feel the weaving—the real pleasures of holding a book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172699459-YV46VKE25B7TVB6835UH/mcba-prize-2024-Jan-Owens-Word-to-the-world-5.jpg Entries & Jurors - 2024 Entries - Jan Owen Belfast, ME www.JanOwenArt.com Words to the World, Walt & Emily 2024 Handlettered coptic sewn book 22.5 x 11 x 14.5 Artist Statement “Words to the World, Walt & Emily” began with 3 sheets of Cave Paper, 2 black, 1 brown and these became the 3 signatures of the book. Inside each signature are layers of different sized papers that reflect the poems. I chose Walt Whitman and Emily Dickinson because they are iconic American poets who lived through the Civil War in a divided country like today. They wrote about nature, the universe and Whitman also wrote about the country and the War. Since Whitman worked as a printer and loved typography, I used more formal calligraphy for his poems. Dickinson’s poems were written in a loose Italic on wispy white papers. The other openings have a brush mark, a line of poetry and my letter to Walt or Emily about their poetry. Artist books displayed in cases are always frustrating as we wish to turn the pages to see more. I wanted to make each of the signature openings interesting and complex. Still missing would be the ability to touch these handmade papers and feel the weaving—the real pleasures of holding a book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172901977-FLLJ4RIHFT4PFLIF7NAB/mcba-prize-2024-Harriet-Bart-I-Saw-It-5.jpg Entries & Jurors - 2024 Entries - Harriet Bart Minneapolis, MN http://www.harrietbart.com IG: harrietbartstudio I Saw It 2023 Letterpress 10″ x 6.5″ x 0.5″ in Artist Statement In 2022, letterpress printer Phil Gallo, brought me a book titled, I Saw It: Ilya Selvinsky and the Legacy of Bearing Witness to the Shoah, written by Maxim Shrayer. In that book is the poem of that same title. The poem, I Saw It, translated by Maxim Shrayer, was written by Ilya Selvinsky, a poet, journalist, and soldier who, in 1941, witnessed the massacre of thousands of Jews outside the Crimean city of Kerch. Thereafter he wrote and published the poem. Phil who knew my grandmother was from Ukraine (which at that time part of the Russian Empire) thought it would be of special interest to me, and it was. I was born the year of the massacre at Kerch. I was close to my maternal grandmother with whom I lived for a brief time when my father was drafted into the US Navy near the end of WWII. At the age of fourteen, my grandmother, her mother and brother escaped the pogroms. Under cover of night, they made their way from Kiev to Odessa, and into steerage of a departing vessel. They emigrated to the US in 1905. This book was created in memory of my grandmother who survived pogroms, those murdered at the battle of Kerch, those murdered in WWII, and all who continue to suffer ongoing terror and repression in Ukraine. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172900739-UYJZIZPNDUX20Q8FSCL2/mcba-prize-2024-Harriet-Bart-I-Saw-It-4.jpg Entries & Jurors - 2024 Entries - Harriet Bart Minneapolis, MN http://www.harrietbart.com IG: harrietbartstudio I Saw It 2023 Letterpress 10″ x 6.5″ x 0.5″ in Artist Statement In 2022, letterpress printer Phil Gallo, brought me a book titled, I Saw It: Ilya Selvinsky and the Legacy of Bearing Witness to the Shoah, written by Maxim Shrayer. In that book is the poem of that same title. The poem, I Saw It, translated by Maxim Shrayer, was written by Ilya Selvinsky, a poet, journalist, and soldier who, in 1941, witnessed the massacre of thousands of Jews outside the Crimean city of Kerch. Thereafter he wrote and published the poem. Phil who knew my grandmother was from Ukraine (which at that time part of the Russian Empire) thought it would be of special interest to me, and it was. I was born the year of the massacre at Kerch. I was close to my maternal grandmother with whom I lived for a brief time when my father was drafted into the US Navy near the end of WWII. At the age of fourteen, my grandmother, her mother and brother escaped the pogroms. Under cover of night, they made their way from Kiev to Odessa, and into steerage of a departing vessel. They emigrated to the US in 1905. This book was created in memory of my grandmother who survived pogroms, those murdered at the battle of Kerch, those murdered in WWII, and all who continue to suffer ongoing terror and repression in Ukraine. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172900545-75ZQ8FN10PMOMAE6IUV2/mcba-prize-2024-Harriet-Bart-I-Saw-It-3.jpg Entries & Jurors - 2024 Entries - Harriet Bart Minneapolis, MN http://www.harrietbart.com IG: harrietbartstudio I Saw It 2023 Letterpress 10″ x 6.5″ x 0.5″ in Artist Statement In 2022, letterpress printer Phil Gallo, brought me a book titled, I Saw It: Ilya Selvinsky and the Legacy of Bearing Witness to the Shoah, written by Maxim Shrayer. In that book is the poem of that same title. The poem, I Saw It, translated by Maxim Shrayer, was written by Ilya Selvinsky, a poet, journalist, and soldier who, in 1941, witnessed the massacre of thousands of Jews outside the Crimean city of Kerch. Thereafter he wrote and published the poem. Phil who knew my grandmother was from Ukraine (which at that time part of the Russian Empire) thought it would be of special interest to me, and it was. I was born the year of the massacre at Kerch. I was close to my maternal grandmother with whom I lived for a brief time when my father was drafted into the US Navy near the end of WWII. At the age of fourteen, my grandmother, her mother and brother escaped the pogroms. Under cover of night, they made their way from Kiev to Odessa, and into steerage of a departing vessel. They emigrated to the US in 1905. This book was created in memory of my grandmother who survived pogroms, those murdered at the battle of Kerch, those murdered in WWII, and all who continue to suffer ongoing terror and repression in Ukraine. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172898998-79YNGY3O43RII4VQ3MOT/mcba-prize-2024-Harriet-Bart-I-Saw-It-2.jpg Entries & Jurors - 2024 Entries - Harriet Bart Minneapolis, MN http://www.harrietbart.com IG: harrietbartstudio I Saw It 2023 Letterpress 10″ x 6.5″ x 0.5″ in Artist Statement In 2022, letterpress printer Phil Gallo, brought me a book titled, I Saw It: Ilya Selvinsky and the Legacy of Bearing Witness to the Shoah, written by Maxim Shrayer. In that book is the poem of that same title. The poem, I Saw It, translated by Maxim Shrayer, was written by Ilya Selvinsky, a poet, journalist, and soldier who, in 1941, witnessed the massacre of thousands of Jews outside the Crimean city of Kerch. Thereafter he wrote and published the poem. Phil who knew my grandmother was from Ukraine (which at that time part of the Russian Empire) thought it would be of special interest to me, and it was. I was born the year of the massacre at Kerch. I was close to my maternal grandmother with whom I lived for a brief time when my father was drafted into the US Navy near the end of WWII. At the age of fourteen, my grandmother, her mother and brother escaped the pogroms. Under cover of night, they made their way from Kiev to Odessa, and into steerage of a departing vessel. They emigrated to the US in 1905. This book was created in memory of my grandmother who survived pogroms, those murdered at the battle of Kerch, those murdered in WWII, and all who continue to suffer ongoing terror and repression in Ukraine. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172899140-ITJZR58CS0GO001WRTRH/mcba-prize-2024-Harriet-Bart-I-Saw-It-1.jpg Entries & Jurors - 2024 Entries - Harriet Bart Minneapolis, MN http://www.harrietbart.com IG: harrietbartstudio I Saw It 2023 Letterpress 10″ x 6.5″ x 0.5″ in Artist Statement In 2022, letterpress printer Phil Gallo, brought me a book titled, I Saw It: Ilya Selvinsky and the Legacy of Bearing Witness to the Shoah, written by Maxim Shrayer. In that book is the poem of that same title. The poem, I Saw It, translated by Maxim Shrayer, was written by Ilya Selvinsky, a poet, journalist, and soldier who, in 1941, witnessed the massacre of thousands of Jews outside the Crimean city of Kerch. Thereafter he wrote and published the poem. Phil who knew my grandmother was from Ukraine (which at that time part of the Russian Empire) thought it would be of special interest to me, and it was. I was born the year of the massacre at Kerch. I was close to my maternal grandmother with whom I lived for a brief time when my father was drafted into the US Navy near the end of WWII. At the age of fourteen, my grandmother, her mother and brother escaped the pogroms. Under cover of night, they made their way from Kiev to Odessa, and into steerage of a departing vessel. They emigrated to the US in 1905. This book was created in memory of my grandmother who survived pogroms, those murdered at the battle of Kerch, those murdered in WWII, and all who continue to suffer ongoing terror and repression in Ukraine. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173089067-0BXLN0F6UNNGWLT8JS8H/mcba-prize-2024-Candace-Hicks-Rewind-1.jpg Entries & Jurors - 2024 Entries - Candace Hicks Nacogdoches, TX www.candacehicks.com IG: @candacehicksart Please Remember to Rewind your Mind 2023 Plastic 4.5″x7.75″x1″ Artist Statement Excerpted from a longer memoir, Please Remember to Rewind Your Mind tells the story of my time working at Blockbuster in 1999, and the unusual encounter I experienced with my teenage boss. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173092226-YCNMLMDEC6GXMUEP0IG6/mcba-prize-2024-Candace-Hicks-Rewind-5.jpg Entries & Jurors - 2024 Entries - Candace Hicks Nacogdoches, TX www.candacehicks.com IG: @candacehicksart Please Remember to Rewind your Mind 2023 Plastic 4.5″x7.75″x1″ Artist Statement Excerpted from a longer memoir, Please Remember to Rewind Your Mind tells the story of my time working at Blockbuster in 1999, and the unusual encounter I experienced with my teenage boss. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173089108-L38O1Y4R6CMS6CWWINEB/mcba-prize-2024-Candace-Hicks-Rewind-2.jpg Entries & Jurors - 2024 Entries - Candace Hicks Nacogdoches, TX www.candacehicks.com IG: @candacehicksart Please Remember to Rewind your Mind 2023 Plastic 4.5″x7.75″x1″ Artist Statement Excerpted from a longer memoir, Please Remember to Rewind Your Mind tells the story of my time working at Blockbuster in 1999, and the unusual encounter I experienced with my teenage boss. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173090586-9REL0PSF3FTA7I58XR5R/mcba-prize-2024-Candace-Hicks-Rewind-3.jpg Entries & Jurors - 2024 Entries - Candace Hicks Nacogdoches, TX www.candacehicks.com IG: @candacehicksart Please Remember to Rewind your Mind 2023 Plastic 4.5″x7.75″x1″ Artist Statement Excerpted from a longer memoir, Please Remember to Rewind Your Mind tells the story of my time working at Blockbuster in 1999, and the unusual encounter I experienced with my teenage boss. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173091368-B2T26MCRX1ZZ0TVZ9W08/mcba-prize-2024-Candace-Hicks-Rewind-4.jpg Entries & Jurors - 2024 Entries - Candace Hicks Nacogdoches, TX www.candacehicks.com IG: @candacehicksart Please Remember to Rewind your Mind 2023 Plastic 4.5″x7.75″x1″ Artist Statement Excerpted from a longer memoir, Please Remember to Rewind Your Mind tells the story of my time working at Blockbuster in 1999, and the unusual encounter I experienced with my teenage boss. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173251630-VC8FCLA8083V4LVMSU9X/mcba-prize-2024-Meri-Page-Atlantic-5.jpg Entries & Jurors - 2024 Entries - Meri Page Syracuse, NY www.meripage.com Atlantic 2023 Linen book cloth, book board, paper, ink, and pva glue 4.75 x 6 inches closed 12 pgs Artist Statement Atlantic juxtaposes images of the Atlantic taken in Florida and Maine as well as unique cyanotypes of seaweed harvested from north and south locations of the Atlantic coast of the United States. Digitally printed on French paper from original photographs of Maine and Florida, and unique cyanotypes originally printed on cotton. Edition of 25 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173251111-383I0BTNN8ARRADQXAFF/mcba-prize-2024-Meri-Page-Atlantic-4.jpg Entries & Jurors - 2024 Entries - Meri Page Syracuse, NY www.meripage.com Atlantic 2023 Linen book cloth, book board, paper, ink, and pva glue 4.75 x 6 inches closed 12 pgs Artist Statement Atlantic juxtaposes images of the Atlantic taken in Florida and Maine as well as unique cyanotypes of seaweed harvested from north and south locations of the Atlantic coast of the United States. Digitally printed on French paper from original photographs of Maine and Florida, and unique cyanotypes originally printed on cotton. Edition of 25 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173250451-8V15INOW597BWCA7FYC2/mcba-prize-2024-Meri-Page-Atlantic-3.jpg Entries & Jurors - 2024 Entries - Meri Page Syracuse, NY www.meripage.com Atlantic 2023 Linen book cloth, book board, paper, ink, and pva glue 4.75 x 6 inches closed 12 pgs Artist Statement Atlantic juxtaposes images of the Atlantic taken in Florida and Maine as well as unique cyanotypes of seaweed harvested from north and south locations of the Atlantic coast of the United States. Digitally printed on French paper from original photographs of Maine and Florida, and unique cyanotypes originally printed on cotton. Edition of 25 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173248650-QLR9EJK7EUOAMCQ0BTRH/mcba-prize-2024-Meri-Page-Atlantic-2.jpg Entries & Jurors - 2024 Entries - Meri Page Syracuse, NY www.meripage.com Atlantic 2023 Linen book cloth, book board, paper, ink, and pva glue 4.75 x 6 inches closed 12 pgs Artist Statement Atlantic juxtaposes images of the Atlantic taken in Florida and Maine as well as unique cyanotypes of seaweed harvested from north and south locations of the Atlantic coast of the United States. Digitally printed on French paper from original photographs of Maine and Florida, and unique cyanotypes originally printed on cotton. Edition of 25 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173248795-H3ZWXKE96BS7IO1DREDW/mcba-prize-2024-Meri-Page-Atlantic-1.jpg Entries & Jurors - 2024 Entries - Meri Page Syracuse, NY www.meripage.com Atlantic 2023 Linen book cloth, book board, paper, ink, and pva glue 4.75 x 6 inches closed 12 pgs Artist Statement Atlantic juxtaposes images of the Atlantic taken in Florida and Maine as well as unique cyanotypes of seaweed harvested from north and south locations of the Atlantic coast of the United States. Digitally printed on French paper from original photographs of Maine and Florida, and unique cyanotypes originally printed on cotton. Edition of 25 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173445275-Y0OCMGYDBGD7BNPCEKLS/mcba-prize-2024-Kim-Hyunzoo-Project-Salalive-5.jpg Entries & Jurors - 2024 Entries - KIM HYUNZOO South Korea IG: @poem0press project SAL(alive) 2022 project SAL’s music album & book art, burnt birch wood, korean traditional paper, traditional silk, cassette tape, silk screen print 5.31x7in Artist Statement The regular album of project SAL(alive), which discovers and plays the language of objects and realizes it as sound art, was planned as an ‘artist book’. We compiled the sound source, content, and reviews together with the images. project SAL(alive) plays with the movements, emotions, and sensations of beings attached to the framework of the world. In particular, it remembers the wounds and calls out their new values. Broken instruments, broken objects, injured tree branches, and internally injured bodies are also conveyors of stories. The theme of ‘anxiety’ was expressed through books and music. The main text consists of images of the members’ bodies engraved and symbolized as ‘tapdol(stone tower)’ and text about the song, and was printed with silk screen. The cover was finished by burning a ‘memorial tablet’ made of burnt birch wood and wrapping it in traditional silk with a ‘cassette tape.’ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173443839-GZD0SAUYOTCRZU6C68FL/mcba-prize-2024-Kim-Hyunzoo-Project-Salalive-4.jpg Entries & Jurors - 2024 Entries - KIM HYUNZOO South Korea IG: @poem0press project SAL(alive) 2022 project SAL’s music album & book art, burnt birch wood, korean traditional paper, traditional silk, cassette tape, silk screen print 5.31x7in Artist Statement The regular album of project SAL(alive), which discovers and plays the language of objects and realizes it as sound art, was planned as an ‘artist book’. We compiled the sound source, content, and reviews together with the images. project SAL(alive) plays with the movements, emotions, and sensations of beings attached to the framework of the world. In particular, it remembers the wounds and calls out their new values. Broken instruments, broken objects, injured tree branches, and internally injured bodies are also conveyors of stories. The theme of ‘anxiety’ was expressed through books and music. The main text consists of images of the members’ bodies engraved and symbolized as ‘tapdol(stone tower)’ and text about the song, and was printed with silk screen. The cover was finished by burning a ‘memorial tablet’ made of burnt birch wood and wrapping it in traditional silk with a ‘cassette tape.’ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173443419-ZL99AVUFHTZUVYJFYJL3/mcba-prize-2024-Kim-Hyunzoo-Project-Salalive-3.jpg Entries & Jurors - 2024 Entries - KIM HYUNZOO South Korea IG: @poem0press project SAL(alive) 2022 project SAL’s music album & book art, burnt birch wood, korean traditional paper, traditional silk, cassette tape, silk screen print 5.31x7in Artist Statement The regular album of project SAL(alive), which discovers and plays the language of objects and realizes it as sound art, was planned as an ‘artist book’. We compiled the sound source, content, and reviews together with the images. project SAL(alive) plays with the movements, emotions, and sensations of beings attached to the framework of the world. In particular, it remembers the wounds and calls out their new values. Broken instruments, broken objects, injured tree branches, and internally injured bodies are also conveyors of stories. The theme of ‘anxiety’ was expressed through books and music. The main text consists of images of the members’ bodies engraved and symbolized as ‘tapdol(stone tower)’ and text about the song, and was printed with silk screen. The cover was finished by burning a ‘memorial tablet’ made of burnt birch wood and wrapping it in traditional silk with a ‘cassette tape.’ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173441318-CN8OS44546UZX54SYUUO/mcba-prize-2024-Kim-Hyunzoo-Project-Salalive-2.jpg Entries & Jurors - 2024 Entries - KIM HYUNZOO South Korea IG: @poem0press project SAL(alive) 2022 project SAL’s music album & book art, burnt birch wood, korean traditional paper, traditional silk, cassette tape, silk screen print 5.31x7in Artist Statement The regular album of project SAL(alive), which discovers and plays the language of objects and realizes it as sound art, was planned as an ‘artist book’. We compiled the sound source, content, and reviews together with the images. project SAL(alive) plays with the movements, emotions, and sensations of beings attached to the framework of the world. In particular, it remembers the wounds and calls out their new values. Broken instruments, broken objects, injured tree branches, and internally injured bodies are also conveyors of stories. The theme of ‘anxiety’ was expressed through books and music. The main text consists of images of the members’ bodies engraved and symbolized as ‘tapdol(stone tower)’ and text about the song, and was printed with silk screen. The cover was finished by burning a ‘memorial tablet’ made of burnt birch wood and wrapping it in traditional silk with a ‘cassette tape.’ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173441427-RBUKFIFS8OUUAZ5JE8RE/mcba-prize-2024-Kim-Hyunzoo-Project-Salalive-1.jpg Entries & Jurors - 2024 Entries - KIM HYUNZOO South Korea IG: @poem0press project SAL(alive) 2022 project SAL’s music album & book art, burnt birch wood, korean traditional paper, traditional silk, cassette tape, silk screen print 5.31x7in Artist Statement The regular album of project SAL(alive), which discovers and plays the language of objects and realizes it as sound art, was planned as an ‘artist book’. We compiled the sound source, content, and reviews together with the images. project SAL(alive) plays with the movements, emotions, and sensations of beings attached to the framework of the world. In particular, it remembers the wounds and calls out their new values. Broken instruments, broken objects, injured tree branches, and internally injured bodies are also conveyors of stories. The theme of ‘anxiety’ was expressed through books and music. The main text consists of images of the members’ bodies engraved and symbolized as ‘tapdol(stone tower)’ and text about the song, and was printed with silk screen. The cover was finished by burning a ‘memorial tablet’ made of burnt birch wood and wrapping it in traditional silk with a ‘cassette tape.’ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173674640-JQBRGROLJNNZWPTACSP0/mcba-prize-2024-Kristen-Tordella-Williams-Void-1.jpg Entries & Jurors - 2024 Entries - Kristen Tordella-Williams Opelika, Alabama https://kristentordellawilliams.art/ IG : kristentordellawilliams Void 2023 Edition of 2 artist books. Text by Liz Egan and edited selections from additional Pink House Defenders. 24”x19”x1.5” closed, 48”x19” open. Secret Belgian binding, CNC plasma cut steel covers, artist made papers from her old bedsheets and denim, iron, rust, thread, and paint 24”x19”x1.5” closed, 48”x19” open Artist Statement The artist books Void are made using iron dust as a primary printing material through which viewers learn the impact of the overturning of Roe v. Wade through the Pink House Defenders’ experience. In the fall of 2023, Tordella-Williams and former Defender Liz Egan invited reflections on the closing of the Jackson Women’s Health Center (colloquially known as the Pink House) and the end to their work as clinic escorts in Mississippi. Egan edited those texts with her own experience into the codex of Void. The books were printed as a variable edition of two onto mended bed sheet papers using iron dusted through laser cut paper stencils. . Each signature was then rusted and sealed. Tordella-Williams made the paper from her own used bed sheets, a material embedded with the sites of copulation, bleeding, sweat, and dreaming. The mended areas of the paper look like craters or puckered scars and vary from page to page. The signatures are bound using a secret Belgian binding and have CNC plasma cut covers. The back cover features the Pink House cut in negative. While the covers show hints of white paint that are rusted and worn, the interiors are a bright pink to represent the Pink House’s color and vibrant tenacity. The piece commemorates those who preserved access to healthcare that once was tenuously available to all Mississippians. These books serve as a memorial to a community and to the void left behind by the fall of Roe v. Wade. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173674558-Z5K93698QQ742067GAD5/mcba-prize-2024-Kristen-Tordella-Williams-Void-2.jpg Entries & Jurors - 2024 Entries - Kristen Tordella-Williams Opelika, Alabama https://kristentordellawilliams.art/ IG : kristentordellawilliams Void 2023 Edition of 2 artist books. Text by Liz Egan and edited selections from additional Pink House Defenders. 24”x19”x1.5” closed, 48”x19” open. Secret Belgian binding, CNC plasma cut steel covers, artist made papers from her old bedsheets and denim, iron, rust, thread, and paint 24”x19”x1.5” closed, 48”x19” open Artist Statement The artist books Void are made using iron dust as a primary printing material through which viewers learn the impact of the overturning of Roe v. Wade through the Pink House Defenders’ experience. In the fall of 2023, Tordella-Williams and former Defender Liz Egan invited reflections on the closing of the Jackson Women’s Health Center (colloquially known as the Pink House) and the end to their work as clinic escorts in Mississippi. Egan edited those texts with her own experience into the codex of Void. The books were printed as a variable edition of two onto mended bed sheet papers using iron dusted through laser cut paper stencils. . Each signature was then rusted and sealed. Tordella-Williams made the paper from her own used bed sheets, a material embedded with the sites of copulation, bleeding, sweat, and dreaming. The mended areas of the paper look like craters or puckered scars and vary from page to page. The signatures are bound using a secret Belgian binding and have CNC plasma cut covers. The back cover features the Pink House cut in negative. While the covers show hints of white paint that are rusted and worn, the interiors are a bright pink to represent the Pink House’s color and vibrant tenacity. The piece commemorates those who preserved access to healthcare that once was tenuously available to all Mississippians. These books serve as a memorial to a community and to the void left behind by the fall of Roe v. Wade. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173676976-Q1F90N1U36V70MT6V9LP/mcba-prize-2024-Kristen-Tordella-Williams-Void-3.jpg Entries & Jurors - 2024 Entries - Kristen Tordella-Williams Opelika, Alabama https://kristentordellawilliams.art/ IG : kristentordellawilliams Void 2023 Edition of 2 artist books. Text by Liz Egan and edited selections from additional Pink House Defenders. 24”x19”x1.5” closed, 48”x19” open. Secret Belgian binding, CNC plasma cut steel covers, artist made papers from her old bedsheets and denim, iron, rust, thread, and paint 24”x19”x1.5” closed, 48”x19” open Artist Statement The artist books Void are made using iron dust as a primary printing material through which viewers learn the impact of the overturning of Roe v. Wade through the Pink House Defenders’ experience. In the fall of 2023, Tordella-Williams and former Defender Liz Egan invited reflections on the closing of the Jackson Women’s Health Center (colloquially known as the Pink House) and the end to their work as clinic escorts in Mississippi. Egan edited those texts with her own experience into the codex of Void. The books were printed as a variable edition of two onto mended bed sheet papers using iron dusted through laser cut paper stencils. . Each signature was then rusted and sealed. Tordella-Williams made the paper from her own used bed sheets, a material embedded with the sites of copulation, bleeding, sweat, and dreaming. The mended areas of the paper look like craters or puckered scars and vary from page to page. The signatures are bound using a secret Belgian binding and have CNC plasma cut covers. The back cover features the Pink House cut in negative. While the covers show hints of white paint that are rusted and worn, the interiors are a bright pink to represent the Pink House’s color and vibrant tenacity. The piece commemorates those who preserved access to healthcare that once was tenuously available to all Mississippians. These books serve as a memorial to a community and to the void left behind by the fall of Roe v. Wade. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173677071-FX03FOMY9JL1W5EVA0NR/mcba-prize-2024-Kristen-Tordella-Williams-Void-4.jpg Entries & Jurors - 2024 Entries - Kristen Tordella-Williams Opelika, Alabama https://kristentordellawilliams.art/ IG : kristentordellawilliams Void 2023 Edition of 2 artist books. Text by Liz Egan and edited selections from additional Pink House Defenders. 24”x19”x1.5” closed, 48”x19” open. Secret Belgian binding, CNC plasma cut steel covers, artist made papers from her old bedsheets and denim, iron, rust, thread, and paint 24”x19”x1.5” closed, 48”x19” open Artist Statement The artist books Void are made using iron dust as a primary printing material through which viewers learn the impact of the overturning of Roe v. Wade through the Pink House Defenders’ experience. In the fall of 2023, Tordella-Williams and former Defender Liz Egan invited reflections on the closing of the Jackson Women’s Health Center (colloquially known as the Pink House) and the end to their work as clinic escorts in Mississippi. Egan edited those texts with her own experience into the codex of Void. The books were printed as a variable edition of two onto mended bed sheet papers using iron dusted through laser cut paper stencils. . Each signature was then rusted and sealed. Tordella-Williams made the paper from her own used bed sheets, a material embedded with the sites of copulation, bleeding, sweat, and dreaming. The mended areas of the paper look like craters or puckered scars and vary from page to page. The signatures are bound using a secret Belgian binding and have CNC plasma cut covers. The back cover features the Pink House cut in negative. While the covers show hints of white paint that are rusted and worn, the interiors are a bright pink to represent the Pink House’s color and vibrant tenacity. The piece commemorates those who preserved access to healthcare that once was tenuously available to all Mississippians. These books serve as a memorial to a community and to the void left behind by the fall of Roe v. Wade. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173678856-TJFW5J01VWKWDBMIFKWI/mcba-prize-2024-Kristen-Tordella-Williams-Void-5.jpg Entries & Jurors - 2024 Entries - Kristen Tordella-Williams Opelika, Alabama https://kristentordellawilliams.art/ IG : kristentordellawilliams Void 2023 Edition of 2 artist books. Text by Liz Egan and edited selections from additional Pink House Defenders. 24”x19”x1.5” closed, 48”x19” open. Secret Belgian binding, CNC plasma cut steel covers, artist made papers from her old bedsheets and denim, iron, rust, thread, and paint 24”x19”x1.5” closed, 48”x19” open Artist Statement The artist books Void are made using iron dust as a primary printing material through which viewers learn the impact of the overturning of Roe v. Wade through the Pink House Defenders’ experience. In the fall of 2023, Tordella-Williams and former Defender Liz Egan invited reflections on the closing of the Jackson Women’s Health Center (colloquially known as the Pink House) and the end to their work as clinic escorts in Mississippi. Egan edited those texts with her own experience into the codex of Void. The books were printed as a variable edition of two onto mended bed sheet papers using iron dusted through laser cut paper stencils. . Each signature was then rusted and sealed. Tordella-Williams made the paper from her own used bed sheets, a material embedded with the sites of copulation, bleeding, sweat, and dreaming. The mended areas of the paper look like craters or puckered scars and vary from page to page. The signatures are bound using a secret Belgian binding and have CNC plasma cut covers. The back cover features the Pink House cut in negative. While the covers show hints of white paint that are rusted and worn, the interiors are a bright pink to represent the Pink House’s color and vibrant tenacity. The piece commemorates those who preserved access to healthcare that once was tenuously available to all Mississippians. These books serve as a memorial to a community and to the void left behind by the fall of Roe v. Wade. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773174443428-INWA9HHHF65XB7UF25VS/mcba-prize-2024-Margot-Fagan-Local-Color-4.jpg Entries & Jurors - 2024 Entries - Margot Fagan Toronto, Ontario www.margotfagan.ca Local colour 2024 Paper, ink jet print, glassine envelope CLOSED-length 6.25, width 4, height .25 OPENED- length variable up to 31.25, width 4, height .25 Artist Statement Local Colour presents an assemblage of coloured papers along with the succinctly stunning statement made by marine biologist Sylvia Earle at a conference lecture addressing the significance of earth’s depleted and polluted oceans. The first sentence of the quote is indisputable, “No water, no life.” With the second sentence Earle extends the idea into a metaphorical interpretation, “No blue, no green.” The shapes I’ve cut out and bound with her printed quote offers a tangible representation of this idea. As you handle and play with the forms you could reflect on a diminished world of fewer colours. Blue and Green is made from leftover papers that I’ve used in other book projects. The paper post bindings allow the twelve colours to turn and pivot, interacting with each other in ways that optimize the effects of colour relationships. The artists’ books I make aim to amplify the book’s concept in some way through its structure. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773174443226-SZXDKCG29CCQP459Q97Y/mcba-prize-2024-Margot-Fagan-Local-Color-3.jpg Entries & Jurors - 2024 Entries - Margot Fagan Toronto, Ontario www.margotfagan.ca Local colour 2024 Paper, ink jet print, glassine envelope CLOSED-length 6.25, width 4, height .25 OPENED- length variable up to 31.25, width 4, height .25 Artist Statement Local Colour presents an assemblage of coloured papers along with the succinctly stunning statement made by marine biologist Sylvia Earle at a conference lecture addressing the significance of earth’s depleted and polluted oceans. The first sentence of the quote is indisputable, “No water, no life.” With the second sentence Earle extends the idea into a metaphorical interpretation, “No blue, no green.” The shapes I’ve cut out and bound with her printed quote offers a tangible representation of this idea. As you handle and play with the forms you could reflect on a diminished world of fewer colours. Blue and Green is made from leftover papers that I’ve used in other book projects. The paper post bindings allow the twelve colours to turn and pivot, interacting with each other in ways that optimize the effects of colour relationships. The artists’ books I make aim to amplify the book’s concept in some way through its structure. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773174442311-3AIG8VQMCNAFY0B4SFZC/mcba-prize-2024-Margot-Fagan-Local-Color-2.jpg Entries & Jurors - 2024 Entries - Margot Fagan Toronto, Ontario www.margotfagan.ca Local colour 2024 Paper, ink jet print, glassine envelope CLOSED-length 6.25, width 4, height .25 OPENED- length variable up to 31.25, width 4, height .25 Artist Statement Local Colour presents an assemblage of coloured papers along with the succinctly stunning statement made by marine biologist Sylvia Earle at a conference lecture addressing the significance of earth’s depleted and polluted oceans. The first sentence of the quote is indisputable, “No water, no life.” With the second sentence Earle extends the idea into a metaphorical interpretation, “No blue, no green.” The shapes I’ve cut out and bound with her printed quote offers a tangible representation of this idea. As you handle and play with the forms you could reflect on a diminished world of fewer colours. Blue and Green is made from leftover papers that I’ve used in other book projects. The paper post bindings allow the twelve colours to turn and pivot, interacting with each other in ways that optimize the effects of colour relationships. The artists’ books I make aim to amplify the book’s concept in some way through its structure. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/abfb4ded-ad05-45f7-812d-f9ea688b6656/mcba-prize-2024-Margot-Fagan-Local-Color-1.jpg Entries & Jurors - 2024 Entries - Margot Fagan Toronto, Ontario www.margotfagan.ca Local colour 2024 Paper, ink jet print, glassine envelope CLOSED-length 6.25, width 4, height .25 OPENED- length variable up to 31.25, width 4, height .25 Artist Statement Local Colour presents an assemblage of coloured papers along with the succinctly stunning statement made by marine biologist Sylvia Earle at a conference lecture addressing the significance of earth’s depleted and polluted oceans. The first sentence of the quote is indisputable, “No water, no life.” With the second sentence Earle extends the idea into a metaphorical interpretation, “No blue, no green.” The shapes I’ve cut out and bound with her printed quote offers a tangible representation of this idea. As you handle and play with the forms you could reflect on a diminished world of fewer colours. Blue and Green is made from leftover papers that I’ve used in other book projects. The paper post bindings allow the twelve colours to turn and pivot, interacting with each other in ways that optimize the effects of colour relationships. The artists’ books I make aim to amplify the book’s concept in some way through its structure. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773174609900-44YH5ELF7Q03OCMC71LC/mcba-prize-2024-Deborah-Phillips-Chodoff-Life-Unspooled-1.jpg Entries & Jurors - 2024 Entries - Deborah Phillips Chodoff Katonah, New York www.deborahchodoff.com Life Unspooled 2024 Closed: 7 1/2″ L x 3 1/2″ W x 5″ H; opens to 26″ long; part 3 is 2″W and opens to 21″L Artist Statement Born of a need to tease out conflict in everyday situations, my artist books speak to the interaction of human nature with mundane frustrations, the push/pull of constraints and expectations, and encounters with uncontrollable situations. The book is an ideal vehicle for this subject matter because of its time-based, sequential nature. Whatever form a book takes– traditional or sculptural– its visual narrative unfolds over time and through space. I use a wide range of materials that relate to the ideas driving the work. Collages include distressed, painted, and printed papers, photographs, and scans. Found objects add a tactile, physical dimension to the work. Texts are minimal, often consisting of conceptual word play, a small story, or found words that steer the visual experience. The materials and concepts dictate the size, shape, format, binding, and housing of the books, resulting in sculptural works that stretch the limits of the book form. In Life Unspooled, the housing–a rotary grater– dictated the form of the book and provided the impetus for the narrative. My eldest sister’s complex and rich life ended with a short decrescendo into illness and hospice. During this end time I went to Paris where she was living to help care for her briefly and bring her back to the USA. It was during this two week period that the broken grater appeared as a harbinger and later became the vehicle for this story. Life Unspooled is in three sections, each fitting into a different part of the grater. Upon opening the arm of the grater, an accordion section unfolds, showing images of the eclipse as projected through a colander, echoing the pattern of holes on the grater drum and setting the mood for the reflective nature of the book. This section is punctuated by a drop of glaze from my sister’s kiln. Inside the grater well is another accordion book which is sewn to the grater drum. Pulling it open, one sees a series of portraits of my sister throughout her life, her gaze looking forward and back at herself as a baby, as a beautiful young woman, in middle age, and in her last years. Inside the drum, curled tightly in an aluminum coil, is another accordion section with the story of the grater. All three accordion sections are affixed to fraying scraps of black silk. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773174614201-UYRXNOA8O8GI26BIFMU2/mcba-prize-2024-Deborah-Phillips-Chodoff-Life-Unspooled-5.jpg Entries & Jurors - 2024 Entries - Deborah Phillips Chodoff Katonah, New York www.deborahchodoff.com Life Unspooled 2024 Closed: 7 1/2″ L x 3 1/2″ W x 5″ H; opens to 26″ long; part 3 is 2″W and opens to 21″L Artist Statement Born of a need to tease out conflict in everyday situations, my artist books speak to the interaction of human nature with mundane frustrations, the push/pull of constraints and expectations, and encounters with uncontrollable situations. The book is an ideal vehicle for this subject matter because of its time-based, sequential nature. Whatever form a book takes– traditional or sculptural– its visual narrative unfolds over time and through space. I use a wide range of materials that relate to the ideas driving the work. Collages include distressed, painted, and printed papers, photographs, and scans. Found objects add a tactile, physical dimension to the work. Texts are minimal, often consisting of conceptual word play, a small story, or found words that steer the visual experience. The materials and concepts dictate the size, shape, format, binding, and housing of the books, resulting in sculptural works that stretch the limits of the book form. In Life Unspooled, the housing–a rotary grater– dictated the form of the book and provided the impetus for the narrative. My eldest sister’s complex and rich life ended with a short decrescendo into illness and hospice. During this end time I went to Paris where she was living to help care for her briefly and bring her back to the USA. It was during this two week period that the broken grater appeared as a harbinger and later became the vehicle for this story. Life Unspooled is in three sections, each fitting into a different part of the grater. Upon opening the arm of the grater, an accordion section unfolds, showing images of the eclipse as projected through a colander, echoing the pattern of holes on the grater drum and setting the mood for the reflective nature of the book. This section is punctuated by a drop of glaze from my sister’s kiln. Inside the grater well is another accordion book which is sewn to the grater drum. Pulling it open, one sees a series of portraits of my sister throughout her life, her gaze looking forward and back at herself as a baby, as a beautiful young woman, in middle age, and in her last years. Inside the drum, curled tightly in an aluminum coil, is another accordion section with the story of the grater. All three accordion sections are affixed to fraying scraps of black silk. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773174612554-2CVNN42HFOCQFLGK2BVR/mcba-prize-2024-Deborah-Phillips-Chodoff-Life-Unspooled-4.jpg Entries & Jurors - 2024 Entries - Deborah Phillips Chodoff Katonah, New York www.deborahchodoff.com Life Unspooled 2024 Closed: 7 1/2″ L x 3 1/2″ W x 5″ H; opens to 26″ long; part 3 is 2″W and opens to 21″L Artist Statement Born of a need to tease out conflict in everyday situations, my artist books speak to the interaction of human nature with mundane frustrations, the push/pull of constraints and expectations, and encounters with uncontrollable situations. The book is an ideal vehicle for this subject matter because of its time-based, sequential nature. Whatever form a book takes– traditional or sculptural– its visual narrative unfolds over time and through space. I use a wide range of materials that relate to the ideas driving the work. Collages include distressed, painted, and printed papers, photographs, and scans. Found objects add a tactile, physical dimension to the work. Texts are minimal, often consisting of conceptual word play, a small story, or found words that steer the visual experience. The materials and concepts dictate the size, shape, format, binding, and housing of the books, resulting in sculptural works that stretch the limits of the book form. In Life Unspooled, the housing–a rotary grater– dictated the form of the book and provided the impetus for the narrative. My eldest sister’s complex and rich life ended with a short decrescendo into illness and hospice. During this end time I went to Paris where she was living to help care for her briefly and bring her back to the USA. It was during this two week period that the broken grater appeared as a harbinger and later became the vehicle for this story. Life Unspooled is in three sections, each fitting into a different part of the grater. Upon opening the arm of the grater, an accordion section unfolds, showing images of the eclipse as projected through a colander, echoing the pattern of holes on the grater drum and setting the mood for the reflective nature of the book. This section is punctuated by a drop of glaze from my sister’s kiln. Inside the grater well is another accordion book which is sewn to the grater drum. Pulling it open, one sees a series of portraits of my sister throughout her life, her gaze looking forward and back at herself as a baby, as a beautiful young woman, in middle age, and in her last years. Inside the drum, curled tightly in an aluminum coil, is another accordion section with the story of the grater. All three accordion sections are affixed to fraying scraps of black silk. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773174612253-NS4DM428173OMYRRJD97/mcba-prize-2024-Deborah-Phillips-Chodoff-Life-Unspooled-3.jpg Entries & Jurors - 2024 Entries - Deborah Phillips Chodoff Katonah, New York www.deborahchodoff.com Life Unspooled 2024 Closed: 7 1/2″ L x 3 1/2″ W x 5″ H; opens to 26″ long; part 3 is 2″W and opens to 21″L Artist Statement Born of a need to tease out conflict in everyday situations, my artist books speak to the interaction of human nature with mundane frustrations, the push/pull of constraints and expectations, and encounters with uncontrollable situations. The book is an ideal vehicle for this subject matter because of its time-based, sequential nature. Whatever form a book takes– traditional or sculptural– its visual narrative unfolds over time and through space. I use a wide range of materials that relate to the ideas driving the work. Collages include distressed, painted, and printed papers, photographs, and scans. Found objects add a tactile, physical dimension to the work. Texts are minimal, often consisting of conceptual word play, a small story, or found words that steer the visual experience. The materials and concepts dictate the size, shape, format, binding, and housing of the books, resulting in sculptural works that stretch the limits of the book form. In Life Unspooled, the housing–a rotary grater– dictated the form of the book and provided the impetus for the narrative. My eldest sister’s complex and rich life ended with a short decrescendo into illness and hospice. During this end time I went to Paris where she was living to help care for her briefly and bring her back to the USA. It was during this two week period that the broken grater appeared as a harbinger and later became the vehicle for this story. Life Unspooled is in three sections, each fitting into a different part of the grater. Upon opening the arm of the grater, an accordion section unfolds, showing images of the eclipse as projected through a colander, echoing the pattern of holes on the grater drum and setting the mood for the reflective nature of the book. This section is punctuated by a drop of glaze from my sister’s kiln. Inside the grater well is another accordion book which is sewn to the grater drum. Pulling it open, one sees a series of portraits of my sister throughout her life, her gaze looking forward and back at herself as a baby, as a beautiful young woman, in middle age, and in her last years. Inside the drum, curled tightly in an aluminum coil, is another accordion section with the story of the grater. All three accordion sections are affixed to fraying scraps of black silk. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773174609869-WOZ132A5F2TVSJELJ8A4/mcba-prize-2024-Deborah-Phillips-Chodoff-Life-Unspooled-2.jpg Entries & Jurors - 2024 Entries - Deborah Phillips Chodoff Katonah, New York www.deborahchodoff.com Life Unspooled 2024 Closed: 7 1/2″ L x 3 1/2″ W x 5″ H; opens to 26″ long; part 3 is 2″W and opens to 21″L Artist Statement Born of a need to tease out conflict in everyday situations, my artist books speak to the interaction of human nature with mundane frustrations, the push/pull of constraints and expectations, and encounters with uncontrollable situations. The book is an ideal vehicle for this subject matter because of its time-based, sequential nature. Whatever form a book takes– traditional or sculptural– its visual narrative unfolds over time and through space. I use a wide range of materials that relate to the ideas driving the work. Collages include distressed, painted, and printed papers, photographs, and scans. Found objects add a tactile, physical dimension to the work. Texts are minimal, often consisting of conceptual word play, a small story, or found words that steer the visual experience. The materials and concepts dictate the size, shape, format, binding, and housing of the books, resulting in sculptural works that stretch the limits of the book form. In Life Unspooled, the housing–a rotary grater– dictated the form of the book and provided the impetus for the narrative. My eldest sister’s complex and rich life ended with a short decrescendo into illness and hospice. During this end time I went to Paris where she was living to help care for her briefly and bring her back to the USA. It was during this two week period that the broken grater appeared as a harbinger and later became the vehicle for this story. Life Unspooled is in three sections, each fitting into a different part of the grater. Upon opening the arm of the grater, an accordion section unfolds, showing images of the eclipse as projected through a colander, echoing the pattern of holes on the grater drum and setting the mood for the reflective nature of the book. This section is punctuated by a drop of glaze from my sister’s kiln. Inside the grater well is another accordion book which is sewn to the grater drum. Pulling it open, one sees a series of portraits of my sister throughout her life, her gaze looking forward and back at herself as a baby, as a beautiful young woman, in middle age, and in her last years. Inside the drum, curled tightly in an aluminum coil, is another accordion section with the story of the grater. All three accordion sections are affixed to fraying scraps of black silk. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773174860605-EPAHJZ2SM4JFCR1DFL59/mcba-prize-2024-Erin-Dorney-House-Zine-5.jpg Entries & Jurors - 2024 Entries - Erin Dorney Saranac Lake, NY www.erindorney.com IG: @ erindorney House Zine 2024 Hand block printed cover on Rives BFK paper, waxed linen thread, inkjet printed pages 4″ x 6.25″ Artist Statement House Zine is an artist’s book about housing and one renter’s experience in the Adirondack region. A companion zine was created using stories gathered from community members who attended the House Zine launch in Saranac Lake in December 2023. ADK Housing Zine is available to read online and free copies were distributed. This is a book masquerading as a poetry broadside, with one side featuring a hand printed linocut of a house on fire. The flip side reveals a list poem about all the things we seem to be able to build instead of more housing. The red thread binding the book is unraveled on the outside, adding texture to the multi-colored flames. Flipping through the pages reveals the story of one renter’s struggle to find housing in a rural area of New York, the factors at play in the region, and how it feels to try to find home. This project was made possible with funds from the Statewide Community Regrants program, a regrant program of the New York State Council on the Arts with the support of the New York State Governor and the New York State Legislature and administered by the Adirondack Lakes Center for the Arts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773174859099-BSEF87S1WRZB0GPUTAOH/mcba-prize-2024-Erin-Dorney-House-Zine-4.jpg Entries & Jurors - 2024 Entries - Erin Dorney Saranac Lake, NY www.erindorney.com IG: @ erindorney House Zine 2024 Hand block printed cover on Rives BFK paper, waxed linen thread, inkjet printed pages 4″ x 6.25″ Artist Statement House Zine is an artist’s book about housing and one renter’s experience in the Adirondack region. A companion zine was created using stories gathered from community members who attended the House Zine launch in Saranac Lake in December 2023. ADK Housing Zine is available to read online and free copies were distributed. This is a book masquerading as a poetry broadside, with one side featuring a hand printed linocut of a house on fire. The flip side reveals a list poem about all the things we seem to be able to build instead of more housing. The red thread binding the book is unraveled on the outside, adding texture to the multi-colored flames. Flipping through the pages reveals the story of one renter’s struggle to find housing in a rural area of New York, the factors at play in the region, and how it feels to try to find home. This project was made possible with funds from the Statewide Community Regrants program, a regrant program of the New York State Council on the Arts with the support of the New York State Governor and the New York State Legislature and administered by the Adirondack Lakes Center for the Arts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773174858380-LR9BUMU9PE4IM3D4RIHH/mcba-prize-2024-Erin-Dorney-House-Zine-3.jpg Entries & Jurors - 2024 Entries - Erin Dorney Saranac Lake, NY www.erindorney.com IG: @ erindorney House Zine 2024 Hand block printed cover on Rives BFK paper, waxed linen thread, inkjet printed pages 4″ x 6.25″ Artist Statement House Zine is an artist’s book about housing and one renter’s experience in the Adirondack region. A companion zine was created using stories gathered from community members who attended the House Zine launch in Saranac Lake in December 2023. ADK Housing Zine is available to read online and free copies were distributed. This is a book masquerading as a poetry broadside, with one side featuring a hand printed linocut of a house on fire. The flip side reveals a list poem about all the things we seem to be able to build instead of more housing. The red thread binding the book is unraveled on the outside, adding texture to the multi-colored flames. Flipping through the pages reveals the story of one renter’s struggle to find housing in a rural area of New York, the factors at play in the region, and how it feels to try to find home. This project was made possible with funds from the Statewide Community Regrants program, a regrant program of the New York State Council on the Arts with the support of the New York State Governor and the New York State Legislature and administered by the Adirondack Lakes Center for the Arts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773174857319-7BOM69TO56EI0JF1T0UQ/mcba-prize-2024-Erin-Dorney-House-Zine-2.jpg Entries & Jurors - 2024 Entries - Erin Dorney Saranac Lake, NY www.erindorney.com IG: @ erindorney House Zine 2024 Hand block printed cover on Rives BFK paper, waxed linen thread, inkjet printed pages 4″ x 6.25″ Artist Statement House Zine is an artist’s book about housing and one renter’s experience in the Adirondack region. A companion zine was created using stories gathered from community members who attended the House Zine launch in Saranac Lake in December 2023. ADK Housing Zine is available to read online and free copies were distributed. This is a book masquerading as a poetry broadside, with one side featuring a hand printed linocut of a house on fire. The flip side reveals a list poem about all the things we seem to be able to build instead of more housing. The red thread binding the book is unraveled on the outside, adding texture to the multi-colored flames. Flipping through the pages reveals the story of one renter’s struggle to find housing in a rural area of New York, the factors at play in the region, and how it feels to try to find home. This project was made possible with funds from the Statewide Community Regrants program, a regrant program of the New York State Council on the Arts with the support of the New York State Governor and the New York State Legislature and administered by the Adirondack Lakes Center for the Arts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773174856977-TCYZ8DOQGQLNN1493TAD/mcba-prize-2024-Erin-Dorney-House-Zine-1.jpg Entries & Jurors - 2024 Entries - Erin Dorney Saranac Lake, NY www.erindorney.com IG: @ erindorney House Zine 2024 Hand block printed cover on Rives BFK paper, waxed linen thread, inkjet printed pages 4″ x 6.25″ Artist Statement House Zine is an artist’s book about housing and one renter’s experience in the Adirondack region. A companion zine was created using stories gathered from community members who attended the House Zine launch in Saranac Lake in December 2023. ADK Housing Zine is available to read online and free copies were distributed. This is a book masquerading as a poetry broadside, with one side featuring a hand printed linocut of a house on fire. The flip side reveals a list poem about all the things we seem to be able to build instead of more housing. The red thread binding the book is unraveled on the outside, adding texture to the multi-colored flames. Flipping through the pages reveals the story of one renter’s struggle to find housing in a rural area of New York, the factors at play in the region, and how it feels to try to find home. This project was made possible with funds from the Statewide Community Regrants program, a regrant program of the New York State Council on the Arts with the support of the New York State Governor and the New York State Legislature and administered by the Adirondack Lakes Center for the Arts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175051131-8CPLMQ8S3JE7U027N49L/mcba-prize-2024-Matthew-Magruder-36-Degrees-5.jpg Entries & Jurors - 2024 Entries - Matthew Magruder Austin, TX www.copelopress.com THIRTY SIX DEGREES 2023 Photogravure, letterpress, and book arts 12x6x3 Artist Statement An artist book capturing a short morning visit to 360 latitude—the south rim of the Grand Canyon. This project includes 7 polymer photogravures that are 2.75” x 10” printed on Hahnemühle Copperplate printmaking paper with Charbonnel Soft Black and Raw Umber ink. Each print is then letterpress printed with the GPS coordinates for the location of the photograph as well as signed and labeled in pencil. These are mounted on a horizontal “window-blind” accordion book structure using Cialux taupe bookcloth. This accordion structure is housed in a clamshell enclosure with 4 side hinges and connects to the inner case with embedded magnets that allow the entire piece to be expanded while staying connected to the case. This also allows the entire 7 panels to be removed and displayed/framed, if desired. The left hinge includes letterpress printed GPS coordinates for Plates I-VII in Gold and Black ink. The right hinge shows a map abstraction of the area of the south rim with the approximate locations of all 7 photographs. The top hinge includes a short collection of words surrounding the visit. The case uses Cialux Taupe and Black bookcloth. Handset and polymer plate letterpress printed throughout using 18pt Bodoni, 12pt Cochin, and 16pt Fairbanks Italic. Edition of 20. $2500. Individual photogravure prints also available. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175050241-HUB1XRN5EB1UVFJSN8V3/mcba-prize-2024-Matthew-Magruder-36-Degrees-4.jpg Entries & Jurors - 2024 Entries - Matthew Magruder Austin, TX www.copelopress.com THIRTY SIX DEGREES 2023 Photogravure, letterpress, and book arts 12x6x3 Artist Statement An artist book capturing a short morning visit to 360 latitude—the south rim of the Grand Canyon. This project includes 7 polymer photogravures that are 2.75” x 10” printed on Hahnemühle Copperplate printmaking paper with Charbonnel Soft Black and Raw Umber ink. Each print is then letterpress printed with the GPS coordinates for the location of the photograph as well as signed and labeled in pencil. These are mounted on a horizontal “window-blind” accordion book structure using Cialux taupe bookcloth. This accordion structure is housed in a clamshell enclosure with 4 side hinges and connects to the inner case with embedded magnets that allow the entire piece to be expanded while staying connected to the case. This also allows the entire 7 panels to be removed and displayed/framed, if desired. The left hinge includes letterpress printed GPS coordinates for Plates I-VII in Gold and Black ink. The right hinge shows a map abstraction of the area of the south rim with the approximate locations of all 7 photographs. The top hinge includes a short collection of words surrounding the visit. The case uses Cialux Taupe and Black bookcloth. Handset and polymer plate letterpress printed throughout using 18pt Bodoni, 12pt Cochin, and 16pt Fairbanks Italic. Edition of 20. $2500. Individual photogravure prints also available. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175047402-LGB0M0L95R5IC3TFL8NA/mcba-prize-2024-Matthew-Magruder-36-Degrees-2.jpg Entries & Jurors - 2024 Entries - Matthew Magruder Austin, TX www.copelopress.com THIRTY SIX DEGREES 2023 Photogravure, letterpress, and book arts 12x6x3 Artist Statement An artist book capturing a short morning visit to 360 latitude—the south rim of the Grand Canyon. This project includes 7 polymer photogravures that are 2.75” x 10” printed on Hahnemühle Copperplate printmaking paper with Charbonnel Soft Black and Raw Umber ink. Each print is then letterpress printed with the GPS coordinates for the location of the photograph as well as signed and labeled in pencil. These are mounted on a horizontal “window-blind” accordion book structure using Cialux taupe bookcloth. This accordion structure is housed in a clamshell enclosure with 4 side hinges and connects to the inner case with embedded magnets that allow the entire piece to be expanded while staying connected to the case. This also allows the entire 7 panels to be removed and displayed/framed, if desired. The left hinge includes letterpress printed GPS coordinates for Plates I-VII in Gold and Black ink. The right hinge shows a map abstraction of the area of the south rim with the approximate locations of all 7 photographs. The top hinge includes a short collection of words surrounding the visit. The case uses Cialux Taupe and Black bookcloth. Handset and polymer plate letterpress printed throughout using 18pt Bodoni, 12pt Cochin, and 16pt Fairbanks Italic. Edition of 20. $2500. Individual photogravure prints also available. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175048393-W0BMZ15VXISJU30K7AYI/mcba-prize-2024-Matthew-Magruder-36-Degrees-3.jpg Entries & Jurors - 2024 Entries - Matthew Magruder Austin, TX www.copelopress.com THIRTY SIX DEGREES 2023 Photogravure, letterpress, and book arts 12x6x3 Artist Statement An artist book capturing a short morning visit to 360 latitude—the south rim of the Grand Canyon. This project includes 7 polymer photogravures that are 2.75” x 10” printed on Hahnemühle Copperplate printmaking paper with Charbonnel Soft Black and Raw Umber ink. Each print is then letterpress printed with the GPS coordinates for the location of the photograph as well as signed and labeled in pencil. These are mounted on a horizontal “window-blind” accordion book structure using Cialux taupe bookcloth. This accordion structure is housed in a clamshell enclosure with 4 side hinges and connects to the inner case with embedded magnets that allow the entire piece to be expanded while staying connected to the case. This also allows the entire 7 panels to be removed and displayed/framed, if desired. The left hinge includes letterpress printed GPS coordinates for Plates I-VII in Gold and Black ink. The right hinge shows a map abstraction of the area of the south rim with the approximate locations of all 7 photographs. The top hinge includes a short collection of words surrounding the visit. The case uses Cialux Taupe and Black bookcloth. Handset and polymer plate letterpress printed throughout using 18pt Bodoni, 12pt Cochin, and 16pt Fairbanks Italic. Edition of 20. $2500. Individual photogravure prints also available. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175046744-ZISMYVYECCEQ2IZD8360/mcba-prize-2024-Matthew-Magruder-36-Degrees-1.jpg Entries & Jurors - 2024 Entries - Matthew Magruder Austin, TX www.copelopress.com THIRTY SIX DEGREES 2023 Photogravure, letterpress, and book arts 12x6x3 Artist Statement An artist book capturing a short morning visit to 360 latitude—the south rim of the Grand Canyon. This project includes 7 polymer photogravures that are 2.75” x 10” printed on Hahnemühle Copperplate printmaking paper with Charbonnel Soft Black and Raw Umber ink. Each print is then letterpress printed with the GPS coordinates for the location of the photograph as well as signed and labeled in pencil. These are mounted on a horizontal “window-blind” accordion book structure using Cialux taupe bookcloth. This accordion structure is housed in a clamshell enclosure with 4 side hinges and connects to the inner case with embedded magnets that allow the entire piece to be expanded while staying connected to the case. This also allows the entire 7 panels to be removed and displayed/framed, if desired. The left hinge includes letterpress printed GPS coordinates for Plates I-VII in Gold and Black ink. The right hinge shows a map abstraction of the area of the south rim with the approximate locations of all 7 photographs. The top hinge includes a short collection of words surrounding the visit. The case uses Cialux Taupe and Black bookcloth. Handset and polymer plate letterpress printed throughout using 18pt Bodoni, 12pt Cochin, and 16pt Fairbanks Italic. Edition of 20. $2500. Individual photogravure prints also available. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175192179-2GSGLL3ATTPGPHUOBM7F/mcba-prize-2024-Matthew-Magruder-Zero-Degrees-1.jpg Entries & Jurors - 2024 Entries - Matthew Magruder Austin, TX www.copelopress.com ZERO DEGREES 2024 Photogravure, letterpress, book arts 18x9x5 Artist Statement A piece surrounding the grand and intimate landscapes at 0º latitude—the Galápagos Islands. This project includes 5 polymer photogravures that are 5” x 16” printed Chine collé with Gampi-shi warm tissue and Hahnemühle Copperplate bright white printmaking paper with Charbonnel Black and Cerulean Blue ink. Each print has below it a title with GPS coordinates for the location of the photograph as well as the plate number. The prints are mounted in 2 folios: a three-panel Z-accordion that includes Plates I, III, and V; and a above and below folio that includes Plates II and IV. The series includes 4 grand landscapes (Plates I, II, IV, and V) and 1 intimate landscape (Plate III). The folios are housed in a stacked slipcase with a short side opening for the 3 panel and a long side opening for the 2 panel. The colophon is placed on the wall of the short side and the titling on the cover has dots printed in black and roman numerals printed in gold indicating the GPS locations of the photos. A thin strip of brass is recessed into the outer case to indicate the Equator and is continued on the back of the outer case as well. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175197127-Q3VASREZS9M9B5NEDCX7/mcba-prize-2024-Matthew-Magruder-Zero-Degrees-5.jpg Entries & Jurors - 2024 Entries - Matthew Magruder Austin, TX www.copelopress.com ZERO DEGREES 2024 Photogravure, letterpress, book arts 18x9x5 Artist Statement A piece surrounding the grand and intimate landscapes at 0º latitude—the Galápagos Islands. This project includes 5 polymer photogravures that are 5” x 16” printed Chine collé with Gampi-shi warm tissue and Hahnemühle Copperplate bright white printmaking paper with Charbonnel Black and Cerulean Blue ink. Each print has below it a title with GPS coordinates for the location of the photograph as well as the plate number. The prints are mounted in 2 folios: a three-panel Z-accordion that includes Plates I, III, and V; and a above and below folio that includes Plates II and IV. The series includes 4 grand landscapes (Plates I, II, IV, and V) and 1 intimate landscape (Plate III). The folios are housed in a stacked slipcase with a short side opening for the 3 panel and a long side opening for the 2 panel. The colophon is placed on the wall of the short side and the titling on the cover has dots printed in black and roman numerals printed in gold indicating the GPS locations of the photos. A thin strip of brass is recessed into the outer case to indicate the Equator and is continued on the back of the outer case as well. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175195073-GJ8W8BZTDDHP301Q5TJF/mcba-prize-2024-Matthew-Magruder-Zero-Degrees-4.jpg Entries & Jurors - 2024 Entries - Matthew Magruder Austin, TX www.copelopress.com ZERO DEGREES 2024 Photogravure, letterpress, book arts 18x9x5 Artist Statement A piece surrounding the grand and intimate landscapes at 0º latitude—the Galápagos Islands. This project includes 5 polymer photogravures that are 5” x 16” printed Chine collé with Gampi-shi warm tissue and Hahnemühle Copperplate bright white printmaking paper with Charbonnel Black and Cerulean Blue ink. Each print has below it a title with GPS coordinates for the location of the photograph as well as the plate number. The prints are mounted in 2 folios: a three-panel Z-accordion that includes Plates I, III, and V; and a above and below folio that includes Plates II and IV. The series includes 4 grand landscapes (Plates I, II, IV, and V) and 1 intimate landscape (Plate III). The folios are housed in a stacked slipcase with a short side opening for the 3 panel and a long side opening for the 2 panel. The colophon is placed on the wall of the short side and the titling on the cover has dots printed in black and roman numerals printed in gold indicating the GPS locations of the photos. A thin strip of brass is recessed into the outer case to indicate the Equator and is continued on the back of the outer case as well. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175194766-WF4XI4FINTNASU5TKCP1/mcba-prize-2024-Matthew-Magruder-Zero-Degrees-3.jpg Entries & Jurors - 2024 Entries - Matthew Magruder Austin, TX www.copelopress.com ZERO DEGREES 2024 Photogravure, letterpress, book arts 18x9x5 Artist Statement A piece surrounding the grand and intimate landscapes at 0º latitude—the Galápagos Islands. This project includes 5 polymer photogravures that are 5” x 16” printed Chine collé with Gampi-shi warm tissue and Hahnemühle Copperplate bright white printmaking paper with Charbonnel Black and Cerulean Blue ink. Each print has below it a title with GPS coordinates for the location of the photograph as well as the plate number. The prints are mounted in 2 folios: a three-panel Z-accordion that includes Plates I, III, and V; and a above and below folio that includes Plates II and IV. The series includes 4 grand landscapes (Plates I, II, IV, and V) and 1 intimate landscape (Plate III). The folios are housed in a stacked slipcase with a short side opening for the 3 panel and a long side opening for the 2 panel. The colophon is placed on the wall of the short side and the titling on the cover has dots printed in black and roman numerals printed in gold indicating the GPS locations of the photos. A thin strip of brass is recessed into the outer case to indicate the Equator and is continued on the back of the outer case as well. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175192306-R3RJUM4Z0LSJ2CNU20SI/mcba-prize-2024-Matthew-Magruder-Zero-Degrees-2.jpg Entries & Jurors - 2024 Entries - Matthew Magruder Austin, TX www.copelopress.com ZERO DEGREES 2024 Photogravure, letterpress, book arts 18x9x5 Artist Statement A piece surrounding the grand and intimate landscapes at 0º latitude—the Galápagos Islands. This project includes 5 polymer photogravures that are 5” x 16” printed Chine collé with Gampi-shi warm tissue and Hahnemühle Copperplate bright white printmaking paper with Charbonnel Black and Cerulean Blue ink. Each print has below it a title with GPS coordinates for the location of the photograph as well as the plate number. The prints are mounted in 2 folios: a three-panel Z-accordion that includes Plates I, III, and V; and a above and below folio that includes Plates II and IV. The series includes 4 grand landscapes (Plates I, II, IV, and V) and 1 intimate landscape (Plate III). The folios are housed in a stacked slipcase with a short side opening for the 3 panel and a long side opening for the 2 panel. The colophon is placed on the wall of the short side and the titling on the cover has dots printed in black and roman numerals printed in gold indicating the GPS locations of the photos. A thin strip of brass is recessed into the outer case to indicate the Equator and is continued on the back of the outer case as well. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176112890-91YS8AFKOXPXJQSFUYS3/mcba-prize-2024-Vesna-Kittelson-Letters-to-AmeriKa-1.jpg Entries & Jurors - 2024 Entries - Vesna Kittelson Minneapolis, MN Letters to AmeriKa 2023 Mixed medium 1 inch x 9 1/2 inch x 13 1/2 inch Artist Statement As an immigrant, and an artist, I have had a long-term fascination with boundaries and thresholds based on words and language. The book, Letters to AmeriKa, is based on an ongoing, decades long imaginary conversation between me as an immigrant and our culture. This dialogue has been about everything, especially about democracy and justice for immigrants. In 2023, during my recovery from surgeries I was taken care of by many immigrants from all over the world. Their command of the English language ranged from almost none, to extensive. I realized once again, that while I am lucky to be a naturalized citizen, I remain an immigrant as well. All issues became clarified – there was an urgent need for me as a book artist to use my skills and methods to create an artist book that would give dignity to that group of people who do not have any representation in our culture. The artist book was created as a form of enquiry and experimentation around the processes of how to shift a spoken language into a visual artbook form. My focus was on aesthetic qualities of abstracted, mostly non readable language, letterforms known or made-up, urban hieroglyphs, with all design elements highlighting simultaneously dislocation and specificity. My work started with deconstructing and abstracting language and thinking through and creating formations of shapes and color/value of a pencil moving across pages. I was focusing on esthetic qualities of letter forms highlighting dislocation and alienation rather than viewing complete text as the vehicle for language communication. Accumulated aesthetic was shaped through stopping and starting, through twists and turns, through layering, digital printing, mono-printing, collage, lines and letter images. With erasure I discovered hidden visual structures, mystery of words, and their poetic edge. Eventually, outside time or chronological order, I evolved my own lexicon of terms for the artist book, Letters to AmeriKa. It felt real to me. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176115775-1GYGN5KALIHQXOC1R2HS/mcba-prize-2024-Vesna-Kittelson-Letters-to-AmeriKa-5.jpg Entries & Jurors - 2024 Entries - Vesna Kittelson Minneapolis, MN Letters to AmeriKa 2023 Mixed medium 1 inch x 9 1/2 inch x 13 1/2 inch Artist Statement As an immigrant, and an artist, I have had a long-term fascination with boundaries and thresholds based on words and language. The book, Letters to AmeriKa, is based on an ongoing, decades long imaginary conversation between me as an immigrant and our culture. This dialogue has been about everything, especially about democracy and justice for immigrants. In 2023, during my recovery from surgeries I was taken care of by many immigrants from all over the world. Their command of the English language ranged from almost none, to extensive. I realized once again, that while I am lucky to be a naturalized citizen, I remain an immigrant as well. All issues became clarified – there was an urgent need for me as a book artist to use my skills and methods to create an artist book that would give dignity to that group of people who do not have any representation in our culture. The artist book was created as a form of enquiry and experimentation around the processes of how to shift a spoken language into a visual artbook form. My focus was on aesthetic qualities of abstracted, mostly non readable language, letterforms known or made-up, urban hieroglyphs, with all design elements highlighting simultaneously dislocation and specificity. My work started with deconstructing and abstracting language and thinking through and creating formations of shapes and color/value of a pencil moving across pages. I was focusing on esthetic qualities of letter forms highlighting dislocation and alienation rather than viewing complete text as the vehicle for language communication. Accumulated aesthetic was shaped through stopping and starting, through twists and turns, through layering, digital printing, mono-printing, collage, lines and letter images. With erasure I discovered hidden visual structures, mystery of words, and their poetic edge. Eventually, outside time or chronological order, I evolved my own lexicon of terms for the artist book, Letters to AmeriKa. It felt real to me. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176114909-PTMY1680FP0V9PS1JXYJ/mcba-prize-2024-Vesna-Kittelson-Letters-to-AmeriKa-4.jpg Entries & Jurors - 2024 Entries - Vesna Kittelson Minneapolis, MN Letters to AmeriKa 2023 Mixed medium 1 inch x 9 1/2 inch x 13 1/2 inch Artist Statement As an immigrant, and an artist, I have had a long-term fascination with boundaries and thresholds based on words and language. The book, Letters to AmeriKa, is based on an ongoing, decades long imaginary conversation between me as an immigrant and our culture. This dialogue has been about everything, especially about democracy and justice for immigrants. In 2023, during my recovery from surgeries I was taken care of by many immigrants from all over the world. Their command of the English language ranged from almost none, to extensive. I realized once again, that while I am lucky to be a naturalized citizen, I remain an immigrant as well. All issues became clarified – there was an urgent need for me as a book artist to use my skills and methods to create an artist book that would give dignity to that group of people who do not have any representation in our culture. The artist book was created as a form of enquiry and experimentation around the processes of how to shift a spoken language into a visual artbook form. My focus was on aesthetic qualities of abstracted, mostly non readable language, letterforms known or made-up, urban hieroglyphs, with all design elements highlighting simultaneously dislocation and specificity. My work started with deconstructing and abstracting language and thinking through and creating formations of shapes and color/value of a pencil moving across pages. I was focusing on esthetic qualities of letter forms highlighting dislocation and alienation rather than viewing complete text as the vehicle for language communication. Accumulated aesthetic was shaped through stopping and starting, through twists and turns, through layering, digital printing, mono-printing, collage, lines and letter images. With erasure I discovered hidden visual structures, mystery of words, and their poetic edge. Eventually, outside time or chronological order, I evolved my own lexicon of terms for the artist book, Letters to AmeriKa. It felt real to me. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176114474-VNIVEIJVJ6AKKMY8KA3P/mcba-prize-2024-Vesna-Kittelson-Letters-to-AmeriKa-3.jpg Entries & Jurors - 2024 Entries - Vesna Kittelson Minneapolis, MN Letters to AmeriKa 2023 Mixed medium 1 inch x 9 1/2 inch x 13 1/2 inch Artist Statement As an immigrant, and an artist, I have had a long-term fascination with boundaries and thresholds based on words and language. The book, Letters to AmeriKa, is based on an ongoing, decades long imaginary conversation between me as an immigrant and our culture. This dialogue has been about everything, especially about democracy and justice for immigrants. In 2023, during my recovery from surgeries I was taken care of by many immigrants from all over the world. Their command of the English language ranged from almost none, to extensive. I realized once again, that while I am lucky to be a naturalized citizen, I remain an immigrant as well. All issues became clarified – there was an urgent need for me as a book artist to use my skills and methods to create an artist book that would give dignity to that group of people who do not have any representation in our culture. The artist book was created as a form of enquiry and experimentation around the processes of how to shift a spoken language into a visual artbook form. My focus was on aesthetic qualities of abstracted, mostly non readable language, letterforms known or made-up, urban hieroglyphs, with all design elements highlighting simultaneously dislocation and specificity. My work started with deconstructing and abstracting language and thinking through and creating formations of shapes and color/value of a pencil moving across pages. I was focusing on esthetic qualities of letter forms highlighting dislocation and alienation rather than viewing complete text as the vehicle for language communication. Accumulated aesthetic was shaped through stopping and starting, through twists and turns, through layering, digital printing, mono-printing, collage, lines and letter images. With erasure I discovered hidden visual structures, mystery of words, and their poetic edge. Eventually, outside time or chronological order, I evolved my own lexicon of terms for the artist book, Letters to AmeriKa. It felt real to me. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176113485-3WMQF9RUS9JU2J9X1IYZ/mcba-prize-2024-Vesna-Kittelson-Letters-to-AmeriKa-2.jpg Entries & Jurors - 2024 Entries - Vesna Kittelson Minneapolis, MN Letters to AmeriKa 2023 Mixed medium 1 inch x 9 1/2 inch x 13 1/2 inch Artist Statement As an immigrant, and an artist, I have had a long-term fascination with boundaries and thresholds based on words and language. The book, Letters to AmeriKa, is based on an ongoing, decades long imaginary conversation between me as an immigrant and our culture. This dialogue has been about everything, especially about democracy and justice for immigrants. In 2023, during my recovery from surgeries I was taken care of by many immigrants from all over the world. Their command of the English language ranged from almost none, to extensive. I realized once again, that while I am lucky to be a naturalized citizen, I remain an immigrant as well. All issues became clarified – there was an urgent need for me as a book artist to use my skills and methods to create an artist book that would give dignity to that group of people who do not have any representation in our culture. The artist book was created as a form of enquiry and experimentation around the processes of how to shift a spoken language into a visual artbook form. My focus was on aesthetic qualities of abstracted, mostly non readable language, letterforms known or made-up, urban hieroglyphs, with all design elements highlighting simultaneously dislocation and specificity. My work started with deconstructing and abstracting language and thinking through and creating formations of shapes and color/value of a pencil moving across pages. I was focusing on esthetic qualities of letter forms highlighting dislocation and alienation rather than viewing complete text as the vehicle for language communication. Accumulated aesthetic was shaped through stopping and starting, through twists and turns, through layering, digital printing, mono-printing, collage, lines and letter images. With erasure I discovered hidden visual structures, mystery of words, and their poetic edge. Eventually, outside time or chronological order, I evolved my own lexicon of terms for the artist book, Letters to AmeriKa. It felt real to me. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176368392-MN7VJFI8XRBLHS7P4VH7/mcba-prize-2024-Jenie-Gao-Three-Generations-5.jpg Entries & Jurors - 2024 Entries - Jenie Gao Madison , WI https://www.jenie.org/ IG: jeniegao Three Generations Happy Family 2023 Inkjet print on 80-lb matte copy paper 8.5 x 11 inches unfolded, 8.5 x 3.2 inches folded Artist Statement Three Generations Happy Family is an artist’s book designed to resemble a Chinese takeout menu. What warrants an object to the elevated status of a valued cultural object? Designed to resemble a takeout menu, this artist’s book contains a timeline of my familial history told via food as a political and socioeconomic indicator. My father survived China’s Great Famine, a tragedy that claimed 55 million lives. My mother endured malnutrition under food rationing in Taiwan, during the longest period of Martial Law prior to Syria. Years later, in the United States, the takeout restaurant became an economic stepping stone that enabled the chain migration of my family. That first restaurant was also the meeting place of my Taiwanese mother and Chinese father, in a re-stitching of identity that happens as a direct result of colonialism and diaspora. In a strange, somewhat cruel twist of fate, food service became one of the few job opportunities available to my parents in the United States. Yet there is also something profound about my parents experiencing such intense trauma around food scarcity in their youth—and then distributing food as a means of transforming our family’s trajectory. When I was a child, my mother told me that she and her parents opened a restaurant specifically because she was pregnant with me, because they knew the difference between working in a restaurant versus getting to own the fruits of their labor. Three Generations Happy Family is part of the body of work, 米 (mǐ) uncooked rice. 米 (mǐ) is the Chinese word for uncooked rice, or the seed grain itself, a metaphor for that which could sustain us, but in its unprocessed form is indigestible. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176366390-0ZVB4V1G17DLT7XB2NOR/mcba-prize-2024-Jenie-Gao-Three-Generations-4.jpg Entries & Jurors - 2024 Entries - Jenie Gao Madison , WI https://www.jenie.org/ IG: jeniegao Three Generations Happy Family 2023 Inkjet print on 80-lb matte copy paper 8.5 x 11 inches unfolded, 8.5 x 3.2 inches folded Artist Statement Three Generations Happy Family is an artist’s book designed to resemble a Chinese takeout menu. What warrants an object to the elevated status of a valued cultural object? Designed to resemble a takeout menu, this artist’s book contains a timeline of my familial history told via food as a political and socioeconomic indicator. My father survived China’s Great Famine, a tragedy that claimed 55 million lives. My mother endured malnutrition under food rationing in Taiwan, during the longest period of Martial Law prior to Syria. Years later, in the United States, the takeout restaurant became an economic stepping stone that enabled the chain migration of my family. That first restaurant was also the meeting place of my Taiwanese mother and Chinese father, in a re-stitching of identity that happens as a direct result of colonialism and diaspora. In a strange, somewhat cruel twist of fate, food service became one of the few job opportunities available to my parents in the United States. Yet there is also something profound about my parents experiencing such intense trauma around food scarcity in their youth—and then distributing food as a means of transforming our family’s trajectory. When I was a child, my mother told me that she and her parents opened a restaurant specifically because she was pregnant with me, because they knew the difference between working in a restaurant versus getting to own the fruits of their labor. Three Generations Happy Family is part of the body of work, 米 (mǐ) uncooked rice. 米 (mǐ) is the Chinese word for uncooked rice, or the seed grain itself, a metaphor for that which could sustain us, but in its unprocessed form is indigestible. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176366935-253CDMYU2WOTZURGV585/mcba-prize-2024-Jenie-Gao-Three-Generations-1.jpg Entries & Jurors - 2024 Entries - Jenie Gao Madison , WI https://www.jenie.org/ IG: jeniegao Three Generations Happy Family 2023 Inkjet print on 80-lb matte copy paper 8.5 x 11 inches unfolded, 8.5 x 3.2 inches folded Artist Statement Three Generations Happy Family is an artist’s book designed to resemble a Chinese takeout menu. What warrants an object to the elevated status of a valued cultural object? Designed to resemble a takeout menu, this artist’s book contains a timeline of my familial history told via food as a political and socioeconomic indicator. My father survived China’s Great Famine, a tragedy that claimed 55 million lives. My mother endured malnutrition under food rationing in Taiwan, during the longest period of Martial Law prior to Syria. Years later, in the United States, the takeout restaurant became an economic stepping stone that enabled the chain migration of my family. That first restaurant was also the meeting place of my Taiwanese mother and Chinese father, in a re-stitching of identity that happens as a direct result of colonialism and diaspora. In a strange, somewhat cruel twist of fate, food service became one of the few job opportunities available to my parents in the United States. Yet there is also something profound about my parents experiencing such intense trauma around food scarcity in their youth—and then distributing food as a means of transforming our family’s trajectory. When I was a child, my mother told me that she and her parents opened a restaurant specifically because she was pregnant with me, because they knew the difference between working in a restaurant versus getting to own the fruits of their labor. Three Generations Happy Family is part of the body of work, 米 (mǐ) uncooked rice. 米 (mǐ) is the Chinese word for uncooked rice, or the seed grain itself, a metaphor for that which could sustain us, but in its unprocessed form is indigestible. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176364179-HACMXCEXQHY7N7YT65U5/mcba-prize-2024-Jenie-Gao-Three-Generations-3.jpg Entries & Jurors - 2024 Entries - Jenie Gao Madison , WI https://www.jenie.org/ IG: jeniegao Three Generations Happy Family 2023 Inkjet print on 80-lb matte copy paper 8.5 x 11 inches unfolded, 8.5 x 3.2 inches folded Artist Statement Three Generations Happy Family is an artist’s book designed to resemble a Chinese takeout menu. What warrants an object to the elevated status of a valued cultural object? Designed to resemble a takeout menu, this artist’s book contains a timeline of my familial history told via food as a political and socioeconomic indicator. My father survived China’s Great Famine, a tragedy that claimed 55 million lives. My mother endured malnutrition under food rationing in Taiwan, during the longest period of Martial Law prior to Syria. Years later, in the United States, the takeout restaurant became an economic stepping stone that enabled the chain migration of my family. That first restaurant was also the meeting place of my Taiwanese mother and Chinese father, in a re-stitching of identity that happens as a direct result of colonialism and diaspora. In a strange, somewhat cruel twist of fate, food service became one of the few job opportunities available to my parents in the United States. Yet there is also something profound about my parents experiencing such intense trauma around food scarcity in their youth—and then distributing food as a means of transforming our family’s trajectory. When I was a child, my mother told me that she and her parents opened a restaurant specifically because she was pregnant with me, because they knew the difference between working in a restaurant versus getting to own the fruits of their labor. Three Generations Happy Family is part of the body of work, 米 (mǐ) uncooked rice. 米 (mǐ) is the Chinese word for uncooked rice, or the seed grain itself, a metaphor for that which could sustain us, but in its unprocessed form is indigestible. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176364633-E05I4YZ0TIP6OY8E8CN5/mcba-prize-2024-Jenie-Gao-Three-Generations-2.jpg Entries & Jurors - 2024 Entries - Jenie Gao Madison , WI https://www.jenie.org/ IG: jeniegao Three Generations Happy Family 2023 Inkjet print on 80-lb matte copy paper 8.5 x 11 inches unfolded, 8.5 x 3.2 inches folded Artist Statement Three Generations Happy Family is an artist’s book designed to resemble a Chinese takeout menu. What warrants an object to the elevated status of a valued cultural object? Designed to resemble a takeout menu, this artist’s book contains a timeline of my familial history told via food as a political and socioeconomic indicator. My father survived China’s Great Famine, a tragedy that claimed 55 million lives. My mother endured malnutrition under food rationing in Taiwan, during the longest period of Martial Law prior to Syria. Years later, in the United States, the takeout restaurant became an economic stepping stone that enabled the chain migration of my family. That first restaurant was also the meeting place of my Taiwanese mother and Chinese father, in a re-stitching of identity that happens as a direct result of colonialism and diaspora. In a strange, somewhat cruel twist of fate, food service became one of the few job opportunities available to my parents in the United States. Yet there is also something profound about my parents experiencing such intense trauma around food scarcity in their youth—and then distributing food as a means of transforming our family’s trajectory. When I was a child, my mother told me that she and her parents opened a restaurant specifically because she was pregnant with me, because they knew the difference between working in a restaurant versus getting to own the fruits of their labor. Three Generations Happy Family is part of the body of work, 米 (mǐ) uncooked rice. 米 (mǐ) is the Chinese word for uncooked rice, or the seed grain itself, a metaphor for that which could sustain us, but in its unprocessed form is indigestible. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176528909-7H90ZWFPODAO3U7RRG0D/mcba-prize-2024-Erin-Schmidt-Tempted-1.jpg Entries & Jurors - 2024 Entries - Erin Schmidt Rochester Hills, MI www.erinkschmidt.com tempted 2023 Handmade poison ivy paper, poison ivy leaves, poison ivy stems, mulberry paper, cloth, tacks 4.25″ x 1″ x 5″ closed, variable length and width opened Artist Statement Leaves of three, let it be… This accordion book is made primarily of poison ivy. The structure is made of handmade paper consisting of poison ivy, cotton, and kozo. The pages are arranged in a tonal gradation created by the increased amount of poison ivy pulp, such that the final pages of the accordion are nearly pure poison ivy. Luscious green poison ivy leaves are laminated onto the back side of the accordion, which both invite touch and warn the harmful consequences of such an action. While the shape of the leaves of three, and the pungent scent of poison ivy typically act as a warning, here they become an intriguing and tempting invitation. There is a flirtation of materials with the addition of mulberry pages bound into the structure using a poison ivy stem. Text sensuously describes the temptation and allure of forbidden fruit, but the materials suggest an act of revenge. This book ties together the long histories of poison as women’s weapon of choice and the book itself as a precious gift. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176535848-2INIUIX14L5QTKMBJNOA/mcba-prize-2024-Erin-Schmidt-Tempted-5.jpg Entries & Jurors - 2024 Entries - Erin Schmidt Rochester Hills, MI www.erinkschmidt.com tempted 2023 Handmade poison ivy paper, poison ivy leaves, poison ivy stems, mulberry paper, cloth, tacks 4.25″ x 1″ x 5″ closed, variable length and width opened Artist Statement Leaves of three, let it be… This accordion book is made primarily of poison ivy. The structure is made of handmade paper consisting of poison ivy, cotton, and kozo. The pages are arranged in a tonal gradation created by the increased amount of poison ivy pulp, such that the final pages of the accordion are nearly pure poison ivy. Luscious green poison ivy leaves are laminated onto the back side of the accordion, which both invite touch and warn the harmful consequences of such an action. While the shape of the leaves of three, and the pungent scent of poison ivy typically act as a warning, here they become an intriguing and tempting invitation. There is a flirtation of materials with the addition of mulberry pages bound into the structure using a poison ivy stem. Text sensuously describes the temptation and allure of forbidden fruit, but the materials suggest an act of revenge. This book ties together the long histories of poison as women’s weapon of choice and the book itself as a precious gift. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176531832-MEXYVVLYOGFP2OPEWUNQ/mcba-prize-2024-Erin-Schmidt-Tempted-4.jpg Entries & Jurors - 2024 Entries - Erin Schmidt Rochester Hills, MI www.erinkschmidt.com tempted 2023 Handmade poison ivy paper, poison ivy leaves, poison ivy stems, mulberry paper, cloth, tacks 4.25″ x 1″ x 5″ closed, variable length and width opened Artist Statement Leaves of three, let it be… This accordion book is made primarily of poison ivy. The structure is made of handmade paper consisting of poison ivy, cotton, and kozo. The pages are arranged in a tonal gradation created by the increased amount of poison ivy pulp, such that the final pages of the accordion are nearly pure poison ivy. Luscious green poison ivy leaves are laminated onto the back side of the accordion, which both invite touch and warn the harmful consequences of such an action. While the shape of the leaves of three, and the pungent scent of poison ivy typically act as a warning, here they become an intriguing and tempting invitation. There is a flirtation of materials with the addition of mulberry pages bound into the structure using a poison ivy stem. Text sensuously describes the temptation and allure of forbidden fruit, but the materials suggest an act of revenge. This book ties together the long histories of poison as women’s weapon of choice and the book itself as a precious gift. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176731190-9265Z1CTZ4RCCTLW4GRY/mcba-prize-2024-Erin-Schmidt-Tempted-3.jpg Entries & Jurors - 2024 Entries - Erin Schmidt Rochester Hills, MI www.erinkschmidt.com tempted 2023 Handmade poison ivy paper, poison ivy leaves, poison ivy stems, mulberry paper, cloth, tacks 4.25″ x 1″ x 5″ closed, variable length and width opened Artist Statement Leaves of three, let it be… This accordion book is made primarily of poison ivy. The structure is made of handmade paper consisting of poison ivy, cotton, and kozo. The pages are arranged in a tonal gradation created by the increased amount of poison ivy pulp, such that the final pages of the accordion are nearly pure poison ivy. Luscious green poison ivy leaves are laminated onto the back side of the accordion, which both invite touch and warn the harmful consequences of such an action. While the shape of the leaves of three, and the pungent scent of poison ivy typically act as a warning, here they become an intriguing and tempting invitation. There is a flirtation of materials with the addition of mulberry pages bound into the structure using a poison ivy stem. Text sensuously describes the temptation and allure of forbidden fruit, but the materials suggest an act of revenge. This book ties together the long histories of poison as women’s weapon of choice and the book itself as a precious gift. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176528932-62NRPI9ZJFLYJ88NF91O/mcba-prize-2024-Erin-Schmidt-Tempted-2.jpg Entries & Jurors - 2024 Entries - Erin Schmidt Rochester Hills, MI www.erinkschmidt.com tempted 2023 Handmade poison ivy paper, poison ivy leaves, poison ivy stems, mulberry paper, cloth, tacks 4.25″ x 1″ x 5″ closed, variable length and width opened Artist Statement Leaves of three, let it be… This accordion book is made primarily of poison ivy. The structure is made of handmade paper consisting of poison ivy, cotton, and kozo. The pages are arranged in a tonal gradation created by the increased amount of poison ivy pulp, such that the final pages of the accordion are nearly pure poison ivy. Luscious green poison ivy leaves are laminated onto the back side of the accordion, which both invite touch and warn the harmful consequences of such an action. While the shape of the leaves of three, and the pungent scent of poison ivy typically act as a warning, here they become an intriguing and tempting invitation. There is a flirtation of materials with the addition of mulberry pages bound into the structure using a poison ivy stem. Text sensuously describes the temptation and allure of forbidden fruit, but the materials suggest an act of revenge. This book ties together the long histories of poison as women’s weapon of choice and the book itself as a precious gift. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176845648-0RU7J0Z814K228SSVAFX/mcba-prize-2024-Edie-Overturf-Dont-Open-That-Drawer-1.jpeg Entries & Jurors - 2024 Entries - Edie Overturf Portland, OR www.edieoverturf.com Don’t Open That Drawer 2023 Linocut, letterpress, woodcut When open, 27″ long and 10″ tall, 5″ wide (this is with accordion folio open) Artist Statement The title of this piece, which includes 5 individual books within a compiled folio, was inspired by a conversation with a friend about managing emotional stress and compartmentalizing. The practice of compartmentalizing is natural, and aids us in managing our multifaceted and complex lives. Putting a few things down, placing them in a drawer for another day is a healthy way to manage stress. However, it can become a crutch, and a gateway to avoiding true feelings, conflicts, or actions that need to be taken. It can also lead to the body rejecting the overuse of the practice, giving us signals such as dissociation or mysterious physical ailments. My body will definitely tell me when I am not facing something, not communicating my feelings and needs, or suppressing my authentic self. This piece was completed at the beginning stage of healing from many old wounds, and forcing myself to see certain changes that needed to happen in my life. When talking with my friend, we switched from one topic of emotional turmoil to another, at which point she said “are you ready to open that drawer.” My first inclination of the form of this piece was to work in chapters within a single book. But the physicality of removing of those chapters felt like an important interaction for myself, and when considering the viewer’s experience. The folio itself is covered in compartments, and holds the books in such a manner they can retain their individuality, and exist as a collection. This book was completed while at InCahoots Residency in Petaluma, California. For a full view of the book, click here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176848703-GBMA80W6F5CXLI2K5BMO/mcba-prize-2024-Edie-Overturf-Dont-Open-That-Drawer-5.jpeg Entries & Jurors - 2024 Entries - Edie Overturf Portland, OR www.edieoverturf.com Don’t Open That Drawer 2023 Linocut, letterpress, woodcut When open, 27″ long and 10″ tall, 5″ wide (this is with accordion folio open) Artist Statement The title of this piece, which includes 5 individual books within a compiled folio, was inspired by a conversation with a friend about managing emotional stress and compartmentalizing. The practice of compartmentalizing is natural, and aids us in managing our multifaceted and complex lives. Putting a few things down, placing them in a drawer for another day is a healthy way to manage stress. However, it can become a crutch, and a gateway to avoiding true feelings, conflicts, or actions that need to be taken. It can also lead to the body rejecting the overuse of the practice, giving us signals such as dissociation or mysterious physical ailments. My body will definitely tell me when I am not facing something, not communicating my feelings and needs, or suppressing my authentic self. This piece was completed at the beginning stage of healing from many old wounds, and forcing myself to see certain changes that needed to happen in my life. When talking with my friend, we switched from one topic of emotional turmoil to another, at which point she said “are you ready to open that drawer.” My first inclination of the form of this piece was to work in chapters within a single book. But the physicality of removing of those chapters felt like an important interaction for myself, and when considering the viewer’s experience. The folio itself is covered in compartments, and holds the books in such a manner they can retain their individuality, and exist as a collection. This book was completed while at InCahoots Residency in Petaluma, California. For a full view of the book, click here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176847869-N54HJZOKE8MPWK3J0R95/mcba-prize-2024-Edie-Overturf-Dont-Open-That-Drawer-4.jpeg Entries & Jurors - 2024 Entries - Edie Overturf Portland, OR www.edieoverturf.com Don’t Open That Drawer 2023 Linocut, letterpress, woodcut When open, 27″ long and 10″ tall, 5″ wide (this is with accordion folio open) Artist Statement The title of this piece, which includes 5 individual books within a compiled folio, was inspired by a conversation with a friend about managing emotional stress and compartmentalizing. The practice of compartmentalizing is natural, and aids us in managing our multifaceted and complex lives. Putting a few things down, placing them in a drawer for another day is a healthy way to manage stress. However, it can become a crutch, and a gateway to avoiding true feelings, conflicts, or actions that need to be taken. It can also lead to the body rejecting the overuse of the practice, giving us signals such as dissociation or mysterious physical ailments. My body will definitely tell me when I am not facing something, not communicating my feelings and needs, or suppressing my authentic self. This piece was completed at the beginning stage of healing from many old wounds, and forcing myself to see certain changes that needed to happen in my life. When talking with my friend, we switched from one topic of emotional turmoil to another, at which point she said “are you ready to open that drawer.” My first inclination of the form of this piece was to work in chapters within a single book. But the physicality of removing of those chapters felt like an important interaction for myself, and when considering the viewer’s experience. The folio itself is covered in compartments, and holds the books in such a manner they can retain their individuality, and exist as a collection. This book was completed while at InCahoots Residency in Petaluma, California. For a full view of the book, click here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176847104-PNFUSZR9UAVBBQT8T7L9/mcba-prize-2024-Edie-Overturf-Dont-Open-That-Drawer-3.jpeg Entries & Jurors - 2024 Entries - Edie Overturf Portland, OR www.edieoverturf.com Don’t Open That Drawer 2023 Linocut, letterpress, woodcut When open, 27″ long and 10″ tall, 5″ wide (this is with accordion folio open) Artist Statement The title of this piece, which includes 5 individual books within a compiled folio, was inspired by a conversation with a friend about managing emotional stress and compartmentalizing. The practice of compartmentalizing is natural, and aids us in managing our multifaceted and complex lives. Putting a few things down, placing them in a drawer for another day is a healthy way to manage stress. However, it can become a crutch, and a gateway to avoiding true feelings, conflicts, or actions that need to be taken. It can also lead to the body rejecting the overuse of the practice, giving us signals such as dissociation or mysterious physical ailments. My body will definitely tell me when I am not facing something, not communicating my feelings and needs, or suppressing my authentic self. This piece was completed at the beginning stage of healing from many old wounds, and forcing myself to see certain changes that needed to happen in my life. When talking with my friend, we switched from one topic of emotional turmoil to another, at which point she said “are you ready to open that drawer.” My first inclination of the form of this piece was to work in chapters within a single book. But the physicality of removing of those chapters felt like an important interaction for myself, and when considering the viewer’s experience. The folio itself is covered in compartments, and holds the books in such a manner they can retain their individuality, and exist as a collection. This book was completed while at InCahoots Residency in Petaluma, California. For a full view of the book, click here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176845408-4UZYHGNFZ3H15U917DI7/mcba-prize-2024-Edie-Overturf-Dont-Open-That-Drawer-2.jpeg Entries & Jurors - 2024 Entries - Edie Overturf Portland, OR www.edieoverturf.com Don’t Open That Drawer 2023 Linocut, letterpress, woodcut When open, 27″ long and 10″ tall, 5″ wide (this is with accordion folio open) Artist Statement The title of this piece, which includes 5 individual books within a compiled folio, was inspired by a conversation with a friend about managing emotional stress and compartmentalizing. The practice of compartmentalizing is natural, and aids us in managing our multifaceted and complex lives. Putting a few things down, placing them in a drawer for another day is a healthy way to manage stress. However, it can become a crutch, and a gateway to avoiding true feelings, conflicts, or actions that need to be taken. It can also lead to the body rejecting the overuse of the practice, giving us signals such as dissociation or mysterious physical ailments. My body will definitely tell me when I am not facing something, not communicating my feelings and needs, or suppressing my authentic self. This piece was completed at the beginning stage of healing from many old wounds, and forcing myself to see certain changes that needed to happen in my life. When talking with my friend, we switched from one topic of emotional turmoil to another, at which point she said “are you ready to open that drawer.” My first inclination of the form of this piece was to work in chapters within a single book. But the physicality of removing of those chapters felt like an important interaction for myself, and when considering the viewer’s experience. The folio itself is covered in compartments, and holds the books in such a manner they can retain their individuality, and exist as a collection. This book was completed while at InCahoots Residency in Petaluma, California. For a full view of the book, click here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773177232124-60BDPFX0U97V75XSR543/mcba-prize-2024-Melissa-Wagner-Lawler-Low-Tide-1.jpg Entries & Jurors - 2024 Entries - Melissa Wagner-Lawler Milwaukee, WI https://redthreadletterpress.com/ IG: redthreadletter_press Low Tide 2022 Letterpress and relief in a custom wire edge binding 11″ x 11″ x 1.5″ Artist Statement Exploring the perception of landscape and place, my work manifests moments before change and destruction. The work draws attention to the notion of quiet unpredictability right before impending chaos. The landscapes, while subtle and layered, upend our sense of place and security. Elements of tension, the breakdown of information and the fragility of circumstance culminate in prints and artists’ books. Low Tide is an artist book incorporating the poem, Low Tide by Edna St. Vincent Millay, on both sides of the wire-edge bound book. On the exterior side, the poem is easily read, with each line or stanza flowing across the shoreline. On the interior side, the tide has receded and has washed the poem away. This tray is removed to reveal the last portion of the poem and trench where the book can be displayed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773177234318-6B7IC4A2JEBK3AYD9W26/mcba-prize-2024-Melissa-Wagner-Lawler-Low-Tide-4.jpg Entries & Jurors - 2024 Entries - Melissa Wagner-Lawler Milwaukee, WI https://redthreadletterpress.com/ IG: redthreadletter_press Low Tide 2022 Letterpress and relief in a custom wire edge binding 11″ x 11″ x 1.5″ Artist Statement Exploring the perception of landscape and place, my work manifests moments before change and destruction. The work draws attention to the notion of quiet unpredictability right before impending chaos. The landscapes, while subtle and layered, upend our sense of place and security. Elements of tension, the breakdown of information and the fragility of circumstance culminate in prints and artists’ books. Low Tide is an artist book incorporating the poem, Low Tide by Edna St. Vincent Millay, on both sides of the wire-edge bound book. On the exterior side, the poem is easily read, with each line or stanza flowing across the shoreline. On the interior side, the tide has receded and has washed the poem away. This tray is removed to reveal the last portion of the poem and trench where the book can be displayed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773177235310-8D4XWSEQZHHQB3INLLU5/mcba-prize-2024-Melissa-Wagner-Lawler-Low-Tide-5.jpg Entries & Jurors - 2024 Entries - Melissa Wagner-Lawler Milwaukee, WI https://redthreadletterpress.com/ IG: redthreadletter_press Low Tide 2022 Letterpress and relief in a custom wire edge binding 11″ x 11″ x 1.5″ Artist Statement Exploring the perception of landscape and place, my work manifests moments before change and destruction. The work draws attention to the notion of quiet unpredictability right before impending chaos. The landscapes, while subtle and layered, upend our sense of place and security. Elements of tension, the breakdown of information and the fragility of circumstance culminate in prints and artists’ books. Low Tide is an artist book incorporating the poem, Low Tide by Edna St. Vincent Millay, on both sides of the wire-edge bound book. On the exterior side, the poem is easily read, with each line or stanza flowing across the shoreline. On the interior side, the tide has receded and has washed the poem away. This tray is removed to reveal the last portion of the poem and trench where the book can be displayed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773177233606-RNXAFJDDVM18A083DN2J/mcba-prize-2024-Melissa-Wagner-Lawler-Low-Tide-3.jpg Entries & Jurors - 2024 Entries - Melissa Wagner-Lawler Milwaukee, WI https://redthreadletterpress.com/ IG: redthreadletter_press Low Tide 2022 Letterpress and relief in a custom wire edge binding 11″ x 11″ x 1.5″ Artist Statement Exploring the perception of landscape and place, my work manifests moments before change and destruction. The work draws attention to the notion of quiet unpredictability right before impending chaos. The landscapes, while subtle and layered, upend our sense of place and security. Elements of tension, the breakdown of information and the fragility of circumstance culminate in prints and artists’ books. Low Tide is an artist book incorporating the poem, Low Tide by Edna St. Vincent Millay, on both sides of the wire-edge bound book. On the exterior side, the poem is easily read, with each line or stanza flowing across the shoreline. On the interior side, the tide has receded and has washed the poem away. This tray is removed to reveal the last portion of the poem and trench where the book can be displayed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773177232523-BHQC6KX8XUD22B1AWSN9/mcba-prize-2024-Melissa-Wagner-Lawler-Low-Tide-2.jpg Entries & Jurors - 2024 Entries - Melissa Wagner-Lawler Milwaukee, WI https://redthreadletterpress.com/ IG: redthreadletter_press Low Tide 2022 Letterpress and relief in a custom wire edge binding 11″ x 11″ x 1.5″ Artist Statement Exploring the perception of landscape and place, my work manifests moments before change and destruction. The work draws attention to the notion of quiet unpredictability right before impending chaos. The landscapes, while subtle and layered, upend our sense of place and security. Elements of tension, the breakdown of information and the fragility of circumstance culminate in prints and artists’ books. Low Tide is an artist book incorporating the poem, Low Tide by Edna St. Vincent Millay, on both sides of the wire-edge bound book. On the exterior side, the poem is easily read, with each line or stanza flowing across the shoreline. On the interior side, the tide has receded and has washed the poem away. This tray is removed to reveal the last portion of the poem and trench where the book can be displayed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773177509393-K9QUTJQGHB90TK988T0W/mcba-prize-2024-Anne-Greenwood-Rioseco-Shape-of-Land-2.jpg Entries & Jurors - 2024 Entries - Anne Greenwood Rioseco Portland, OR www.Annegreenwood.net Shapes of Land 2024 Textile 9”x 13”x 1.5” (closed), 9”x 39” (open) Artist Statement Shapes of Land was conceived of in 2018 while retracing my footsteps from where I was born in North Dakota, to travels with my husband to his home in Argentina, our time in-between in Central America and Mexico, to where we live in Oregon, as I embarked on a journey to the land of my Northern ancestry; all the time thinking about the land and how it connects us. The book contains a series of landforms: lake, plains, isthmus, plateau, meander, arch, hill and these images reside alongside the bilingual prose by Mauricio Rioseco Milano and together, we offer these imaginative portals for traveling in space and time. 100% cotton Crinoline comprises the body of this one-of-a-kind book. The colored pages and appliqued images are hand-dyed in: indigo, Osage, madder, catechu, logwood, and cochineal with letterpress printed patterns. All the images and hand-embroidered text are stitched with hand-dyed silk and wool threads: the prose is machine-stitched with cotton thread. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773177509052-369RRV0XGC68PM4K7LUH/mcba-prize-2024-Anne-Greenwood-Rioseco-Shape-of-Land-1.jpeg Entries & Jurors - 2024 Entries - Anne Greenwood Rioseco Portland, OR www.Annegreenwood.net Shapes of Land 2024 Textile 9”x 13”x 1.5” (closed), 9”x 39” (open) Artist Statement Shapes of Land was conceived of in 2018 while retracing my footsteps from where I was born in North Dakota, to travels with my husband to his home in Argentina, our time in-between in Central America and Mexico, to where we live in Oregon, as I embarked on a journey to the land of my Northern ancestry; all the time thinking about the land and how it connects us. The book contains a series of landforms: lake, plains, isthmus, plateau, meander, arch, hill and these images reside alongside the bilingual prose by Mauricio Rioseco Milano and together, we offer these imaginative portals for traveling in space and time. 100% cotton Crinoline comprises the body of this one-of-a-kind book. The colored pages and appliqued images are hand-dyed in: indigo, Osage, madder, catechu, logwood, and cochineal with letterpress printed patterns. All the images and hand-embroidered text are stitched with hand-dyed silk and wool threads: the prose is machine-stitched with cotton thread. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773177510569-WNT71P4O4JQ7III8XJCB/mcba-prize-2024-Anne-Greenwood-Rioseco-Shape-of-Land-4.jpeg Entries & Jurors - 2024 Entries - Anne Greenwood Rioseco Portland, OR www.Annegreenwood.net Shapes of Land 2024 Textile 9”x 13”x 1.5” (closed), 9”x 39” (open) Artist Statement Shapes of Land was conceived of in 2018 while retracing my footsteps from where I was born in North Dakota, to travels with my husband to his home in Argentina, our time in-between in Central America and Mexico, to where we live in Oregon, as I embarked on a journey to the land of my Northern ancestry; all the time thinking about the land and how it connects us. The book contains a series of landforms: lake, plains, isthmus, plateau, meander, arch, hill and these images reside alongside the bilingual prose by Mauricio Rioseco Milano and together, we offer these imaginative portals for traveling in space and time. 100% cotton Crinoline comprises the body of this one-of-a-kind book. The colored pages and appliqued images are hand-dyed in: indigo, Osage, madder, catechu, logwood, and cochineal with letterpress printed patterns. All the images and hand-embroidered text are stitched with hand-dyed silk and wool threads: the prose is machine-stitched with cotton thread. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773177510756-E0QDVFVJNHVK0NSCVX3O/mcba-prize-2024-Anne-Greenwood-Rioseco-Shape-of-Land-3.jpeg Entries & Jurors - 2024 Entries - Anne Greenwood Rioseco Portland, OR www.Annegreenwood.net Shapes of Land 2024 Textile 9”x 13”x 1.5” (closed), 9”x 39” (open) Artist Statement Shapes of Land was conceived of in 2018 while retracing my footsteps from where I was born in North Dakota, to travels with my husband to his home in Argentina, our time in-between in Central America and Mexico, to where we live in Oregon, as I embarked on a journey to the land of my Northern ancestry; all the time thinking about the land and how it connects us. The book contains a series of landforms: lake, plains, isthmus, plateau, meander, arch, hill and these images reside alongside the bilingual prose by Mauricio Rioseco Milano and together, we offer these imaginative portals for traveling in space and time. 100% cotton Crinoline comprises the body of this one-of-a-kind book. The colored pages and appliqued images are hand-dyed in: indigo, Osage, madder, catechu, logwood, and cochineal with letterpress printed patterns. All the images and hand-embroidered text are stitched with hand-dyed silk and wool threads: the prose is machine-stitched with cotton thread. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773177872634-J4WKIO4X10VIBDGYJJR6/mcba-prize-2024-Barbara-Tetenbaum-Walter-Tisdale-Fish-in-River-1.jpg Entries & Jurors - 2024 Entries - Barbara Tetenbaum & Walter Tisdale Portland, OR www.slowread.org IG: barbtetenbaum Fish in River 2023 Handmade papers, relief printing, hand set type, photopolymer plates, letterpress 6.5 x 9.25 x .5″ closed, 45.5 x 9.24 x .25″ open Artist Statement This contemplation on the longevity of Humankind’s Earthly existence was created by Barbara Tetenbaum and Walter Tisdale. It is part sequel to FishTales, our first collaboration (1993), and part Tisdale’s ongoing interest in extant Anglo-Saxon texts from the Exeter Book. We used these historic woodcuts and texts: Genesis verses, translated John Wycliffe, c. 1395; Anglo-Saxon riddle from Exeter Book, c. 960-80, translated by Karl Young; Adam and Eve in the Garden and First Sign of Judgement Day, Antoine Verard, c. 1490; Bretherton Diagram, from Earth Science Systems: An Overview, NASA, 1986; “Buxheim” St. Christopher, c. 1450. The cover, riddle spread and Atlantic Salmon print papers were created by Katie MacGregor in Whiting, Maine. Elliot Fishbein made the watermark stencils for the answer to the riddle hidden within Tetenbaum’s Salmon print. The edition is ninety copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773177877423-WK7PPF7DD625JP4ZOU1W/mcba-prize-2024-Barbara-Tetenbaum-Walter-Tisdale-Fish-in-River-5.jpg Entries & Jurors - 2024 Entries - Barbara Tetenbaum & Walter Tisdale Portland, OR www.slowread.org IG: barbtetenbaum Fish in River 2023 Handmade papers, relief printing, hand set type, photopolymer plates, letterpress 6.5 x 9.25 x .5″ closed, 45.5 x 9.24 x .25″ open Artist Statement This contemplation on the longevity of Humankind’s Earthly existence was created by Barbara Tetenbaum and Walter Tisdale. It is part sequel to FishTales, our first collaboration (1993), and part Tisdale’s ongoing interest in extant Anglo-Saxon texts from the Exeter Book. We used these historic woodcuts and texts: Genesis verses, translated John Wycliffe, c. 1395; Anglo-Saxon riddle from Exeter Book, c. 960-80, translated by Karl Young; Adam and Eve in the Garden and First Sign of Judgement Day, Antoine Verard, c. 1490; Bretherton Diagram, from Earth Science Systems: An Overview, NASA, 1986; “Buxheim” St. Christopher, c. 1450. The cover, riddle spread and Atlantic Salmon print papers were created by Katie MacGregor in Whiting, Maine. Elliot Fishbein made the watermark stencils for the answer to the riddle hidden within Tetenbaum’s Salmon print. The edition is ninety copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773177875400-XUG2JDIIR3IXAMRHUWVZ/mcba-prize-2024-Barbara-Tetenbaum-Walter-Tisdale-Fish-in-River-4.jpg Entries & Jurors - 2024 Entries - Barbara Tetenbaum & Walter Tisdale Portland, OR www.slowread.org IG: barbtetenbaum Fish in River 2023 Handmade papers, relief printing, hand set type, photopolymer plates, letterpress 6.5 x 9.25 x .5″ closed, 45.5 x 9.24 x .25″ open Artist Statement This contemplation on the longevity of Humankind’s Earthly existence was created by Barbara Tetenbaum and Walter Tisdale. It is part sequel to FishTales, our first collaboration (1993), and part Tisdale’s ongoing interest in extant Anglo-Saxon texts from the Exeter Book. We used these historic woodcuts and texts: Genesis verses, translated John Wycliffe, c. 1395; Anglo-Saxon riddle from Exeter Book, c. 960-80, translated by Karl Young; Adam and Eve in the Garden and First Sign of Judgement Day, Antoine Verard, c. 1490; Bretherton Diagram, from Earth Science Systems: An Overview, NASA, 1986; “Buxheim” St. Christopher, c. 1450. The cover, riddle spread and Atlantic Salmon print papers were created by Katie MacGregor in Whiting, Maine. Elliot Fishbein made the watermark stencils for the answer to the riddle hidden within Tetenbaum’s Salmon print. The edition is ninety copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773177875054-9I9OIQRHT364ZJXZQPV5/mcba-prize-2024-Barbara-Tetenbaum-Walter-Tisdale-Fish-in-River-3.jpg Entries & Jurors - 2024 Entries - Barbara Tetenbaum & Walter Tisdale Portland, OR www.slowread.org IG: barbtetenbaum Fish in River 2023 Handmade papers, relief printing, hand set type, photopolymer plates, letterpress 6.5 x 9.25 x .5″ closed, 45.5 x 9.24 x .25″ open Artist Statement This contemplation on the longevity of Humankind’s Earthly existence was created by Barbara Tetenbaum and Walter Tisdale. It is part sequel to FishTales, our first collaboration (1993), and part Tisdale’s ongoing interest in extant Anglo-Saxon texts from the Exeter Book. We used these historic woodcuts and texts: Genesis verses, translated John Wycliffe, c. 1395; Anglo-Saxon riddle from Exeter Book, c. 960-80, translated by Karl Young; Adam and Eve in the Garden and First Sign of Judgement Day, Antoine Verard, c. 1490; Bretherton Diagram, from Earth Science Systems: An Overview, NASA, 1986; “Buxheim” St. Christopher, c. 1450. The cover, riddle spread and Atlantic Salmon print papers were created by Katie MacGregor in Whiting, Maine. Elliot Fishbein made the watermark stencils for the answer to the riddle hidden within Tetenbaum’s Salmon print. The edition is ninety copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773177872040-2SYA7L97ZQBFBM44IODE/mcba-prize-2024-Barbara-Tetenbaum-Walter-Tisdale-Fish-in-River-2.jpg Entries & Jurors - 2024 Entries - Barbara Tetenbaum & Walter Tisdale Portland, OR www.slowread.org IG: barbtetenbaum Fish in River 2023 Handmade papers, relief printing, hand set type, photopolymer plates, letterpress 6.5 x 9.25 x .5″ closed, 45.5 x 9.24 x .25″ open Artist Statement This contemplation on the longevity of Humankind’s Earthly existence was created by Barbara Tetenbaum and Walter Tisdale. It is part sequel to FishTales, our first collaboration (1993), and part Tisdale’s ongoing interest in extant Anglo-Saxon texts from the Exeter Book. We used these historic woodcuts and texts: Genesis verses, translated John Wycliffe, c. 1395; Anglo-Saxon riddle from Exeter Book, c. 960-80, translated by Karl Young; Adam and Eve in the Garden and First Sign of Judgement Day, Antoine Verard, c. 1490; Bretherton Diagram, from Earth Science Systems: An Overview, NASA, 1986; “Buxheim” St. Christopher, c. 1450. The cover, riddle spread and Atlantic Salmon print papers were created by Katie MacGregor in Whiting, Maine. Elliot Fishbein made the watermark stencils for the answer to the riddle hidden within Tetenbaum’s Salmon print. The edition is ninety copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178128451-4SLD6K2LWZ4CW6BI96GR/mcba-prize-2024-Barbara-Tetenbaum-Everything-Solid-1.jpg Entries & Jurors - 2024 Entries - Barbara Tetenbaum Portland, OR www.slowread.org IG: barbtetenbaum Everything Solid in the Universe is Ready to Become Fluid; Gymnopaedie #6 2023 Hand set type, antique images, compressed foam printed letterpress on polyester film, digital prints on watercolor paper from original colored pencil artwork, bookbinding materials 7 x 11 x .5″ closed, 14 x 11 x .25″ open Artist Statement This book is the sixth in the Gymnopaedie series, which has become my occasional space for experimentation and trust in process. I edition layers of images and words without knowing where I’m going; watching and responding to what occurs in each press run. And like throwing I Ching, this captures the moment I am living in. In the midst of working on this book I discovered R. Waldo Emerson’s words on the importance of flow, flux and change, which provided a surprisingly perfect grounding to this project. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178135083-X6ERMN0O31NR0JGQ139A/mcba-prize-2024-Barbara-Tetenbaum-Everything-Solid-5.jpg Entries & Jurors - 2024 Entries - Barbara Tetenbaum Portland, OR www.slowread.org IG: barbtetenbaum Everything Solid in the Universe is Ready to Become Fluid; Gymnopaedie #6 2023 Hand set type, antique images, compressed foam printed letterpress on polyester film, digital prints on watercolor paper from original colored pencil artwork, bookbinding materials 7 x 11 x .5″ closed, 14 x 11 x .25″ open Artist Statement This book is the sixth in the Gymnopaedie series, which has become my occasional space for experimentation and trust in process. I edition layers of images and words without knowing where I’m going; watching and responding to what occurs in each press run. And like throwing I Ching, this captures the moment I am living in. In the midst of working on this book I discovered R. Waldo Emerson’s words on the importance of flow, flux and change, which provided a surprisingly perfect grounding to this project. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178132749-ZU602YNYL6VSSVFXB59E/mcba-prize-2024-Barbara-Tetenbaum-Everything-Solid-4.jpg Entries & Jurors - 2024 Entries - Barbara Tetenbaum Portland, OR www.slowread.org IG: barbtetenbaum Everything Solid in the Universe is Ready to Become Fluid; Gymnopaedie #6 2023 Hand set type, antique images, compressed foam printed letterpress on polyester film, digital prints on watercolor paper from original colored pencil artwork, bookbinding materials 7 x 11 x .5″ closed, 14 x 11 x .25″ open Artist Statement This book is the sixth in the Gymnopaedie series, which has become my occasional space for experimentation and trust in process. I edition layers of images and words without knowing where I’m going; watching and responding to what occurs in each press run. And like throwing I Ching, this captures the moment I am living in. In the midst of working on this book I discovered R. Waldo Emerson’s words on the importance of flow, flux and change, which provided a surprisingly perfect grounding to this project. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178132404-L8ALO7GW5U2FRPL364WI/mcba-prize-2024-Barbara-Tetenbaum-Everything-Solid-3.jpg Entries & Jurors - 2024 Entries - Barbara Tetenbaum Portland, OR www.slowread.org IG: barbtetenbaum Everything Solid in the Universe is Ready to Become Fluid; Gymnopaedie #6 2023 Hand set type, antique images, compressed foam printed letterpress on polyester film, digital prints on watercolor paper from original colored pencil artwork, bookbinding materials 7 x 11 x .5″ closed, 14 x 11 x .25″ open Artist Statement This book is the sixth in the Gymnopaedie series, which has become my occasional space for experimentation and trust in process. I edition layers of images and words without knowing where I’m going; watching and responding to what occurs in each press run. And like throwing I Ching, this captures the moment I am living in. In the midst of working on this book I discovered R. Waldo Emerson’s words on the importance of flow, flux and change, which provided a surprisingly perfect grounding to this project. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178128263-O01TPRZ26FZM4TRBSUVW/mcba-prize-2024-Barbara-Tetenbaum-Everything-Solid-2.jpg Entries & Jurors - 2024 Entries - Barbara Tetenbaum Portland, OR www.slowread.org IG: barbtetenbaum Everything Solid in the Universe is Ready to Become Fluid; Gymnopaedie #6 2023 Hand set type, antique images, compressed foam printed letterpress on polyester film, digital prints on watercolor paper from original colored pencil artwork, bookbinding materials 7 x 11 x .5″ closed, 14 x 11 x .25″ open Artist Statement This book is the sixth in the Gymnopaedie series, which has become my occasional space for experimentation and trust in process. I edition layers of images and words without knowing where I’m going; watching and responding to what occurs in each press run. And like throwing I Ching, this captures the moment I am living in. In the midst of working on this book I discovered R. Waldo Emerson’s words on the importance of flow, flux and change, which provided a surprisingly perfect grounding to this project. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178303059-R66PQFOQLAFM128YDRRS/mcba-prize-2024-Amandine-Nabarra-The-Last-Breath-5.jpg Entries & Jurors - 2024 Entries - Amandine Nabarra Los Angeles, CA www.amandinenabarra.com The Last Breath 2024 Frosted/mirrored acrylic, Polymer Clay image transfer 11 inches x 11 inches x 17.5 inches when closed and 44 inches when extended as a Leporello Artist Statement In the span of nine years, my artistic journey unfolded organically, originating from the heartache of losing a cherished stepmother. This emotional core gradually transformed into a concept that manifested itself as an artist book, and a model for an installation—an endeavor aimed at offering a unique, communal experience to diverse audiences. The question of how to depict death became a pivotal contemplation. Rather than choosing one perspective over the other, I opted to acknowledge both the departing individual and the person left behind. The focal point became the moment of transition between the living and the departed, symbolized by the last breath. A sculpture emerged, portraying particles of air ascending into the universe—an ode to the unknown. The materials chosen, characterized by transparency and translucency, mirror and reflection, accentuate the delicate dance between presence and absence. They serve as a gentle reminder of our shared brief existence on this cosmic rock. Four poems were chosen from Japanese death poems by Zen monks and haiku poets on the verge of death, as compiled by Yoel Hoffmann. Photomontages of body parts and image transfers paired with each haiku are from my own photography. I enclosed these transparent images between two acrylic circles to create trapped bubbles, making the body parts seem frozen in motion. Tanaka Shutei (1810-1858) Frost on a summer day, all I leave behind is water that has washed my brush. Yosa Buson (1716-1784) the transition from life to death with the metaphor of a butterfly. Hard to describe: this light sensation of being pinched by a butterfly! Oto (-1935)

 At night my sleep Embraces the summer shadows Of my life Asenjo (-1776), a geisha and Buddhist nun.

 Depths of cold, Unfathomable, Ocean roar. Through the intimate reading experience of the artist book, I hope to foster connection, empathy, and a collective appreciation for the transient beauty that unites us. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178302263-QOTK9PCL0TQ3ECW14N3K/mcba-prize-2024-Amandine-Nabarra-The-Last-Breath-4.jpg Entries & Jurors - 2024 Entries - Amandine Nabarra Los Angeles, CA www.amandinenabarra.com The Last Breath 2024 Frosted/mirrored acrylic, Polymer Clay image transfer 11 inches x 11 inches x 17.5 inches when closed and 44 inches when extended as a Leporello Artist Statement In the span of nine years, my artistic journey unfolded organically, originating from the heartache of losing a cherished stepmother. This emotional core gradually transformed into a concept that manifested itself as an artist book, and a model for an installation—an endeavor aimed at offering a unique, communal experience to diverse audiences. The question of how to depict death became a pivotal contemplation. Rather than choosing one perspective over the other, I opted to acknowledge both the departing individual and the person left behind. The focal point became the moment of transition between the living and the departed, symbolized by the last breath. A sculpture emerged, portraying particles of air ascending into the universe—an ode to the unknown. The materials chosen, characterized by transparency and translucency, mirror and reflection, accentuate the delicate dance between presence and absence. They serve as a gentle reminder of our shared brief existence on this cosmic rock. Four poems were chosen from Japanese death poems by Zen monks and haiku poets on the verge of death, as compiled by Yoel Hoffmann. Photomontages of body parts and image transfers paired with each haiku are from my own photography. I enclosed these transparent images between two acrylic circles to create trapped bubbles, making the body parts seem frozen in motion. Tanaka Shutei (1810-1858) Frost on a summer day, all I leave behind is water that has washed my brush. Yosa Buson (1716-1784) the transition from life to death with the metaphor of a butterfly. Hard to describe: this light sensation of being pinched by a butterfly! Oto (-1935)

 At night my sleep Embraces the summer shadows Of my life Asenjo (-1776), a geisha and Buddhist nun.

 Depths of cold, Unfathomable, Ocean roar. Through the intimate reading experience of the artist book, I hope to foster connection, empathy, and a collective appreciation for the transient beauty that unites us. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178301745-NTRX2CJ1LKA8119QB6OH/mcba-prize-2024-Amandine-Nabarra-The-Last-Breath-3.jpg Entries & Jurors - 2024 Entries - Amandine Nabarra Los Angeles, CA www.amandinenabarra.com The Last Breath 2024 Frosted/mirrored acrylic, Polymer Clay image transfer 11 inches x 11 inches x 17.5 inches when closed and 44 inches when extended as a Leporello Artist Statement In the span of nine years, my artistic journey unfolded organically, originating from the heartache of losing a cherished stepmother. This emotional core gradually transformed into a concept that manifested itself as an artist book, and a model for an installation—an endeavor aimed at offering a unique, communal experience to diverse audiences. The question of how to depict death became a pivotal contemplation. Rather than choosing one perspective over the other, I opted to acknowledge both the departing individual and the person left behind. The focal point became the moment of transition between the living and the departed, symbolized by the last breath. A sculpture emerged, portraying particles of air ascending into the universe—an ode to the unknown. The materials chosen, characterized by transparency and translucency, mirror and reflection, accentuate the delicate dance between presence and absence. They serve as a gentle reminder of our shared brief existence on this cosmic rock. Four poems were chosen from Japanese death poems by Zen monks and haiku poets on the verge of death, as compiled by Yoel Hoffmann. Photomontages of body parts and image transfers paired with each haiku are from my own photography. I enclosed these transparent images between two acrylic circles to create trapped bubbles, making the body parts seem frozen in motion. Tanaka Shutei (1810-1858) Frost on a summer day, all I leave behind is water that has washed my brush. Yosa Buson (1716-1784) the transition from life to death with the metaphor of a butterfly. Hard to describe: this light sensation of being pinched by a butterfly! Oto (-1935)

 At night my sleep Embraces the summer shadows Of my life Asenjo (-1776), a geisha and Buddhist nun.

 Depths of cold, Unfathomable, Ocean roar. Through the intimate reading experience of the artist book, I hope to foster connection, empathy, and a collective appreciation for the transient beauty that unites us. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178300425-HIHEEZH67ERGP1FD5YJL/mcba-prize-2024-Amandine-Nabarra-The-Last-Breath-2.jpg Entries & Jurors - 2024 Entries - Amandine Nabarra Los Angeles, CA www.amandinenabarra.com The Last Breath 2024 Frosted/mirrored acrylic, Polymer Clay image transfer 11 inches x 11 inches x 17.5 inches when closed and 44 inches when extended as a Leporello Artist Statement In the span of nine years, my artistic journey unfolded organically, originating from the heartache of losing a cherished stepmother. This emotional core gradually transformed into a concept that manifested itself as an artist book, and a model for an installation—an endeavor aimed at offering a unique, communal experience to diverse audiences. The question of how to depict death became a pivotal contemplation. Rather than choosing one perspective over the other, I opted to acknowledge both the departing individual and the person left behind. The focal point became the moment of transition between the living and the departed, symbolized by the last breath. A sculpture emerged, portraying particles of air ascending into the universe—an ode to the unknown. The materials chosen, characterized by transparency and translucency, mirror and reflection, accentuate the delicate dance between presence and absence. They serve as a gentle reminder of our shared brief existence on this cosmic rock. Four poems were chosen from Japanese death poems by Zen monks and haiku poets on the verge of death, as compiled by Yoel Hoffmann. Photomontages of body parts and image transfers paired with each haiku are from my own photography. I enclosed these transparent images between two acrylic circles to create trapped bubbles, making the body parts seem frozen in motion. Tanaka Shutei (1810-1858) Frost on a summer day, all I leave behind is water that has washed my brush. Yosa Buson (1716-1784) the transition from life to death with the metaphor of a butterfly. Hard to describe: this light sensation of being pinched by a butterfly! Oto (-1935)

 At night my sleep Embraces the summer shadows Of my life Asenjo (-1776), a geisha and Buddhist nun.

 Depths of cold, Unfathomable, Ocean roar. Through the intimate reading experience of the artist book, I hope to foster connection, empathy, and a collective appreciation for the transient beauty that unites us. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178300716-9IHR591HOCZXAYS3WI60/mcba-prize-2024-Amandine-Nabarra-The-Last-Breath-1.jpg Entries & Jurors - 2024 Entries - Amandine Nabarra Los Angeles, CA www.amandinenabarra.com The Last Breath 2024 Frosted/mirrored acrylic, Polymer Clay image transfer 11 inches x 11 inches x 17.5 inches when closed and 44 inches when extended as a Leporello Artist Statement In the span of nine years, my artistic journey unfolded organically, originating from the heartache of losing a cherished stepmother. This emotional core gradually transformed into a concept that manifested itself as an artist book, and a model for an installation—an endeavor aimed at offering a unique, communal experience to diverse audiences. The question of how to depict death became a pivotal contemplation. Rather than choosing one perspective over the other, I opted to acknowledge both the departing individual and the person left behind. The focal point became the moment of transition between the living and the departed, symbolized by the last breath. A sculpture emerged, portraying particles of air ascending into the universe—an ode to the unknown. The materials chosen, characterized by transparency and translucency, mirror and reflection, accentuate the delicate dance between presence and absence. They serve as a gentle reminder of our shared brief existence on this cosmic rock. Four poems were chosen from Japanese death poems by Zen monks and haiku poets on the verge of death, as compiled by Yoel Hoffmann. Photomontages of body parts and image transfers paired with each haiku are from my own photography. I enclosed these transparent images between two acrylic circles to create trapped bubbles, making the body parts seem frozen in motion. Tanaka Shutei (1810-1858) Frost on a summer day, all I leave behind is water that has washed my brush. Yosa Buson (1716-1784) the transition from life to death with the metaphor of a butterfly. Hard to describe: this light sensation of being pinched by a butterfly! Oto (-1935)

 At night my sleep Embraces the summer shadows Of my life Asenjo (-1776), a geisha and Buddhist nun.

 Depths of cold, Unfathomable, Ocean roar. Through the intimate reading experience of the artist book, I hope to foster connection, empathy, and a collective appreciation for the transient beauty that unites us. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178556746-HG8CTGRJVNQFTTYAFSKG/mcba-prize-2024-Melissa-Oresky-Leaf-Manual-1.jpg Entries & Jurors - 2024 Entries - Melissa Oresky Normal, IL www.melissaoresky.com Leaf Manual 2024 Five unique accordion books hand bound by the artist (volumes 1-5) Collage, acrylic, paper pulp, graphite, and colored pencil, wax pastel on watercolor paper. Book board and book cloth binding. When closed, they are housed in a hand bound drop spine box. Each book is 12.5″ x 8.5″ closed dimensions. The interiors are four or six double sided pages. Artist Statement My current work can be thought of as writing with plants. Leaf shapes, plant structures, and growth patterns become abstract communication and thinking systems, undergoing constant evolution and modification from work to work. I interpret a book’s form as both informational and biological; it is a hybrid plant and animal body with a spine and folios or leaves and written content that is cellular, grammatical, and plantlike. A book’s pervasive doubling and splitting addresses hands that hold, bodies that carry seeds of ideas and eyes that read and sprout. Leaf Manual is a unique, multi-volume artist’s book that consists of five accordion books designed to be displayed freestanding and viewed from both sides. Within each volume, leaf and stem structures repeat through horizontal landscapes as inscriptions, and climb between lines and strata like a trellis. Color and form configurations are particular to each volume, following a thematic motif or visual story. How would a plant write about itself? Now that these volumes are complete the next phase of the project will consist of an editioned reprint of the project that will be made from reproduced rubbings of each of the highly textural pages, overlaid by its translation. I have asked five authors (two poets, a lawyer, a historian, and a filmmaker) to collaborate by translating a volume into English and am expecting the translations to be completed over this summer. I am a visual artist working between painting, works on paper, artist’s books, objects, and video. My recent work in artists books is deeply informed by my personal history working as book conservator in the 1990’s. As a library conservator, I learned to repair and create housings for circulating and rare books in languages such as Yiddish, Hebrew, Aramaic, and Latin, many of which I could sound but only partially understand. This partial understanding resonates with the way I encounter plants, and my conservation experience has informed my work as a visual artist. I have held onto an interest in written language, the various materials and materialities of books and information, and their preservation (or loss). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178562567-U7DEUK02A077RXX1113L/mcba-prize-2024-Melissa-Oresky-Leaf-Manual-5.jpg Entries & Jurors - 2024 Entries - Melissa Oresky Normal, IL www.melissaoresky.com Leaf Manual 2024 Five unique accordion books hand bound by the artist (volumes 1-5) Collage, acrylic, paper pulp, graphite, and colored pencil, wax pastel on watercolor paper. Book board and book cloth binding. When closed, they are housed in a hand bound drop spine box. Each book is 12.5″ x 8.5″ closed dimensions. The interiors are four or six double sided pages. Artist Statement My current work can be thought of as writing with plants. Leaf shapes, plant structures, and growth patterns become abstract communication and thinking systems, undergoing constant evolution and modification from work to work. I interpret a book’s form as both informational and biological; it is a hybrid plant and animal body with a spine and folios or leaves and written content that is cellular, grammatical, and plantlike. A book’s pervasive doubling and splitting addresses hands that hold, bodies that carry seeds of ideas and eyes that read and sprout. Leaf Manual is a unique, multi-volume artist’s book that consists of five accordion books designed to be displayed freestanding and viewed from both sides. Within each volume, leaf and stem structures repeat through horizontal landscapes as inscriptions, and climb between lines and strata like a trellis. Color and form configurations are particular to each volume, following a thematic motif or visual story. How would a plant write about itself? Now that these volumes are complete the next phase of the project will consist of an editioned reprint of the project that will be made from reproduced rubbings of each of the highly textural pages, overlaid by its translation. I have asked five authors (two poets, a lawyer, a historian, and a filmmaker) to collaborate by translating a volume into English and am expecting the translations to be completed over this summer. I am a visual artist working between painting, works on paper, artist’s books, objects, and video. My recent work in artists books is deeply informed by my personal history working as book conservator in the 1990’s. As a library conservator, I learned to repair and create housings for circulating and rare books in languages such as Yiddish, Hebrew, Aramaic, and Latin, many of which I could sound but only partially understand. This partial understanding resonates with the way I encounter plants, and my conservation experience has informed my work as a visual artist. I have held onto an interest in written language, the various materials and materialities of books and information, and their preservation (or loss). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178560330-I7UK1V4G793WIM0K0POQ/mcba-prize-2024-Melissa-Oresky-Leaf-Manual-4.jpg Entries & Jurors - 2024 Entries - Melissa Oresky Normal, IL www.melissaoresky.com Leaf Manual 2024 Five unique accordion books hand bound by the artist (volumes 1-5) Collage, acrylic, paper pulp, graphite, and colored pencil, wax pastel on watercolor paper. Book board and book cloth binding. When closed, they are housed in a hand bound drop spine box. Each book is 12.5″ x 8.5″ closed dimensions. The interiors are four or six double sided pages. Artist Statement My current work can be thought of as writing with plants. Leaf shapes, plant structures, and growth patterns become abstract communication and thinking systems, undergoing constant evolution and modification from work to work. I interpret a book’s form as both informational and biological; it is a hybrid plant and animal body with a spine and folios or leaves and written content that is cellular, grammatical, and plantlike. A book’s pervasive doubling and splitting addresses hands that hold, bodies that carry seeds of ideas and eyes that read and sprout. Leaf Manual is a unique, multi-volume artist’s book that consists of five accordion books designed to be displayed freestanding and viewed from both sides. Within each volume, leaf and stem structures repeat through horizontal landscapes as inscriptions, and climb between lines and strata like a trellis. Color and form configurations are particular to each volume, following a thematic motif or visual story. How would a plant write about itself? Now that these volumes are complete the next phase of the project will consist of an editioned reprint of the project that will be made from reproduced rubbings of each of the highly textural pages, overlaid by its translation. I have asked five authors (two poets, a lawyer, a historian, and a filmmaker) to collaborate by translating a volume into English and am expecting the translations to be completed over this summer. I am a visual artist working between painting, works on paper, artist’s books, objects, and video. My recent work in artists books is deeply informed by my personal history working as book conservator in the 1990’s. As a library conservator, I learned to repair and create housings for circulating and rare books in languages such as Yiddish, Hebrew, Aramaic, and Latin, many of which I could sound but only partially understand. This partial understanding resonates with the way I encounter plants, and my conservation experience has informed my work as a visual artist. I have held onto an interest in written language, the various materials and materialities of books and information, and their preservation (or loss). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178560202-330SR0PXOUHSYYFIA3MM/mcba-prize-2024-Melissa-Oresky-Leaf-Manual-3.jpg Entries & Jurors - 2024 Entries - Melissa Oresky Normal, IL www.melissaoresky.com Leaf Manual 2024 Five unique accordion books hand bound by the artist (volumes 1-5) Collage, acrylic, paper pulp, graphite, and colored pencil, wax pastel on watercolor paper. Book board and book cloth binding. When closed, they are housed in a hand bound drop spine box. Each book is 12.5″ x 8.5″ closed dimensions. The interiors are four or six double sided pages. Artist Statement My current work can be thought of as writing with plants. Leaf shapes, plant structures, and growth patterns become abstract communication and thinking systems, undergoing constant evolution and modification from work to work. I interpret a book’s form as both informational and biological; it is a hybrid plant and animal body with a spine and folios or leaves and written content that is cellular, grammatical, and plantlike. A book’s pervasive doubling and splitting addresses hands that hold, bodies that carry seeds of ideas and eyes that read and sprout. Leaf Manual is a unique, multi-volume artist’s book that consists of five accordion books designed to be displayed freestanding and viewed from both sides. Within each volume, leaf and stem structures repeat through horizontal landscapes as inscriptions, and climb between lines and strata like a trellis. Color and form configurations are particular to each volume, following a thematic motif or visual story. How would a plant write about itself? Now that these volumes are complete the next phase of the project will consist of an editioned reprint of the project that will be made from reproduced rubbings of each of the highly textural pages, overlaid by its translation. I have asked five authors (two poets, a lawyer, a historian, and a filmmaker) to collaborate by translating a volume into English and am expecting the translations to be completed over this summer. I am a visual artist working between painting, works on paper, artist’s books, objects, and video. My recent work in artists books is deeply informed by my personal history working as book conservator in the 1990’s. As a library conservator, I learned to repair and create housings for circulating and rare books in languages such as Yiddish, Hebrew, Aramaic, and Latin, many of which I could sound but only partially understand. This partial understanding resonates with the way I encounter plants, and my conservation experience has informed my work as a visual artist. I have held onto an interest in written language, the various materials and materialities of books and information, and their preservation (or loss). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178556821-DMDNBCMXJI9C2L4JCHGX/mcba-prize-2024-Melissa-Oresky-Leaf-Manual-2.jpg Entries & Jurors - 2024 Entries - Melissa Oresky Normal, IL www.melissaoresky.com Leaf Manual 2024 Five unique accordion books hand bound by the artist (volumes 1-5) Collage, acrylic, paper pulp, graphite, and colored pencil, wax pastel on watercolor paper. Book board and book cloth binding. When closed, they are housed in a hand bound drop spine box. Each book is 12.5″ x 8.5″ closed dimensions. The interiors are four or six double sided pages. Artist Statement My current work can be thought of as writing with plants. Leaf shapes, plant structures, and growth patterns become abstract communication and thinking systems, undergoing constant evolution and modification from work to work. I interpret a book’s form as both informational and biological; it is a hybrid plant and animal body with a spine and folios or leaves and written content that is cellular, grammatical, and plantlike. A book’s pervasive doubling and splitting addresses hands that hold, bodies that carry seeds of ideas and eyes that read and sprout. Leaf Manual is a unique, multi-volume artist’s book that consists of five accordion books designed to be displayed freestanding and viewed from both sides. Within each volume, leaf and stem structures repeat through horizontal landscapes as inscriptions, and climb between lines and strata like a trellis. Color and form configurations are particular to each volume, following a thematic motif or visual story. How would a plant write about itself? Now that these volumes are complete the next phase of the project will consist of an editioned reprint of the project that will be made from reproduced rubbings of each of the highly textural pages, overlaid by its translation. I have asked five authors (two poets, a lawyer, a historian, and a filmmaker) to collaborate by translating a volume into English and am expecting the translations to be completed over this summer. I am a visual artist working between painting, works on paper, artist’s books, objects, and video. My recent work in artists books is deeply informed by my personal history working as book conservator in the 1990’s. As a library conservator, I learned to repair and create housings for circulating and rare books in languages such as Yiddish, Hebrew, Aramaic, and Latin, many of which I could sound but only partially understand. This partial understanding resonates with the way I encounter plants, and my conservation experience has informed my work as a visual artist. I have held onto an interest in written language, the various materials and materialities of books and information, and their preservation (or loss). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178821231-2HA1BJWU3J9L0YGA1M86/mcba-prize-2024-Ellen-Knudson-Common-Rocks-2.jpg Entries & Jurors - 2024 Entries - Ellen Knudson Gainesville, FL https://crookedletterpress.com/ IG: @crookedletterpress Common Rocks and Other Problems 2023-2024 Pleated book and volvelle structure, letterpress, linoleum cut, and gelatin monoprint 7” x 11.75” x 0.75” (closed); 7” x 23.5” x 0.5” (open) Artist Statement Common Rocks and Other Problems is a book about the confounding divergence of humanity’s relentless frailty and nature’s unending power. The world is shifting tectonically above and below the surface; a seismic energy accumulates as pressure boils and builds. Things are turbulent now more than ever. Common Rocks and Other Problems illustrates the dynamic between the psychological faults of human thinking and the geological and meteorological facts of nature. These two realities are forced together and it is up to us as human beings to actualize our fates. We are the only entities that can make a decision about how things will be. The text of the book reads from front to back and back to front, depending on the orientation of the piece in the reader’s hands. The reading and meaning of the text fluctuates between scientific and poetic. The text can be viewed one section at a time as the pages are turned and layered. Do not be fooled. It has always been this way. Don’t worry, it’s ALL and/or NOTHING. The way we divide. The way we conquer. How it endures, technically. How we make so many mistakes. How it moves, tectonically. How our brains work (and don’t) work. The points of displacement. The places of disappointment. Ways of coercion. Ways of erosion. Ways we resist change. Rates of Change. We are SORTED until we’re not. STARDUST in different states of matter. Constrained vs Unconstrained. Types of Minerals. Theoretical remains. Territorial Deposits. Matters (Human). (Geological) Matter. The book contains 11 linoleum cut rocks that each contain a volvelle inside the folded page. The volvelles have a human fault printed on one side and a natural disaster printed on the reverse side. (For example, Gambler’s Fallacy / Volcano; Reactivity / Earthquake, etc.) This text can be read by rotating the volvelles and viewed through windows cut into each folded rock. Each human fault and natural disaster has been assigned a typographic icon that is symbolic to the topic. The volvelles illustrate the roiling beneath the surface that is the invisible and visible dynamics of humans and nature. The book also includes a letterpress printed “menu” that lists and defines for the reader the Facts of Nature (Volcano, Earthquake, Tornado, Landslide, Hurricane, Wildfires, Anthropocentrism, Famine, Flood, Drought, Plague) and the Faults of Human Thought (Gambler’s Fallacy, Reactivity, Pareidolia, Self-fulfilling Prophecy, Halo Effect, Herd Mentality, Reactance, Hyperbolic Discounting, Escalation of Commitment, Placebo Effect, All or Nothing Thinking). The menu allows readers to approach the book in a more formal, defined way. Common Rocks and Other Problems is written, designed, and produced by Ellen Knudson in Gainesville, Florida. The reference texts used are “Top Ten Common Faults in Human Thought” (Listverse article) and various geological / meteorological definitions of natural disasters. Other text in the book is written by the artist. The book is letterpress printed from linoleum blocks and photopolymer plates on Okawara paper. Both the book structure and folded book cloth box enclosure are inspired by structures created and/or elaborated by Hedi Kyle and Ulla Warchol. The pleated cover and inner structure are printed using gelatin plate stencil technique with screenprinting inks. The volvelles are letterpress printed on Gmund translucent vellum paper. The folio is printed on Rives BFK. The typefaces used are Palatino, Spartan Bold Condensed and Stymie Bold Condensed, and various type embellishments. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178822555-V17LA27M569HAFSDUH5L/mcba-prize-2024-Ellen-Knudson-Common-Rocks-1.jpg Entries & Jurors - 2024 Entries - Ellen Knudson Gainesville, FL https://crookedletterpress.com/ IG: @crookedletterpress Common Rocks and Other Problems 2023-2024 Pleated book and volvelle structure, letterpress, linoleum cut, and gelatin monoprint 7” x 11.75” x 0.75” (closed); 7” x 23.5” x 0.5” (open) Artist Statement Common Rocks and Other Problems is a book about the confounding divergence of humanity’s relentless frailty and nature’s unending power. The world is shifting tectonically above and below the surface; a seismic energy accumulates as pressure boils and builds. Things are turbulent now more than ever. Common Rocks and Other Problems illustrates the dynamic between the psychological faults of human thinking and the geological and meteorological facts of nature. These two realities are forced together and it is up to us as human beings to actualize our fates. We are the only entities that can make a decision about how things will be. The text of the book reads from front to back and back to front, depending on the orientation of the piece in the reader’s hands. The reading and meaning of the text fluctuates between scientific and poetic. The text can be viewed one section at a time as the pages are turned and layered. Do not be fooled. It has always been this way. Don’t worry, it’s ALL and/or NOTHING. The way we divide. The way we conquer. How it endures, technically. How we make so many mistakes. How it moves, tectonically. How our brains work (and don’t) work. The points of displacement. The places of disappointment. Ways of coercion. Ways of erosion. Ways we resist change. Rates of Change. We are SORTED until we’re not. STARDUST in different states of matter. Constrained vs Unconstrained. Types of Minerals. Theoretical remains. Territorial Deposits. Matters (Human). (Geological) Matter. The book contains 11 linoleum cut rocks that each contain a volvelle inside the folded page. The volvelles have a human fault printed on one side and a natural disaster printed on the reverse side. (For example, Gambler’s Fallacy / Volcano; Reactivity / Earthquake, etc.) This text can be read by rotating the volvelles and viewed through windows cut into each folded rock. Each human fault and natural disaster has been assigned a typographic icon that is symbolic to the topic. The volvelles illustrate the roiling beneath the surface that is the invisible and visible dynamics of humans and nature. The book also includes a letterpress printed “menu” that lists and defines for the reader the Facts of Nature (Volcano, Earthquake, Tornado, Landslide, Hurricane, Wildfires, Anthropocentrism, Famine, Flood, Drought, Plague) and the Faults of Human Thought (Gambler’s Fallacy, Reactivity, Pareidolia, Self-fulfilling Prophecy, Halo Effect, Herd Mentality, Reactance, Hyperbolic Discounting, Escalation of Commitment, Placebo Effect, All or Nothing Thinking). The menu allows readers to approach the book in a more formal, defined way. Common Rocks and Other Problems is written, designed, and produced by Ellen Knudson in Gainesville, Florida. The reference texts used are “Top Ten Common Faults in Human Thought” (Listverse article) and various geological / meteorological definitions of natural disasters. Other text in the book is written by the artist. The book is letterpress printed from linoleum blocks and photopolymer plates on Okawara paper. Both the book structure and folded book cloth box enclosure are inspired by structures created and/or elaborated by Hedi Kyle and Ulla Warchol. The pleated cover and inner structure are printed using gelatin plate stencil technique with screenprinting inks. The volvelles are letterpress printed on Gmund translucent vellum paper. The folio is printed on Rives BFK. The typefaces used are Palatino, Spartan Bold Condensed and Stymie Bold Condensed, and various type embellishments. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178817900-1Y59K50AYG4JN4M310B3/mcba-prize-2024-Ellen-Knudson-Common-Rocks-5.jpg Entries & Jurors - 2024 Entries - Ellen Knudson Gainesville, FL https://crookedletterpress.com/ IG: @crookedletterpress Common Rocks and Other Problems 2023-2024 Pleated book and volvelle structure, letterpress, linoleum cut, and gelatin monoprint 7” x 11.75” x 0.75” (closed); 7” x 23.5” x 0.5” (open) Artist Statement Common Rocks and Other Problems is a book about the confounding divergence of humanity’s relentless frailty and nature’s unending power. The world is shifting tectonically above and below the surface; a seismic energy accumulates as pressure boils and builds. Things are turbulent now more than ever. Common Rocks and Other Problems illustrates the dynamic between the psychological faults of human thinking and the geological and meteorological facts of nature. These two realities are forced together and it is up to us as human beings to actualize our fates. We are the only entities that can make a decision about how things will be. The text of the book reads from front to back and back to front, depending on the orientation of the piece in the reader’s hands. The reading and meaning of the text fluctuates between scientific and poetic. The text can be viewed one section at a time as the pages are turned and layered. Do not be fooled. It has always been this way. Don’t worry, it’s ALL and/or NOTHING. The way we divide. The way we conquer. How it endures, technically. How we make so many mistakes. How it moves, tectonically. How our brains work (and don’t) work. The points of displacement. The places of disappointment. Ways of coercion. Ways of erosion. Ways we resist change. Rates of Change. We are SORTED until we’re not. STARDUST in different states of matter. Constrained vs Unconstrained. Types of Minerals. Theoretical remains. Territorial Deposits. Matters (Human). (Geological) Matter. The book contains 11 linoleum cut rocks that each contain a volvelle inside the folded page. The volvelles have a human fault printed on one side and a natural disaster printed on the reverse side. (For example, Gambler’s Fallacy / Volcano; Reactivity / Earthquake, etc.) This text can be read by rotating the volvelles and viewed through windows cut into each folded rock. Each human fault and natural disaster has been assigned a typographic icon that is symbolic to the topic. The volvelles illustrate the roiling beneath the surface that is the invisible and visible dynamics of humans and nature. The book also includes a letterpress printed “menu” that lists and defines for the reader the Facts of Nature (Volcano, Earthquake, Tornado, Landslide, Hurricane, Wildfires, Anthropocentrism, Famine, Flood, Drought, Plague) and the Faults of Human Thought (Gambler’s Fallacy, Reactivity, Pareidolia, Self-fulfilling Prophecy, Halo Effect, Herd Mentality, Reactance, Hyperbolic Discounting, Escalation of Commitment, Placebo Effect, All or Nothing Thinking). The menu allows readers to approach the book in a more formal, defined way. Common Rocks and Other Problems is written, designed, and produced by Ellen Knudson in Gainesville, Florida. The reference texts used are “Top Ten Common Faults in Human Thought” (Listverse article) and various geological / meteorological definitions of natural disasters. Other text in the book is written by the artist. The book is letterpress printed from linoleum blocks and photopolymer plates on Okawara paper. Both the book structure and folded book cloth box enclosure are inspired by structures created and/or elaborated by Hedi Kyle and Ulla Warchol. The pleated cover and inner structure are printed using gelatin plate stencil technique with screenprinting inks. The volvelles are letterpress printed on Gmund translucent vellum paper. The folio is printed on Rives BFK. The typefaces used are Palatino, Spartan Bold Condensed and Stymie Bold Condensed, and various type embellishments. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178817542-QTHTUFJKOAH32UJEXCOR/mcba-prize-2024-Ellen-Knudson-Common-Rocks-4.jpg Entries & Jurors - 2024 Entries - Ellen Knudson Gainesville, FL https://crookedletterpress.com/ IG: @crookedletterpress Common Rocks and Other Problems 2023-2024 Pleated book and volvelle structure, letterpress, linoleum cut, and gelatin monoprint 7” x 11.75” x 0.75” (closed); 7” x 23.5” x 0.5” (open) Artist Statement Common Rocks and Other Problems is a book about the confounding divergence of humanity’s relentless frailty and nature’s unending power. The world is shifting tectonically above and below the surface; a seismic energy accumulates as pressure boils and builds. Things are turbulent now more than ever. Common Rocks and Other Problems illustrates the dynamic between the psychological faults of human thinking and the geological and meteorological facts of nature. These two realities are forced together and it is up to us as human beings to actualize our fates. We are the only entities that can make a decision about how things will be. The text of the book reads from front to back and back to front, depending on the orientation of the piece in the reader’s hands. The reading and meaning of the text fluctuates between scientific and poetic. The text can be viewed one section at a time as the pages are turned and layered. Do not be fooled. It has always been this way. Don’t worry, it’s ALL and/or NOTHING. The way we divide. The way we conquer. How it endures, technically. How we make so many mistakes. How it moves, tectonically. How our brains work (and don’t) work. The points of displacement. The places of disappointment. Ways of coercion. Ways of erosion. Ways we resist change. Rates of Change. We are SORTED until we’re not. STARDUST in different states of matter. Constrained vs Unconstrained. Types of Minerals. Theoretical remains. Territorial Deposits. Matters (Human). (Geological) Matter. The book contains 11 linoleum cut rocks that each contain a volvelle inside the folded page. The volvelles have a human fault printed on one side and a natural disaster printed on the reverse side. (For example, Gambler’s Fallacy / Volcano; Reactivity / Earthquake, etc.) This text can be read by rotating the volvelles and viewed through windows cut into each folded rock. Each human fault and natural disaster has been assigned a typographic icon that is symbolic to the topic. The volvelles illustrate the roiling beneath the surface that is the invisible and visible dynamics of humans and nature. The book also includes a letterpress printed “menu” that lists and defines for the reader the Facts of Nature (Volcano, Earthquake, Tornado, Landslide, Hurricane, Wildfires, Anthropocentrism, Famine, Flood, Drought, Plague) and the Faults of Human Thought (Gambler’s Fallacy, Reactivity, Pareidolia, Self-fulfilling Prophecy, Halo Effect, Herd Mentality, Reactance, Hyperbolic Discounting, Escalation of Commitment, Placebo Effect, All or Nothing Thinking). The menu allows readers to approach the book in a more formal, defined way. Common Rocks and Other Problems is written, designed, and produced by Ellen Knudson in Gainesville, Florida. The reference texts used are “Top Ten Common Faults in Human Thought” (Listverse article) and various geological / meteorological definitions of natural disasters. Other text in the book is written by the artist. The book is letterpress printed from linoleum blocks and photopolymer plates on Okawara paper. Both the book structure and folded book cloth box enclosure are inspired by structures created and/or elaborated by Hedi Kyle and Ulla Warchol. The pleated cover and inner structure are printed using gelatin plate stencil technique with screenprinting inks. The volvelles are letterpress printed on Gmund translucent vellum paper. The folio is printed on Rives BFK. The typefaces used are Palatino, Spartan Bold Condensed and Stymie Bold Condensed, and various type embellishments. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773178820304-VGKNS3JVB2LM7ANXUE54/mcba-prize-2024-Ellen-Knudson-Common-Rocks-3.jpg Entries & Jurors - 2024 Entries - Ellen Knudson Gainesville, FL https://crookedletterpress.com/ IG: @crookedletterpress Common Rocks and Other Problems 2023-2024 Pleated book and volvelle structure, letterpress, linoleum cut, and gelatin monoprint 7” x 11.75” x 0.75” (closed); 7” x 23.5” x 0.5” (open) Artist Statement Common Rocks and Other Problems is a book about the confounding divergence of humanity’s relentless frailty and nature’s unending power. The world is shifting tectonically above and below the surface; a seismic energy accumulates as pressure boils and builds. Things are turbulent now more than ever. Common Rocks and Other Problems illustrates the dynamic between the psychological faults of human thinking and the geological and meteorological facts of nature. These two realities are forced together and it is up to us as human beings to actualize our fates. We are the only entities that can make a decision about how things will be. The text of the book reads from front to back and back to front, depending on the orientation of the piece in the reader’s hands. The reading and meaning of the text fluctuates between scientific and poetic. The text can be viewed one section at a time as the pages are turned and layered. Do not be fooled. It has always been this way. Don’t worry, it’s ALL and/or NOTHING. The way we divide. The way we conquer. How it endures, technically. How we make so many mistakes. How it moves, tectonically. How our brains work (and don’t) work. The points of displacement. The places of disappointment. Ways of coercion. Ways of erosion. Ways we resist change. Rates of Change. We are SORTED until we’re not. STARDUST in different states of matter. Constrained vs Unconstrained. Types of Minerals. Theoretical remains. Territorial Deposits. Matters (Human). (Geological) Matter. The book contains 11 linoleum cut rocks that each contain a volvelle inside the folded page. The volvelles have a human fault printed on one side and a natural disaster printed on the reverse side. (For example, Gambler’s Fallacy / Volcano; Reactivity / Earthquake, etc.) This text can be read by rotating the volvelles and viewed through windows cut into each folded rock. Each human fault and natural disaster has been assigned a typographic icon that is symbolic to the topic. The volvelles illustrate the roiling beneath the surface that is the invisible and visible dynamics of humans and nature. The book also includes a letterpress printed “menu” that lists and defines for the reader the Facts of Nature (Volcano, Earthquake, Tornado, Landslide, Hurricane, Wildfires, Anthropocentrism, Famine, Flood, Drought, Plague) and the Faults of Human Thought (Gambler’s Fallacy, Reactivity, Pareidolia, Self-fulfilling Prophecy, Halo Effect, Herd Mentality, Reactance, Hyperbolic Discounting, Escalation of Commitment, Placebo Effect, All or Nothing Thinking). The menu allows readers to approach the book in a more formal, defined way. Common Rocks and Other Problems is written, designed, and produced by Ellen Knudson in Gainesville, Florida. The reference texts used are “Top Ten Common Faults in Human Thought” (Listverse article) and various geological / meteorological definitions of natural disasters. Other text in the book is written by the artist. The book is letterpress printed from linoleum blocks and photopolymer plates on Okawara paper. Both the book structure and folded book cloth box enclosure are inspired by structures created and/or elaborated by Hedi Kyle and Ulla Warchol. The pleated cover and inner structure are printed using gelatin plate stencil technique with screenprinting inks. The volvelles are letterpress printed on Gmund translucent vellum paper. The folio is printed on Rives BFK. The typefaces used are Palatino, Spartan Bold Condensed and Stymie Bold Condensed, and various type embellishments. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179176187-H8L5ID1W7L9TCYFITJRE/mcba-prize-2024-Tina-Hudak-Seashell-Thief-5.jpeg Entries & Jurors - 2024 Entries - Tina Hudak Takoma Park, MD https://abluebunny.wordpress.com The Seashell Thief 2024 Mixed media 97.5′′ x 4.5′′ x 4″ Artist Statement Early in my serendipitous path through art, I was trained in the Washington, D.C. area as a calligrapher, which I did for a living before computers replaced hand-lettering in ways that garner a steady wage. This led to a love to type design and an appreciation for its roots. From there, I segued to handpapermaking and then, book arts. Of course it is the love of the letter, itself, and words that form them which is at the root of the majority of my pieces. This one is no different despite its variation in form. Upon a recent visit to the Whitney Museum I inadvertently came across a Joseph Cornell assemblage which led oddly enough, to visit the National Gallery of Art’s recent acquisitions which included several more of his works. It was a gift to me, along with a fellow artist handing over several of her valued Cuban cigar boxes. The Seashell Thief represents all that I love in many ways. With artistic style, it includes typeface through digital printing, blind letterpress using color only, small book form bound simply, drawings using pastels and pencil, collage. Additionally, it incorporates “found objects’ from my personal collections from feathers, shells, abandoned beads, and even the tiny porcelain mermaid from the Red Rose Tea Collections of the past. Then, there are the words. This is at the center of this small world where I have used phrases from my poem broken into bits for the viewer to explore and find a personal relationship. I love working small as it is more intimate and personal. It is this that attracts me to the book form. Thus, my hope is that the viewer holds the box as one would a book, peeking about its contents upon discovery of something new to inspire. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179176204-CGFPCJ788G8NEP1Y2G8P/mcba-prize-2024-Tina-Hudak-Seashell-Thief-4.jpg Entries & Jurors - 2024 Entries - Tina Hudak Takoma Park, MD https://abluebunny.wordpress.com The Seashell Thief 2024 Mixed media 97.5′′ x 4.5′′ x 4″ Artist Statement Early in my serendipitous path through art, I was trained in the Washington, D.C. area as a calligrapher, which I did for a living before computers replaced hand-lettering in ways that garner a steady wage. This led to a love to type design and an appreciation for its roots. From there, I segued to handpapermaking and then, book arts. Of course it is the love of the letter, itself, and words that form them which is at the root of the majority of my pieces. This one is no different despite its variation in form. Upon a recent visit to the Whitney Museum I inadvertently came across a Joseph Cornell assemblage which led oddly enough, to visit the National Gallery of Art’s recent acquisitions which included several more of his works. It was a gift to me, along with a fellow artist handing over several of her valued Cuban cigar boxes. The Seashell Thief represents all that I love in many ways. With artistic style, it includes typeface through digital printing, blind letterpress using color only, small book form bound simply, drawings using pastels and pencil, collage. Additionally, it incorporates “found objects’ from my personal collections from feathers, shells, abandoned beads, and even the tiny porcelain mermaid from the Red Rose Tea Collections of the past. Then, there are the words. This is at the center of this small world where I have used phrases from my poem broken into bits for the viewer to explore and find a personal relationship. I love working small as it is more intimate and personal. It is this that attracts me to the book form. Thus, my hope is that the viewer holds the box as one would a book, peeking about its contents upon discovery of something new to inspire. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179172422-WIK8C86STX72J8MQPVP5/mcba-prize-2024-Tina-Hudak-Seashell-Thief-2.jpeg Entries & Jurors - 2024 Entries - Tina Hudak Takoma Park, MD https://abluebunny.wordpress.com The Seashell Thief 2024 Mixed media 97.5′′ x 4.5′′ x 4″ Artist Statement Early in my serendipitous path through art, I was trained in the Washington, D.C. area as a calligrapher, which I did for a living before computers replaced hand-lettering in ways that garner a steady wage. This led to a love to type design and an appreciation for its roots. From there, I segued to handpapermaking and then, book arts. Of course it is the love of the letter, itself, and words that form them which is at the root of the majority of my pieces. This one is no different despite its variation in form. Upon a recent visit to the Whitney Museum I inadvertently came across a Joseph Cornell assemblage which led oddly enough, to visit the National Gallery of Art’s recent acquisitions which included several more of his works. It was a gift to me, along with a fellow artist handing over several of her valued Cuban cigar boxes. The Seashell Thief represents all that I love in many ways. With artistic style, it includes typeface through digital printing, blind letterpress using color only, small book form bound simply, drawings using pastels and pencil, collage. Additionally, it incorporates “found objects’ from my personal collections from feathers, shells, abandoned beads, and even the tiny porcelain mermaid from the Red Rose Tea Collections of the past. Then, there are the words. This is at the center of this small world where I have used phrases from my poem broken into bits for the viewer to explore and find a personal relationship. I love working small as it is more intimate and personal. It is this that attracts me to the book form. Thus, my hope is that the viewer holds the box as one would a book, peeking about its contents upon discovery of something new to inspire. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179174370-CD7E6D7CN4QFXE4Q9ZVJ/mcba-prize-2024-Tina-Hudak-Seashell-Thief-3.jpeg Entries & Jurors - 2024 Entries - Tina Hudak Takoma Park, MD https://abluebunny.wordpress.com The Seashell Thief 2024 Mixed media 97.5′′ x 4.5′′ x 4″ Artist Statement Early in my serendipitous path through art, I was trained in the Washington, D.C. area as a calligrapher, which I did for a living before computers replaced hand-lettering in ways that garner a steady wage. This led to a love to type design and an appreciation for its roots. From there, I segued to handpapermaking and then, book arts. Of course it is the love of the letter, itself, and words that form them which is at the root of the majority of my pieces. This one is no different despite its variation in form. Upon a recent visit to the Whitney Museum I inadvertently came across a Joseph Cornell assemblage which led oddly enough, to visit the National Gallery of Art’s recent acquisitions which included several more of his works. It was a gift to me, along with a fellow artist handing over several of her valued Cuban cigar boxes. The Seashell Thief represents all that I love in many ways. With artistic style, it includes typeface through digital printing, blind letterpress using color only, small book form bound simply, drawings using pastels and pencil, collage. Additionally, it incorporates “found objects’ from my personal collections from feathers, shells, abandoned beads, and even the tiny porcelain mermaid from the Red Rose Tea Collections of the past. Then, there are the words. This is at the center of this small world where I have used phrases from my poem broken into bits for the viewer to explore and find a personal relationship. I love working small as it is more intimate and personal. It is this that attracts me to the book form. Thus, my hope is that the viewer holds the box as one would a book, peeking about its contents upon discovery of something new to inspire. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179174028-7CXZOVND8GTYUO41DO0E/mcba-prize-2024-Tina-Hudak-Seashell-Thief-1.jpg Entries & Jurors - 2024 Entries - Tina Hudak Takoma Park, MD https://abluebunny.wordpress.com The Seashell Thief 2024 Mixed media 97.5′′ x 4.5′′ x 4″ Artist Statement Early in my serendipitous path through art, I was trained in the Washington, D.C. area as a calligrapher, which I did for a living before computers replaced hand-lettering in ways that garner a steady wage. This led to a love to type design and an appreciation for its roots. From there, I segued to handpapermaking and then, book arts. Of course it is the love of the letter, itself, and words that form them which is at the root of the majority of my pieces. This one is no different despite its variation in form. Upon a recent visit to the Whitney Museum I inadvertently came across a Joseph Cornell assemblage which led oddly enough, to visit the National Gallery of Art’s recent acquisitions which included several more of his works. It was a gift to me, along with a fellow artist handing over several of her valued Cuban cigar boxes. The Seashell Thief represents all that I love in many ways. With artistic style, it includes typeface through digital printing, blind letterpress using color only, small book form bound simply, drawings using pastels and pencil, collage. Additionally, it incorporates “found objects’ from my personal collections from feathers, shells, abandoned beads, and even the tiny porcelain mermaid from the Red Rose Tea Collections of the past. Then, there are the words. This is at the center of this small world where I have used phrases from my poem broken into bits for the viewer to explore and find a personal relationship. I love working small as it is more intimate and personal. It is this that attracts me to the book form. Thus, my hope is that the viewer holds the box as one would a book, peeking about its contents upon discovery of something new to inspire. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179380625-66S7002CZ8P98OUN7WYU/mcba-prize-2024-ivan-acebo-choy-Explanation-of-pain-1.jpg Entries & Jurors - 2024 Entries - Ivan Acebo-Choy Mexico https://hojadeacebo.net/ IG: @acebochi Explanation of Pain 2024 Hand assembled accordion book – Twelve hand-embroidered panels on fabric 7 x 2 x 6 Artist Statement If pain had a color, which would it be? What shape would it have? And how do we recognize pain in others when we know it is so intimate, only perceptible in our own (subjective) terms? This collection of embroidered drawings consists of illustrations taken from a palliative care manual that teaches how to auscultate, palpate, feel and scrutinize the body of patients. As a counterpart, the book also contains a series of candid portraits of patients that point out, give color and shape to their own pain through a vocabulary that medical techniques resist. The pain we feel, whatever its nature, is only ours, and can only be described in our terms. Yet, medical techniques always find a way to standardize its experience, its location, its length, its demise. It is also intriguing how the palliative illustrations gain new meanings when read outside of their original context. Is that a doctor listening for sounds in his lungs? Or is that a coy gesture of affection? In looking to identify the pain, who knows more about it? Which is the more accurate description? Who can grab it and throw it away? Proposed as visual essays, the Explanation series is a collection of drawings that advance answers to an unsaid question. It is a sinuous journey, as a good essay would, and an invitation to construct meanings from what is written-drawn-embroidered. All pieces in the Explanation series are hand-embroidered and hand-bound in accordion format. My interest in embroidering books stems from the ability of embroidery to resemble ink drawings. Embroidery provides whole new dimensions, both conceptual and physical, to the act of conceiving, and interacting with, the finished book. My books aim to change our perception of the act of writing and drawing. They are labor-intensive, and they follow rigorous research on topics that are first translated into drawings on paper before they are transferred and hand-embroidered on to the cloth. As a result, they are mostly unique editions. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179383937-K0R3JX5C3J8KR6SX0KO0/mcba-prize-2024-ivan-acebo-choy-Explanation-of-pain-3.jpg Entries & Jurors - 2024 Entries - Ivan Acebo-Choy Mexico https://hojadeacebo.net/ IG: @acebochi Explanation of Pain 2024 Hand assembled accordion book – Twelve hand-embroidered panels on fabric 7 x 2 x 6 Artist Statement If pain had a color, which would it be? What shape would it have? And how do we recognize pain in others when we know it is so intimate, only perceptible in our own (subjective) terms? This collection of embroidered drawings consists of illustrations taken from a palliative care manual that teaches how to auscultate, palpate, feel and scrutinize the body of patients. As a counterpart, the book also contains a series of candid portraits of patients that point out, give color and shape to their own pain through a vocabulary that medical techniques resist. The pain we feel, whatever its nature, is only ours, and can only be described in our terms. Yet, medical techniques always find a way to standardize its experience, its location, its length, its demise. It is also intriguing how the palliative illustrations gain new meanings when read outside of their original context. Is that a doctor listening for sounds in his lungs? Or is that a coy gesture of affection? In looking to identify the pain, who knows more about it? Which is the more accurate description? Who can grab it and throw it away? Proposed as visual essays, the Explanation series is a collection of drawings that advance answers to an unsaid question. It is a sinuous journey, as a good essay would, and an invitation to construct meanings from what is written-drawn-embroidered. All pieces in the Explanation series are hand-embroidered and hand-bound in accordion format. My interest in embroidering books stems from the ability of embroidery to resemble ink drawings. Embroidery provides whole new dimensions, both conceptual and physical, to the act of conceiving, and interacting with, the finished book. My books aim to change our perception of the act of writing and drawing. They are labor-intensive, and they follow rigorous research on topics that are first translated into drawings on paper before they are transferred and hand-embroidered on to the cloth. As a result, they are mostly unique editions. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179384365-34SEL12AF2I4GCY52HDA/mcba-prize-2024-ivan-acebo-choy-Explanation-of-pain-4.jpg Entries & Jurors - 2024 Entries - Ivan Acebo-Choy Mexico https://hojadeacebo.net/ IG: @acebochi Explanation of Pain 2024 Hand assembled accordion book – Twelve hand-embroidered panels on fabric 7 x 2 x 6 Artist Statement If pain had a color, which would it be? What shape would it have? And how do we recognize pain in others when we know it is so intimate, only perceptible in our own (subjective) terms? This collection of embroidered drawings consists of illustrations taken from a palliative care manual that teaches how to auscultate, palpate, feel and scrutinize the body of patients. As a counterpart, the book also contains a series of candid portraits of patients that point out, give color and shape to their own pain through a vocabulary that medical techniques resist. The pain we feel, whatever its nature, is only ours, and can only be described in our terms. Yet, medical techniques always find a way to standardize its experience, its location, its length, its demise. It is also intriguing how the palliative illustrations gain new meanings when read outside of their original context. Is that a doctor listening for sounds in his lungs? Or is that a coy gesture of affection? In looking to identify the pain, who knows more about it? Which is the more accurate description? Who can grab it and throw it away? Proposed as visual essays, the Explanation series is a collection of drawings that advance answers to an unsaid question. It is a sinuous journey, as a good essay would, and an invitation to construct meanings from what is written-drawn-embroidered. All pieces in the Explanation series are hand-embroidered and hand-bound in accordion format. My interest in embroidering books stems from the ability of embroidery to resemble ink drawings. Embroidery provides whole new dimensions, both conceptual and physical, to the act of conceiving, and interacting with, the finished book. My books aim to change our perception of the act of writing and drawing. They are labor-intensive, and they follow rigorous research on topics that are first translated into drawings on paper before they are transferred and hand-embroidered on to the cloth. As a result, they are mostly unique editions. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179386412-GZU62P4EQM5UGAPGNNFI/mcba-prize-2024-ivan-acebo-choy-Explanation-of-pain-5.jpg Entries & Jurors - 2024 Entries - Ivan Acebo-Choy Mexico https://hojadeacebo.net/ IG: @acebochi Explanation of Pain 2024 Hand assembled accordion book – Twelve hand-embroidered panels on fabric 7 x 2 x 6 Artist Statement If pain had a color, which would it be? What shape would it have? And how do we recognize pain in others when we know it is so intimate, only perceptible in our own (subjective) terms? This collection of embroidered drawings consists of illustrations taken from a palliative care manual that teaches how to auscultate, palpate, feel and scrutinize the body of patients. As a counterpart, the book also contains a series of candid portraits of patients that point out, give color and shape to their own pain through a vocabulary that medical techniques resist. The pain we feel, whatever its nature, is only ours, and can only be described in our terms. Yet, medical techniques always find a way to standardize its experience, its location, its length, its demise. It is also intriguing how the palliative illustrations gain new meanings when read outside of their original context. Is that a doctor listening for sounds in his lungs? Or is that a coy gesture of affection? In looking to identify the pain, who knows more about it? Which is the more accurate description? Who can grab it and throw it away? Proposed as visual essays, the Explanation series is a collection of drawings that advance answers to an unsaid question. It is a sinuous journey, as a good essay would, and an invitation to construct meanings from what is written-drawn-embroidered. All pieces in the Explanation series are hand-embroidered and hand-bound in accordion format. My interest in embroidering books stems from the ability of embroidery to resemble ink drawings. Embroidery provides whole new dimensions, both conceptual and physical, to the act of conceiving, and interacting with, the finished book. My books aim to change our perception of the act of writing and drawing. They are labor-intensive, and they follow rigorous research on topics that are first translated into drawings on paper before they are transferred and hand-embroidered on to the cloth. As a result, they are mostly unique editions. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179380624-T9K2QUSHSGKGWJMD8K2Y/mcba-prize-2024-ivan-acebo-choy-Explanation-of-pain-2.jpg Entries & Jurors - 2024 Entries - Ivan Acebo-Choy Mexico https://hojadeacebo.net/ IG: @acebochi Explanation of Pain 2024 Hand assembled accordion book – Twelve hand-embroidered panels on fabric 7 x 2 x 6 Artist Statement If pain had a color, which would it be? What shape would it have? And how do we recognize pain in others when we know it is so intimate, only perceptible in our own (subjective) terms? This collection of embroidered drawings consists of illustrations taken from a palliative care manual that teaches how to auscultate, palpate, feel and scrutinize the body of patients. As a counterpart, the book also contains a series of candid portraits of patients that point out, give color and shape to their own pain through a vocabulary that medical techniques resist. The pain we feel, whatever its nature, is only ours, and can only be described in our terms. Yet, medical techniques always find a way to standardize its experience, its location, its length, its demise. It is also intriguing how the palliative illustrations gain new meanings when read outside of their original context. Is that a doctor listening for sounds in his lungs? Or is that a coy gesture of affection? In looking to identify the pain, who knows more about it? Which is the more accurate description? Who can grab it and throw it away? Proposed as visual essays, the Explanation series is a collection of drawings that advance answers to an unsaid question. It is a sinuous journey, as a good essay would, and an invitation to construct meanings from what is written-drawn-embroidered. All pieces in the Explanation series are hand-embroidered and hand-bound in accordion format. My interest in embroidering books stems from the ability of embroidery to resemble ink drawings. Embroidery provides whole new dimensions, both conceptual and physical, to the act of conceiving, and interacting with, the finished book. My books aim to change our perception of the act of writing and drawing. They are labor-intensive, and they follow rigorous research on topics that are first translated into drawings on paper before they are transferred and hand-embroidered on to the cloth. As a result, they are mostly unique editions. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179590891-WE7LE50ZY5THHYO3DVOE/mcba-prize-2024-Amanda-Degener-Lu-Jingren-Handmade-Path-2.jpg Entries & Jurors - 2024 Entries - Amanda Degener & Lu Jingren Minneapolis, MN Beijing, China http://www.AmandaDegener.com https://www.youtube.com/watch?v=KZAnmp7HEPk http://intergraphicview.com/dialogue/18 Handmade Path 2023 Clamshell, book cover and endsheets made with artist made handmade paper. Letterpress and offset printed. Symthe bound. 8″ x 12″ x 5″ Artist Statement The idea for Handmade Path was to invite people to answer the same six questions using their handwriting because it connects the hand, the mind, and the heart in an intimate way. There are thousands of talented international book artists, but they choose to invite paper/book artists whose paths they had intersected. The six questions included how did you begin your practice? Why do you still make paper/books? What is the difference between reading on a digital device or in a book? In what way do you understand the five senses of paper/book: vision, touch, hearing, smelling, and tasting? Share with us some moments, either breakthroughs or break downs in your work? What is your next dream project? Fifty-seven responded with handwritten letters which were photographed, images of their work, images of their hands working, and their portraits. Their letters came from Korea, Canada, Taiwan, France, Japan, Norway, but mostly the collaborators had intersected paths with artists in the United States and China. The strength of the work and wisdom of contributors speaks in the pages of this 254 page book. The camaraderie and the timing of this publication seems imperative. The politically motivated accusations of blaming China for the worldwide pandemic resulted in “China bashing” in the United States. Handmade Path, with English and Chinese text, reminds us of the universality of the creative process and reaches beyond borders improving China/US relations. The letterpress printed image for the cover is taken from original calligraphy of ancient Chinese characters communicating a hand growing out of a heart by Lu Jingren. We invite you to bring your own heart towards a beyond that is right here inside this book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179595115-YY7WPZJ7A1RDCTIBMQMM/mcba-prize-2024-Amanda-Degener-Lu-Jingren-Handmade-Path-1.jpg Entries & Jurors - 2024 Entries - Amanda Degener & Lu Jingren Minneapolis, MN Beijing, China http://www.AmandaDegener.com https://www.youtube.com/watch?v=KZAnmp7HEPk http://intergraphicview.com/dialogue/18 Handmade Path 2023 Clamshell, book cover and endsheets made with artist made handmade paper. Letterpress and offset printed. Symthe bound. 8″ x 12″ x 5″ Artist Statement The idea for Handmade Path was to invite people to answer the same six questions using their handwriting because it connects the hand, the mind, and the heart in an intimate way. There are thousands of talented international book artists, but they choose to invite paper/book artists whose paths they had intersected. The six questions included how did you begin your practice? Why do you still make paper/books? What is the difference between reading on a digital device or in a book? In what way do you understand the five senses of paper/book: vision, touch, hearing, smelling, and tasting? Share with us some moments, either breakthroughs or break downs in your work? What is your next dream project? Fifty-seven responded with handwritten letters which were photographed, images of their work, images of their hands working, and their portraits. Their letters came from Korea, Canada, Taiwan, France, Japan, Norway, but mostly the collaborators had intersected paths with artists in the United States and China. The strength of the work and wisdom of contributors speaks in the pages of this 254 page book. The camaraderie and the timing of this publication seems imperative. The politically motivated accusations of blaming China for the worldwide pandemic resulted in “China bashing” in the United States. Handmade Path, with English and Chinese text, reminds us of the universality of the creative process and reaches beyond borders improving China/US relations. The letterpress printed image for the cover is taken from original calligraphy of ancient Chinese characters communicating a hand growing out of a heart by Lu Jingren. We invite you to bring your own heart towards a beyond that is right here inside this book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179594120-HZ0TZJ6HV0PD6B8L77HO/mcba-prize-2024-Amanda-Degener-Lu-Jingren-Handmade-Path-3.jpg Entries & Jurors - 2024 Entries - Amanda Degener & Lu Jingren Minneapolis, MN Beijing, China http://www.AmandaDegener.com https://www.youtube.com/watch?v=KZAnmp7HEPk http://intergraphicview.com/dialogue/18 Handmade Path 2023 Clamshell, book cover and endsheets made with artist made handmade paper. Letterpress and offset printed. Symthe bound. 8″ x 12″ x 5″ Artist Statement The idea for Handmade Path was to invite people to answer the same six questions using their handwriting because it connects the hand, the mind, and the heart in an intimate way. There are thousands of talented international book artists, but they choose to invite paper/book artists whose paths they had intersected. The six questions included how did you begin your practice? Why do you still make paper/books? What is the difference between reading on a digital device or in a book? In what way do you understand the five senses of paper/book: vision, touch, hearing, smelling, and tasting? Share with us some moments, either breakthroughs or break downs in your work? What is your next dream project? Fifty-seven responded with handwritten letters which were photographed, images of their work, images of their hands working, and their portraits. Their letters came from Korea, Canada, Taiwan, France, Japan, Norway, but mostly the collaborators had intersected paths with artists in the United States and China. The strength of the work and wisdom of contributors speaks in the pages of this 254 page book. The camaraderie and the timing of this publication seems imperative. The politically motivated accusations of blaming China for the worldwide pandemic resulted in “China bashing” in the United States. Handmade Path, with English and Chinese text, reminds us of the universality of the creative process and reaches beyond borders improving China/US relations. The letterpress printed image for the cover is taken from original calligraphy of ancient Chinese characters communicating a hand growing out of a heart by Lu Jingren. We invite you to bring your own heart towards a beyond that is right here inside this book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179592962-ZJ1728AJZ8DV9BMVBR9Y/mcba-prize-2024-Amanda-Degener-Lu-Jingren-Handmade-Path-5.jpg Entries & Jurors - 2024 Entries - Amanda Degener & Lu Jingren Minneapolis, MN Beijing, China http://www.AmandaDegener.com https://www.youtube.com/watch?v=KZAnmp7HEPk http://intergraphicview.com/dialogue/18 Handmade Path 2023 Clamshell, book cover and endsheets made with artist made handmade paper. Letterpress and offset printed. Symthe bound. 8″ x 12″ x 5″ Artist Statement The idea for Handmade Path was to invite people to answer the same six questions using their handwriting because it connects the hand, the mind, and the heart in an intimate way. There are thousands of talented international book artists, but they choose to invite paper/book artists whose paths they had intersected. The six questions included how did you begin your practice? Why do you still make paper/books? What is the difference between reading on a digital device or in a book? In what way do you understand the five senses of paper/book: vision, touch, hearing, smelling, and tasting? Share with us some moments, either breakthroughs or break downs in your work? What is your next dream project? Fifty-seven responded with handwritten letters which were photographed, images of their work, images of their hands working, and their portraits. Their letters came from Korea, Canada, Taiwan, France, Japan, Norway, but mostly the collaborators had intersected paths with artists in the United States and China. The strength of the work and wisdom of contributors speaks in the pages of this 254 page book. The camaraderie and the timing of this publication seems imperative. The politically motivated accusations of blaming China for the worldwide pandemic resulted in “China bashing” in the United States. Handmade Path, with English and Chinese text, reminds us of the universality of the creative process and reaches beyond borders improving China/US relations. The letterpress printed image for the cover is taken from original calligraphy of ancient Chinese characters communicating a hand growing out of a heart by Lu Jingren. We invite you to bring your own heart towards a beyond that is right here inside this book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179589873-CB1SVIDRRK2H1MZ4A58B/mcba-prize-2024-Amanda-Degener-Lu-Jingren-Handmade-Path-4.jpg Entries & Jurors - 2024 Entries - Amanda Degener & Lu Jingren Minneapolis, MN Beijing, China http://www.AmandaDegener.com https://www.youtube.com/watch?v=KZAnmp7HEPk http://intergraphicview.com/dialogue/18 Handmade Path 2023 Clamshell, book cover and endsheets made with artist made handmade paper. Letterpress and offset printed. Symthe bound. 8″ x 12″ x 5″ Artist Statement The idea for Handmade Path was to invite people to answer the same six questions using their handwriting because it connects the hand, the mind, and the heart in an intimate way. There are thousands of talented international book artists, but they choose to invite paper/book artists whose paths they had intersected. The six questions included how did you begin your practice? Why do you still make paper/books? What is the difference between reading on a digital device or in a book? In what way do you understand the five senses of paper/book: vision, touch, hearing, smelling, and tasting? Share with us some moments, either breakthroughs or break downs in your work? What is your next dream project? Fifty-seven responded with handwritten letters which were photographed, images of their work, images of their hands working, and their portraits. Their letters came from Korea, Canada, Taiwan, France, Japan, Norway, but mostly the collaborators had intersected paths with artists in the United States and China. The strength of the work and wisdom of contributors speaks in the pages of this 254 page book. The camaraderie and the timing of this publication seems imperative. The politically motivated accusations of blaming China for the worldwide pandemic resulted in “China bashing” in the United States. Handmade Path, with English and Chinese text, reminds us of the universality of the creative process and reaches beyond borders improving China/US relations. The letterpress printed image for the cover is taken from original calligraphy of ancient Chinese characters communicating a hand growing out of a heart by Lu Jingren. We invite you to bring your own heart towards a beyond that is right here inside this book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179755351-A8NZSOQOIZI4SHO75CX4/mcba-prize-2024-Sarah-Evenson-Crying-Zines-1.jpg Entries & Jurors - 2024 Entries - Sarah Evenson Minneapolis, MN www.sarah-evenson.com IG: @saltysweetsarah Two Zines About Crying 2023-2024 Digital printing Each zine measures 2.5×3.75 when closed Artist Statement I am a gay, transgender book and print media artist. My work celebrates the tenderness of human connection by documenting the everyday moments and realities that are left out of the official record. Each zine I create is an invitation to enjoy what anarchaqueers call Now Time—the tender, undeniable, and above all deeply communal space of the present moment, which is the perpetual part of life that we all share and experience together. My diptych Two Zines About Crying was made in response to a period of great personal grief that encompassed the end of a romantic partnership, the loss of family due to my identity as a gay person, the continued pain of coming to terms with myself as transgender in a hostile political climate, and the death of a friend. The way my grief rested on top of the communal fallout from the pandemic led me to understand that the difficult personal feelings I had were also something that connected me deeply to others. I felt that if I flensed the details of my losses from the grief itself and made a work simply about the reality of that feeling and what it looked like in my every day life I would perhaps be able to create something that would not only resonate with other grieving people but also lend the hope that comes from knowing one is not alone. For this project, as with all my projects, I made a concerted effort both to make the work financially accessible and to distribute the work across the country through inclusion in local libraries and public collections. This is both because the goal of these pieces was to create a sense of connection around an experience which often feels isolating and because I understand that the power of the book comes directly from its circulation within the world we inhabit rather than from rarity. My practice of creating and distributing zines honors the tradition of the book as a democratic form, one which is able to reach readers across economic and distance-based barriers. Relying on contemporary methods such as digital printing and photocopying allows me to create books that fulfill this historical purpose. The result is a multifaceted practice that furthers the book as a living, vibrant, and relevant form rather than a series of crafts to be preserved without change. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179755577-RMKXFDDMXK4NBTGTCSL7/mcba-prize-2024-Sarah-Evenson-Crying-Zines-2.jpg Entries & Jurors - 2024 Entries - Sarah Evenson Minneapolis, MN www.sarah-evenson.com IG: @saltysweetsarah Two Zines About Crying 2023-2024 Digital printing Each zine measures 2.5×3.75 when closed Artist Statement I am a gay, transgender book and print media artist. My work celebrates the tenderness of human connection by documenting the everyday moments and realities that are left out of the official record. Each zine I create is an invitation to enjoy what anarchaqueers call Now Time—the tender, undeniable, and above all deeply communal space of the present moment, which is the perpetual part of life that we all share and experience together. My diptych Two Zines About Crying was made in response to a period of great personal grief that encompassed the end of a romantic partnership, the loss of family due to my identity as a gay person, the continued pain of coming to terms with myself as transgender in a hostile political climate, and the death of a friend. The way my grief rested on top of the communal fallout from the pandemic led me to understand that the difficult personal feelings I had were also something that connected me deeply to others. I felt that if I flensed the details of my losses from the grief itself and made a work simply about the reality of that feeling and what it looked like in my every day life I would perhaps be able to create something that would not only resonate with other grieving people but also lend the hope that comes from knowing one is not alone. For this project, as with all my projects, I made a concerted effort both to make the work financially accessible and to distribute the work across the country through inclusion in local libraries and public collections. This is both because the goal of these pieces was to create a sense of connection around an experience which often feels isolating and because I understand that the power of the book comes directly from its circulation within the world we inhabit rather than from rarity. My practice of creating and distributing zines honors the tradition of the book as a democratic form, one which is able to reach readers across economic and distance-based barriers. Relying on contemporary methods such as digital printing and photocopying allows me to create books that fulfill this historical purpose. The result is a multifaceted practice that furthers the book as a living, vibrant, and relevant form rather than a series of crafts to be preserved without change. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179756853-TU0K8V0TPA2Z54TK6HWG/mcba-prize-2024-Sarah-Evenson-Crying-Zines-3.jpg Entries & Jurors - 2024 Entries - Sarah Evenson Minneapolis, MN www.sarah-evenson.com IG: @saltysweetsarah Two Zines About Crying 2023-2024 Digital printing Each zine measures 2.5×3.75 when closed Artist Statement I am a gay, transgender book and print media artist. My work celebrates the tenderness of human connection by documenting the everyday moments and realities that are left out of the official record. Each zine I create is an invitation to enjoy what anarchaqueers call Now Time—the tender, undeniable, and above all deeply communal space of the present moment, which is the perpetual part of life that we all share and experience together. My diptych Two Zines About Crying was made in response to a period of great personal grief that encompassed the end of a romantic partnership, the loss of family due to my identity as a gay person, the continued pain of coming to terms with myself as transgender in a hostile political climate, and the death of a friend. The way my grief rested on top of the communal fallout from the pandemic led me to understand that the difficult personal feelings I had were also something that connected me deeply to others. I felt that if I flensed the details of my losses from the grief itself and made a work simply about the reality of that feeling and what it looked like in my every day life I would perhaps be able to create something that would not only resonate with other grieving people but also lend the hope that comes from knowing one is not alone. For this project, as with all my projects, I made a concerted effort both to make the work financially accessible and to distribute the work across the country through inclusion in local libraries and public collections. This is both because the goal of these pieces was to create a sense of connection around an experience which often feels isolating and because I understand that the power of the book comes directly from its circulation within the world we inhabit rather than from rarity. My practice of creating and distributing zines honors the tradition of the book as a democratic form, one which is able to reach readers across economic and distance-based barriers. Relying on contemporary methods such as digital printing and photocopying allows me to create books that fulfill this historical purpose. The result is a multifaceted practice that furthers the book as a living, vibrant, and relevant form rather than a series of crafts to be preserved without change. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179896625-WZDBPKDESI5JR8GPUZQ3/mcba-prize-2024-Wendy-Fernstrum-Homeland-1.jpg Entries & Jurors - 2024 Entries - Wendy Fernstrum St. Paul, MN www.fernwerks.com IG: @wendyfernstrum Homeland 2024 Intaglio, lithography, letterpress, pen and ink 9″ x 7″ x .5″ (closed); 9″ x 14″ x .25″ (open) Artist Statement The third in a series, Homeland memorializes those who died while homeless in Minnesota in 2022. In addition to listing names of the deceased, Homeland answers questions that arose for me while working on memorial books for prior years: When someone who is homeless dies, how is the body identified? How are next of kin identified? What happens to the body? My interviews with a medical examiner confirmed that some, possibly many, of the deceased are interred in a cemetery without a gravestone. Those human beings. who lived on the margins, remain unacknowledged and overlooked after death. Homeland, in addition to being a memorial, portrays an imaginary cemetery that gives visibility to and honors the deceased. Homeland is bound as a double pamphlet with a hard cover. The first pamphlet describes the process that is followed upon the death of someone who is homeless. The second pamphlet is the cemetery registry that lists the name, age, location of death and location within Homeland cemetery of each person. While the map and registry grid are letterpress printed, I wrote by hand with pen and ink the entries, speaking the name of the deceased out loud as I wrote their name. The images throughout the interior of the book, printed intaglio, are from photographs of actual cemeteries. Among them are the gravestones of two individuals who are listed in the Homeland registry. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179899765-PRKW8W9RCYVPLVR9NF0G/mcba-prize-2024-Wendy-Fernstrum-Homeland-5.jpg Entries & Jurors - 2024 Entries - Wendy Fernstrum St. Paul, MN www.fernwerks.com IG: @wendyfernstrum Homeland 2024 Intaglio, lithography, letterpress, pen and ink 9″ x 7″ x .5″ (closed); 9″ x 14″ x .25″ (open) Artist Statement The third in a series, Homeland memorializes those who died while homeless in Minnesota in 2022. In addition to listing names of the deceased, Homeland answers questions that arose for me while working on memorial books for prior years: When someone who is homeless dies, how is the body identified? How are next of kin identified? What happens to the body? My interviews with a medical examiner confirmed that some, possibly many, of the deceased are interred in a cemetery without a gravestone. Those human beings. who lived on the margins, remain unacknowledged and overlooked after death. Homeland, in addition to being a memorial, portrays an imaginary cemetery that gives visibility to and honors the deceased. Homeland is bound as a double pamphlet with a hard cover. The first pamphlet describes the process that is followed upon the death of someone who is homeless. The second pamphlet is the cemetery registry that lists the name, age, location of death and location within Homeland cemetery of each person. While the map and registry grid are letterpress printed, I wrote by hand with pen and ink the entries, speaking the name of the deceased out loud as I wrote their name. The images throughout the interior of the book, printed intaglio, are from photographs of actual cemeteries. Among them are the gravestones of two individuals who are listed in the Homeland registry. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179898754-478X5BB17IKNGORWCEJT/mcba-prize-2024-Wendy-Fernstrum-Homeland-4.jpg Entries & Jurors - 2024 Entries - Wendy Fernstrum St. Paul, MN www.fernwerks.com IG: @wendyfernstrum Homeland 2024 Intaglio, lithography, letterpress, pen and ink 9″ x 7″ x .5″ (closed); 9″ x 14″ x .25″ (open) Artist Statement The third in a series, Homeland memorializes those who died while homeless in Minnesota in 2022. In addition to listing names of the deceased, Homeland answers questions that arose for me while working on memorial books for prior years: When someone who is homeless dies, how is the body identified? How are next of kin identified? What happens to the body? My interviews with a medical examiner confirmed that some, possibly many, of the deceased are interred in a cemetery without a gravestone. Those human beings. who lived on the margins, remain unacknowledged and overlooked after death. Homeland, in addition to being a memorial, portrays an imaginary cemetery that gives visibility to and honors the deceased. Homeland is bound as a double pamphlet with a hard cover. The first pamphlet describes the process that is followed upon the death of someone who is homeless. The second pamphlet is the cemetery registry that lists the name, age, location of death and location within Homeland cemetery of each person. While the map and registry grid are letterpress printed, I wrote by hand with pen and ink the entries, speaking the name of the deceased out loud as I wrote their name. The images throughout the interior of the book, printed intaglio, are from photographs of actual cemeteries. Among them are the gravestones of two individuals who are listed in the Homeland registry. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179897670-TYNCUF00KLJEM7B8H4CE/mcba-prize-2024-Wendy-Fernstrum-Homeland-3.jpg Entries & Jurors - 2024 Entries - Wendy Fernstrum St. Paul, MN www.fernwerks.com IG: @wendyfernstrum Homeland 2024 Intaglio, lithography, letterpress, pen and ink 9″ x 7″ x .5″ (closed); 9″ x 14″ x .25″ (open) Artist Statement The third in a series, Homeland memorializes those who died while homeless in Minnesota in 2022. In addition to listing names of the deceased, Homeland answers questions that arose for me while working on memorial books for prior years: When someone who is homeless dies, how is the body identified? How are next of kin identified? What happens to the body? My interviews with a medical examiner confirmed that some, possibly many, of the deceased are interred in a cemetery without a gravestone. Those human beings. who lived on the margins, remain unacknowledged and overlooked after death. Homeland, in addition to being a memorial, portrays an imaginary cemetery that gives visibility to and honors the deceased. Homeland is bound as a double pamphlet with a hard cover. The first pamphlet describes the process that is followed upon the death of someone who is homeless. The second pamphlet is the cemetery registry that lists the name, age, location of death and location within Homeland cemetery of each person. While the map and registry grid are letterpress printed, I wrote by hand with pen and ink the entries, speaking the name of the deceased out loud as I wrote their name. The images throughout the interior of the book, printed intaglio, are from photographs of actual cemeteries. Among them are the gravestones of two individuals who are listed in the Homeland registry. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773179895638-4YVW0HUU8DX0J3L1TUTI/mcba-prize-2024-Wendy-Fernstrum-Homeland-2.jpg Entries & Jurors - 2024 Entries - Wendy Fernstrum St. Paul, MN www.fernwerks.com IG: @wendyfernstrum Homeland 2024 Intaglio, lithography, letterpress, pen and ink 9″ x 7″ x .5″ (closed); 9″ x 14″ x .25″ (open) Artist Statement The third in a series, Homeland memorializes those who died while homeless in Minnesota in 2022. In addition to listing names of the deceased, Homeland answers questions that arose for me while working on memorial books for prior years: When someone who is homeless dies, how is the body identified? How are next of kin identified? What happens to the body? My interviews with a medical examiner confirmed that some, possibly many, of the deceased are interred in a cemetery without a gravestone. Those human beings. who lived on the margins, remain unacknowledged and overlooked after death. Homeland, in addition to being a memorial, portrays an imaginary cemetery that gives visibility to and honors the deceased. Homeland is bound as a double pamphlet with a hard cover. The first pamphlet describes the process that is followed upon the death of someone who is homeless. The second pamphlet is the cemetery registry that lists the name, age, location of death and location within Homeland cemetery of each person. While the map and registry grid are letterpress printed, I wrote by hand with pen and ink the entries, speaking the name of the deceased out loud as I wrote their name. The images throughout the interior of the book, printed intaglio, are from photographs of actual cemeteries. Among them are the gravestones of two individuals who are listed in the Homeland registry. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180041898-2CEH77P384X9SR4NUND7/mcba-prize-2024-Maggie-Minor-Fingerprints-2.jpg Entries & Jurors - 2024 Entries - Maggie Minor Wilder, VT IG: @maggieminor3 Fingerprints 2023 Risograph, letterpress, laser print 6 in x 9 in Artist Statement Fingerprints explores memory through a collection of photographs and items that were collected from 2016 to 2022. It features images from real and imagined places by the use of photo manipulation. Soft layers of color, blurred lines, and crisp pixels move through the pages like flashbacks and dreams. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180044126-0NQFS2A4J354GNCIJVC7/mcba-prize-2024-Maggie-Minor-Fingerprints-3.jpg Entries & Jurors - 2024 Entries - Maggie Minor Wilder, VT IG: @maggieminor3 Fingerprints 2023 Risograph, letterpress, laser print 6 in x 9 in Artist Statement Fingerprints explores memory through a collection of photographs and items that were collected from 2016 to 2022. It features images from real and imagined places by the use of photo manipulation. Soft layers of color, blurred lines, and crisp pixels move through the pages like flashbacks and dreams. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180042588-HIIK557JKPYMWJ7ZJVBH/mcba-prize-2024-Maggie-Minor-Fingerprints-1.jpg Entries & Jurors - 2024 Entries - Maggie Minor Wilder, VT IG: @maggieminor3 Fingerprints 2023 Risograph, letterpress, laser print 6 in x 9 in Artist Statement Fingerprints explores memory through a collection of photographs and items that were collected from 2016 to 2022. It features images from real and imagined places by the use of photo manipulation. Soft layers of color, blurred lines, and crisp pixels move through the pages like flashbacks and dreams. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180045192-DQEW1WYC20C9R4HYL7MQ/mcba-prize-2024-Maggie-Minor-Fingerprints-4.jpg Entries & Jurors - 2024 Entries - Maggie Minor Wilder, VT IG: @maggieminor3 Fingerprints 2023 Risograph, letterpress, laser print 6 in x 9 in Artist Statement Fingerprints explores memory through a collection of photographs and items that were collected from 2016 to 2022. It features images from real and imagined places by the use of photo manipulation. Soft layers of color, blurred lines, and crisp pixels move through the pages like flashbacks and dreams. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180046330-N7Q5VH9BKR9CR434W4NM/mcba-prize-2024-Maggie-Minor-Fingerprints-5.jpg Entries & Jurors - 2024 Entries - Maggie Minor Wilder, VT IG: @maggieminor3 Fingerprints 2023 Risograph, letterpress, laser print 6 in x 9 in Artist Statement Fingerprints explores memory through a collection of photographs and items that were collected from 2016 to 2022. It features images from real and imagined places by the use of photo manipulation. Soft layers of color, blurred lines, and crisp pixels move through the pages like flashbacks and dreams. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180247584-D0GFPFSW5BU5G436ML8P/mcba-prize-2024-Sandra-DeLozier-Girl-Broke-Rules-3.jpg Entries & Jurors - 2024 Entries - Sandra DeLozier & Marie Abdo San Antonio, TX IG: @sandramarie453 The Girl Who Broke the Rules 2023 For the hard copy version: Book board, metal mosaic, found objects, fritted glass, linen-textured paper, watercolor paper, acrylic paint, pen, coffee stain. For the computer flip-book version: digital images 13″ x 1″ x 13″ (closed) Artist Statement With this book art, we tell the story of one Arab woman born during a time of war and religious division, who ultimately learns to break through the societal rules handed down to her. She learns her own strength and is ultimately able to recognize that the “Others” she has been warned about are in reality not so very different. Her inter-religious marriage leads to societal rejection which is only overcome by moving away from her homeland. The cover art shows our woman, multi-layered and symbolically pieced together by different media (acrylic, metal mosaic, glass) reflecting the perspectives that have left their mark on her and made a unique, individualistic self. Having already broken with many traditional rules such as the division between religions, she stands ready to tell her story; her image speaks for itself and allows the viewer to enter into the bilingual illustrated narrative (Arabic/English) and explore the inner-workings and meaning of the objects, events and beliefs of which she is made. What is the common denominator that connects this woman and how is her story related to each and every one of us and our lives? Our goal for this work is to help people find the connections and question the attitudes and unwritten rules built into us, our environment and our behavior within it. We hope with our artwork to speak for the Arab community and its glorious diversity and to introduce the human side of this culture into the exhibition conversation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180244807-YM4PD38QGVNTBS5BKCUC/mcba-prize-2024-Sandra-DeLozier-Girl-Broke-Rules-4.jpg Entries & Jurors - 2024 Entries - Sandra DeLozier & Marie Abdo San Antonio, TX IG: @sandramarie453 The Girl Who Broke the Rules 2023 For the hard copy version: Book board, metal mosaic, found objects, fritted glass, linen-textured paper, watercolor paper, acrylic paint, pen, coffee stain. For the computer flip-book version: digital images 13″ x 1″ x 13″ (closed) Artist Statement With this book art, we tell the story of one Arab woman born during a time of war and religious division, who ultimately learns to break through the societal rules handed down to her. She learns her own strength and is ultimately able to recognize that the “Others” she has been warned about are in reality not so very different. Her inter-religious marriage leads to societal rejection which is only overcome by moving away from her homeland. The cover art shows our woman, multi-layered and symbolically pieced together by different media (acrylic, metal mosaic, glass) reflecting the perspectives that have left their mark on her and made a unique, individualistic self. Having already broken with many traditional rules such as the division between religions, she stands ready to tell her story; her image speaks for itself and allows the viewer to enter into the bilingual illustrated narrative (Arabic/English) and explore the inner-workings and meaning of the objects, events and beliefs of which she is made. What is the common denominator that connects this woman and how is her story related to each and every one of us and our lives? Our goal for this work is to help people find the connections and question the attitudes and unwritten rules built into us, our environment and our behavior within it. We hope with our artwork to speak for the Arab community and its glorious diversity and to introduce the human side of this culture into the exhibition conversation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180249159-YWIHJDD5HQP1RMSZ4ORL/mcba-prize-2024-Sandra-DeLozier-Girl-Broke-Rules-1.jpg Entries & Jurors - 2024 Entries - Sandra DeLozier & Marie Abdo San Antonio, TX IG: @sandramarie453 The Girl Who Broke the Rules 2023 For the hard copy version: Book board, metal mosaic, found objects, fritted glass, linen-textured paper, watercolor paper, acrylic paint, pen, coffee stain. For the computer flip-book version: digital images 13″ x 1″ x 13″ (closed) Artist Statement With this book art, we tell the story of one Arab woman born during a time of war and religious division, who ultimately learns to break through the societal rules handed down to her. She learns her own strength and is ultimately able to recognize that the “Others” she has been warned about are in reality not so very different. Her inter-religious marriage leads to societal rejection which is only overcome by moving away from her homeland. The cover art shows our woman, multi-layered and symbolically pieced together by different media (acrylic, metal mosaic, glass) reflecting the perspectives that have left their mark on her and made a unique, individualistic self. Having already broken with many traditional rules such as the division between religions, she stands ready to tell her story; her image speaks for itself and allows the viewer to enter into the bilingual illustrated narrative (Arabic/English) and explore the inner-workings and meaning of the objects, events and beliefs of which she is made. What is the common denominator that connects this woman and how is her story related to each and every one of us and our lives? Our goal for this work is to help people find the connections and question the attitudes and unwritten rules built into us, our environment and our behavior within it. We hope with our artwork to speak for the Arab community and its glorious diversity and to introduce the human side of this culture into the exhibition conversation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180252071-N0T811AN1SASKPFK6JRY/mcba-prize-2024-Sandra-DeLozier-Girl-Broke-Rules-5.jpg Entries & Jurors - 2024 Entries - Sandra DeLozier & Marie Abdo San Antonio, TX IG: @sandramarie453 The Girl Who Broke the Rules 2023 For the hard copy version: Book board, metal mosaic, found objects, fritted glass, linen-textured paper, watercolor paper, acrylic paint, pen, coffee stain. For the computer flip-book version: digital images 13″ x 1″ x 13″ (closed) Artist Statement With this book art, we tell the story of one Arab woman born during a time of war and religious division, who ultimately learns to break through the societal rules handed down to her. She learns her own strength and is ultimately able to recognize that the “Others” she has been warned about are in reality not so very different. Her inter-religious marriage leads to societal rejection which is only overcome by moving away from her homeland. The cover art shows our woman, multi-layered and symbolically pieced together by different media (acrylic, metal mosaic, glass) reflecting the perspectives that have left their mark on her and made a unique, individualistic self. Having already broken with many traditional rules such as the division between religions, she stands ready to tell her story; her image speaks for itself and allows the viewer to enter into the bilingual illustrated narrative (Arabic/English) and explore the inner-workings and meaning of the objects, events and beliefs of which she is made. What is the common denominator that connects this woman and how is her story related to each and every one of us and our lives? Our goal for this work is to help people find the connections and question the attitudes and unwritten rules built into us, our environment and our behavior within it. We hope with our artwork to speak for the Arab community and its glorious diversity and to introduce the human side of this culture into the exhibition conversation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180251032-JFVTWK4BZP7AHZ09OR1B/mcba-prize-2024-Sandra-DeLozier-Girl-Broke-Rules-2.jpg Entries & Jurors - 2024 Entries - Sandra DeLozier & Marie Abdo San Antonio, TX IG: @sandramarie453 The Girl Who Broke the Rules 2023 For the hard copy version: Book board, metal mosaic, found objects, fritted glass, linen-textured paper, watercolor paper, acrylic paint, pen, coffee stain. For the computer flip-book version: digital images 13″ x 1″ x 13″ (closed) Artist Statement With this book art, we tell the story of one Arab woman born during a time of war and religious division, who ultimately learns to break through the societal rules handed down to her. She learns her own strength and is ultimately able to recognize that the “Others” she has been warned about are in reality not so very different. Her inter-religious marriage leads to societal rejection which is only overcome by moving away from her homeland. The cover art shows our woman, multi-layered and symbolically pieced together by different media (acrylic, metal mosaic, glass) reflecting the perspectives that have left their mark on her and made a unique, individualistic self. Having already broken with many traditional rules such as the division between religions, she stands ready to tell her story; her image speaks for itself and allows the viewer to enter into the bilingual illustrated narrative (Arabic/English) and explore the inner-workings and meaning of the objects, events and beliefs of which she is made. What is the common denominator that connects this woman and how is her story related to each and every one of us and our lives? Our goal for this work is to help people find the connections and question the attitudes and unwritten rules built into us, our environment and our behavior within it. We hope with our artwork to speak for the Arab community and its glorious diversity and to introduce the human side of this culture into the exhibition conversation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180422998-Q27X81FCCGFCU6PABGWT/mcba-prize-2024-Ben-Denzer-2222-Accidental-1.jpg Entries & Jurors - 2024 Entries - Ben Denzer New York, NY https://bendenzer.com IG: @bdenzer 2,222 Accidental Vanity Plates 2022 Paper 6 x 12 x .75 Artist Statement Book contains 2,222 photos of license plates which say things that I don’t think their owners paid for them to say. Edition of 22. Photos of every page of the book can be found here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180423043-L02M9W5ZX6BHARZI8XL4/mcba-prize-2024-Ben-Denzer-2222-Accidental-2.jpg Entries & Jurors - 2024 Entries - Ben Denzer New York, NY https://bendenzer.com IG: @bdenzer 2,222 Accidental Vanity Plates 2022 Paper 6 x 12 x .75 Artist Statement Book contains 2,222 photos of license plates which say things that I don’t think their owners paid for them to say. Edition of 22. Photos of every page of the book can be found here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180425777-EN1M5BVP7F80ZC75PLO5/mcba-prize-2024-Ben-Denzer-2222-Accidental-3.jpg Entries & Jurors - 2024 Entries - Ben Denzer New York, NY https://bendenzer.com IG: @bdenzer 2,222 Accidental Vanity Plates 2022 Paper 6 x 12 x .75 Artist Statement Book contains 2,222 photos of license plates which say things that I don’t think their owners paid for them to say. Edition of 22. Photos of every page of the book can be found here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180426112-JN09Y1IP0ULPQYQL4SOT/mcba-prize-2024-Ben-Denzer-2222-Accidental-4.jpg Entries & Jurors - 2024 Entries - Ben Denzer New York, NY https://bendenzer.com IG: @bdenzer 2,222 Accidental Vanity Plates 2022 Paper 6 x 12 x .75 Artist Statement Book contains 2,222 photos of license plates which say things that I don’t think their owners paid for them to say. Edition of 22. Photos of every page of the book can be found here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180429086-A7ESUPSS29SJ5KSAWBQ6/mcba-prize-2024-Ben-Denzer-2222-Accidental-5.jpg Entries & Jurors - 2024 Entries - Ben Denzer New York, NY https://bendenzer.com IG: @bdenzer 2,222 Accidental Vanity Plates 2022 Paper 6 x 12 x .75 Artist Statement Book contains 2,222 photos of license plates which say things that I don’t think their owners paid for them to say. Edition of 22. Photos of every page of the book can be found here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180596152-R66SZKM64YWCK7E3FU9U/mcba-prize-2024-Ben-Denzer-MFA-Thesis-5.jpg Entries & Jurors - 2024 Entries - Ben Denzer New York, NY https://bendenzer.com IG: @bdenzer RISD MFA Thesis 2023 Plastic, Paint, Tape 2400 x 1500 x 6 Artist Statement As a requirement for graduation, each MFA candidate at RISD produces a thesis book to be archived in the library. I think the graduate thesis, as a form, is a bit of a spectacle, a performance of academic accomplishment. Leaning into this, I made a thesis book that’s physically larger than the RISD library. It’s 200 x 125 ft when opened and takes at least four people to turn its pages. You can view drone documentation of the book being opened along with a list of all the people who helped make it a reality here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180589881-F1I5BL8LGCHJKZBSRVXG/mcba-prize-2024-Ben-Denzer-MFA-Thesis-1.jpg Entries & Jurors - 2024 Entries - Ben Denzer New York, NY https://bendenzer.com IG: @bdenzer RISD MFA Thesis 2023 Plastic, Paint, Tape 2400 x 1500 x 6 Artist Statement As a requirement for graduation, each MFA candidate at RISD produces a thesis book to be archived in the library. I think the graduate thesis, as a form, is a bit of a spectacle, a performance of academic accomplishment. Leaning into this, I made a thesis book that’s physically larger than the RISD library. It’s 200 x 125 ft when opened and takes at least four people to turn its pages. You can view drone documentation of the book being opened along with a list of all the people who helped make it a reality here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180590640-KVQBI2J1SOQCVQ0I6B0Z/mcba-prize-2024-Ben-Denzer-MFA-Thesis-4.jpg Entries & Jurors - 2024 Entries - Ben Denzer New York, NY https://bendenzer.com IG: @bdenzer RISD MFA Thesis 2023 Plastic, Paint, Tape 2400 x 1500 x 6 Artist Statement As a requirement for graduation, each MFA candidate at RISD produces a thesis book to be archived in the library. I think the graduate thesis, as a form, is a bit of a spectacle, a performance of academic accomplishment. Leaning into this, I made a thesis book that’s physically larger than the RISD library. It’s 200 x 125 ft when opened and takes at least four people to turn its pages. You can view drone documentation of the book being opened along with a list of all the people who helped make it a reality here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180594018-83ZNKVQSNJIJGOSJZ9VW/mcba-prize-2024-Ben-Denzer-MFA-Thesis-3.jpg Entries & Jurors - 2024 Entries - Ben Denzer New York, NY https://bendenzer.com IG: @bdenzer RISD MFA Thesis 2023 Plastic, Paint, Tape 2400 x 1500 x 6 Artist Statement As a requirement for graduation, each MFA candidate at RISD produces a thesis book to be archived in the library. I think the graduate thesis, as a form, is a bit of a spectacle, a performance of academic accomplishment. Leaning into this, I made a thesis book that’s physically larger than the RISD library. It’s 200 x 125 ft when opened and takes at least four people to turn its pages. You can view drone documentation of the book being opened along with a list of all the people who helped make it a reality here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180594110-9T1RPAZHON8ADJNTD9WZ/mcba-prize-2024-Ben-Denzer-MFA-Thesis-2.jpg Entries & Jurors - 2024 Entries - Ben Denzer New York, NY https://bendenzer.com IG: @bdenzer RISD MFA Thesis 2023 Plastic, Paint, Tape 2400 x 1500 x 6 Artist Statement As a requirement for graduation, each MFA candidate at RISD produces a thesis book to be archived in the library. I think the graduate thesis, as a form, is a bit of a spectacle, a performance of academic accomplishment. Leaning into this, I made a thesis book that’s physically larger than the RISD library. It’s 200 x 125 ft when opened and takes at least four people to turn its pages. You can view drone documentation of the book being opened along with a list of all the people who helped make it a reality here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180742622-KZCJMSH97EE0TNDTM61S/mcba-prize-2024-Mindy-Belloff-Tragedy-of-Othello-5.jpg Entries & Jurors - 2024 Entries - Mindy Belloff New York, NY www.IntimaPress.com The Tragedy of Othello / The Tragedy of Desdemona 2023 Letterpress printed Miniature books, dos-a-dos binding with letterpress printed covers, and Suminagashi marbled edges; LCD screen Video Card cinematic video (8:44 minutes) and printed accordion booklet of video credits, inside a unique custom box with 2 pull-out drawers, wrapped in book cloth Box 6-1/2 x 4 x 2-3/4, Book 3-1/2 h x 2-3/4 w x 1-3/4 d Artist Statement This new edition from Intima Press, four years in the making, is a double-bound miniature pairing of a classic 17th-century Shakespearean play, “The Tragedy of Othello, “with commentary and quoted statistics compiled by the artist in “The Tragedy of Desdemona.” By magnifying the plight of abused women and engaging in dialogue with the text of “Othello” as cultural critique, the “Desdemona” tragedy highlights issues of patriarchy and gender bias throughout centuries, while giving voice to women who have been silenced. William Shakespeare’s “Othello,” based on a 16th-century tale in Giraldi Cinthio’s “Gli Hecatommithi,” was a popular play in Elizabethan England, which still resonates today. The story begins with devotional love, an elopement, and hope for the future, interrupted by the machinations of the villain Iago, and ends in tragedy within a few days. The character of Othello, a General in the military who marries the young Lady Desdemona, becomes intensely jealous, and eventually murders her, parallels a modern Othello in the sports and television personality O.J. Simpson, who was accused of the double murders of his ex-wife Nicole Brown and her friend Ron Goldman in 1994. Both are tragic stories of jealous rage, domestic violence, male dominance, upper class privilege, and femicide. In “The Tragedy of Desdemona,” closing arguments of the legal case and diary entries of the victim are revisited, along with historic and contemporary poetry, writings from the 4th-century Nag Hammadi codices, excerpts of writings from Ovid, Dostoevsky, and Alice Walker, current news headlines, global statistics on femicide, the 2021 Supreme Court decision overturning Roe, the 1993 case of Lorena Bobbitt, and the myth of Medusa, among other texts. The two volumes are paired, “Othello” on one side, “Desdemona” on the other, sharing the same spine — a parallel with Iago’s description of marital conjugation of the beast with two backs — as the texts and various voices conjoined in dialogue are inseparable. The layered narrative continues with a video card (8:44 minutes). When opened, one views a montage of images, including short clips from film and theater productions of “Othello” (Orson Welles, Laurence Fishburne, Anthony Hopkins, and others), news headlines of sensational stories from the mid-1990’s, recent women’s marches around the #MeToo movement and Supreme Court rulings, and other relevant concerns and global statistics. The video also functions as a time capsule of a generation coming of age in the 1970’s-90’s. The two books and video are in dialog with one another and with the reader/viewer, addressing historic dichotomies, and dark, poignant social issues. The multi-layered narratives present a Pandora’s box of paradoxes, curiosity, wonder, and horrors. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180742990-8WZCE997YL0K1HN8ZD7G/mcba-prize-2024-Mindy-Belloff-Tragedy-of-Othello-2.jpg Entries & Jurors - 2024 Entries - Mindy Belloff New York, NY www.IntimaPress.com The Tragedy of Othello / The Tragedy of Desdemona 2023 Letterpress printed Miniature books, dos-a-dos binding with letterpress printed covers, and Suminagashi marbled edges; LCD screen Video Card cinematic video (8:44 minutes) and printed accordion booklet of video credits, inside a unique custom box with 2 pull-out drawers, wrapped in book cloth Box 6-1/2 x 4 x 2-3/4, Book 3-1/2 h x 2-3/4 w x 1-3/4 d Artist Statement This new edition from Intima Press, four years in the making, is a double-bound miniature pairing of a classic 17th-century Shakespearean play, “The Tragedy of Othello, “with commentary and quoted statistics compiled by the artist in “The Tragedy of Desdemona.” By magnifying the plight of abused women and engaging in dialogue with the text of “Othello” as cultural critique, the “Desdemona” tragedy highlights issues of patriarchy and gender bias throughout centuries, while giving voice to women who have been silenced. William Shakespeare’s “Othello,” based on a 16th-century tale in Giraldi Cinthio’s “Gli Hecatommithi,” was a popular play in Elizabethan England, which still resonates today. The story begins with devotional love, an elopement, and hope for the future, interrupted by the machinations of the villain Iago, and ends in tragedy within a few days. The character of Othello, a General in the military who marries the young Lady Desdemona, becomes intensely jealous, and eventually murders her, parallels a modern Othello in the sports and television personality O.J. Simpson, who was accused of the double murders of his ex-wife Nicole Brown and her friend Ron Goldman in 1994. Both are tragic stories of jealous rage, domestic violence, male dominance, upper class privilege, and femicide. In “The Tragedy of Desdemona,” closing arguments of the legal case and diary entries of the victim are revisited, along with historic and contemporary poetry, writings from the 4th-century Nag Hammadi codices, excerpts of writings from Ovid, Dostoevsky, and Alice Walker, current news headlines, global statistics on femicide, the 2021 Supreme Court decision overturning Roe, the 1993 case of Lorena Bobbitt, and the myth of Medusa, among other texts. The two volumes are paired, “Othello” on one side, “Desdemona” on the other, sharing the same spine — a parallel with Iago’s description of marital conjugation of the beast with two backs — as the texts and various voices conjoined in dialogue are inseparable. The layered narrative continues with a video card (8:44 minutes). When opened, one views a montage of images, including short clips from film and theater productions of “Othello” (Orson Welles, Laurence Fishburne, Anthony Hopkins, and others), news headlines of sensational stories from the mid-1990’s, recent women’s marches around the #MeToo movement and Supreme Court rulings, and other relevant concerns and global statistics. The video also functions as a time capsule of a generation coming of age in the 1970’s-90’s. The two books and video are in dialog with one another and with the reader/viewer, addressing historic dichotomies, and dark, poignant social issues. The multi-layered narratives present a Pandora’s box of paradoxes, curiosity, wonder, and horrors. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180744096-M8O02JSHQGVMSNQN0367/mcba-prize-2024-Mindy-Belloff-Tragedy-of-Othello-3.jpg Entries & Jurors - 2024 Entries - Mindy Belloff New York, NY www.IntimaPress.com The Tragedy of Othello / The Tragedy of Desdemona 2023 Letterpress printed Miniature books, dos-a-dos binding with letterpress printed covers, and Suminagashi marbled edges; LCD screen Video Card cinematic video (8:44 minutes) and printed accordion booklet of video credits, inside a unique custom box with 2 pull-out drawers, wrapped in book cloth Box 6-1/2 x 4 x 2-3/4, Book 3-1/2 h x 2-3/4 w x 1-3/4 d Artist Statement This new edition from Intima Press, four years in the making, is a double-bound miniature pairing of a classic 17th-century Shakespearean play, “The Tragedy of Othello, “with commentary and quoted statistics compiled by the artist in “The Tragedy of Desdemona.” By magnifying the plight of abused women and engaging in dialogue with the text of “Othello” as cultural critique, the “Desdemona” tragedy highlights issues of patriarchy and gender bias throughout centuries, while giving voice to women who have been silenced. William Shakespeare’s “Othello,” based on a 16th-century tale in Giraldi Cinthio’s “Gli Hecatommithi,” was a popular play in Elizabethan England, which still resonates today. The story begins with devotional love, an elopement, and hope for the future, interrupted by the machinations of the villain Iago, and ends in tragedy within a few days. The character of Othello, a General in the military who marries the young Lady Desdemona, becomes intensely jealous, and eventually murders her, parallels a modern Othello in the sports and television personality O.J. Simpson, who was accused of the double murders of his ex-wife Nicole Brown and her friend Ron Goldman in 1994. Both are tragic stories of jealous rage, domestic violence, male dominance, upper class privilege, and femicide. In “The Tragedy of Desdemona,” closing arguments of the legal case and diary entries of the victim are revisited, along with historic and contemporary poetry, writings from the 4th-century Nag Hammadi codices, excerpts of writings from Ovid, Dostoevsky, and Alice Walker, current news headlines, global statistics on femicide, the 2021 Supreme Court decision overturning Roe, the 1993 case of Lorena Bobbitt, and the myth of Medusa, among other texts. The two volumes are paired, “Othello” on one side, “Desdemona” on the other, sharing the same spine — a parallel with Iago’s description of marital conjugation of the beast with two backs — as the texts and various voices conjoined in dialogue are inseparable. The layered narrative continues with a video card (8:44 minutes). When opened, one views a montage of images, including short clips from film and theater productions of “Othello” (Orson Welles, Laurence Fishburne, Anthony Hopkins, and others), news headlines of sensational stories from the mid-1990’s, recent women’s marches around the #MeToo movement and Supreme Court rulings, and other relevant concerns and global statistics. The video also functions as a time capsule of a generation coming of age in the 1970’s-90’s. The two books and video are in dialog with one another and with the reader/viewer, addressing historic dichotomies, and dark, poignant social issues. The multi-layered narratives present a Pandora’s box of paradoxes, curiosity, wonder, and horrors. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180745694-GREIOP99YM9BXAUXYFFN/mcba-prize-2024-Mindy-Belloff-Tragedy-of-Othello-4.jpg Entries & Jurors - 2024 Entries - Mindy Belloff New York, NY www.IntimaPress.com The Tragedy of Othello / The Tragedy of Desdemona 2023 Letterpress printed Miniature books, dos-a-dos binding with letterpress printed covers, and Suminagashi marbled edges; LCD screen Video Card cinematic video (8:44 minutes) and printed accordion booklet of video credits, inside a unique custom box with 2 pull-out drawers, wrapped in book cloth Box 6-1/2 x 4 x 2-3/4, Book 3-1/2 h x 2-3/4 w x 1-3/4 d Artist Statement This new edition from Intima Press, four years in the making, is a double-bound miniature pairing of a classic 17th-century Shakespearean play, “The Tragedy of Othello, “with commentary and quoted statistics compiled by the artist in “The Tragedy of Desdemona.” By magnifying the plight of abused women and engaging in dialogue with the text of “Othello” as cultural critique, the “Desdemona” tragedy highlights issues of patriarchy and gender bias throughout centuries, while giving voice to women who have been silenced. William Shakespeare’s “Othello,” based on a 16th-century tale in Giraldi Cinthio’s “Gli Hecatommithi,” was a popular play in Elizabethan England, which still resonates today. The story begins with devotional love, an elopement, and hope for the future, interrupted by the machinations of the villain Iago, and ends in tragedy within a few days. The character of Othello, a General in the military who marries the young Lady Desdemona, becomes intensely jealous, and eventually murders her, parallels a modern Othello in the sports and television personality O.J. Simpson, who was accused of the double murders of his ex-wife Nicole Brown and her friend Ron Goldman in 1994. Both are tragic stories of jealous rage, domestic violence, male dominance, upper class privilege, and femicide. In “The Tragedy of Desdemona,” closing arguments of the legal case and diary entries of the victim are revisited, along with historic and contemporary poetry, writings from the 4th-century Nag Hammadi codices, excerpts of writings from Ovid, Dostoevsky, and Alice Walker, current news headlines, global statistics on femicide, the 2021 Supreme Court decision overturning Roe, the 1993 case of Lorena Bobbitt, and the myth of Medusa, among other texts. The two volumes are paired, “Othello” on one side, “Desdemona” on the other, sharing the same spine — a parallel with Iago’s description of marital conjugation of the beast with two backs — as the texts and various voices conjoined in dialogue are inseparable. The layered narrative continues with a video card (8:44 minutes). When opened, one views a montage of images, including short clips from film and theater productions of “Othello” (Orson Welles, Laurence Fishburne, Anthony Hopkins, and others), news headlines of sensational stories from the mid-1990’s, recent women’s marches around the #MeToo movement and Supreme Court rulings, and other relevant concerns and global statistics. The video also functions as a time capsule of a generation coming of age in the 1970’s-90’s. The two books and video are in dialog with one another and with the reader/viewer, addressing historic dichotomies, and dark, poignant social issues. The multi-layered narratives present a Pandora’s box of paradoxes, curiosity, wonder, and horrors. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773180746605-MVNPL5Q6B4TSUOFGIBSF/mcba-prize-2024-Mindy-Belloff-Tragedy-of-Othello-1.jpg Entries & Jurors - 2024 Entries - Mindy Belloff New York, NY www.IntimaPress.com The Tragedy of Othello / The Tragedy of Desdemona 2023 Letterpress printed Miniature books, dos-a-dos binding with letterpress printed covers, and Suminagashi marbled edges; LCD screen Video Card cinematic video (8:44 minutes) and printed accordion booklet of video credits, inside a unique custom box with 2 pull-out drawers, wrapped in book cloth Box 6-1/2 x 4 x 2-3/4, Book 3-1/2 h x 2-3/4 w x 1-3/4 d Artist Statement This new edition from Intima Press, four years in the making, is a double-bound miniature pairing of a classic 17th-century Shakespearean play, “The Tragedy of Othello, “with commentary and quoted statistics compiled by the artist in “The Tragedy of Desdemona.” By magnifying the plight of abused women and engaging in dialogue with the text of “Othello” as cultural critique, the “Desdemona” tragedy highlights issues of patriarchy and gender bias throughout centuries, while giving voice to women who have been silenced. William Shakespeare’s “Othello,” based on a 16th-century tale in Giraldi Cinthio’s “Gli Hecatommithi,” was a popular play in Elizabethan England, which still resonates today. The story begins with devotional love, an elopement, and hope for the future, interrupted by the machinations of the villain Iago, and ends in tragedy within a few days. The character of Othello, a General in the military who marries the young Lady Desdemona, becomes intensely jealous, and eventually murders her, parallels a modern Othello in the sports and television personality O.J. Simpson, who was accused of the double murders of his ex-wife Nicole Brown and her friend Ron Goldman in 1994. Both are tragic stories of jealous rage, domestic violence, male dominance, upper class privilege, and femicide. In “The Tragedy of Desdemona,” closing arguments of the legal case and diary entries of the victim are revisited, along with historic and contemporary poetry, writings from the 4th-century Nag Hammadi codices, excerpts of writings from Ovid, Dostoevsky, and Alice Walker, current news headlines, global statistics on femicide, the 2021 Supreme Court decision overturning Roe, the 1993 case of Lorena Bobbitt, and the myth of Medusa, among other texts. The two volumes are paired, “Othello” on one side, “Desdemona” on the other, sharing the same spine — a parallel with Iago’s description of marital conjugation of the beast with two backs — as the texts and various voices conjoined in dialogue are inseparable. The layered narrative continues with a video card (8:44 minutes). When opened, one views a montage of images, including short clips from film and theater productions of “Othello” (Orson Welles, Laurence Fishburne, Anthony Hopkins, and others), news headlines of sensational stories from the mid-1990’s, recent women’s marches around the #MeToo movement and Supreme Court rulings, and other relevant concerns and global statistics. The video also functions as a time capsule of a generation coming of age in the 1970’s-90’s. The two books and video are in dialog with one another and with the reader/viewer, addressing historic dichotomies, and dark, poignant social issues. The multi-layered narratives present a Pandora’s box of paradoxes, curiosity, wonder, and horrors. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773331798012-IZU43W42VNVD67QY5KEH/mcba-prize-2024-Peter-Malutzki-Some-Buildings-1.jpg Entries & Jurors - 2024 Entries - Peter Malutzki Germany www.peter-malutzki.de Some Buildings on the Streets of Kharkiv 2023 Accordion in slipcase 18/24/1,6 cm Artist Statement Ed Ruscha’s iconic artist’s book EVERY BUILDING ON THE SUNSET STRIP from 1966 is today considered a precursor to conceptual artists’ books; it is viewed in the context of Duchamps’ ready-mades and Warhol’s serial works, and it is a sought-after collector’s item. Ruscha’s concertina has inspired a number of new versions. My intention was to use the external form of the famous artist’s book with completely different content. SOME BUILDINGS ON THE STREETS OF KHARKIV shows images of buildings in the Ukrainian city of Kharkiv that have been damaged or destroyed by Russian attacks. While Ruscha’s book places house numbers under the photographs, I used excerpts from the English translation of a presidential address by Vladimir Putin that he gave on February 21, 2023 (taken from the Kremlin website). As in earlier speeches, he blames the West and NATO for the war in Ukraine. . . . One year ago . . . to eliminate the threat coming from the neo-Nazi regime in Ukraine . . . decided to begin the special military operation . . .In the meantime we were doing everything in our power to solve this problem by peaceful means . . . The United States and NATO quickly deployed their army bases and secret biological laboratories near Russian borders . . . Let me reiterate that they were the ones who started this war, while we used force and are using it to stop the war . . . https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773331797944-1VMD3ZS8VCOCGQ54OF13/mcba-prize-2024-Peter-Malutzki-Some-Buildings-2.jpg Entries & Jurors - 2024 Entries - Peter Malutzki Germany www.peter-malutzki.de Some Buildings on the Streets of Kharkiv 2023 Accordion in slipcase 18/24/1,6 cm Artist Statement Ed Ruscha’s iconic artist’s book EVERY BUILDING ON THE SUNSET STRIP from 1966 is today considered a precursor to conceptual artists’ books; it is viewed in the context of Duchamps’ ready-mades and Warhol’s serial works, and it is a sought-after collector’s item. Ruscha’s concertina has inspired a number of new versions. My intention was to use the external form of the famous artist’s book with completely different content. SOME BUILDINGS ON THE STREETS OF KHARKIV shows images of buildings in the Ukrainian city of Kharkiv that have been damaged or destroyed by Russian attacks. While Ruscha’s book places house numbers under the photographs, I used excerpts from the English translation of a presidential address by Vladimir Putin that he gave on February 21, 2023 (taken from the Kremlin website). As in earlier speeches, he blames the West and NATO for the war in Ukraine. . . . One year ago . . . to eliminate the threat coming from the neo-Nazi regime in Ukraine . . . decided to begin the special military operation . . .In the meantime we were doing everything in our power to solve this problem by peaceful means . . . The United States and NATO quickly deployed their army bases and secret biological laboratories near Russian borders . . . Let me reiterate that they were the ones who started this war, while we used force and are using it to stop the war . . . https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773331799671-6QKCJPUMM8V1B068ACDT/mcba-prize-2024-Peter-Malutzki-Some-Buildings-3.jpg Entries & Jurors - 2024 Entries - Peter Malutzki Germany www.peter-malutzki.de Some Buildings on the Streets of Kharkiv 2023 Accordion in slipcase 18/24/1,6 cm Artist Statement Ed Ruscha’s iconic artist’s book EVERY BUILDING ON THE SUNSET STRIP from 1966 is today considered a precursor to conceptual artists’ books; it is viewed in the context of Duchamps’ ready-mades and Warhol’s serial works, and it is a sought-after collector’s item. Ruscha’s concertina has inspired a number of new versions. My intention was to use the external form of the famous artist’s book with completely different content. SOME BUILDINGS ON THE STREETS OF KHARKIV shows images of buildings in the Ukrainian city of Kharkiv that have been damaged or destroyed by Russian attacks. While Ruscha’s book places house numbers under the photographs, I used excerpts from the English translation of a presidential address by Vladimir Putin that he gave on February 21, 2023 (taken from the Kremlin website). As in earlier speeches, he blames the West and NATO for the war in Ukraine. . . . One year ago . . . to eliminate the threat coming from the neo-Nazi regime in Ukraine . . . decided to begin the special military operation . . .In the meantime we were doing everything in our power to solve this problem by peaceful means . . . The United States and NATO quickly deployed their army bases and secret biological laboratories near Russian borders . . . Let me reiterate that they were the ones who started this war, while we used force and are using it to stop the war . . . https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773331799788-YT1JACDNO244Y1ANMHKU/mcba-prize-2024-Peter-Malutzki-Some-Buildings-4.jpg Entries & Jurors - 2024 Entries - Peter Malutzki Germany www.peter-malutzki.de Some Buildings on the Streets of Kharkiv 2023 Accordion in slipcase 18/24/1,6 cm Artist Statement Ed Ruscha’s iconic artist’s book EVERY BUILDING ON THE SUNSET STRIP from 1966 is today considered a precursor to conceptual artists’ books; it is viewed in the context of Duchamps’ ready-mades and Warhol’s serial works, and it is a sought-after collector’s item. Ruscha’s concertina has inspired a number of new versions. My intention was to use the external form of the famous artist’s book with completely different content. SOME BUILDINGS ON THE STREETS OF KHARKIV shows images of buildings in the Ukrainian city of Kharkiv that have been damaged or destroyed by Russian attacks. While Ruscha’s book places house numbers under the photographs, I used excerpts from the English translation of a presidential address by Vladimir Putin that he gave on February 21, 2023 (taken from the Kremlin website). As in earlier speeches, he blames the West and NATO for the war in Ukraine. . . . One year ago . . . to eliminate the threat coming from the neo-Nazi regime in Ukraine . . . decided to begin the special military operation . . .In the meantime we were doing everything in our power to solve this problem by peaceful means . . . The United States and NATO quickly deployed their army bases and secret biological laboratories near Russian borders . . . Let me reiterate that they were the ones who started this war, while we used force and are using it to stop the war . . . https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773331800947-IEILSHEXANPEWOBMB5BF/mcba-prize-2024-Peter-Malutzki-Some-Buildings-5.jpg Entries & Jurors - 2024 Entries - Peter Malutzki Germany www.peter-malutzki.de Some Buildings on the Streets of Kharkiv 2023 Accordion in slipcase 18/24/1,6 cm Artist Statement Ed Ruscha’s iconic artist’s book EVERY BUILDING ON THE SUNSET STRIP from 1966 is today considered a precursor to conceptual artists’ books; it is viewed in the context of Duchamps’ ready-mades and Warhol’s serial works, and it is a sought-after collector’s item. Ruscha’s concertina has inspired a number of new versions. My intention was to use the external form of the famous artist’s book with completely different content. SOME BUILDINGS ON THE STREETS OF KHARKIV shows images of buildings in the Ukrainian city of Kharkiv that have been damaged or destroyed by Russian attacks. While Ruscha’s book places house numbers under the photographs, I used excerpts from the English translation of a presidential address by Vladimir Putin that he gave on February 21, 2023 (taken from the Kremlin website). As in earlier speeches, he blames the West and NATO for the war in Ukraine. . . . One year ago . . . to eliminate the threat coming from the neo-Nazi regime in Ukraine . . . decided to begin the special military operation . . .In the meantime we were doing everything in our power to solve this problem by peaceful means . . . The United States and NATO quickly deployed their army bases and secret biological laboratories near Russian borders . . . Let me reiterate that they were the ones who started this war, while we used force and are using it to stop the war . . . https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773334079086-912GFP7Z72FDUC34PEVX/mcba-prize-2024-Magdeleine-ferru-marjon-mudde-Hour-Twelve-5.jpg Entries & Jurors - 2024 Entries - Magdéleine Ferru & Marjon Mudde USA France www.justmagd.com https://artmarjonmudde.wordpress.com/ Hour Twelve 2023 Photography and letterpress 8,3 x 8,3 x 1 (closed) Artist Statement Artist book designed by Magdéleine Ferru and Marjon Mudde including a poem by Myrtle Marie Marmaduke (1898-1992), Denver CO, USA, published in 1991 in « After Many Million Heartbeats » (Peregrine Smith Books). Three generations of women creators connected by the theme of this book. A nostalgic poem allowing multiple layers of comprehension about love and life from birth untill old age. The author employs metaphores of the forces of Nature, which inspired the layered visuals, held in an elegant sober binding. Design and layout by Marjon Mudde and Magdéleine Ferru Photography and digital layering by Magdéleine Ferru Digital printing par by Marc Jeanneteau Hand printed letterpress by Marjon Mudde, who also designed and handbound the open binding using the « ladder stitch » Edition of six, numbered and signed by both artists https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773334074216-CNCWV27RP0JANYGQDCBP/mcba-prize-2024-Magdeleine-ferru-marjon-mudde-Hour-Twelve-2.jpg Entries & Jurors - 2024 Entries - Magdéleine Ferru & Marjon Mudde USA France www.justmagd.com https://artmarjonmudde.wordpress.com/ Hour Twelve 2023 Photography and letterpress 8,3 x 8,3 x 1 (closed) Artist Statement Artist book designed by Magdéleine Ferru and Marjon Mudde including a poem by Myrtle Marie Marmaduke (1898-1992), Denver CO, USA, published in 1991 in « After Many Million Heartbeats » (Peregrine Smith Books). Three generations of women creators connected by the theme of this book. A nostalgic poem allowing multiple layers of comprehension about love and life from birth untill old age. The author employs metaphores of the forces of Nature, which inspired the layered visuals, held in an elegant sober binding. Design and layout by Marjon Mudde and Magdéleine Ferru Photography and digital layering by Magdéleine Ferru Digital printing par by Marc Jeanneteau Hand printed letterpress by Marjon Mudde, who also designed and handbound the open binding using the « ladder stitch » Edition of six, numbered and signed by both artists https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773334077095-M4PSNGE9CIBP2Y79UNWJ/mcba-prize-2024-Magdeleine-ferru-marjon-mudde-Hour-Twelve-4.jpg Entries & Jurors - 2024 Entries - Magdéleine Ferru & Marjon Mudde USA France www.justmagd.com https://artmarjonmudde.wordpress.com/ Hour Twelve 2023 Photography and letterpress 8,3 x 8,3 x 1 (closed) Artist Statement Artist book designed by Magdéleine Ferru and Marjon Mudde including a poem by Myrtle Marie Marmaduke (1898-1992), Denver CO, USA, published in 1991 in « After Many Million Heartbeats » (Peregrine Smith Books). Three generations of women creators connected by the theme of this book. A nostalgic poem allowing multiple layers of comprehension about love and life from birth untill old age. The author employs metaphores of the forces of Nature, which inspired the layered visuals, held in an elegant sober binding. Design and layout by Marjon Mudde and Magdéleine Ferru Photography and digital layering by Magdéleine Ferru Digital printing par by Marc Jeanneteau Hand printed letterpress by Marjon Mudde, who also designed and handbound the open binding using the « ladder stitch » Edition of six, numbered and signed by both artists https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773334076540-6NAY72ZAZISPK9SNHQVL/mcba-prize-2024-Magdeleine-ferru-marjon-mudde-Hour-Twelve-3.jpg Entries & Jurors - 2024 Entries - Magdéleine Ferru & Marjon Mudde USA France www.justmagd.com https://artmarjonmudde.wordpress.com/ Hour Twelve 2023 Photography and letterpress 8,3 x 8,3 x 1 (closed) Artist Statement Artist book designed by Magdéleine Ferru and Marjon Mudde including a poem by Myrtle Marie Marmaduke (1898-1992), Denver CO, USA, published in 1991 in « After Many Million Heartbeats » (Peregrine Smith Books). Three generations of women creators connected by the theme of this book. A nostalgic poem allowing multiple layers of comprehension about love and life from birth untill old age. The author employs metaphores of the forces of Nature, which inspired the layered visuals, held in an elegant sober binding. Design and layout by Marjon Mudde and Magdéleine Ferru Photography and digital layering by Magdéleine Ferru Digital printing par by Marc Jeanneteau Hand printed letterpress by Marjon Mudde, who also designed and handbound the open binding using the « ladder stitch » Edition of six, numbered and signed by both artists https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773334073772-P7O0BAQ00VJVOT4WCMNO/mcba-prize-2024-Magdeleine-ferru-marjon-mudde-Hour-Twelve-1.jpg Entries & Jurors - 2024 Entries - Magdéleine Ferru & Marjon Mudde USA France www.justmagd.com https://artmarjonmudde.wordpress.com/ Hour Twelve 2023 Photography and letterpress 8,3 x 8,3 x 1 (closed) Artist Statement Artist book designed by Magdéleine Ferru and Marjon Mudde including a poem by Myrtle Marie Marmaduke (1898-1992), Denver CO, USA, published in 1991 in « After Many Million Heartbeats » (Peregrine Smith Books). Three generations of women creators connected by the theme of this book. A nostalgic poem allowing multiple layers of comprehension about love and life from birth untill old age. The author employs metaphores of the forces of Nature, which inspired the layered visuals, held in an elegant sober binding. Design and layout by Marjon Mudde and Magdéleine Ferru Photography and digital layering by Magdéleine Ferru Digital printing par by Marc Jeanneteau Hand printed letterpress by Marjon Mudde, who also designed and handbound the open binding using the « ladder stitch » Edition of six, numbered and signed by both artists https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773334313141-IGBPWZ5B9J2Y3U9TB3U8/mcba-prize-2024-Danny-Rosenberg-Joe-Is-Dead-1.jpg Entries & Jurors - 2024 Entries - Danny Rosenberg & Cassondra Cunningham Boston, MA www.joeisdead.xyz www.dannyrosenberg.me www.cassondracunningham.com Joe is Dead. (And We HaveKilled Him) 2024 Book 6 1/32 x 1.562 x 9 7/32 in Artist Statement Hello, dear reader, I’m Cassondra Cunningham, the mind behind works such as ‘Likki Licked’, ‘The Holy Bible: Bedroom Edition’, and now, ‘Joe is Dead.’ Here’s the sitch: you’re about to dive into a book that skewers the sacred cow of consumerism with a wink, a nudge, and yes, a side of shoestring fries. This isn’t just a book; it’s a riotous journey through a supermarket of existential angst, wedged between the display of baked kale chips and artisanal cheeses. ‘Joe is Dead.’ is a playground of dark humor and philosophical musings, its complex structure demanding that you flip, rotate, and perhaps nibble on the pages to keep pace. Indeed, the structure of this book itself is a cheeky rebellion against convention and a great way to drive up printing costs. Imagine a supermarket where existential dread is on clearance, nestled between seasonal produce and frozen cauliflower gnocchi. ‘Why would I shop at a store so overwhelmed with existential dread that they have to slash prices just to clear it from the store?’ you ask. ‘Because what Cassondra says goes,’ I reply, pushing you in a shopping cart down the liminal aisles of despair. ‘Neat,’ you say, as I wax poetic on the origins of Traitor Joe’s, your (not so) Friendly Neighborhood Grocery Store, and explain how even the greatest of institutions must one day crumble. ‘Joe is Dead.’ plays with its format as gleefully as it messes with your mind. As you twist and turn the book (with your hands or any other appendage), engaging with tiny footnotes that lead to complete madness and strings of text that spiral into oblivion, you’re not just reading a story; you’re caught in it. Are you laughing from amusement or discomfort? You decide! Why pick up this book? Because I said so. Also, I read in a review online that it promises not just a series of hearty laughs but a poignant reflection of our corporate-driven existence. I also heard there were color pictures inside. Double neat. Ready to shake up your reading routine? From one Great American Authorette to another: buckle up, baby, it’s gonna be a wild ride. Let’s make reading dangerously fun again. Besides, depending on where you live, this book might already be banned. Better hurry – get your ‘Joe is Dead.’ today! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773334312979-4LQL8WHURKMBSF08O0S4/mcba-prize-2024-Danny-Rosenberg-Joe-Is-Dead-2.jpg Entries & Jurors - 2024 Entries - Danny Rosenberg & Cassondra Cunningham Boston, MA www.joeisdead.xyz www.dannyrosenberg.me www.cassondracunningham.com Joe is Dead. (And We HaveKilled Him) 2024 Book 6 1/32 x 1.562 x 9 7/32 in Artist Statement Hello, dear reader, I’m Cassondra Cunningham, the mind behind works such as ‘Likki Licked’, ‘The Holy Bible: Bedroom Edition’, and now, ‘Joe is Dead.’ Here’s the sitch: you’re about to dive into a book that skewers the sacred cow of consumerism with a wink, a nudge, and yes, a side of shoestring fries. This isn’t just a book; it’s a riotous journey through a supermarket of existential angst, wedged between the display of baked kale chips and artisanal cheeses. ‘Joe is Dead.’ is a playground of dark humor and philosophical musings, its complex structure demanding that you flip, rotate, and perhaps nibble on the pages to keep pace. Indeed, the structure of this book itself is a cheeky rebellion against convention and a great way to drive up printing costs. Imagine a supermarket where existential dread is on clearance, nestled between seasonal produce and frozen cauliflower gnocchi. ‘Why would I shop at a store so overwhelmed with existential dread that they have to slash prices just to clear it from the store?’ you ask. ‘Because what Cassondra says goes,’ I reply, pushing you in a shopping cart down the liminal aisles of despair. ‘Neat,’ you say, as I wax poetic on the origins of Traitor Joe’s, your (not so) Friendly Neighborhood Grocery Store, and explain how even the greatest of institutions must one day crumble. ‘Joe is Dead.’ plays with its format as gleefully as it messes with your mind. As you twist and turn the book (with your hands or any other appendage), engaging with tiny footnotes that lead to complete madness and strings of text that spiral into oblivion, you’re not just reading a story; you’re caught in it. Are you laughing from amusement or discomfort? You decide! Why pick up this book? Because I said so. Also, I read in a review online that it promises not just a series of hearty laughs but a poignant reflection of our corporate-driven existence. I also heard there were color pictures inside. Double neat. Ready to shake up your reading routine? From one Great American Authorette to another: buckle up, baby, it’s gonna be a wild ride. Let’s make reading dangerously fun again. Besides, depending on where you live, this book might already be banned. Better hurry – get your ‘Joe is Dead.’ today! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773334314573-WKOJPQXL0W8WY69P8G17/mcba-prize-2024-Danny-Rosenberg-Joe-Is-Dead-3.jpg Entries & Jurors - 2024 Entries - Danny Rosenberg & Cassondra Cunningham Boston, MA www.joeisdead.xyz www.dannyrosenberg.me www.cassondracunningham.com Joe is Dead. (And We HaveKilled Him) 2024 Book 6 1/32 x 1.562 x 9 7/32 in Artist Statement Hello, dear reader, I’m Cassondra Cunningham, the mind behind works such as ‘Likki Licked’, ‘The Holy Bible: Bedroom Edition’, and now, ‘Joe is Dead.’ Here’s the sitch: you’re about to dive into a book that skewers the sacred cow of consumerism with a wink, a nudge, and yes, a side of shoestring fries. This isn’t just a book; it’s a riotous journey through a supermarket of existential angst, wedged between the display of baked kale chips and artisanal cheeses. ‘Joe is Dead.’ is a playground of dark humor and philosophical musings, its complex structure demanding that you flip, rotate, and perhaps nibble on the pages to keep pace. Indeed, the structure of this book itself is a cheeky rebellion against convention and a great way to drive up printing costs. Imagine a supermarket where existential dread is on clearance, nestled between seasonal produce and frozen cauliflower gnocchi. ‘Why would I shop at a store so overwhelmed with existential dread that they have to slash prices just to clear it from the store?’ you ask. ‘Because what Cassondra says goes,’ I reply, pushing you in a shopping cart down the liminal aisles of despair. ‘Neat,’ you say, as I wax poetic on the origins of Traitor Joe’s, your (not so) Friendly Neighborhood Grocery Store, and explain how even the greatest of institutions must one day crumble. ‘Joe is Dead.’ plays with its format as gleefully as it messes with your mind. As you twist and turn the book (with your hands or any other appendage), engaging with tiny footnotes that lead to complete madness and strings of text that spiral into oblivion, you’re not just reading a story; you’re caught in it. Are you laughing from amusement or discomfort? You decide! Why pick up this book? Because I said so. Also, I read in a review online that it promises not just a series of hearty laughs but a poignant reflection of our corporate-driven existence. I also heard there were color pictures inside. Double neat. Ready to shake up your reading routine? From one Great American Authorette to another: buckle up, baby, it’s gonna be a wild ride. Let’s make reading dangerously fun again. Besides, depending on where you live, this book might already be banned. Better hurry – get your ‘Joe is Dead.’ today! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773334314978-5XSTBLL4KGUBWP5L0CRF/mcba-prize-2024-Danny-Rosenberg-Joe-Is-Dead-4.jpg Entries & Jurors - 2024 Entries - Danny Rosenberg & Cassondra Cunningham Boston, MA www.joeisdead.xyz www.dannyrosenberg.me www.cassondracunningham.com Joe is Dead. (And We HaveKilled Him) 2024 Book 6 1/32 x 1.562 x 9 7/32 in Artist Statement Hello, dear reader, I’m Cassondra Cunningham, the mind behind works such as ‘Likki Licked’, ‘The Holy Bible: Bedroom Edition’, and now, ‘Joe is Dead.’ Here’s the sitch: you’re about to dive into a book that skewers the sacred cow of consumerism with a wink, a nudge, and yes, a side of shoestring fries. This isn’t just a book; it’s a riotous journey through a supermarket of existential angst, wedged between the display of baked kale chips and artisanal cheeses. ‘Joe is Dead.’ is a playground of dark humor and philosophical musings, its complex structure demanding that you flip, rotate, and perhaps nibble on the pages to keep pace. Indeed, the structure of this book itself is a cheeky rebellion against convention and a great way to drive up printing costs. Imagine a supermarket where existential dread is on clearance, nestled between seasonal produce and frozen cauliflower gnocchi. ‘Why would I shop at a store so overwhelmed with existential dread that they have to slash prices just to clear it from the store?’ you ask. ‘Because what Cassondra says goes,’ I reply, pushing you in a shopping cart down the liminal aisles of despair. ‘Neat,’ you say, as I wax poetic on the origins of Traitor Joe’s, your (not so) Friendly Neighborhood Grocery Store, and explain how even the greatest of institutions must one day crumble. ‘Joe is Dead.’ plays with its format as gleefully as it messes with your mind. As you twist and turn the book (with your hands or any other appendage), engaging with tiny footnotes that lead to complete madness and strings of text that spiral into oblivion, you’re not just reading a story; you’re caught in it. Are you laughing from amusement or discomfort? You decide! Why pick up this book? Because I said so. Also, I read in a review online that it promises not just a series of hearty laughs but a poignant reflection of our corporate-driven existence. I also heard there were color pictures inside. Double neat. Ready to shake up your reading routine? From one Great American Authorette to another: buckle up, baby, it’s gonna be a wild ride. Let’s make reading dangerously fun again. Besides, depending on where you live, this book might already be banned. Better hurry – get your ‘Joe is Dead.’ today! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773334316319-KI9YQOHHF4MTYMA7LD54/mcba-prize-2024-Danny-Rosenberg-Joe-Is-Dead-5.jpg Entries & Jurors - 2024 Entries - Danny Rosenberg & Cassondra Cunningham Boston, MA www.joeisdead.xyz www.dannyrosenberg.me www.cassondracunningham.com Joe is Dead. (And We HaveKilled Him) 2024 Book 6 1/32 x 1.562 x 9 7/32 in Artist Statement Hello, dear reader, I’m Cassondra Cunningham, the mind behind works such as ‘Likki Licked’, ‘The Holy Bible: Bedroom Edition’, and now, ‘Joe is Dead.’ Here’s the sitch: you’re about to dive into a book that skewers the sacred cow of consumerism with a wink, a nudge, and yes, a side of shoestring fries. This isn’t just a book; it’s a riotous journey through a supermarket of existential angst, wedged between the display of baked kale chips and artisanal cheeses. ‘Joe is Dead.’ is a playground of dark humor and philosophical musings, its complex structure demanding that you flip, rotate, and perhaps nibble on the pages to keep pace. Indeed, the structure of this book itself is a cheeky rebellion against convention and a great way to drive up printing costs. Imagine a supermarket where existential dread is on clearance, nestled between seasonal produce and frozen cauliflower gnocchi. ‘Why would I shop at a store so overwhelmed with existential dread that they have to slash prices just to clear it from the store?’ you ask. ‘Because what Cassondra says goes,’ I reply, pushing you in a shopping cart down the liminal aisles of despair. ‘Neat,’ you say, as I wax poetic on the origins of Traitor Joe’s, your (not so) Friendly Neighborhood Grocery Store, and explain how even the greatest of institutions must one day crumble. ‘Joe is Dead.’ plays with its format as gleefully as it messes with your mind. As you twist and turn the book (with your hands or any other appendage), engaging with tiny footnotes that lead to complete madness and strings of text that spiral into oblivion, you’re not just reading a story; you’re caught in it. Are you laughing from amusement or discomfort? You decide! Why pick up this book? Because I said so. Also, I read in a review online that it promises not just a series of hearty laughs but a poignant reflection of our corporate-driven existence. I also heard there were color pictures inside. Double neat. Ready to shake up your reading routine? From one Great American Authorette to another: buckle up, baby, it’s gonna be a wild ride. Let’s make reading dangerously fun again. Besides, depending on where you live, this book might already be banned. Better hurry – get your ‘Joe is Dead.’ today! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773334532154-RRU0HH0G8J049DZ9LSXN/mcba-prize-2024-Friederike-von-hellermann-bilinguales-animalisches-alphabet-1.jpg Entries & Jurors - 2024 Entries - Friederike von Hellermann Germany www.friederike-von-hellermann.com Instagram: @friederike_von_hellermann BILINGUALes ANIMALisches ALPHABET 2023 Puzzle print, letterpress 14,5x11x0,5 Artist Statement Many years ago I had the idea of creating a Bilingual Animal Alphabet Book and this has now been completed! Having grown up in the UK myself, as the daughter of German parents, I consider myself to be totally bilingual and working with language and image is my profession. I printed the original graphic book with two-color wooden puzzle prints (I developed the process myself) by hand in an edition of 40 copies. Short biography: Friederike von Hellermann is an artist in the realms of prints, books, walls and space. Born in Essen in 1984, she first studied in London and Leipzig, then at Burg Giebichenstein University of Art and Design in Halle, where she also studied illustration and where she graduated in 2010. She lives with her husband and three bilingual children in Halle an der Saale, where she has had her studio since 2011. She has received several scholarships over the years and her work can be found in numerous private and public collections. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773334532261-2GVK8ODBL0UCY8HTFAB9/mcba-prize-2024-Friederike-von-hellermann-bilinguales-animalisches-alphabet-2.jpg Entries & Jurors - 2024 Entries - Friederike von Hellermann Germany www.friederike-von-hellermann.com Instagram: @friederike_von_hellermann BILINGUALes ANIMALisches ALPHABET 2023 Puzzle print, letterpress 14,5x11x0,5 Artist Statement Many years ago I had the idea of creating a Bilingual Animal Alphabet Book and this has now been completed! Having grown up in the UK myself, as the daughter of German parents, I consider myself to be totally bilingual and working with language and image is my profession. I printed the original graphic book with two-color wooden puzzle prints (I developed the process myself) by hand in an edition of 40 copies. Short biography: Friederike von Hellermann is an artist in the realms of prints, books, walls and space. Born in Essen in 1984, she first studied in London and Leipzig, then at Burg Giebichenstein University of Art and Design in Halle, where she also studied illustration and where she graduated in 2010. She lives with her husband and three bilingual children in Halle an der Saale, where she has had her studio since 2011. She has received several scholarships over the years and her work can be found in numerous private and public collections. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773334660194-XGKSNYVKB9N5HAQ410CM/mcba-prize-2024-Friederike-von-hellermann-bilinguales-animalisches-alphabet-3.jpg Entries & Jurors - 2024 Entries - Friederike von Hellermann Germany www.friederike-von-hellermann.com Instagram: @friederike_von_hellermann BILINGUALes ANIMALisches ALPHABET 2023 Puzzle print, letterpress 14,5x11x0,5 Artist Statement Many years ago I had the idea of creating a Bilingual Animal Alphabet Book and this has now been completed! Having grown up in the UK myself, as the daughter of German parents, I consider myself to be totally bilingual and working with language and image is my profession. I printed the original graphic book with two-color wooden puzzle prints (I developed the process myself) by hand in an edition of 40 copies. Short biography: Friederike von Hellermann is an artist in the realms of prints, books, walls and space. Born in Essen in 1984, she first studied in London and Leipzig, then at Burg Giebichenstein University of Art and Design in Halle, where she also studied illustration and where she graduated in 2010. She lives with her husband and three bilingual children in Halle an der Saale, where she has had her studio since 2011. She has received several scholarships over the years and her work can be found in numerous private and public collections. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773334660214-KVN3E72M6U3WZVMJPG20/mcba-prize-2024-Friederike-von-hellermann-bilinguales-animalisches-alphabet-4.jpg Entries & Jurors - 2024 Entries - Friederike von Hellermann Germany www.friederike-von-hellermann.com Instagram: @friederike_von_hellermann BILINGUALes ANIMALisches ALPHABET 2023 Puzzle print, letterpress 14,5x11x0,5 Artist Statement Many years ago I had the idea of creating a Bilingual Animal Alphabet Book and this has now been completed! Having grown up in the UK myself, as the daughter of German parents, I consider myself to be totally bilingual and working with language and image is my profession. I printed the original graphic book with two-color wooden puzzle prints (I developed the process myself) by hand in an edition of 40 copies. Short biography: Friederike von Hellermann is an artist in the realms of prints, books, walls and space. Born in Essen in 1984, she first studied in London and Leipzig, then at Burg Giebichenstein University of Art and Design in Halle, where she also studied illustration and where she graduated in 2010. She lives with her husband and three bilingual children in Halle an der Saale, where she has had her studio since 2011. She has received several scholarships over the years and her work can be found in numerous private and public collections. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773334661931-O3YC2IIH07F57Z0Q571S/mcba-prize-2024-Friederike-von-hellermann-bilinguales-animalisches-alphabet-5.jpg Entries & Jurors - 2024 Entries - Friederike von Hellermann Germany www.friederike-von-hellermann.com Instagram: @friederike_von_hellermann BILINGUALes ANIMALisches ALPHABET 2023 Puzzle print, letterpress 14,5x11x0,5 Artist Statement Many years ago I had the idea of creating a Bilingual Animal Alphabet Book and this has now been completed! Having grown up in the UK myself, as the daughter of German parents, I consider myself to be totally bilingual and working with language and image is my profession. I printed the original graphic book with two-color wooden puzzle prints (I developed the process myself) by hand in an edition of 40 copies. Short biography: Friederike von Hellermann is an artist in the realms of prints, books, walls and space. Born in Essen in 1984, she first studied in London and Leipzig, then at Burg Giebichenstein University of Art and Design in Halle, where she also studied illustration and where she graduated in 2010. She lives with her husband and three bilingual children in Halle an der Saale, where she has had her studio since 2011. She has received several scholarships over the years and her work can be found in numerous private and public collections. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773335256466-EG8IEOCZJOM6V02Y796U/mcba-prize-2024-mara-adamitz-scrupe-tell-self-observations-of-aparamnesiac-1.jpg Entries & Jurors - 2024 Entries - Mara Adamitz Scrupe New Canton, VA https://www.scrupe.com https://www.instagram.com/marascrupe/ TELL (self-observations of a paramnesiac) 2024 Tooled and gilded French goatskin binding, gilded book fastener, hand embroidered title plate, original poem, original prairie drawings (oil stick, charcoal, pastel, graphite on paper), mulberry and other specialty papers, digitally printed 13.5″ x 10.5″ x 1.5″ (closed) Artist Statement TELL (self-observations of a paramnesiac) is inspired by ancient craft, specifically the medieval codex, and bound and decorated with stylized leather tooling and gold and silver gilding. Archaic, even anachronistic, my purpose in employing this approach is to suggest historic, ongoing human relationships with elevated craft, alongside an almost undeniable attraction to sumptuousness, again as evidenced in the medieval codex with its lavishly illuminated and rubricated religious and instructive imagery and texts. We live in a time when handwork has become less and less often undertaken in everyday life, and less frequently taught and furthered in terms of contributing to a fundamentally valued skillset. In TELL I eagerly explore both the meanings of human handiwork in terms of the creative impulse, alongside the intrinsic mark of the human hand in objects like the artist book that encompass timeworn technology that I revive and renew via the application of contemporary digital strategies. TELL (self-observations of a paramnesiac), combines materials and processes that would be very familiar to a 10th century scribe, with present day making techniques, imagery ,and poetry. In this project, rather than inserting digital reproductions of my prairie drawings, I’ve tipped in the actual, original oil stick, pastel, graphite, and charcoal as a nod to ancient books that I love (Kells, Durrow, et al) – that contain hand wrought, one-of-a-kind images of wildlife, landscapes, saints, and sinners. In my book, the drawings reflect on the wide-open prairies of western Minnesota where I lived during winter/ spring 2024 while I served as Distinguished Visiting Professor in the Liberal Arts, University of Minnesota Morris. Night comes quickly to the northern plains, and these drawings document that brief time when dusk draws down, and the landscape becomes a blur of field stubble, red sumac, and just plowed black Lester soils ready for planting. It is my intention that these images communicate a richness countering my book’s gilded and ornamented binding and outer folio, while also suggesting alternate interpretations of “lush extravagance” in the exuberance of their energy and materiality. Likewise, my project’s poetry is an effusion of language addressing the deep geologic and human histories of the northern plains, with my own sometimes blurred and conflated memories of a part of the world where I was born and raised. When I first recognized my deep affection for paleography, I quickly understood the ways in which the early makers lured the reader in with magnificent materials and decorations, and only then presented their religious, instructive intentions. TELL (self-observations of a paramnesiac), employs a similarly sneaky approach – I intend for the reader of this and my other artist books, upon encountering the rather opulent outer presentation, to be irresistibly attracted to opening them, and discovering their content: my ongoing research synthesizing language, rendered images, preserved specimens, and archaic craft in narratives grounded in the natural world. I combine drawings, photographs, poetry, and narrative writing that investigate a terrain of psychic, emotional and physical kinship with the workings of nature, asking readers to explore their own relationships with landscapes, plants, and animals in the context of human societies. Through my research and practice, I strive to reveal how we as thinking animals in our human societies are shaped and changed – emotionally, socially, and spiritually – by our integration with the natural world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773335256193-T85NWP7VQFIJSC44N6CG/mcba-prize-2024-mara-adamitz-scrupe-tell-self-observations-of-aparamnesiac-2.jpg Entries & Jurors - 2024 Entries - Mara Adamitz Scrupe New Canton, VA https://www.scrupe.com https://www.instagram.com/marascrupe/ TELL (self-observations of a paramnesiac) 2024 Tooled and gilded French goatskin binding, gilded book fastener, hand embroidered title plate, original poem, original prairie drawings (oil stick, charcoal, pastel, graphite on paper), mulberry and other specialty papers, digitally printed 13.5″ x 10.5″ x 1.5″ (closed) Artist Statement TELL (self-observations of a paramnesiac) is inspired by ancient craft, specifically the medieval codex, and bound and decorated with stylized leather tooling and gold and silver gilding. Archaic, even anachronistic, my purpose in employing this approach is to suggest historic, ongoing human relationships with elevated craft, alongside an almost undeniable attraction to sumptuousness, again as evidenced in the medieval codex with its lavishly illuminated and rubricated religious and instructive imagery and texts. We live in a time when handwork has become less and less often undertaken in everyday life, and less frequently taught and furthered in terms of contributing to a fundamentally valued skillset. In TELL I eagerly explore both the meanings of human handiwork in terms of the creative impulse, alongside the intrinsic mark of the human hand in objects like the artist book that encompass timeworn technology that I revive and renew via the application of contemporary digital strategies. TELL (self-observations of a paramnesiac), combines materials and processes that would be very familiar to a 10th century scribe, with present day making techniques, imagery ,and poetry. In this project, rather than inserting digital reproductions of my prairie drawings, I’ve tipped in the actual, original oil stick, pastel, graphite, and charcoal as a nod to ancient books that I love (Kells, Durrow, et al) – that contain hand wrought, one-of-a-kind images of wildlife, landscapes, saints, and sinners. In my book, the drawings reflect on the wide-open prairies of western Minnesota where I lived during winter/ spring 2024 while I served as Distinguished Visiting Professor in the Liberal Arts, University of Minnesota Morris. Night comes quickly to the northern plains, and these drawings document that brief time when dusk draws down, and the landscape becomes a blur of field stubble, red sumac, and just plowed black Lester soils ready for planting. It is my intention that these images communicate a richness countering my book’s gilded and ornamented binding and outer folio, while also suggesting alternate interpretations of “lush extravagance” in the exuberance of their energy and materiality. Likewise, my project’s poetry is an effusion of language addressing the deep geologic and human histories of the northern plains, with my own sometimes blurred and conflated memories of a part of the world where I was born and raised. When I first recognized my deep affection for paleography, I quickly understood the ways in which the early makers lured the reader in with magnificent materials and decorations, and only then presented their religious, instructive intentions. TELL (self-observations of a paramnesiac), employs a similarly sneaky approach – I intend for the reader of this and my other artist books, upon encountering the rather opulent outer presentation, to be irresistibly attracted to opening them, and discovering their content: my ongoing research synthesizing language, rendered images, preserved specimens, and archaic craft in narratives grounded in the natural world. I combine drawings, photographs, poetry, and narrative writing that investigate a terrain of psychic, emotional and physical kinship with the workings of nature, asking readers to explore their own relationships with landscapes, plants, and animals in the context of human societies. Through my research and practice, I strive to reveal how we as thinking animals in our human societies are shaped and changed – emotionally, socially, and spiritually – by our integration with the natural world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773335258132-LA7FXD31QCICKENOGIGF/mcba-prize-2024-mara-adamitz-scrupe-tell-self-observations-of-aparamnesiac-3.jpg Entries & Jurors - 2024 Entries - Mara Adamitz Scrupe New Canton, VA https://www.scrupe.com https://www.instagram.com/marascrupe/ TELL (self-observations of a paramnesiac) 2024 Tooled and gilded French goatskin binding, gilded book fastener, hand embroidered title plate, original poem, original prairie drawings (oil stick, charcoal, pastel, graphite on paper), mulberry and other specialty papers, digitally printed 13.5″ x 10.5″ x 1.5″ (closed) Artist Statement TELL (self-observations of a paramnesiac) is inspired by ancient craft, specifically the medieval codex, and bound and decorated with stylized leather tooling and gold and silver gilding. Archaic, even anachronistic, my purpose in employing this approach is to suggest historic, ongoing human relationships with elevated craft, alongside an almost undeniable attraction to sumptuousness, again as evidenced in the medieval codex with its lavishly illuminated and rubricated religious and instructive imagery and texts. We live in a time when handwork has become less and less often undertaken in everyday life, and less frequently taught and furthered in terms of contributing to a fundamentally valued skillset. In TELL I eagerly explore both the meanings of human handiwork in terms of the creative impulse, alongside the intrinsic mark of the human hand in objects like the artist book that encompass timeworn technology that I revive and renew via the application of contemporary digital strategies. TELL (self-observations of a paramnesiac), combines materials and processes that would be very familiar to a 10th century scribe, with present day making techniques, imagery ,and poetry. In this project, rather than inserting digital reproductions of my prairie drawings, I’ve tipped in the actual, original oil stick, pastel, graphite, and charcoal as a nod to ancient books that I love (Kells, Durrow, et al) – that contain hand wrought, one-of-a-kind images of wildlife, landscapes, saints, and sinners. In my book, the drawings reflect on the wide-open prairies of western Minnesota where I lived during winter/ spring 2024 while I served as Distinguished Visiting Professor in the Liberal Arts, University of Minnesota Morris. Night comes quickly to the northern plains, and these drawings document that brief time when dusk draws down, and the landscape becomes a blur of field stubble, red sumac, and just plowed black Lester soils ready for planting. It is my intention that these images communicate a richness countering my book’s gilded and ornamented binding and outer folio, while also suggesting alternate interpretations of “lush extravagance” in the exuberance of their energy and materiality. Likewise, my project’s poetry is an effusion of language addressing the deep geologic and human histories of the northern plains, with my own sometimes blurred and conflated memories of a part of the world where I was born and raised. When I first recognized my deep affection for paleography, I quickly understood the ways in which the early makers lured the reader in with magnificent materials and decorations, and only then presented their religious, instructive intentions. TELL (self-observations of a paramnesiac), employs a similarly sneaky approach – I intend for the reader of this and my other artist books, upon encountering the rather opulent outer presentation, to be irresistibly attracted to opening them, and discovering their content: my ongoing research synthesizing language, rendered images, preserved specimens, and archaic craft in narratives grounded in the natural world. I combine drawings, photographs, poetry, and narrative writing that investigate a terrain of psychic, emotional and physical kinship with the workings of nature, asking readers to explore their own relationships with landscapes, plants, and animals in the context of human societies. Through my research and practice, I strive to reveal how we as thinking animals in our human societies are shaped and changed – emotionally, socially, and spiritually – by our integration with the natural world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773335258357-F8V61EJQVQMHBS05K2MZ/mcba-prize-2024-mara-adamitz-scrupe-tell-self-observations-of-aparamnesiac-4.jpg Entries & Jurors - 2024 Entries - Mara Adamitz Scrupe New Canton, VA https://www.scrupe.com https://www.instagram.com/marascrupe/ TELL (self-observations of a paramnesiac) 2024 Tooled and gilded French goatskin binding, gilded book fastener, hand embroidered title plate, original poem, original prairie drawings (oil stick, charcoal, pastel, graphite on paper), mulberry and other specialty papers, digitally printed 13.5″ x 10.5″ x 1.5″ (closed) Artist Statement TELL (self-observations of a paramnesiac) is inspired by ancient craft, specifically the medieval codex, and bound and decorated with stylized leather tooling and gold and silver gilding. Archaic, even anachronistic, my purpose in employing this approach is to suggest historic, ongoing human relationships with elevated craft, alongside an almost undeniable attraction to sumptuousness, again as evidenced in the medieval codex with its lavishly illuminated and rubricated religious and instructive imagery and texts. We live in a time when handwork has become less and less often undertaken in everyday life, and less frequently taught and furthered in terms of contributing to a fundamentally valued skillset. In TELL I eagerly explore both the meanings of human handiwork in terms of the creative impulse, alongside the intrinsic mark of the human hand in objects like the artist book that encompass timeworn technology that I revive and renew via the application of contemporary digital strategies. TELL (self-observations of a paramnesiac), combines materials and processes that would be very familiar to a 10th century scribe, with present day making techniques, imagery ,and poetry. In this project, rather than inserting digital reproductions of my prairie drawings, I’ve tipped in the actual, original oil stick, pastel, graphite, and charcoal as a nod to ancient books that I love (Kells, Durrow, et al) – that contain hand wrought, one-of-a-kind images of wildlife, landscapes, saints, and sinners. In my book, the drawings reflect on the wide-open prairies of western Minnesota where I lived during winter/ spring 2024 while I served as Distinguished Visiting Professor in the Liberal Arts, University of Minnesota Morris. Night comes quickly to the northern plains, and these drawings document that brief time when dusk draws down, and the landscape becomes a blur of field stubble, red sumac, and just plowed black Lester soils ready for planting. It is my intention that these images communicate a richness countering my book’s gilded and ornamented binding and outer folio, while also suggesting alternate interpretations of “lush extravagance” in the exuberance of their energy and materiality. Likewise, my project’s poetry is an effusion of language addressing the deep geologic and human histories of the northern plains, with my own sometimes blurred and conflated memories of a part of the world where I was born and raised. When I first recognized my deep affection for paleography, I quickly understood the ways in which the early makers lured the reader in with magnificent materials and decorations, and only then presented their religious, instructive intentions. TELL (self-observations of a paramnesiac), employs a similarly sneaky approach – I intend for the reader of this and my other artist books, upon encountering the rather opulent outer presentation, to be irresistibly attracted to opening them, and discovering their content: my ongoing research synthesizing language, rendered images, preserved specimens, and archaic craft in narratives grounded in the natural world. I combine drawings, photographs, poetry, and narrative writing that investigate a terrain of psychic, emotional and physical kinship with the workings of nature, asking readers to explore their own relationships with landscapes, plants, and animals in the context of human societies. Through my research and practice, I strive to reveal how we as thinking animals in our human societies are shaped and changed – emotionally, socially, and spiritually – by our integration with the natural world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773335260043-11SSNS4Z7ISCRAS4XC8G/mcba-prize-2024-mara-adamitz-scrupe-tell-self-observations-of-aparamnesiac-5.jpg Entries & Jurors - 2024 Entries - Mara Adamitz Scrupe New Canton, VA https://www.scrupe.com https://www.instagram.com/marascrupe/ TELL (self-observations of a paramnesiac) 2024 Tooled and gilded French goatskin binding, gilded book fastener, hand embroidered title plate, original poem, original prairie drawings (oil stick, charcoal, pastel, graphite on paper), mulberry and other specialty papers, digitally printed 13.5″ x 10.5″ x 1.5″ (closed) Artist Statement TELL (self-observations of a paramnesiac) is inspired by ancient craft, specifically the medieval codex, and bound and decorated with stylized leather tooling and gold and silver gilding. Archaic, even anachronistic, my purpose in employing this approach is to suggest historic, ongoing human relationships with elevated craft, alongside an almost undeniable attraction to sumptuousness, again as evidenced in the medieval codex with its lavishly illuminated and rubricated religious and instructive imagery and texts. We live in a time when handwork has become less and less often undertaken in everyday life, and less frequently taught and furthered in terms of contributing to a fundamentally valued skillset. In TELL I eagerly explore both the meanings of human handiwork in terms of the creative impulse, alongside the intrinsic mark of the human hand in objects like the artist book that encompass timeworn technology that I revive and renew via the application of contemporary digital strategies. TELL (self-observations of a paramnesiac), combines materials and processes that would be very familiar to a 10th century scribe, with present day making techniques, imagery ,and poetry. In this project, rather than inserting digital reproductions of my prairie drawings, I’ve tipped in the actual, original oil stick, pastel, graphite, and charcoal as a nod to ancient books that I love (Kells, Durrow, et al) – that contain hand wrought, one-of-a-kind images of wildlife, landscapes, saints, and sinners. In my book, the drawings reflect on the wide-open prairies of western Minnesota where I lived during winter/ spring 2024 while I served as Distinguished Visiting Professor in the Liberal Arts, University of Minnesota Morris. Night comes quickly to the northern plains, and these drawings document that brief time when dusk draws down, and the landscape becomes a blur of field stubble, red sumac, and just plowed black Lester soils ready for planting. It is my intention that these images communicate a richness countering my book’s gilded and ornamented binding and outer folio, while also suggesting alternate interpretations of “lush extravagance” in the exuberance of their energy and materiality. Likewise, my project’s poetry is an effusion of language addressing the deep geologic and human histories of the northern plains, with my own sometimes blurred and conflated memories of a part of the world where I was born and raised. When I first recognized my deep affection for paleography, I quickly understood the ways in which the early makers lured the reader in with magnificent materials and decorations, and only then presented their religious, instructive intentions. TELL (self-observations of a paramnesiac), employs a similarly sneaky approach – I intend for the reader of this and my other artist books, upon encountering the rather opulent outer presentation, to be irresistibly attracted to opening them, and discovering their content: my ongoing research synthesizing language, rendered images, preserved specimens, and archaic craft in narratives grounded in the natural world. I combine drawings, photographs, poetry, and narrative writing that investigate a terrain of psychic, emotional and physical kinship with the workings of nature, asking readers to explore their own relationships with landscapes, plants, and animals in the context of human societies. Through my research and practice, I strive to reveal how we as thinking animals in our human societies are shaped and changed – emotionally, socially, and spiritually – by our integration with the natural world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773335375008-36BX79K1SDWSWHTY3UHT/mcba-prize-2024-Andre-Bassuet-Baring-Han-1.jpg Entries & Jurors - 2024 Entries - Andre Bassuet North Kingstown, RI www.andreleebassuet.com IG: @andreleebassuet Baring Han 2023 Cyanotype on used tablecloth and embroidery 42” x 50” hung / 19″ x 12″ x 5″ boxed Artist Statement I wanted to explore the idea of the book as an interactive, wearable dress. Clothes hold intimate memories and are vessels of personal biographies. This hanbok (Korean traditional dress) is made from used tablecloth printed with cyanotypes of chrysanthemum flowers as well as writings in Korean and English. Chrysanthemums are used to symbolize love, devotion and loyalty and are often used to represent beauty, grace and elegance. Yet blue chrysanthemums are also associated with death and mourning and are seen as a symbol of grief and loss. Using flowers as a a metaphor and identity, they represent the Korean women who have suffered Han under the patriarchal social system. Women were expected to work as housekeepers, raise children and be servants to the men. The dress has pockets with generational stories of my grandmother, my mother, my sister-in-law and a forgotten sister, playing with the idiom “to be in one’s pocket” or under one’s influence and control. My chrysanthemums have embroidery that mimic blood dripping and they look like flowers fiercely baring their teeth. They represent the anguish and suffering and the urge to take revenge. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773335375538-QPC106KYSCRY1EJR9APZ/mcba-prize-2024-Andre-Bassuet-Baring-Han-2.jpg Entries & Jurors - 2024 Entries - Andre Bassuet North Kingstown, RI www.andreleebassuet.com IG: @andreleebassuet Baring Han 2023 Cyanotype on used tablecloth and embroidery 42” x 50” hung / 19″ x 12″ x 5″ boxed Artist Statement I wanted to explore the idea of the book as an interactive, wearable dress. Clothes hold intimate memories and are vessels of personal biographies. This hanbok (Korean traditional dress) is made from used tablecloth printed with cyanotypes of chrysanthemum flowers as well as writings in Korean and English. Chrysanthemums are used to symbolize love, devotion and loyalty and are often used to represent beauty, grace and elegance. Yet blue chrysanthemums are also associated with death and mourning and are seen as a symbol of grief and loss. Using flowers as a a metaphor and identity, they represent the Korean women who have suffered Han under the patriarchal social system. Women were expected to work as housekeepers, raise children and be servants to the men. The dress has pockets with generational stories of my grandmother, my mother, my sister-in-law and a forgotten sister, playing with the idiom “to be in one’s pocket” or under one’s influence and control. My chrysanthemums have embroidery that mimic blood dripping and they look like flowers fiercely baring their teeth. They represent the anguish and suffering and the urge to take revenge. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773335376822-ZDAVDFGCM46ZZ37MH7J4/mcba-prize-2024-Andre-Bassuet-Baring-Han-3.jpg Entries & Jurors - 2024 Entries - Andre Bassuet North Kingstown, RI www.andreleebassuet.com IG: @andreleebassuet Baring Han 2023 Cyanotype on used tablecloth and embroidery 42” x 50” hung / 19″ x 12″ x 5″ boxed Artist Statement I wanted to explore the idea of the book as an interactive, wearable dress. Clothes hold intimate memories and are vessels of personal biographies. This hanbok (Korean traditional dress) is made from used tablecloth printed with cyanotypes of chrysanthemum flowers as well as writings in Korean and English. Chrysanthemums are used to symbolize love, devotion and loyalty and are often used to represent beauty, grace and elegance. Yet blue chrysanthemums are also associated with death and mourning and are seen as a symbol of grief and loss. Using flowers as a a metaphor and identity, they represent the Korean women who have suffered Han under the patriarchal social system. Women were expected to work as housekeepers, raise children and be servants to the men. The dress has pockets with generational stories of my grandmother, my mother, my sister-in-law and a forgotten sister, playing with the idiom “to be in one’s pocket” or under one’s influence and control. My chrysanthemums have embroidery that mimic blood dripping and they look like flowers fiercely baring their teeth. They represent the anguish and suffering and the urge to take revenge. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773335377083-5P6YO5TRISTYIIBIVTJ8/mcba-prize-2024-Andre-Bassuet-Baring-Han-4.jpg Entries & Jurors - 2024 Entries - Andre Bassuet North Kingstown, RI www.andreleebassuet.com IG: @andreleebassuet Baring Han 2023 Cyanotype on used tablecloth and embroidery 42” x 50” hung / 19″ x 12″ x 5″ boxed Artist Statement I wanted to explore the idea of the book as an interactive, wearable dress. Clothes hold intimate memories and are vessels of personal biographies. This hanbok (Korean traditional dress) is made from used tablecloth printed with cyanotypes of chrysanthemum flowers as well as writings in Korean and English. Chrysanthemums are used to symbolize love, devotion and loyalty and are often used to represent beauty, grace and elegance. Yet blue chrysanthemums are also associated with death and mourning and are seen as a symbol of grief and loss. Using flowers as a a metaphor and identity, they represent the Korean women who have suffered Han under the patriarchal social system. Women were expected to work as housekeepers, raise children and be servants to the men. The dress has pockets with generational stories of my grandmother, my mother, my sister-in-law and a forgotten sister, playing with the idiom “to be in one’s pocket” or under one’s influence and control. My chrysanthemums have embroidery that mimic blood dripping and they look like flowers fiercely baring their teeth. They represent the anguish and suffering and the urge to take revenge. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773335378592-IMDQUUZLDE9A298T16UC/mcba-prize-2024-Andre-Bassuet-Baring-Han-5.jpg Entries & Jurors - 2024 Entries - Andre Bassuet North Kingstown, RI www.andreleebassuet.com IG: @andreleebassuet Baring Han 2023 Cyanotype on used tablecloth and embroidery 42” x 50” hung / 19″ x 12″ x 5″ boxed Artist Statement I wanted to explore the idea of the book as an interactive, wearable dress. Clothes hold intimate memories and are vessels of personal biographies. This hanbok (Korean traditional dress) is made from used tablecloth printed with cyanotypes of chrysanthemum flowers as well as writings in Korean and English. Chrysanthemums are used to symbolize love, devotion and loyalty and are often used to represent beauty, grace and elegance. Yet blue chrysanthemums are also associated with death and mourning and are seen as a symbol of grief and loss. Using flowers as a a metaphor and identity, they represent the Korean women who have suffered Han under the patriarchal social system. Women were expected to work as housekeepers, raise children and be servants to the men. The dress has pockets with generational stories of my grandmother, my mother, my sister-in-law and a forgotten sister, playing with the idiom “to be in one’s pocket” or under one’s influence and control. My chrysanthemums have embroidery that mimic blood dripping and they look like flowers fiercely baring their teeth. They represent the anguish and suffering and the urge to take revenge. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773335528741-VDZOJ0MVIQZSHYD0QHOT/mcba-prize-2024-emily-martin-navigational-tools-for-the-willfully-lost-1.jpeg Entries & Jurors - 2024 Entries - Emily Martin Iowa City, IA https://emilymartin.com/ IG: @emilymartin53 Navigational Tools for the Willfully Lost 2024 Letterpress, paper engineering 8″ x 8″ Artist Statement We are in a time of plague, not just medical but political, ecological, and more. The wholesale denial of science and rational thought coupled with the embrace of superstition and misinformation are signaling a need for a return to fact-based actions and ideas. In an attempt to not be completely bleak, I offer this set of wry visual aids for those who will not, cannot see what is really happening. This book began with my application for a Cicero artist’s fellowship at the Newberry Library in Chicago, Illinois. I spent a month in the reading rooms looking primarily Peter Apian’s Cosmographia from the 16th century, a time of scientific revolution. Apian included a set of five paper instruments in each of his editions. Seeing and manipulating the many examples of those centuries old and still functional devices was invaluable to me as I began to work on my own paper tools. I spent the fall of 2023 bringing the tools and the text to their finished forms. The book covers are papers made with abaca and flax fibers by Mary Hark. The paper tools are printed on Chancery paper made of cotton and hemp fibers at the University of Iowa Center for the Book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773335528494-MQGFPGNVZW7M3SBBVDGJ/mcba-prize-2024-emily-martin-navigational-tools-for-the-willfully-lost-2.jpeg Entries & Jurors - 2024 Entries - Emily Martin Iowa City, IA https://emilymartin.com/ IG: @emilymartin53 Navigational Tools for the Willfully Lost 2024 Letterpress, paper engineering 8″ x 8″ Artist Statement We are in a time of plague, not just medical but political, ecological, and more. The wholesale denial of science and rational thought coupled with the embrace of superstition and misinformation are signaling a need for a return to fact-based actions and ideas. In an attempt to not be completely bleak, I offer this set of wry visual aids for those who will not, cannot see what is really happening. This book began with my application for a Cicero artist’s fellowship at the Newberry Library in Chicago, Illinois. I spent a month in the reading rooms looking primarily Peter Apian’s Cosmographia from the 16th century, a time of scientific revolution. Apian included a set of five paper instruments in each of his editions. Seeing and manipulating the many examples of those centuries old and still functional devices was invaluable to me as I began to work on my own paper tools. I spent the fall of 2023 bringing the tools and the text to their finished forms. The book covers are papers made with abaca and flax fibers by Mary Hark. The paper tools are printed on Chancery paper made of cotton and hemp fibers at the University of Iowa Center for the Book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773335530440-ZKKFFN9C64EUZY7CD1OO/mcba-prize-2024-emily-martin-navigational-tools-for-the-willfully-lost-3.jpeg Entries & Jurors - 2024 Entries - Emily Martin Iowa City, IA https://emilymartin.com/ IG: @emilymartin53 Navigational Tools for the Willfully Lost 2024 Letterpress, paper engineering 8″ x 8″ Artist Statement We are in a time of plague, not just medical but political, ecological, and more. The wholesale denial of science and rational thought coupled with the embrace of superstition and misinformation are signaling a need for a return to fact-based actions and ideas. In an attempt to not be completely bleak, I offer this set of wry visual aids for those who will not, cannot see what is really happening. This book began with my application for a Cicero artist’s fellowship at the Newberry Library in Chicago, Illinois. I spent a month in the reading rooms looking primarily Peter Apian’s Cosmographia from the 16th century, a time of scientific revolution. Apian included a set of five paper instruments in each of his editions. Seeing and manipulating the many examples of those centuries old and still functional devices was invaluable to me as I began to work on my own paper tools. I spent the fall of 2023 bringing the tools and the text to their finished forms. The book covers are papers made with abaca and flax fibers by Mary Hark. The paper tools are printed on Chancery paper made of cotton and hemp fibers at the University of Iowa Center for the Book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773335530667-K4AOCTPTYBYJRJEOPUFA/mcba-prize-2024-emily-martin-navigational-tools-for-the-willfully-lost-4.jpeg Entries & Jurors - 2024 Entries - Emily Martin Iowa City, IA https://emilymartin.com/ IG: @emilymartin53 Navigational Tools for the Willfully Lost 2024 Letterpress, paper engineering 8″ x 8″ Artist Statement We are in a time of plague, not just medical but political, ecological, and more. The wholesale denial of science and rational thought coupled with the embrace of superstition and misinformation are signaling a need for a return to fact-based actions and ideas. In an attempt to not be completely bleak, I offer this set of wry visual aids for those who will not, cannot see what is really happening. This book began with my application for a Cicero artist’s fellowship at the Newberry Library in Chicago, Illinois. I spent a month in the reading rooms looking primarily Peter Apian’s Cosmographia from the 16th century, a time of scientific revolution. Apian included a set of five paper instruments in each of his editions. Seeing and manipulating the many examples of those centuries old and still functional devices was invaluable to me as I began to work on my own paper tools. I spent the fall of 2023 bringing the tools and the text to their finished forms. The book covers are papers made with abaca and flax fibers by Mary Hark. The paper tools are printed on Chancery paper made of cotton and hemp fibers at the University of Iowa Center for the Book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773335532112-DDCXB36PYNB9UEXECIDA/mcba-prize-2024-emily-martin-navigational-tools-for-the-willfully-lost-5.jpeg Entries & Jurors - 2024 Entries - Emily Martin Iowa City, IA https://emilymartin.com/ IG: @emilymartin53 Navigational Tools for the Willfully Lost 2024 Letterpress, paper engineering 8″ x 8″ Artist Statement We are in a time of plague, not just medical but political, ecological, and more. The wholesale denial of science and rational thought coupled with the embrace of superstition and misinformation are signaling a need for a return to fact-based actions and ideas. In an attempt to not be completely bleak, I offer this set of wry visual aids for those who will not, cannot see what is really happening. This book began with my application for a Cicero artist’s fellowship at the Newberry Library in Chicago, Illinois. I spent a month in the reading rooms looking primarily Peter Apian’s Cosmographia from the 16th century, a time of scientific revolution. Apian included a set of five paper instruments in each of his editions. Seeing and manipulating the many examples of those centuries old and still functional devices was invaluable to me as I began to work on my own paper tools. I spent the fall of 2023 bringing the tools and the text to their finished forms. The book covers are papers made with abaca and flax fibers by Mary Hark. The paper tools are printed on Chancery paper made of cotton and hemp fibers at the University of Iowa Center for the Book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773336980599-E3ODOMBBALNO0S2SXGM9/mcba-prize-2024-egidija-ciricaite-poem-vi-1.jpg Entries & Jurors - 2024 Entries - Egidija Ciricaite London, UK www.egidija.com IG : @egidija POEM VI (river song II) 2024 Ethereal layers of 6gsm Tengujo Kashmiri paper in Chinese caligraphy paper cover 7 x 9.2 Artist Statement Based on River Song by Li Bai, the book consists of 6 hand typewritten layers of 6gsm 6gsm Tengujo Kashmiri paper bound with an invisible thread into a clean blank Chinese calligraphy paper cover. The pages are light and airy, silky and smooth like the surface of the river. They build the poem, following the flow of its rhythm, sound and thought, together with the jade flutes and golden pipes that fill the air. The book continues my recent body of typewriter works, which often exist in the twilight space between artist book, visual poetry and performance. It is part of a small series of books, which explore the vocal and emotional rhythms and spaces of poetry, with a particular current focus on Chinese poetry (following my resent trip to western China). As an artist, I play with and around language through writing, typewriting, publishing, performance and academic research, creating nebulous worlds at the periphery of linguistic experience. Often bilingual, marked by ethereal layers of spoken or written words, my books question definite nature of linguistic encounter. I use typewriter as a printmaking tool, exploring “typing” as a metaphor for weaving and “weaving” as a metaphor for writing and speaking. Inspired by south Lithuanian textiles, my work exists in the twilight space between poetry, print and performance. My books are composed as a score between the visual and the verbal, the verbal and the aural, the aural and the auratic, the auratic and the material. My practice is informed by my research and interests in linguistics, with a particular focus on cognitive pragmatics and relevance theory. My interests in linguistics traverse into aesthetics theory and literary arts. I was born in Kaunas, Lithuania. I am now based in London, pursuing an interdisciplinary PhD at the Slade, UCL and UCL Linguistics, London. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773336980472-9W8DHG63P78FUUD9RFJT/mcba-prize-2024-egidija-ciricaite-poem-vi-2.jpg Entries & Jurors - 2024 Entries - Egidija Ciricaite London, UK www.egidija.com IG : @egidija POEM VI (river song II) 2024 Ethereal layers of 6gsm Tengujo Kashmiri paper in Chinese caligraphy paper cover 7 x 9.2 Artist Statement Based on River Song by Li Bai, the book consists of 6 hand typewritten layers of 6gsm 6gsm Tengujo Kashmiri paper bound with an invisible thread into a clean blank Chinese calligraphy paper cover. The pages are light and airy, silky and smooth like the surface of the river. They build the poem, following the flow of its rhythm, sound and thought, together with the jade flutes and golden pipes that fill the air. The book continues my recent body of typewriter works, which often exist in the twilight space between artist book, visual poetry and performance. It is part of a small series of books, which explore the vocal and emotional rhythms and spaces of poetry, with a particular current focus on Chinese poetry (following my resent trip to western China). As an artist, I play with and around language through writing, typewriting, publishing, performance and academic research, creating nebulous worlds at the periphery of linguistic experience. Often bilingual, marked by ethereal layers of spoken or written words, my books question definite nature of linguistic encounter. I use typewriter as a printmaking tool, exploring “typing” as a metaphor for weaving and “weaving” as a metaphor for writing and speaking. Inspired by south Lithuanian textiles, my work exists in the twilight space between poetry, print and performance. My books are composed as a score between the visual and the verbal, the verbal and the aural, the aural and the auratic, the auratic and the material. My practice is informed by my research and interests in linguistics, with a particular focus on cognitive pragmatics and relevance theory. My interests in linguistics traverse into aesthetics theory and literary arts. I was born in Kaunas, Lithuania. I am now based in London, pursuing an interdisciplinary PhD at the Slade, UCL and UCL Linguistics, London. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773336982205-03PN2REMYQYJAYNVSJMA/mcba-prize-2024-egidija-ciricaite-poem-vi-3.jpg Entries & Jurors - 2024 Entries - Egidija Ciricaite London, UK www.egidija.com IG : @egidija POEM VI (river song II) 2024 Ethereal layers of 6gsm Tengujo Kashmiri paper in Chinese caligraphy paper cover 7 x 9.2 Artist Statement Based on River Song by Li Bai, the book consists of 6 hand typewritten layers of 6gsm 6gsm Tengujo Kashmiri paper bound with an invisible thread into a clean blank Chinese calligraphy paper cover. The pages are light and airy, silky and smooth like the surface of the river. They build the poem, following the flow of its rhythm, sound and thought, together with the jade flutes and golden pipes that fill the air. The book continues my recent body of typewriter works, which often exist in the twilight space between artist book, visual poetry and performance. It is part of a small series of books, which explore the vocal and emotional rhythms and spaces of poetry, with a particular current focus on Chinese poetry (following my resent trip to western China). As an artist, I play with and around language through writing, typewriting, publishing, performance and academic research, creating nebulous worlds at the periphery of linguistic experience. Often bilingual, marked by ethereal layers of spoken or written words, my books question definite nature of linguistic encounter. I use typewriter as a printmaking tool, exploring “typing” as a metaphor for weaving and “weaving” as a metaphor for writing and speaking. Inspired by south Lithuanian textiles, my work exists in the twilight space between poetry, print and performance. My books are composed as a score between the visual and the verbal, the verbal and the aural, the aural and the auratic, the auratic and the material. My practice is informed by my research and interests in linguistics, with a particular focus on cognitive pragmatics and relevance theory. My interests in linguistics traverse into aesthetics theory and literary arts. I was born in Kaunas, Lithuania. I am now based in London, pursuing an interdisciplinary PhD at the Slade, UCL and UCL Linguistics, London. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773336981712-7UVNRP7K008LVI414FYO/mcba-prize-2024-egidija-ciricaite-poem-vi-4.jpg Entries & Jurors - 2024 Entries - Egidija Ciricaite London, UK www.egidija.com IG : @egidija POEM VI (river song II) 2024 Ethereal layers of 6gsm Tengujo Kashmiri paper in Chinese caligraphy paper cover 7 x 9.2 Artist Statement Based on River Song by Li Bai, the book consists of 6 hand typewritten layers of 6gsm 6gsm Tengujo Kashmiri paper bound with an invisible thread into a clean blank Chinese calligraphy paper cover. The pages are light and airy, silky and smooth like the surface of the river. They build the poem, following the flow of its rhythm, sound and thought, together with the jade flutes and golden pipes that fill the air. The book continues my recent body of typewriter works, which often exist in the twilight space between artist book, visual poetry and performance. It is part of a small series of books, which explore the vocal and emotional rhythms and spaces of poetry, with a particular current focus on Chinese poetry (following my resent trip to western China). As an artist, I play with and around language through writing, typewriting, publishing, performance and academic research, creating nebulous worlds at the periphery of linguistic experience. Often bilingual, marked by ethereal layers of spoken or written words, my books question definite nature of linguistic encounter. I use typewriter as a printmaking tool, exploring “typing” as a metaphor for weaving and “weaving” as a metaphor for writing and speaking. Inspired by south Lithuanian textiles, my work exists in the twilight space between poetry, print and performance. My books are composed as a score between the visual and the verbal, the verbal and the aural, the aural and the auratic, the auratic and the material. My practice is informed by my research and interests in linguistics, with a particular focus on cognitive pragmatics and relevance theory. My interests in linguistics traverse into aesthetics theory and literary arts. I was born in Kaunas, Lithuania. I am now based in London, pursuing an interdisciplinary PhD at the Slade, UCL and UCL Linguistics, London. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773336983678-VO52058ZJ2BHAKJ3P71Z/mcba-prize-2024-egidija-ciricaite-poem-vi-5.jpg Entries & Jurors - 2024 Entries - Egidija Ciricaite London, UK www.egidija.com IG : @egidija POEM VI (river song II) 2024 Ethereal layers of 6gsm Tengujo Kashmiri paper in Chinese caligraphy paper cover 7 x 9.2 Artist Statement Based on River Song by Li Bai, the book consists of 6 hand typewritten layers of 6gsm 6gsm Tengujo Kashmiri paper bound with an invisible thread into a clean blank Chinese calligraphy paper cover. The pages are light and airy, silky and smooth like the surface of the river. They build the poem, following the flow of its rhythm, sound and thought, together with the jade flutes and golden pipes that fill the air. The book continues my recent body of typewriter works, which often exist in the twilight space between artist book, visual poetry and performance. It is part of a small series of books, which explore the vocal and emotional rhythms and spaces of poetry, with a particular current focus on Chinese poetry (following my resent trip to western China). As an artist, I play with and around language through writing, typewriting, publishing, performance and academic research, creating nebulous worlds at the periphery of linguistic experience. Often bilingual, marked by ethereal layers of spoken or written words, my books question definite nature of linguistic encounter. I use typewriter as a printmaking tool, exploring “typing” as a metaphor for weaving and “weaving” as a metaphor for writing and speaking. Inspired by south Lithuanian textiles, my work exists in the twilight space between poetry, print and performance. My books are composed as a score between the visual and the verbal, the verbal and the aural, the aural and the auratic, the auratic and the material. My practice is informed by my research and interests in linguistics, with a particular focus on cognitive pragmatics and relevance theory. My interests in linguistics traverse into aesthetics theory and literary arts. I was born in Kaunas, Lithuania. I am now based in London, pursuing an interdisciplinary PhD at the Slade, UCL and UCL Linguistics, London. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773337181213-475H53D7GVRP9ER260TZ/mcba-prize-2024-maddalena-bellorini-les-delaisses-1.jpg Entries & Jurors - 2024 Entries - Maddalena Bellorini Italy IG: @maddalena_bellorini LES DÉLAISSÉS 2023 Hand-paper cut, collage, watercolours, ink on paper. Hand bound with Japanese bookbinding NOBIRU GAJÕ Closed 5,11X0,60X8,26 in, open max 29,53X8,26 in Artist Statement CERTIFICATE OF AUTHENTICITY The undersigned Maddalena Bellorini certifies the ownership and originality of the work: entitled “LES DÉLAISSÉS”, created in 2023, and that it is a single unique book This document is to be considered as a Certificate of authenticity of the following work of art, pursuant to Legislative Decree 42 of 22 January 2004 and pursuant to Italian law n°633 of 22 April 1941 AUTHOR: MADDALENA BELLORINI TITLE: “LES DÉLAISSÉS” YEAR: created in 2023 EDITION: single unique book SIZE: close 13X21 cm, open max 75X21 cm (close 5,11X8,26 in, open max 29,53X8,26 in) TECHNIQUE: hand-paper cut, collage, watercolours, ink on paper BINDING: hand bound with Japanese bookbinding NOBIRU GAJÕ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773337181053-7024LERRGNY6YG0AXZLP/mcba-prize-2024-maddalena-bellorini-les-delaisses-2.jpg Entries & Jurors - 2024 Entries - Maddalena Bellorini Italy IG: @maddalena_bellorini LES DÉLAISSÉS 2023 Hand-paper cut, collage, watercolours, ink on paper. Hand bound with Japanese bookbinding NOBIRU GAJÕ Closed 5,11X0,60X8,26 in, open max 29,53X8,26 in Artist Statement CERTIFICATE OF AUTHENTICITY The undersigned Maddalena Bellorini certifies the ownership and originality of the work: entitled “LES DÉLAISSÉS”, created in 2023, and that it is a single unique book This document is to be considered as a Certificate of authenticity of the following work of art, pursuant to Legislative Decree 42 of 22 January 2004 and pursuant to Italian law n°633 of 22 April 1941 AUTHOR: MADDALENA BELLORINI TITLE: “LES DÉLAISSÉS” YEAR: created in 2023 EDITION: single unique book SIZE: close 13X21 cm, open max 75X21 cm (close 5,11X8,26 in, open max 29,53X8,26 in) TECHNIQUE: hand-paper cut, collage, watercolours, ink on paper BINDING: hand bound with Japanese bookbinding NOBIRU GAJÕ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773337182859-FHGU5TV2GN6SASR94P3B/mcba-prize-2024-maddalena-bellorini-les-delaisses-4.jpg Entries & Jurors - 2024 Entries - Maddalena Bellorini Italy IG: @maddalena_bellorini LES DÉLAISSÉS 2023 Hand-paper cut, collage, watercolours, ink on paper. Hand bound with Japanese bookbinding NOBIRU GAJÕ Closed 5,11X0,60X8,26 in, open max 29,53X8,26 in Artist Statement CERTIFICATE OF AUTHENTICITY The undersigned Maddalena Bellorini certifies the ownership and originality of the work: entitled “LES DÉLAISSÉS”, created in 2023, and that it is a single unique book This document is to be considered as a Certificate of authenticity of the following work of art, pursuant to Legislative Decree 42 of 22 January 2004 and pursuant to Italian law n°633 of 22 April 1941 AUTHOR: MADDALENA BELLORINI TITLE: “LES DÉLAISSÉS” YEAR: created in 2023 EDITION: single unique book SIZE: close 13X21 cm, open max 75X21 cm (close 5,11X8,26 in, open max 29,53X8,26 in) TECHNIQUE: hand-paper cut, collage, watercolours, ink on paper BINDING: hand bound with Japanese bookbinding NOBIRU GAJÕ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773337283061-9ID2I4IOX4XMTV5QWAXW/mcba-prize-2024-maddalena-bellorini-les-delaisses-5.jpg Entries & Jurors - 2024 Entries - Maddalena Bellorini Italy IG: @maddalena_bellorini LES DÉLAISSÉS 2023 Hand-paper cut, collage, watercolours, ink on paper. Hand bound with Japanese bookbinding NOBIRU GAJÕ Closed 5,11X0,60X8,26 in, open max 29,53X8,26 in Artist Statement CERTIFICATE OF AUTHENTICITY The undersigned Maddalena Bellorini certifies the ownership and originality of the work: entitled “LES DÉLAISSÉS”, created in 2023, and that it is a single unique book This document is to be considered as a Certificate of authenticity of the following work of art, pursuant to Legislative Decree 42 of 22 January 2004 and pursuant to Italian law n°633 of 22 April 1941 AUTHOR: MADDALENA BELLORINI TITLE: “LES DÉLAISSÉS” YEAR: created in 2023 EDITION: single unique book SIZE: close 13X21 cm, open max 75X21 cm (close 5,11X8,26 in, open max 29,53X8,26 in) TECHNIQUE: hand-paper cut, collage, watercolours, ink on paper BINDING: hand bound with Japanese bookbinding NOBIRU GAJÕ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773337182615-N2AC0KKLUBU3NKAUYLB3/mcba-prize-2024-maddalena-bellorini-les-delaisses-3.jpg Entries & Jurors - 2024 Entries - Maddalena Bellorini Italy IG: @maddalena_bellorini LES DÉLAISSÉS 2023 Hand-paper cut, collage, watercolours, ink on paper. Hand bound with Japanese bookbinding NOBIRU GAJÕ Closed 5,11X0,60X8,26 in, open max 29,53X8,26 in Artist Statement CERTIFICATE OF AUTHENTICITY The undersigned Maddalena Bellorini certifies the ownership and originality of the work: entitled “LES DÉLAISSÉS”, created in 2023, and that it is a single unique book This document is to be considered as a Certificate of authenticity of the following work of art, pursuant to Legislative Decree 42 of 22 January 2004 and pursuant to Italian law n°633 of 22 April 1941 AUTHOR: MADDALENA BELLORINI TITLE: “LES DÉLAISSÉS” YEAR: created in 2023 EDITION: single unique book SIZE: close 13X21 cm, open max 75X21 cm (close 5,11X8,26 in, open max 29,53X8,26 in) TECHNIQUE: hand-paper cut, collage, watercolours, ink on paper BINDING: hand bound with Japanese bookbinding NOBIRU GAJÕ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773348684772-IG9CTKAC9G7U71GHBRLV/mcba-prize-2024-Andrew-Guthrie-List-1.jpg Entries & Jurors - 2024 Entries - Andrew Guthrie Fillmore, CA Antwerp, Belgium www.likink.com List 2024 Off-set printed perfect bound booklet 7 x 5 x 3/4″ Artist Statement This austere little book, as the title suggest, consists of an amalgam of lists in an attempt to pitch the genre as literature, or otherwise, to present “the list” as a short-hand personal and/or social history. Therefore, it should be considered as tongue-in-cheek or in the conceptual mode of some of the original “artist books” produced in the 1970s. The book, in its entirety, amounts to 80 pages, separated into seven sections which include: 1. List, 2. Top Ten, 3. Document, 4. Items, 5. Titles, 6. CV, 7. Names. Of course, this entry would be better served if viewed in total, but due to the stricture of this contest, the entry is limited to a 10-page PDF, as well as a jpg of the cover. To compensate for this requirement, I will describe the seven sections of the book below (as well as including a sampling of each section in the attached PDF). Your indulgence is appreciated. 1. List – consists of “concrete” or “visual” poetry, or a kind of diagraming. Free associations by the author in which different synchronizations come to mind, sometimes amounting to a comprehensible list, at other times the kind of random connections one receives just before falling asleep. I’ve included one (1) spread here of this section. In the full book this section consists of six (6) two-page spreads. 2. Top Ten – this section takes the format of the well-known numbering list, sometimes used as “clickbait” on the internet, or the obsessive ordering and/or ranking of any given subject that we are all prey to. A full “10” is sometimes not achieved in this section as the author moves on to the next thing, leaving any unfinished numbering up to the reader. I’ve included one (1) spread here of this section. In the full book this section consists of seven (7) pages. 3. Document – this section consists of the possibilities of listing “every” in any given or random category, some of these things are personal and some of historical value. This section embodies the conceptual nature of the book in that it’s more about the idea as some of the proposed “every” would be impossible (or near impossible) to tabulate. I’ve included one (1) spread here of this section. In the full book this section consists of seven (7) pages. 4. Items – this section shifts the textual emphasis to the visual (color and black and white photography), an ordering of practically random objects that fall prey to humanity’s relentless drive for meaning, to make some sense between the juxtaposition of any two objects. I’ve included two (2) spreads here of this section. In the full book this section consists of thirteen (13) pages. 5. Titles – though we may judge a book by its cover, that judgment primarily depends on the title, a thing which should be “catchy”, as well as implying what the book is about. In this section the author has assembled a list of potential “titles” that, if read as is, amount to a kind of broken line poetry. This also allows the reader to pick and choose and then continue with “the story” as titles evade the vagaries of copyright. I’ve included one (1) spread here of this section. In the full book this section consists of six (6) pages. 6. CV – this section gets to the bureaucratic nature of listing, as well as the reams and reams of paper or digital files which are always required and then perfunctorily discarded. A CV also amounts to a short-hand biography, and these fictional résumés are provided with enough information for the reader to read between the lines. I’ve included one (1) spread here of this section. In the full book this section consists of ten (10) pages. 7. Names – here you can assign a name to the title of your potential story, a list of characters who are named if not explained. This list was compiled from the odd names that would appear on spam emails during a certain phase of the internet. I’ve included one (1) spread here of this section. In the full book this section consists of eight (8) pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773337402441-CXE6FDRO1EI9OQXXCXN4/mcba-prize-2024-Fred-Hagstrom-Testing-Book-2.jpg Entries & Jurors - 2024 Entries - Fred Hagstrom Albuquerque, NM www.peter-malutzki.de Testing: Book Two- Downwinders 2023 Relief 13×14 Artist Statement Testing: Book Two- Downwinders is the second in a series of three books about the effects of nuclear bomb tests in the American southwest. The series looks at veterans, miners, and citizens (downwinders) who experienced health effects from the nuclear test program. There were over 100 above ground tests between 1951 and 1963. The book combines archival photos with texts that give both statistics as well as personal stories about the legacy of these tests. Sample text: “In school they showed us a film called “A is for atom, B. is for Bomb”. I think most of us who grew up in that period, we’ve all in our own minds added C is for Cancer, D is for Death. Jay Truman You would grab hold of a sheep to move it into a corral or a little pen, and their hide- the wool, the skin, everything, would just pull right off of them. Mel Clark, rancher https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773337452230-2QTVVFSJ7BOJXFOGBDVF/mcba-prize-2024-Fred-Hagstrom-Testing-Book-3.jpg Entries & Jurors - 2024 Entries - Fred Hagstrom Albuquerque, NM www.peter-malutzki.de Testing: Book Two- Downwinders 2023 Relief 13×14 Artist Statement Testing: Book Two- Downwinders is the second in a series of three books about the effects of nuclear bomb tests in the American southwest. The series looks at veterans, miners, and citizens (downwinders) who experienced health effects from the nuclear test program. There were over 100 above ground tests between 1951 and 1963. The book combines archival photos with texts that give both statistics as well as personal stories about the legacy of these tests. Sample text: “In school they showed us a film called “A is for atom, B. is for Bomb”. I think most of us who grew up in that period, we’ve all in our own minds added C is for Cancer, D is for Death. Jay Truman You would grab hold of a sheep to move it into a corral or a little pen, and their hide- the wool, the skin, everything, would just pull right off of them. Mel Clark, rancher https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773337451687-VC58CYTGWCLPSO9X6MPM/mcba-prize-2024-Fred-Hagstrom-Testing-Book-4.jpg Entries & Jurors - 2024 Entries - Fred Hagstrom Albuquerque, NM www.peter-malutzki.de Testing: Book Two- Downwinders 2023 Relief 13×14 Artist Statement Testing: Book Two- Downwinders is the second in a series of three books about the effects of nuclear bomb tests in the American southwest. The series looks at veterans, miners, and citizens (downwinders) who experienced health effects from the nuclear test program. There were over 100 above ground tests between 1951 and 1963. The book combines archival photos with texts that give both statistics as well as personal stories about the legacy of these tests. Sample text: “In school they showed us a film called “A is for atom, B. is for Bomb”. I think most of us who grew up in that period, we’ve all in our own minds added C is for Cancer, D is for Death. Jay Truman You would grab hold of a sheep to move it into a corral or a little pen, and their hide- the wool, the skin, everything, would just pull right off of them. Mel Clark, rancher https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773337402607-G2J77UVPLXNNAUCXTQCF/mcba-prize-2024-Fred-Hagstrom-Testing-Book-1.jpg Entries & Jurors - 2024 Entries - Fred Hagstrom Albuquerque, NM www.peter-malutzki.de Testing: Book Two- Downwinders 2023 Relief 13×14 Artist Statement Testing: Book Two- Downwinders is the second in a series of three books about the effects of nuclear bomb tests in the American southwest. The series looks at veterans, miners, and citizens (downwinders) who experienced health effects from the nuclear test program. There were over 100 above ground tests between 1951 and 1963. The book combines archival photos with texts that give both statistics as well as personal stories about the legacy of these tests. Sample text: “In school they showed us a film called “A is for atom, B. is for Bomb”. I think most of us who grew up in that period, we’ve all in our own minds added C is for Cancer, D is for Death. Jay Truman You would grab hold of a sheep to move it into a corral or a little pen, and their hide- the wool, the skin, everything, would just pull right off of them. Mel Clark, rancher https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773337453760-Q80FLVFMBIRJT0NCY0W0/mcba-prize-2024-Fred-Hagstrom-Testing-Book-5.jpg Entries & Jurors - 2024 Entries - Fred Hagstrom Albuquerque, NM www.peter-malutzki.de Testing: Book Two- Downwinders 2023 Relief 13×14 Artist Statement Testing: Book Two- Downwinders is the second in a series of three books about the effects of nuclear bomb tests in the American southwest. The series looks at veterans, miners, and citizens (downwinders) who experienced health effects from the nuclear test program. There were over 100 above ground tests between 1951 and 1963. The book combines archival photos with texts that give both statistics as well as personal stories about the legacy of these tests. Sample text: “In school they showed us a film called “A is for atom, B. is for Bomb”. I think most of us who grew up in that period, we’ve all in our own minds added C is for Cancer, D is for Death. Jay Truman You would grab hold of a sheep to move it into a corral or a little pen, and their hide- the wool, the skin, everything, would just pull right off of them. Mel Clark, rancher https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773337611295-FCRSVZG2VAOM7SCEE2M4/mcba-prize-2024-Ben-DiNino-THIS-SIDE-TOWARD-SCREEN-01.jpg Entries & Jurors - 2024 Entries - Ben DiNino Minneapolis, MN https://www.bendinino.com THIS SIDE TOWARD SCREEN 2024 Mixed media limited edition book and box set Cardboard, chipboard, paper, book board, bookcloth, PVA adhesive, binding thread, matte board, PET transparency film, LED screen, and cord 7.5″ x 7.5″ x 5″ Artist Statement In my work I strive to shed light on the overlooked or discarded; those items or places that are forgotten or slightly out of focus in the background. By highlighting their existence or reconfiguring them into something unique I hope to breathe new life into these neglected images and objects. The majority of my artistic practice recently has centered on collage, book art, and assemblage. I endeavor to prolong the life of these outdated how-to manuals, old magazines, snap shots, slide film, and any other materials I‘m able to cut up and reassemble. This is also a challenge since I force myself to create something visually interesting or confusing out of what can at times be banal source material. This is what truly excites me when I work. Sitting down with old liquor advertisements or an outdated interior design magazine and experimenting with the images in an attempt to push the limitations of the source material I’m using. This piece is a limited edition book and box set I created to highlight my collages made from slide and negative film. The book features over 130 of these works from the last 5 years. I hand cut and assembled every element of the book using a tortoise-shell binding. Each set includes 10 random enlarged replica slides of the original work. These imitation slides are printed on PET transparency film, not slide film. I hand cut and silk screened all the slide mounts copying vintage designs from my collection. I’ve included an LED screen to more easily view the slides. I also designed and assembled the entire box to mimic a 1970s slide container. This piece was made as an edition of 10. Besides being a document of these specific celluloid based collage works, I also hope that the entire design pays homage to the look of vintage photographic material. There are 3 types of collages featured in the work. “Slide Overlays” are pieces created by sandwiching two slides in a slide mount creating a new visual narrative. “Slide Collages” are created like a traditional paper collage. I cut them up and reassemble the pieces in slide mounts. The third type of work is my “Negative Collages” which are cut and collaged like the slide collages, except they use film negatives as source material. I have to use intuition and luck to create these negative based works since I can’t see their final look until they are scanned into a positive image. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773337611280-IMVRWVT3NZM5FG77NXSH/mcba-prize-2024-Ben-DiNino-THIS-SIDE-TOWARD-SCREEN-02.jpg Entries & Jurors - 2024 Entries - Ben DiNino Minneapolis, MN https://www.bendinino.com THIS SIDE TOWARD SCREEN 2024 Mixed media limited edition book and box set Cardboard, chipboard, paper, book board, bookcloth, PVA adhesive, binding thread, matte board, PET transparency film, LED screen, and cord 7.5″ x 7.5″ x 5″ Artist Statement In my work I strive to shed light on the overlooked or discarded; those items or places that are forgotten or slightly out of focus in the background. By highlighting their existence or reconfiguring them into something unique I hope to breathe new life into these neglected images and objects. The majority of my artistic practice recently has centered on collage, book art, and assemblage. I endeavor to prolong the life of these outdated how-to manuals, old magazines, snap shots, slide film, and any other materials I‘m able to cut up and reassemble. This is also a challenge since I force myself to create something visually interesting or confusing out of what can at times be banal source material. This is what truly excites me when I work. Sitting down with old liquor advertisements or an outdated interior design magazine and experimenting with the images in an attempt to push the limitations of the source material I’m using. This piece is a limited edition book and box set I created to highlight my collages made from slide and negative film. The book features over 130 of these works from the last 5 years. I hand cut and assembled every element of the book using a tortoise-shell binding. Each set includes 10 random enlarged replica slides of the original work. These imitation slides are printed on PET transparency film, not slide film. I hand cut and silk screened all the slide mounts copying vintage designs from my collection. I’ve included an LED screen to more easily view the slides. I also designed and assembled the entire box to mimic a 1970s slide container. This piece was made as an edition of 10. Besides being a document of these specific celluloid based collage works, I also hope that the entire design pays homage to the look of vintage photographic material. There are 3 types of collages featured in the work. “Slide Overlays” are pieces created by sandwiching two slides in a slide mount creating a new visual narrative. “Slide Collages” are created like a traditional paper collage. I cut them up and reassemble the pieces in slide mounts. The third type of work is my “Negative Collages” which are cut and collaged like the slide collages, except they use film negatives as source material. I have to use intuition and luck to create these negative based works since I can’t see their final look until they are scanned into a positive image. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773337612336-J7KEFFOZ0XFXSG4RH4BR/mcba-prize-2024-Ben-DiNino-THIS-SIDE-TOWARD-SCREEN-04.jpg Entries & Jurors - 2024 Entries - Ben DiNino Minneapolis, MN https://www.bendinino.com THIS SIDE TOWARD SCREEN 2024 Mixed media limited edition book and box set Cardboard, chipboard, paper, book board, bookcloth, PVA adhesive, binding thread, matte board, PET transparency film, LED screen, and cord 7.5″ x 7.5″ x 5″ Artist Statement In my work I strive to shed light on the overlooked or discarded; those items or places that are forgotten or slightly out of focus in the background. By highlighting their existence or reconfiguring them into something unique I hope to breathe new life into these neglected images and objects. The majority of my artistic practice recently has centered on collage, book art, and assemblage. I endeavor to prolong the life of these outdated how-to manuals, old magazines, snap shots, slide film, and any other materials I‘m able to cut up and reassemble. This is also a challenge since I force myself to create something visually interesting or confusing out of what can at times be banal source material. This is what truly excites me when I work. Sitting down with old liquor advertisements or an outdated interior design magazine and experimenting with the images in an attempt to push the limitations of the source material I’m using. This piece is a limited edition book and box set I created to highlight my collages made from slide and negative film. The book features over 130 of these works from the last 5 years. I hand cut and assembled every element of the book using a tortoise-shell binding. Each set includes 10 random enlarged replica slides of the original work. These imitation slides are printed on PET transparency film, not slide film. I hand cut and silk screened all the slide mounts copying vintage designs from my collection. I’ve included an LED screen to more easily view the slides. I also designed and assembled the entire box to mimic a 1970s slide container. This piece was made as an edition of 10. Besides being a document of these specific celluloid based collage works, I also hope that the entire design pays homage to the look of vintage photographic material. There are 3 types of collages featured in the work. “Slide Overlays” are pieces created by sandwiching two slides in a slide mount creating a new visual narrative. “Slide Collages” are created like a traditional paper collage. I cut them up and reassemble the pieces in slide mounts. The third type of work is my “Negative Collages” which are cut and collaged like the slide collages, except they use film negatives as source material. I have to use intuition and luck to create these negative based works since I can’t see their final look until they are scanned into a positive image. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773337612430-KTY4OILOZBOKYKOZP5KZ/mcba-prize-2024-Ben-DiNino-THIS-SIDE-TOWARD-SCREEN-05.jpg Entries & Jurors - 2024 Entries - Ben DiNino Minneapolis, MN https://www.bendinino.com THIS SIDE TOWARD SCREEN 2024 Mixed media limited edition book and box set Cardboard, chipboard, paper, book board, bookcloth, PVA adhesive, binding thread, matte board, PET transparency film, LED screen, and cord 7.5″ x 7.5″ x 5″ Artist Statement In my work I strive to shed light on the overlooked or discarded; those items or places that are forgotten or slightly out of focus in the background. By highlighting their existence or reconfiguring them into something unique I hope to breathe new life into these neglected images and objects. The majority of my artistic practice recently has centered on collage, book art, and assemblage. I endeavor to prolong the life of these outdated how-to manuals, old magazines, snap shots, slide film, and any other materials I‘m able to cut up and reassemble. This is also a challenge since I force myself to create something visually interesting or confusing out of what can at times be banal source material. This is what truly excites me when I work. Sitting down with old liquor advertisements or an outdated interior design magazine and experimenting with the images in an attempt to push the limitations of the source material I’m using. This piece is a limited edition book and box set I created to highlight my collages made from slide and negative film. The book features over 130 of these works from the last 5 years. I hand cut and assembled every element of the book using a tortoise-shell binding. Each set includes 10 random enlarged replica slides of the original work. These imitation slides are printed on PET transparency film, not slide film. I hand cut and silk screened all the slide mounts copying vintage designs from my collection. I’ve included an LED screen to more easily view the slides. I also designed and assembled the entire box to mimic a 1970s slide container. This piece was made as an edition of 10. Besides being a document of these specific celluloid based collage works, I also hope that the entire design pays homage to the look of vintage photographic material. There are 3 types of collages featured in the work. “Slide Overlays” are pieces created by sandwiching two slides in a slide mount creating a new visual narrative. “Slide Collages” are created like a traditional paper collage. I cut them up and reassemble the pieces in slide mounts. The third type of work is my “Negative Collages” which are cut and collaged like the slide collages, except they use film negatives as source material. I have to use intuition and luck to create these negative based works since I can’t see their final look until they are scanned into a positive image. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773337613477-QLOBBW5EXH56TTR28FIT/mcba-prize-2024-Ben-DiNino-THIS-SIDE-TOWARD-SCREEN-06.jpg Entries & Jurors - 2024 Entries - Ben DiNino Minneapolis, MN https://www.bendinino.com THIS SIDE TOWARD SCREEN 2024 Mixed media limited edition book and box set Cardboard, chipboard, paper, book board, bookcloth, PVA adhesive, binding thread, matte board, PET transparency film, LED screen, and cord 7.5″ x 7.5″ x 5″ Artist Statement In my work I strive to shed light on the overlooked or discarded; those items or places that are forgotten or slightly out of focus in the background. By highlighting their existence or reconfiguring them into something unique I hope to breathe new life into these neglected images and objects. The majority of my artistic practice recently has centered on collage, book art, and assemblage. I endeavor to prolong the life of these outdated how-to manuals, old magazines, snap shots, slide film, and any other materials I‘m able to cut up and reassemble. This is also a challenge since I force myself to create something visually interesting or confusing out of what can at times be banal source material. This is what truly excites me when I work. Sitting down with old liquor advertisements or an outdated interior design magazine and experimenting with the images in an attempt to push the limitations of the source material I’m using. This piece is a limited edition book and box set I created to highlight my collages made from slide and negative film. The book features over 130 of these works from the last 5 years. I hand cut and assembled every element of the book using a tortoise-shell binding. Each set includes 10 random enlarged replica slides of the original work. These imitation slides are printed on PET transparency film, not slide film. I hand cut and silk screened all the slide mounts copying vintage designs from my collection. I’ve included an LED screen to more easily view the slides. I also designed and assembled the entire box to mimic a 1970s slide container. This piece was made as an edition of 10. Besides being a document of these specific celluloid based collage works, I also hope that the entire design pays homage to the look of vintage photographic material. There are 3 types of collages featured in the work. “Slide Overlays” are pieces created by sandwiching two slides in a slide mount creating a new visual narrative. “Slide Collages” are created like a traditional paper collage. I cut them up and reassemble the pieces in slide mounts. The third type of work is my “Negative Collages” which are cut and collaged like the slide collages, except they use film negatives as source material. I have to use intuition and luck to create these negative based works since I can’t see their final look until they are scanned into a positive image. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773340969799-0RYSMHKFVX1EJC7957MI/mcba-prize-2024-Ines-Von-Ketelhodt-Ernst-Jandl-Schtzgrmm-4.jpg Entries & Jurors - 2024 Entries - Ines von Ketelhodt Germany www.ines-von-ketelhodt.de Ernst Jandl, schtzngrmm 2023 Handset and letterpress printed / book with slipcase 8.54 x 7.40 x 0.39 in Artist Statement The poem “schtzngrmm” by Ernst Jandl consists entirely of the word “Schützengraben” (trench); in the Viennese dialect, when all of the vowels are removed, it becomes “schtzngrmm.” The consonants rearrange themselves into new syllables that evoke machine-gun volleys and grenade strikes, painting an onomatopoetic picture of trench warfare. The text belongs to the tradition of concrete poetry and sound poetry and is one of the antiwar poems of the 1960s. The 35 lines of the poem are distributed across the pages of the book. Each page has only one line. Because of the transparency of the glassine paper, the previous and subsequent lines show through. The text is reversed on each left-hand page, and legible on each right-hand page. By choosing a sans serif font (Futura Bold Condensed) the lower case letters “t” are reminiscent of the crosses of fallen soldiers. The printed pages of the book have been “injured,” with 72 holes burned into them that evoke bullet holes. schtzngrmm schtzngrmm t–t–t–t t–t–t–t grrrmmmmm t–t–t–t s–––––––––c–––––––––h tzngrmm tzngrmm tzngrmm grrrmmmmm schtzn schtzn t–t–t–t t–t–t–t schtzngrmm schtzngrmm tssssssssssssss grrt grrrrrt grrrrrrrrrt scht scht t–t–t–t–t–t–t–t–t–t scht tzngrmm tzngrmm t–t–t–t–t–t–t–t–t–t scht scht scht scht scht grrrrrrrrrrrrrrrrrrrrrrrrrrrrr t–tt https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773340968301-2Y0HB76FS7RRIOHHHD7F/mcba-prize-2024-Ines-Von-Ketelhodt-Ernst-Jandl-Schtzgrmm-1.jpg Entries & Jurors - 2024 Entries - Ines von Ketelhodt Germany www.ines-von-ketelhodt.de Ernst Jandl, schtzngrmm 2023 Handset and letterpress printed / book with slipcase 8.54 x 7.40 x 0.39 in Artist Statement The poem “schtzngrmm” by Ernst Jandl consists entirely of the word “Schützengraben” (trench); in the Viennese dialect, when all of the vowels are removed, it becomes “schtzngrmm.” The consonants rearrange themselves into new syllables that evoke machine-gun volleys and grenade strikes, painting an onomatopoetic picture of trench warfare. The text belongs to the tradition of concrete poetry and sound poetry and is one of the antiwar poems of the 1960s. The 35 lines of the poem are distributed across the pages of the book. Each page has only one line. Because of the transparency of the glassine paper, the previous and subsequent lines show through. The text is reversed on each left-hand page, and legible on each right-hand page. By choosing a sans serif font (Futura Bold Condensed) the lower case letters “t” are reminiscent of the crosses of fallen soldiers. The printed pages of the book have been “injured,” with 72 holes burned into them that evoke bullet holes. schtzngrmm schtzngrmm t–t–t–t t–t–t–t grrrmmmmm t–t–t–t s–––––––––c–––––––––h tzngrmm tzngrmm tzngrmm grrrmmmmm schtzn schtzn t–t–t–t t–t–t–t schtzngrmm schtzngrmm tssssssssssssss grrt grrrrrt grrrrrrrrrt scht scht t–t–t–t–t–t–t–t–t–t scht tzngrmm tzngrmm t–t–t–t–t–t–t–t–t–t scht scht scht scht scht grrrrrrrrrrrrrrrrrrrrrrrrrrrrr t–tt https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773340968186-H18ADQDWZY3VW0F1J7TJ/mcba-prize-2024-Ines-Von-Ketelhodt-Ernst-Jandl-Schtzgrmm-2.jpg Entries & Jurors - 2024 Entries - Ines von Ketelhodt Germany www.ines-von-ketelhodt.de Ernst Jandl, schtzngrmm 2023 Handset and letterpress printed / book with slipcase 8.54 x 7.40 x 0.39 in Artist Statement The poem “schtzngrmm” by Ernst Jandl consists entirely of the word “Schützengraben” (trench); in the Viennese dialect, when all of the vowels are removed, it becomes “schtzngrmm.” The consonants rearrange themselves into new syllables that evoke machine-gun volleys and grenade strikes, painting an onomatopoetic picture of trench warfare. The text belongs to the tradition of concrete poetry and sound poetry and is one of the antiwar poems of the 1960s. The 35 lines of the poem are distributed across the pages of the book. Each page has only one line. Because of the transparency of the glassine paper, the previous and subsequent lines show through. The text is reversed on each left-hand page, and legible on each right-hand page. By choosing a sans serif font (Futura Bold Condensed) the lower case letters “t” are reminiscent of the crosses of fallen soldiers. The printed pages of the book have been “injured,” with 72 holes burned into them that evoke bullet holes. schtzngrmm schtzngrmm t–t–t–t t–t–t–t grrrmmmmm t–t–t–t s–––––––––c–––––––––h tzngrmm tzngrmm tzngrmm grrrmmmmm schtzn schtzn t–t–t–t t–t–t–t schtzngrmm schtzngrmm tssssssssssssss grrt grrrrrt grrrrrrrrrt scht scht t–t–t–t–t–t–t–t–t–t scht tzngrmm tzngrmm t–t–t–t–t–t–t–t–t–t scht scht scht scht scht grrrrrrrrrrrrrrrrrrrrrrrrrrrrr t–tt https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773340970098-YPUOU2SYVBSSZZ8DVCW2/mcba-prize-2024-Ines-Von-Ketelhodt-Ernst-Jandl-Schtzgrmm-3.jpg Entries & Jurors - 2024 Entries - Ines von Ketelhodt Germany www.ines-von-ketelhodt.de Ernst Jandl, schtzngrmm 2023 Handset and letterpress printed / book with slipcase 8.54 x 7.40 x 0.39 in Artist Statement The poem “schtzngrmm” by Ernst Jandl consists entirely of the word “Schützengraben” (trench); in the Viennese dialect, when all of the vowels are removed, it becomes “schtzngrmm.” The consonants rearrange themselves into new syllables that evoke machine-gun volleys and grenade strikes, painting an onomatopoetic picture of trench warfare. The text belongs to the tradition of concrete poetry and sound poetry and is one of the antiwar poems of the 1960s. The 35 lines of the poem are distributed across the pages of the book. Each page has only one line. Because of the transparency of the glassine paper, the previous and subsequent lines show through. The text is reversed on each left-hand page, and legible on each right-hand page. By choosing a sans serif font (Futura Bold Condensed) the lower case letters “t” are reminiscent of the crosses of fallen soldiers. The printed pages of the book have been “injured,” with 72 holes burned into them that evoke bullet holes. schtzngrmm schtzngrmm t–t–t–t t–t–t–t grrrmmmmm t–t–t–t s–––––––––c–––––––––h tzngrmm tzngrmm tzngrmm grrrmmmmm schtzn schtzn t–t–t–t t–t–t–t schtzngrmm schtzngrmm tssssssssssssss grrt grrrrrt grrrrrrrrrt scht scht t–t–t–t–t–t–t–t–t–t scht tzngrmm tzngrmm t–t–t–t–t–t–t–t–t–t scht scht scht scht scht grrrrrrrrrrrrrrrrrrrrrrrrrrrrr t–tt https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341224009-0LL2EBLIQ3CEG11WPSFX/mcba-prize-2024-Rachel-Simmons-Conditions-For-Melting-2.jpg Entries & Jurors - 2024 Entries - Rachel Simmons Orlando, FL http://www.rachelsimmons.net IG: @bearwithjetpack Conditions for Melting 2024 Acrylic, charcoal, gesso, graphite and ink on a single sheet of spiral-folded Okawara paper with letterpress and screen printing. One-of-a-kind. Closed dimensions are 19” wide x 11” tall x .8” deep. Fully open dimensions of the book are 72” wide x 36” tall, but the book can be also displayed at 36” x 10” Artist Statement Conditions for Melting is an artist’s book made from a large mixed media drawing of an iceberg I photographed in the Antarctic peninsula. I cut and folded the drawing into a single sheet spiral book structure, then added letterpress-printed words to the reverse side where layers of turquoise ink have bled through in textured drips and splotches. Using a barren and spoon to pull impressions from wood type, I printed text identifying environmental and social pressures that provide perfect conditions for melting glacial ice. The text suggests that racism, tyranny and apathy are as much to blame for climate change as natural physical forces such as heat, pressure and time. A color palette of contrasting warm and cool colors point to the often oppositional relationship humans have with nature, while the tactile nature of the enclosure’s design and the long, crinkly pages of the book evoke personal memories of hiking through deep snow in Antarctica. The book’s fragmented spiral-folded structure embodies the perception of climate change as a hyper-object, a complex set of systems and forces too vast for humans to comprehend or even see all at once. The colophon illustration offers a preview of the large scale ice drawing, which can only be seen at one time by completely unfolding the book. When folded, the book can be read in multiple directions—front to back, back to front and top to bottom— allowing the reader to create unique sequences of text and image. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341225493-D0DRY855IC4NWXT52BMX/mcba-prize-2024-Rachel-Simmons-Conditions-For-Melting-3.jpg Entries & Jurors - 2024 Entries - Rachel Simmons Orlando, FL http://www.rachelsimmons.net IG: @bearwithjetpack Conditions for Melting 2024 Acrylic, charcoal, gesso, graphite and ink on a single sheet of spiral-folded Okawara paper with letterpress and screen printing. One-of-a-kind. Closed dimensions are 19” wide x 11” tall x .8” deep. Fully open dimensions of the book are 72” wide x 36” tall, but the book can be also displayed at 36” x 10” Artist Statement Conditions for Melting is an artist’s book made from a large mixed media drawing of an iceberg I photographed in the Antarctic peninsula. I cut and folded the drawing into a single sheet spiral book structure, then added letterpress-printed words to the reverse side where layers of turquoise ink have bled through in textured drips and splotches. Using a barren and spoon to pull impressions from wood type, I printed text identifying environmental and social pressures that provide perfect conditions for melting glacial ice. The text suggests that racism, tyranny and apathy are as much to blame for climate change as natural physical forces such as heat, pressure and time. A color palette of contrasting warm and cool colors point to the often oppositional relationship humans have with nature, while the tactile nature of the enclosure’s design and the long, crinkly pages of the book evoke personal memories of hiking through deep snow in Antarctica. The book’s fragmented spiral-folded structure embodies the perception of climate change as a hyper-object, a complex set of systems and forces too vast for humans to comprehend or even see all at once. The colophon illustration offers a preview of the large scale ice drawing, which can only be seen at one time by completely unfolding the book. When folded, the book can be read in multiple directions—front to back, back to front and top to bottom— allowing the reader to create unique sequences of text and image. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341225881-VY8A9GMFBL8EM2NN75Y1/mcba-prize-2024-Rachel-Simmons-Conditions-For-Melting-4.jpg Entries & Jurors - 2024 Entries - Rachel Simmons Orlando, FL http://www.rachelsimmons.net IG: @bearwithjetpack Conditions for Melting 2024 Acrylic, charcoal, gesso, graphite and ink on a single sheet of spiral-folded Okawara paper with letterpress and screen printing. One-of-a-kind. Closed dimensions are 19” wide x 11” tall x .8” deep. Fully open dimensions of the book are 72” wide x 36” tall, but the book can be also displayed at 36” x 10” Artist Statement Conditions for Melting is an artist’s book made from a large mixed media drawing of an iceberg I photographed in the Antarctic peninsula. I cut and folded the drawing into a single sheet spiral book structure, then added letterpress-printed words to the reverse side where layers of turquoise ink have bled through in textured drips and splotches. Using a barren and spoon to pull impressions from wood type, I printed text identifying environmental and social pressures that provide perfect conditions for melting glacial ice. The text suggests that racism, tyranny and apathy are as much to blame for climate change as natural physical forces such as heat, pressure and time. A color palette of contrasting warm and cool colors point to the often oppositional relationship humans have with nature, while the tactile nature of the enclosure’s design and the long, crinkly pages of the book evoke personal memories of hiking through deep snow in Antarctica. The book’s fragmented spiral-folded structure embodies the perception of climate change as a hyper-object, a complex set of systems and forces too vast for humans to comprehend or even see all at once. The colophon illustration offers a preview of the large scale ice drawing, which can only be seen at one time by completely unfolding the book. When folded, the book can be read in multiple directions—front to back, back to front and top to bottom— allowing the reader to create unique sequences of text and image. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341227267-XCA6ZPN38B44BWSCBDUJ/mcba-prize-2024-Rachel-Simmons-Conditions-For-Melting-5.jpg Entries & Jurors - 2024 Entries - Rachel Simmons Orlando, FL http://www.rachelsimmons.net IG: @bearwithjetpack Conditions for Melting 2024 Acrylic, charcoal, gesso, graphite and ink on a single sheet of spiral-folded Okawara paper with letterpress and screen printing. One-of-a-kind. Closed dimensions are 19” wide x 11” tall x .8” deep. Fully open dimensions of the book are 72” wide x 36” tall, but the book can be also displayed at 36” x 10” Artist Statement Conditions for Melting is an artist’s book made from a large mixed media drawing of an iceberg I photographed in the Antarctic peninsula. I cut and folded the drawing into a single sheet spiral book structure, then added letterpress-printed words to the reverse side where layers of turquoise ink have bled through in textured drips and splotches. Using a barren and spoon to pull impressions from wood type, I printed text identifying environmental and social pressures that provide perfect conditions for melting glacial ice. The text suggests that racism, tyranny and apathy are as much to blame for climate change as natural physical forces such as heat, pressure and time. A color palette of contrasting warm and cool colors point to the often oppositional relationship humans have with nature, while the tactile nature of the enclosure’s design and the long, crinkly pages of the book evoke personal memories of hiking through deep snow in Antarctica. The book’s fragmented spiral-folded structure embodies the perception of climate change as a hyper-object, a complex set of systems and forces too vast for humans to comprehend or even see all at once. The colophon illustration offers a preview of the large scale ice drawing, which can only be seen at one time by completely unfolding the book. When folded, the book can be read in multiple directions—front to back, back to front and top to bottom— allowing the reader to create unique sequences of text and image. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341224234-VAHM0G5DQS673H8M9VUL/mcba-prize-2024-Rachel-Simmons-Conditions-For-Melting-1.jpg Entries & Jurors - 2024 Entries - Rachel Simmons Orlando, FL http://www.rachelsimmons.net IG: @bearwithjetpack Conditions for Melting 2024 Acrylic, charcoal, gesso, graphite and ink on a single sheet of spiral-folded Okawara paper with letterpress and screen printing. One-of-a-kind. Closed dimensions are 19” wide x 11” tall x .8” deep. Fully open dimensions of the book are 72” wide x 36” tall, but the book can be also displayed at 36” x 10” Artist Statement Conditions for Melting is an artist’s book made from a large mixed media drawing of an iceberg I photographed in the Antarctic peninsula. I cut and folded the drawing into a single sheet spiral book structure, then added letterpress-printed words to the reverse side where layers of turquoise ink have bled through in textured drips and splotches. Using a barren and spoon to pull impressions from wood type, I printed text identifying environmental and social pressures that provide perfect conditions for melting glacial ice. The text suggests that racism, tyranny and apathy are as much to blame for climate change as natural physical forces such as heat, pressure and time. A color palette of contrasting warm and cool colors point to the often oppositional relationship humans have with nature, while the tactile nature of the enclosure’s design and the long, crinkly pages of the book evoke personal memories of hiking through deep snow in Antarctica. The book’s fragmented spiral-folded structure embodies the perception of climate change as a hyper-object, a complex set of systems and forces too vast for humans to comprehend or even see all at once. The colophon illustration offers a preview of the large scale ice drawing, which can only be seen at one time by completely unfolding the book. When folded, the book can be read in multiple directions—front to back, back to front and top to bottom— allowing the reader to create unique sequences of text and image. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341313675-71KQZPBOUP69XK9GUB6X/mcba-prize-2024-Rachel-Simmons-Learning-Icelandic-Rivers-2.jpg Entries & Jurors - 2024 Entries - Rachel Simmons Orlando, FL http://www.rachelsimmons.net IG: @bearwithjetpack Learning Icelandic Rivers 2023 Leporello structure with windows, spinning pages and a folded map, enclosed in a clamshell box. Processes and materials include screen printing, digital printing, letterpress, cyanotype, sewing and typewritten text on Thai Kozo, watercolor paper, cover paper, book cloth and binder’s board Enclosure 12.58” tall x 12.75” wide x 2.58”. Longest display dimensions 10.5” tall x 90” wide by 10.5” deep. Artist Statement This project began in the summer of 2022 during a residency at the Skaftfell Art Center in Seyðisfjörður, Iceland. Using Icelandic metal type and a small book press, I printed the names of well-known Icelandic rivers on circular pages, which then evolved into a set of flash cards to help me learn the rivers’ names. One side listed four clues in English based on nicknames, origins, special characteristics & geography; the river’s Icelandic name was printed on the opposite side. I developed the clues by translating compound Icelandic nouns into my own—admittedly rough— string of English words. Many of these long river names suggest the origins or characteristics of the river such as foss (waterfall), Jökull (glacier), fjall (mountain), and volcano (eldfjall), dal (valley) or hvítur (white), so by studying the names, I became more familiar with the Icelandic language. Skjálfandafljót, for example, can be roughly translated to trembling rapid or river of tremble, offering a way to remember its name as well as understand its unique personality. This project was a contemplation on the intersection of language, culture, landscape and memory through the activity of placemaking, which relies on individualizing, rather than generalizing one’s connection with a physical place. Knowing the name of a natural feature and the origin of its name is an important part of internalizing one’s recognition of the landscape. Never having had an eidetic memory, I’ve always relied on my experiences and interest in language to remember a place, especially one as fluid and ever-changing as a river, ocean or lake. It’s important to me to understand why the river is milky or clear, wide or narrow, calm or rapid. The materials in the book represent the colors of the rivers I saw in Eastern Iceland. The variations of blue, milky white and brown identify the origins of the rivers—whether from glaciers, volcanoes, springs or mountains—and reflect the way in which river names are the result of a particular combination of geography, gravity, geology, time and cultural significance. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341315355-2EFOVH680O7UOSSNNSDU/mcba-prize-2024-Rachel-Simmons-Learning-Icelandic-Rivers-3.jpg Entries & Jurors - 2024 Entries - Rachel Simmons Orlando, FL http://www.rachelsimmons.net IG: @bearwithjetpack Learning Icelandic Rivers 2023 Leporello structure with windows, spinning pages and a folded map, enclosed in a clamshell box. Processes and materials include screen printing, digital printing, letterpress, cyanotype, sewing and typewritten text on Thai Kozo, watercolor paper, cover paper, book cloth and binder’s board Enclosure 12.58” tall x 12.75” wide x 2.58”. Longest display dimensions 10.5” tall x 90” wide by 10.5” deep. Artist Statement This project began in the summer of 2022 during a residency at the Skaftfell Art Center in Seyðisfjörður, Iceland. Using Icelandic metal type and a small book press, I printed the names of well-known Icelandic rivers on circular pages, which then evolved into a set of flash cards to help me learn the rivers’ names. One side listed four clues in English based on nicknames, origins, special characteristics & geography; the river’s Icelandic name was printed on the opposite side. I developed the clues by translating compound Icelandic nouns into my own—admittedly rough— string of English words. Many of these long river names suggest the origins or characteristics of the river such as foss (waterfall), Jökull (glacier), fjall (mountain), and volcano (eldfjall), dal (valley) or hvítur (white), so by studying the names, I became more familiar with the Icelandic language. Skjálfandafljót, for example, can be roughly translated to trembling rapid or river of tremble, offering a way to remember its name as well as understand its unique personality. This project was a contemplation on the intersection of language, culture, landscape and memory through the activity of placemaking, which relies on individualizing, rather than generalizing one’s connection with a physical place. Knowing the name of a natural feature and the origin of its name is an important part of internalizing one’s recognition of the landscape. Never having had an eidetic memory, I’ve always relied on my experiences and interest in language to remember a place, especially one as fluid and ever-changing as a river, ocean or lake. It’s important to me to understand why the river is milky or clear, wide or narrow, calm or rapid. The materials in the book represent the colors of the rivers I saw in Eastern Iceland. The variations of blue, milky white and brown identify the origins of the rivers—whether from glaciers, volcanoes, springs or mountains—and reflect the way in which river names are the result of a particular combination of geography, gravity, geology, time and cultural significance. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341315653-A2FUBE6V0YZ2M3HZMC9M/mcba-prize-2024-Rachel-Simmons-Learning-Icelandic-Rivers-4.jpg Entries & Jurors - 2024 Entries - Rachel Simmons Orlando, FL http://www.rachelsimmons.net IG: @bearwithjetpack Learning Icelandic Rivers 2023 Leporello structure with windows, spinning pages and a folded map, enclosed in a clamshell box. Processes and materials include screen printing, digital printing, letterpress, cyanotype, sewing and typewritten text on Thai Kozo, watercolor paper, cover paper, book cloth and binder’s board Enclosure 12.58” tall x 12.75” wide x 2.58”. Longest display dimensions 10.5” tall x 90” wide by 10.5” deep. Artist Statement This project began in the summer of 2022 during a residency at the Skaftfell Art Center in Seyðisfjörður, Iceland. Using Icelandic metal type and a small book press, I printed the names of well-known Icelandic rivers on circular pages, which then evolved into a set of flash cards to help me learn the rivers’ names. One side listed four clues in English based on nicknames, origins, special characteristics & geography; the river’s Icelandic name was printed on the opposite side. I developed the clues by translating compound Icelandic nouns into my own—admittedly rough— string of English words. Many of these long river names suggest the origins or characteristics of the river such as foss (waterfall), Jökull (glacier), fjall (mountain), and volcano (eldfjall), dal (valley) or hvítur (white), so by studying the names, I became more familiar with the Icelandic language. Skjálfandafljót, for example, can be roughly translated to trembling rapid or river of tremble, offering a way to remember its name as well as understand its unique personality. This project was a contemplation on the intersection of language, culture, landscape and memory through the activity of placemaking, which relies on individualizing, rather than generalizing one’s connection with a physical place. Knowing the name of a natural feature and the origin of its name is an important part of internalizing one’s recognition of the landscape. Never having had an eidetic memory, I’ve always relied on my experiences and interest in language to remember a place, especially one as fluid and ever-changing as a river, ocean or lake. It’s important to me to understand why the river is milky or clear, wide or narrow, calm or rapid. The materials in the book represent the colors of the rivers I saw in Eastern Iceland. The variations of blue, milky white and brown identify the origins of the rivers—whether from glaciers, volcanoes, springs or mountains—and reflect the way in which river names are the result of a particular combination of geography, gravity, geology, time and cultural significance. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341316793-DQLVBVMHU0RPRCETHLL9/mcba-prize-2024-Rachel-Simmons-Learning-Icelandic-Rivers-5.jpg Entries & Jurors - 2024 Entries - Rachel Simmons Orlando, FL http://www.rachelsimmons.net IG: @bearwithjetpack Learning Icelandic Rivers 2023 Leporello structure with windows, spinning pages and a folded map, enclosed in a clamshell box. Processes and materials include screen printing, digital printing, letterpress, cyanotype, sewing and typewritten text on Thai Kozo, watercolor paper, cover paper, book cloth and binder’s board Enclosure 12.58” tall x 12.75” wide x 2.58”. Longest display dimensions 10.5” tall x 90” wide by 10.5” deep. Artist Statement This project began in the summer of 2022 during a residency at the Skaftfell Art Center in Seyðisfjörður, Iceland. Using Icelandic metal type and a small book press, I printed the names of well-known Icelandic rivers on circular pages, which then evolved into a set of flash cards to help me learn the rivers’ names. One side listed four clues in English based on nicknames, origins, special characteristics & geography; the river’s Icelandic name was printed on the opposite side. I developed the clues by translating compound Icelandic nouns into my own—admittedly rough— string of English words. Many of these long river names suggest the origins or characteristics of the river such as foss (waterfall), Jökull (glacier), fjall (mountain), and volcano (eldfjall), dal (valley) or hvítur (white), so by studying the names, I became more familiar with the Icelandic language. Skjálfandafljót, for example, can be roughly translated to trembling rapid or river of tremble, offering a way to remember its name as well as understand its unique personality. This project was a contemplation on the intersection of language, culture, landscape and memory through the activity of placemaking, which relies on individualizing, rather than generalizing one’s connection with a physical place. Knowing the name of a natural feature and the origin of its name is an important part of internalizing one’s recognition of the landscape. Never having had an eidetic memory, I’ve always relied on my experiences and interest in language to remember a place, especially one as fluid and ever-changing as a river, ocean or lake. It’s important to me to understand why the river is milky or clear, wide or narrow, calm or rapid. The materials in the book represent the colors of the rivers I saw in Eastern Iceland. The variations of blue, milky white and brown identify the origins of the rivers—whether from glaciers, volcanoes, springs or mountains—and reflect the way in which river names are the result of a particular combination of geography, gravity, geology, time and cultural significance. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341313950-JJ3G83Q9FEF4E48ZHZJP/mcba-prize-2024-Rachel-Simmons-Learning-Icelandic-Rivers-1.jpg Entries & Jurors - 2024 Entries - Rachel Simmons Orlando, FL http://www.rachelsimmons.net IG: @bearwithjetpack Learning Icelandic Rivers 2023 Leporello structure with windows, spinning pages and a folded map, enclosed in a clamshell box. Processes and materials include screen printing, digital printing, letterpress, cyanotype, sewing and typewritten text on Thai Kozo, watercolor paper, cover paper, book cloth and binder’s board Enclosure 12.58” tall x 12.75” wide x 2.58”. Longest display dimensions 10.5” tall x 90” wide by 10.5” deep. Artist Statement This project began in the summer of 2022 during a residency at the Skaftfell Art Center in Seyðisfjörður, Iceland. Using Icelandic metal type and a small book press, I printed the names of well-known Icelandic rivers on circular pages, which then evolved into a set of flash cards to help me learn the rivers’ names. One side listed four clues in English based on nicknames, origins, special characteristics & geography; the river’s Icelandic name was printed on the opposite side. I developed the clues by translating compound Icelandic nouns into my own—admittedly rough— string of English words. Many of these long river names suggest the origins or characteristics of the river such as foss (waterfall), Jökull (glacier), fjall (mountain), and volcano (eldfjall), dal (valley) or hvítur (white), so by studying the names, I became more familiar with the Icelandic language. Skjálfandafljót, for example, can be roughly translated to trembling rapid or river of tremble, offering a way to remember its name as well as understand its unique personality. This project was a contemplation on the intersection of language, culture, landscape and memory through the activity of placemaking, which relies on individualizing, rather than generalizing one’s connection with a physical place. Knowing the name of a natural feature and the origin of its name is an important part of internalizing one’s recognition of the landscape. Never having had an eidetic memory, I’ve always relied on my experiences and interest in language to remember a place, especially one as fluid and ever-changing as a river, ocean or lake. It’s important to me to understand why the river is milky or clear, wide or narrow, calm or rapid. The materials in the book represent the colors of the rivers I saw in Eastern Iceland. The variations of blue, milky white and brown identify the origins of the rivers—whether from glaciers, volcanoes, springs or mountains—and reflect the way in which river names are the result of a particular combination of geography, gravity, geology, time and cultural significance. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341415427-KOSF2FVHCN8IE5M7E74M/mcba-prize-2024-Michelle-Wilson-Quarantine-Book-1.jpg Entries & Jurors - 2024 Entries - Michelle Wilson Oakland, CA www.michellewilsonprojects.com IG: @michellewilsonprojects A Quarantine Book of Hours 2024 Handmade papers, linoleum block prints, letterpress 11 x 8 inches closed Artist Statement A Quarantine Book of Hours was inspired by the events, both personal and political, during the tumultuous summer of 2020. The colors of the pages marking the Hours reflect the hue of the sky for each respective hour of the day, using color and light as a means of measuring time, and are made from a mix of abaca and cotton rag. The white narrative pages are printed with linoleum blocks and letterpress on paper made from a mix of abaca, kozo, and cotton rag. All papers were made by the artist in Oakland, CA. The majority of this book was printed at the InCahoots Artist Residency in Petaluma, CA, and was made possible by the Allison Rood Fellowship Grant Award. Subsequent printing and the final binding were completed at Rocinante Press in Oakland, CA. This book is a meditation on loss, nature, acts of compassion and activism, and time. Written in a first person voice, the narrator tells of sitting in a garden, reflecting at various times of day on the loss of her grandmother, nature, Black Lives Matter, and food drives for the unhoused population in her neighborhood during the summer of 2020. At a time when fear and uncertainty abounded, so did kindness, aid, courage, and righteous activism. This book was made in part so these acts will not be forgotten. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341415226-00JALYBPAZ4BUA7B06NZ/mcba-prize-2024-Michelle-Wilson-Quarantine-Book-2.jpg Entries & Jurors - 2024 Entries - Michelle Wilson Oakland, CA www.michellewilsonprojects.com IG: @michellewilsonprojects A Quarantine Book of Hours 2024 Handmade papers, linoleum block prints, letterpress 11 x 8 inches closed Artist Statement A Quarantine Book of Hours was inspired by the events, both personal and political, during the tumultuous summer of 2020. The colors of the pages marking the Hours reflect the hue of the sky for each respective hour of the day, using color and light as a means of measuring time, and are made from a mix of abaca and cotton rag. The white narrative pages are printed with linoleum blocks and letterpress on paper made from a mix of abaca, kozo, and cotton rag. All papers were made by the artist in Oakland, CA. The majority of this book was printed at the InCahoots Artist Residency in Petaluma, CA, and was made possible by the Allison Rood Fellowship Grant Award. Subsequent printing and the final binding were completed at Rocinante Press in Oakland, CA. This book is a meditation on loss, nature, acts of compassion and activism, and time. Written in a first person voice, the narrator tells of sitting in a garden, reflecting at various times of day on the loss of her grandmother, nature, Black Lives Matter, and food drives for the unhoused population in her neighborhood during the summer of 2020. At a time when fear and uncertainty abounded, so did kindness, aid, courage, and righteous activism. This book was made in part so these acts will not be forgotten. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341416824-0ZHL7Z6KLCIJRJ41LUB1/mcba-prize-2024-Michelle-Wilson-Quarantine-Book-3.jpg Entries & Jurors - 2024 Entries - Michelle Wilson Oakland, CA www.michellewilsonprojects.com IG: @michellewilsonprojects A Quarantine Book of Hours 2024 Handmade papers, linoleum block prints, letterpress 11 x 8 inches closed Artist Statement A Quarantine Book of Hours was inspired by the events, both personal and political, during the tumultuous summer of 2020. The colors of the pages marking the Hours reflect the hue of the sky for each respective hour of the day, using color and light as a means of measuring time, and are made from a mix of abaca and cotton rag. The white narrative pages are printed with linoleum blocks and letterpress on paper made from a mix of abaca, kozo, and cotton rag. All papers were made by the artist in Oakland, CA. The majority of this book was printed at the InCahoots Artist Residency in Petaluma, CA, and was made possible by the Allison Rood Fellowship Grant Award. Subsequent printing and the final binding were completed at Rocinante Press in Oakland, CA. This book is a meditation on loss, nature, acts of compassion and activism, and time. Written in a first person voice, the narrator tells of sitting in a garden, reflecting at various times of day on the loss of her grandmother, nature, Black Lives Matter, and food drives for the unhoused population in her neighborhood during the summer of 2020. At a time when fear and uncertainty abounded, so did kindness, aid, courage, and righteous activism. This book was made in part so these acts will not be forgotten. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341417078-3Z4Z45HQZDHI11ERHIVZ/mcba-prize-2024-Michelle-Wilson-Quarantine-Book-4.jpg Entries & Jurors - 2024 Entries - Michelle Wilson Oakland, CA www.michellewilsonprojects.com IG: @michellewilsonprojects A Quarantine Book of Hours 2024 Handmade papers, linoleum block prints, letterpress 11 x 8 inches closed Artist Statement A Quarantine Book of Hours was inspired by the events, both personal and political, during the tumultuous summer of 2020. The colors of the pages marking the Hours reflect the hue of the sky for each respective hour of the day, using color and light as a means of measuring time, and are made from a mix of abaca and cotton rag. The white narrative pages are printed with linoleum blocks and letterpress on paper made from a mix of abaca, kozo, and cotton rag. All papers were made by the artist in Oakland, CA. The majority of this book was printed at the InCahoots Artist Residency in Petaluma, CA, and was made possible by the Allison Rood Fellowship Grant Award. Subsequent printing and the final binding were completed at Rocinante Press in Oakland, CA. This book is a meditation on loss, nature, acts of compassion and activism, and time. Written in a first person voice, the narrator tells of sitting in a garden, reflecting at various times of day on the loss of her grandmother, nature, Black Lives Matter, and food drives for the unhoused population in her neighborhood during the summer of 2020. At a time when fear and uncertainty abounded, so did kindness, aid, courage, and righteous activism. This book was made in part so these acts will not be forgotten. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341418531-L631XZ0NITRO0I9GQ8MV/mcba-prize-2024-Michelle-Wilson-Quarantine-Book-5.jpg Entries & Jurors - 2024 Entries - Michelle Wilson Oakland, CA www.michellewilsonprojects.com IG: @michellewilsonprojects A Quarantine Book of Hours 2024 Handmade papers, linoleum block prints, letterpress 11 x 8 inches closed Artist Statement A Quarantine Book of Hours was inspired by the events, both personal and political, during the tumultuous summer of 2020. The colors of the pages marking the Hours reflect the hue of the sky for each respective hour of the day, using color and light as a means of measuring time, and are made from a mix of abaca and cotton rag. The white narrative pages are printed with linoleum blocks and letterpress on paper made from a mix of abaca, kozo, and cotton rag. All papers were made by the artist in Oakland, CA. The majority of this book was printed at the InCahoots Artist Residency in Petaluma, CA, and was made possible by the Allison Rood Fellowship Grant Award. Subsequent printing and the final binding were completed at Rocinante Press in Oakland, CA. This book is a meditation on loss, nature, acts of compassion and activism, and time. Written in a first person voice, the narrator tells of sitting in a garden, reflecting at various times of day on the loss of her grandmother, nature, Black Lives Matter, and food drives for the unhoused population in her neighborhood during the summer of 2020. At a time when fear and uncertainty abounded, so did kindness, aid, courage, and righteous activism. This book was made in part so these acts will not be forgotten. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341506900-WGF2BCNRR04V0X62Q8U6/mcba-prize-2024-Veronika-Schaepers-Barch-Dr-4.jpg Entries & Jurors - 2024 Entries - Veronika Schäpers Germany www.veronikaschaepers.net BArch, DR 1/2385 2023 Letterpress and blind embossing on Mitsumata paper, Rayon paper and Toshaban (waxed Ganpi paper), hidden japanese binding in Kozo covered Enduro Ice paper with embossed title, multicolored acrylic box with silk-screened title 13′ x 7′ x 1′ + 18′ x 12′ Artist Statement BArch DR 1 / 2385 or: Se una notte d‘inverno un viaggiatore / If On A Winter‘s Night A Traveler “Nobody these days holds the written word in such high esteem as police states do,” Arkadian Porphyrich says. “What statistic allows one to identify the nations where literature enjoys true consideration better than the sums appropriated for controlling it and suppressing it? Where it is the object of such attentions, literature gains an extraordinary authority, inconceivable in countries where it is allowed to vegetate as an innocuous pastime, without risks. To be sure, repression must also allow an occasional breathing space, must close an eye every now and then, alternate indulgence with abuse, with a certain unpredictability in its caprices; … ” In spring 2023 in the course of some research, I came across the print approval process in the publishing industry of the GDR and the efforts of many publishing house employees to circumvent censorship through clever argumentation. The Ministry of Culture (BRD) writes in the Federal Archives: “The constitution of the GDR did not provide for censorship. In fact, however, censorship was carried out under the substitute term of printing approval and affected almost the entire book production.“ An interesting example of a GDR publication despite critical content is the novel “If On A Winter‘s Night A Traveler“ by Italo Calvino. Although Calvino describes, among other things, the censorship authority of a repressive state with its chief censor Arkadian Porphyritsch, which is not dissimilar to the system in the then GDR or Soviet Union, the novel is published in 1984 by the publishing house Volk und Welt. The fact that it was published in the GDR was largely due to the skillful argumentation of the publisher‘s reviewer Carola Gerlach and her clever choice of Sigrid Siemund as an outside reviewer. The printing approval procedure for “If On A Winter‘s Night A Traveler“ can be found in the Federal Archives under the designation BArch DR 1 / 2385. In this artist‘s book, I have quoted a passage from Calvino‘s novel in which Arkadian Porphyritsch justifies the censorship with the love and appreciation of literature. Prophyritsch‘s praise of the repressive police state is embossed on a total of six thin, waxed papers, the transparent paper turning white at this point. This handmade material was originally used as a stencil for mimeography, a precursor to xerography. The mimeography stencil is representative of the many simple techniques writers and artists used to reproduce texts that had no chance of publication in the official publishing system of the GDR. The six sheets lie loosely around and cover a narrow booklet containing two expert assessments from the Federal Archives. To read Calvino‘s text, the reader must open the sheets like a wrapper and fan them out. Through use, the wax layer will gradually acquire small white fractures; over time, the fine and fragile text may become completely illegible, its materiality disappearing, but the content has impressed itself on the reader. The booklet inside contains the two expert assessments on the novel submitted to the Central Administration for Publishing Houses and the Book Trade, a publisher‘s assessment by the editor Carola Gerlach and an external assessment by Sigrid Siemund. In their reviews, both argue for publication, whereby Carola Gerlach mentions the critical passage quite offensively and presents it as a fine and clever satire by Calvino: “In the distorted image of satire, the international organization for the exchange of politically questionable and trivial texts has taken the place of world literature in the interaction of humanistic national literatures, which absorb readers and authors alike and render them subjectless, keeping them mentally in total manipulation. In this somewhat gloomy world view of the trivial novel, in which revolutionaries and counter-revolutionaries work blithely with and against each other as “organizations,“ one cannot actually blame the bourgeois author Calvino‘s fine satire on the censor Arkadian Porphyritsch in the imaginary land of Irkania.“ The two texts are printed on a handmade Mitsumata paper, which in its coloring and through small inclusions is reminiscent of the thin typewriter papers from GDR production. Underneath is another sheet with black block stripes, they indicate the constant threat of censorship. The gray cover with yellow embossing is reminiscent of a file veiled by the thin waxed papers with Calvino‘s quote critical of censorship. Both are kept in a multicolored acrylic box with the file number of the approval process as the title. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341505084-FUFDK5IC6J8OW5KV1ZW0/mcba-prize-2024-Veronika-Schaepers-Barch-Dr-1.jpg Entries & Jurors - 2024 Entries - Veronika Schäpers Germany www.veronikaschaepers.net BArch, DR 1/2385 2023 Letterpress and blind embossing on Mitsumata paper, Rayon paper and Toshaban (waxed Ganpi paper), hidden japanese binding in Kozo covered Enduro Ice paper with embossed title, multicolored acrylic box with silk-screened title 13′ x 7′ x 1′ + 18′ x 12′ Artist Statement BArch DR 1 / 2385 or: Se una notte d‘inverno un viaggiatore / If On A Winter‘s Night A Traveler “Nobody these days holds the written word in such high esteem as police states do,” Arkadian Porphyrich says. “What statistic allows one to identify the nations where literature enjoys true consideration better than the sums appropriated for controlling it and suppressing it? Where it is the object of such attentions, literature gains an extraordinary authority, inconceivable in countries where it is allowed to vegetate as an innocuous pastime, without risks. To be sure, repression must also allow an occasional breathing space, must close an eye every now and then, alternate indulgence with abuse, with a certain unpredictability in its caprices; … ” In spring 2023 in the course of some research, I came across the print approval process in the publishing industry of the GDR and the efforts of many publishing house employees to circumvent censorship through clever argumentation. The Ministry of Culture (BRD) writes in the Federal Archives: “The constitution of the GDR did not provide for censorship. In fact, however, censorship was carried out under the substitute term of printing approval and affected almost the entire book production.“ An interesting example of a GDR publication despite critical content is the novel “If On A Winter‘s Night A Traveler“ by Italo Calvino. Although Calvino describes, among other things, the censorship authority of a repressive state with its chief censor Arkadian Porphyritsch, which is not dissimilar to the system in the then GDR or Soviet Union, the novel is published in 1984 by the publishing house Volk und Welt. The fact that it was published in the GDR was largely due to the skillful argumentation of the publisher‘s reviewer Carola Gerlach and her clever choice of Sigrid Siemund as an outside reviewer. The printing approval procedure for “If On A Winter‘s Night A Traveler“ can be found in the Federal Archives under the designation BArch DR 1 / 2385. In this artist‘s book, I have quoted a passage from Calvino‘s novel in which Arkadian Porphyritsch justifies the censorship with the love and appreciation of literature. Prophyritsch‘s praise of the repressive police state is embossed on a total of six thin, waxed papers, the transparent paper turning white at this point. This handmade material was originally used as a stencil for mimeography, a precursor to xerography. The mimeography stencil is representative of the many simple techniques writers and artists used to reproduce texts that had no chance of publication in the official publishing system of the GDR. The six sheets lie loosely around and cover a narrow booklet containing two expert assessments from the Federal Archives. To read Calvino‘s text, the reader must open the sheets like a wrapper and fan them out. Through use, the wax layer will gradually acquire small white fractures; over time, the fine and fragile text may become completely illegible, its materiality disappearing, but the content has impressed itself on the reader. The booklet inside contains the two expert assessments on the novel submitted to the Central Administration for Publishing Houses and the Book Trade, a publisher‘s assessment by the editor Carola Gerlach and an external assessment by Sigrid Siemund. In their reviews, both argue for publication, whereby Carola Gerlach mentions the critical passage quite offensively and presents it as a fine and clever satire by Calvino: “In the distorted image of satire, the international organization for the exchange of politically questionable and trivial texts has taken the place of world literature in the interaction of humanistic national literatures, which absorb readers and authors alike and render them subjectless, keeping them mentally in total manipulation. In this somewhat gloomy world view of the trivial novel, in which revolutionaries and counter-revolutionaries work blithely with and against each other as “organizations,“ one cannot actually blame the bourgeois author Calvino‘s fine satire on the censor Arkadian Porphyritsch in the imaginary land of Irkania.“ The two texts are printed on a handmade Mitsumata paper, which in its coloring and through small inclusions is reminiscent of the thin typewriter papers from GDR production. Underneath is another sheet with black block stripes, they indicate the constant threat of censorship. The gray cover with yellow embossing is reminiscent of a file veiled by the thin waxed papers with Calvino‘s quote critical of censorship. Both are kept in a multicolored acrylic box with the file number of the approval process as the title. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341505030-1ETCZJN88U27PAHZ6JK7/mcba-prize-2024-Veronika-Schaepers-Barch-Dr-2.jpg Entries & Jurors - 2024 Entries - Veronika Schäpers Germany www.veronikaschaepers.net BArch, DR 1/2385 2023 Letterpress and blind embossing on Mitsumata paper, Rayon paper and Toshaban (waxed Ganpi paper), hidden japanese binding in Kozo covered Enduro Ice paper with embossed title, multicolored acrylic box with silk-screened title 13′ x 7′ x 1′ + 18′ x 12′ Artist Statement BArch DR 1 / 2385 or: Se una notte d‘inverno un viaggiatore / If On A Winter‘s Night A Traveler “Nobody these days holds the written word in such high esteem as police states do,” Arkadian Porphyrich says. “What statistic allows one to identify the nations where literature enjoys true consideration better than the sums appropriated for controlling it and suppressing it? Where it is the object of such attentions, literature gains an extraordinary authority, inconceivable in countries where it is allowed to vegetate as an innocuous pastime, without risks. To be sure, repression must also allow an occasional breathing space, must close an eye every now and then, alternate indulgence with abuse, with a certain unpredictability in its caprices; … ” In spring 2023 in the course of some research, I came across the print approval process in the publishing industry of the GDR and the efforts of many publishing house employees to circumvent censorship through clever argumentation. The Ministry of Culture (BRD) writes in the Federal Archives: “The constitution of the GDR did not provide for censorship. In fact, however, censorship was carried out under the substitute term of printing approval and affected almost the entire book production.“ An interesting example of a GDR publication despite critical content is the novel “If On A Winter‘s Night A Traveler“ by Italo Calvino. Although Calvino describes, among other things, the censorship authority of a repressive state with its chief censor Arkadian Porphyritsch, which is not dissimilar to the system in the then GDR or Soviet Union, the novel is published in 1984 by the publishing house Volk und Welt. The fact that it was published in the GDR was largely due to the skillful argumentation of the publisher‘s reviewer Carola Gerlach and her clever choice of Sigrid Siemund as an outside reviewer. The printing approval procedure for “If On A Winter‘s Night A Traveler“ can be found in the Federal Archives under the designation BArch DR 1 / 2385. In this artist‘s book, I have quoted a passage from Calvino‘s novel in which Arkadian Porphyritsch justifies the censorship with the love and appreciation of literature. Prophyritsch‘s praise of the repressive police state is embossed on a total of six thin, waxed papers, the transparent paper turning white at this point. This handmade material was originally used as a stencil for mimeography, a precursor to xerography. The mimeography stencil is representative of the many simple techniques writers and artists used to reproduce texts that had no chance of publication in the official publishing system of the GDR. The six sheets lie loosely around and cover a narrow booklet containing two expert assessments from the Federal Archives. To read Calvino‘s text, the reader must open the sheets like a wrapper and fan them out. Through use, the wax layer will gradually acquire small white fractures; over time, the fine and fragile text may become completely illegible, its materiality disappearing, but the content has impressed itself on the reader. The booklet inside contains the two expert assessments on the novel submitted to the Central Administration for Publishing Houses and the Book Trade, a publisher‘s assessment by the editor Carola Gerlach and an external assessment by Sigrid Siemund. In their reviews, both argue for publication, whereby Carola Gerlach mentions the critical passage quite offensively and presents it as a fine and clever satire by Calvino: “In the distorted image of satire, the international organization for the exchange of politically questionable and trivial texts has taken the place of world literature in the interaction of humanistic national literatures, which absorb readers and authors alike and render them subjectless, keeping them mentally in total manipulation. In this somewhat gloomy world view of the trivial novel, in which revolutionaries and counter-revolutionaries work blithely with and against each other as “organizations,“ one cannot actually blame the bourgeois author Calvino‘s fine satire on the censor Arkadian Porphyritsch in the imaginary land of Irkania.“ The two texts are printed on a handmade Mitsumata paper, which in its coloring and through small inclusions is reminiscent of the thin typewriter papers from GDR production. Underneath is another sheet with black block stripes, they indicate the constant threat of censorship. The gray cover with yellow embossing is reminiscent of a file veiled by the thin waxed papers with Calvino‘s quote critical of censorship. Both are kept in a multicolored acrylic box with the file number of the approval process as the title. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341506645-F2HJE76IERM0UAV3VUIX/mcba-prize-2024-Veronika-Schaepers-Barch-Dr-3.jpg Entries & Jurors - 2024 Entries - Veronika Schäpers Germany www.veronikaschaepers.net BArch, DR 1/2385 2023 Letterpress and blind embossing on Mitsumata paper, Rayon paper and Toshaban (waxed Ganpi paper), hidden japanese binding in Kozo covered Enduro Ice paper with embossed title, multicolored acrylic box with silk-screened title 13′ x 7′ x 1′ + 18′ x 12′ Artist Statement BArch DR 1 / 2385 or: Se una notte d‘inverno un viaggiatore / If On A Winter‘s Night A Traveler “Nobody these days holds the written word in such high esteem as police states do,” Arkadian Porphyrich says. “What statistic allows one to identify the nations where literature enjoys true consideration better than the sums appropriated for controlling it and suppressing it? Where it is the object of such attentions, literature gains an extraordinary authority, inconceivable in countries where it is allowed to vegetate as an innocuous pastime, without risks. To be sure, repression must also allow an occasional breathing space, must close an eye every now and then, alternate indulgence with abuse, with a certain unpredictability in its caprices; … ” In spring 2023 in the course of some research, I came across the print approval process in the publishing industry of the GDR and the efforts of many publishing house employees to circumvent censorship through clever argumentation. The Ministry of Culture (BRD) writes in the Federal Archives: “The constitution of the GDR did not provide for censorship. In fact, however, censorship was carried out under the substitute term of printing approval and affected almost the entire book production.“ An interesting example of a GDR publication despite critical content is the novel “If On A Winter‘s Night A Traveler“ by Italo Calvino. Although Calvino describes, among other things, the censorship authority of a repressive state with its chief censor Arkadian Porphyritsch, which is not dissimilar to the system in the then GDR or Soviet Union, the novel is published in 1984 by the publishing house Volk und Welt. The fact that it was published in the GDR was largely due to the skillful argumentation of the publisher‘s reviewer Carola Gerlach and her clever choice of Sigrid Siemund as an outside reviewer. The printing approval procedure for “If On A Winter‘s Night A Traveler“ can be found in the Federal Archives under the designation BArch DR 1 / 2385. In this artist‘s book, I have quoted a passage from Calvino‘s novel in which Arkadian Porphyritsch justifies the censorship with the love and appreciation of literature. Prophyritsch‘s praise of the repressive police state is embossed on a total of six thin, waxed papers, the transparent paper turning white at this point. This handmade material was originally used as a stencil for mimeography, a precursor to xerography. The mimeography stencil is representative of the many simple techniques writers and artists used to reproduce texts that had no chance of publication in the official publishing system of the GDR. The six sheets lie loosely around and cover a narrow booklet containing two expert assessments from the Federal Archives. To read Calvino‘s text, the reader must open the sheets like a wrapper and fan them out. Through use, the wax layer will gradually acquire small white fractures; over time, the fine and fragile text may become completely illegible, its materiality disappearing, but the content has impressed itself on the reader. The booklet inside contains the two expert assessments on the novel submitted to the Central Administration for Publishing Houses and the Book Trade, a publisher‘s assessment by the editor Carola Gerlach and an external assessment by Sigrid Siemund. In their reviews, both argue for publication, whereby Carola Gerlach mentions the critical passage quite offensively and presents it as a fine and clever satire by Calvino: “In the distorted image of satire, the international organization for the exchange of politically questionable and trivial texts has taken the place of world literature in the interaction of humanistic national literatures, which absorb readers and authors alike and render them subjectless, keeping them mentally in total manipulation. In this somewhat gloomy world view of the trivial novel, in which revolutionaries and counter-revolutionaries work blithely with and against each other as “organizations,“ one cannot actually blame the bourgeois author Calvino‘s fine satire on the censor Arkadian Porphyritsch in the imaginary land of Irkania.“ The two texts are printed on a handmade Mitsumata paper, which in its coloring and through small inclusions is reminiscent of the thin typewriter papers from GDR production. Underneath is another sheet with black block stripes, they indicate the constant threat of censorship. The gray cover with yellow embossing is reminiscent of a file veiled by the thin waxed papers with Calvino‘s quote critical of censorship. Both are kept in a multicolored acrylic box with the file number of the approval process as the title. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341508337-HKCN6P1V33GA1JCSSBJU/mcba-prize-2024-Veronika-Schaepers-Barch-Dr-5.jpg Entries & Jurors - 2024 Entries - Veronika Schäpers Germany www.veronikaschaepers.net BArch, DR 1/2385 2023 Letterpress and blind embossing on Mitsumata paper, Rayon paper and Toshaban (waxed Ganpi paper), hidden japanese binding in Kozo covered Enduro Ice paper with embossed title, multicolored acrylic box with silk-screened title 13′ x 7′ x 1′ + 18′ x 12′ Artist Statement BArch DR 1 / 2385 or: Se una notte d‘inverno un viaggiatore / If On A Winter‘s Night A Traveler “Nobody these days holds the written word in such high esteem as police states do,” Arkadian Porphyrich says. “What statistic allows one to identify the nations where literature enjoys true consideration better than the sums appropriated for controlling it and suppressing it? Where it is the object of such attentions, literature gains an extraordinary authority, inconceivable in countries where it is allowed to vegetate as an innocuous pastime, without risks. To be sure, repression must also allow an occasional breathing space, must close an eye every now and then, alternate indulgence with abuse, with a certain unpredictability in its caprices; … ” In spring 2023 in the course of some research, I came across the print approval process in the publishing industry of the GDR and the efforts of many publishing house employees to circumvent censorship through clever argumentation. The Ministry of Culture (BRD) writes in the Federal Archives: “The constitution of the GDR did not provide for censorship. In fact, however, censorship was carried out under the substitute term of printing approval and affected almost the entire book production.“ An interesting example of a GDR publication despite critical content is the novel “If On A Winter‘s Night A Traveler“ by Italo Calvino. Although Calvino describes, among other things, the censorship authority of a repressive state with its chief censor Arkadian Porphyritsch, which is not dissimilar to the system in the then GDR or Soviet Union, the novel is published in 1984 by the publishing house Volk und Welt. The fact that it was published in the GDR was largely due to the skillful argumentation of the publisher‘s reviewer Carola Gerlach and her clever choice of Sigrid Siemund as an outside reviewer. The printing approval procedure for “If On A Winter‘s Night A Traveler“ can be found in the Federal Archives under the designation BArch DR 1 / 2385. In this artist‘s book, I have quoted a passage from Calvino‘s novel in which Arkadian Porphyritsch justifies the censorship with the love and appreciation of literature. Prophyritsch‘s praise of the repressive police state is embossed on a total of six thin, waxed papers, the transparent paper turning white at this point. This handmade material was originally used as a stencil for mimeography, a precursor to xerography. The mimeography stencil is representative of the many simple techniques writers and artists used to reproduce texts that had no chance of publication in the official publishing system of the GDR. The six sheets lie loosely around and cover a narrow booklet containing two expert assessments from the Federal Archives. To read Calvino‘s text, the reader must open the sheets like a wrapper and fan them out. Through use, the wax layer will gradually acquire small white fractures; over time, the fine and fragile text may become completely illegible, its materiality disappearing, but the content has impressed itself on the reader. The booklet inside contains the two expert assessments on the novel submitted to the Central Administration for Publishing Houses and the Book Trade, a publisher‘s assessment by the editor Carola Gerlach and an external assessment by Sigrid Siemund. In their reviews, both argue for publication, whereby Carola Gerlach mentions the critical passage quite offensively and presents it as a fine and clever satire by Calvino: “In the distorted image of satire, the international organization for the exchange of politically questionable and trivial texts has taken the place of world literature in the interaction of humanistic national literatures, which absorb readers and authors alike and render them subjectless, keeping them mentally in total manipulation. In this somewhat gloomy world view of the trivial novel, in which revolutionaries and counter-revolutionaries work blithely with and against each other as “organizations,“ one cannot actually blame the bourgeois author Calvino‘s fine satire on the censor Arkadian Porphyritsch in the imaginary land of Irkania.“ The two texts are printed on a handmade Mitsumata paper, which in its coloring and through small inclusions is reminiscent of the thin typewriter papers from GDR production. Underneath is another sheet with black block stripes, they indicate the constant threat of censorship. The gray cover with yellow embossing is reminiscent of a file veiled by the thin waxed papers with Calvino‘s quote critical of censorship. Both are kept in a multicolored acrylic box with the file number of the approval process as the title. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341615677-MQXPS4X8B967CFIEZOI7/mcba-prize-2024-Maggie-Murphy-Four-Questions-1.jpg Entries & Jurors - 2024 Entries - Maggie Murphy Greensboro, NC www.Murphymaggie.com/art IG: @legs_benedict Four Questions for Tomorrow 2023 Risograph and letterpress on card stock with lasercut chipboard folder 5.5 x 1 x 7” Artist Statement In my practice as a printmaker, I pose discomfiting questions through which I strive to capture and communicate the vulnerability of my existential disquietude—whether ecological, metaphysical, personal, or otherwise. This body of work acts as an interlocutor, seeking to prompt reflection, contrition, and resolve in those who engage with it. Four Questions For Tomorrow, my first artist’s book, presents a series of questions I have about human adaptability to, and coping with, the climate crisis—questions that, because they scare me so much, I want to keep deferring until later and later. In other words, I’ll ask them tomorrow. To create this work, I took a photographs of the sky and printed them on a riso machine using blue, yellow, and metallic gold inks. As these inks overlap, they create gradients that include shades of green. The effect is beautiful, but unnatural, echoing my questions about proposed methods of geoengineering that include injecting sulfur particles into the atmosphere to reflect back the sun’s heat, thereby cooling the earth. Then, I composed metal type by hand and printed the four questions on a tabletop proofing press. (The positioning of the questions on the cards varies across an edition of six books.) Finally, I designed and created a chipboard folder to house the cards using a laser cutter. Housing the cards in a folder, rather than binding them into book form, allows them to be rearranged and encountered in any order—and perhaps distributed to others, either to start new conversations or as a way to keep from having to contemplate the questions yourself any further. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341615887-UHEZRRWSRPRHXAOM6RN6/mcba-prize-2024-Maggie-Murphy-Four-Questions-2.jpg Entries & Jurors - 2024 Entries - Maggie Murphy Greensboro, NC www.Murphymaggie.com/art IG: @legs_benedict Four Questions for Tomorrow 2023 Risograph and letterpress on card stock with lasercut chipboard folder 5.5 x 1 x 7” Artist Statement In my practice as a printmaker, I pose discomfiting questions through which I strive to capture and communicate the vulnerability of my existential disquietude—whether ecological, metaphysical, personal, or otherwise. This body of work acts as an interlocutor, seeking to prompt reflection, contrition, and resolve in those who engage with it. Four Questions For Tomorrow, my first artist’s book, presents a series of questions I have about human adaptability to, and coping with, the climate crisis—questions that, because they scare me so much, I want to keep deferring until later and later. In other words, I’ll ask them tomorrow. To create this work, I took a photographs of the sky and printed them on a riso machine using blue, yellow, and metallic gold inks. As these inks overlap, they create gradients that include shades of green. The effect is beautiful, but unnatural, echoing my questions about proposed methods of geoengineering that include injecting sulfur particles into the atmosphere to reflect back the sun’s heat, thereby cooling the earth. Then, I composed metal type by hand and printed the four questions on a tabletop proofing press. (The positioning of the questions on the cards varies across an edition of six books.) Finally, I designed and created a chipboard folder to house the cards using a laser cutter. Housing the cards in a folder, rather than binding them into book form, allows them to be rearranged and encountered in any order—and perhaps distributed to others, either to start new conversations or as a way to keep from having to contemplate the questions yourself any further. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341617226-PSO75GW2Y3MYR1NKQLP1/mcba-prize-2024-Maggie-Murphy-Four-Questions-3.jpg Entries & Jurors - 2024 Entries - Maggie Murphy Greensboro, NC www.Murphymaggie.com/art IG: @legs_benedict Four Questions for Tomorrow 2023 Risograph and letterpress on card stock with lasercut chipboard folder 5.5 x 1 x 7” Artist Statement In my practice as a printmaker, I pose discomfiting questions through which I strive to capture and communicate the vulnerability of my existential disquietude—whether ecological, metaphysical, personal, or otherwise. This body of work acts as an interlocutor, seeking to prompt reflection, contrition, and resolve in those who engage with it. Four Questions For Tomorrow, my first artist’s book, presents a series of questions I have about human adaptability to, and coping with, the climate crisis—questions that, because they scare me so much, I want to keep deferring until later and later. In other words, I’ll ask them tomorrow. To create this work, I took a photographs of the sky and printed them on a riso machine using blue, yellow, and metallic gold inks. As these inks overlap, they create gradients that include shades of green. The effect is beautiful, but unnatural, echoing my questions about proposed methods of geoengineering that include injecting sulfur particles into the atmosphere to reflect back the sun’s heat, thereby cooling the earth. Then, I composed metal type by hand and printed the four questions on a tabletop proofing press. (The positioning of the questions on the cards varies across an edition of six books.) Finally, I designed and created a chipboard folder to house the cards using a laser cutter. Housing the cards in a folder, rather than binding them into book form, allows them to be rearranged and encountered in any order—and perhaps distributed to others, either to start new conversations or as a way to keep from having to contemplate the questions yourself any further. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341675826-OGISCMV8770Y76BGZIG1/mcba-prize-2024-Maggie-Murphy-Four-Questions-4.jpg Entries & Jurors - 2024 Entries - Maggie Murphy Greensboro, NC www.Murphymaggie.com/art IG: @legs_benedict Four Questions for Tomorrow 2023 Risograph and letterpress on card stock with lasercut chipboard folder 5.5 x 1 x 7” Artist Statement In my practice as a printmaker, I pose discomfiting questions through which I strive to capture and communicate the vulnerability of my existential disquietude—whether ecological, metaphysical, personal, or otherwise. This body of work acts as an interlocutor, seeking to prompt reflection, contrition, and resolve in those who engage with it. Four Questions For Tomorrow, my first artist’s book, presents a series of questions I have about human adaptability to, and coping with, the climate crisis—questions that, because they scare me so much, I want to keep deferring until later and later. In other words, I’ll ask them tomorrow. To create this work, I took a photographs of the sky and printed them on a riso machine using blue, yellow, and metallic gold inks. As these inks overlap, they create gradients that include shades of green. The effect is beautiful, but unnatural, echoing my questions about proposed methods of geoengineering that include injecting sulfur particles into the atmosphere to reflect back the sun’s heat, thereby cooling the earth. Then, I composed metal type by hand and printed the four questions on a tabletop proofing press. (The positioning of the questions on the cards varies across an edition of six books.) Finally, I designed and created a chipboard folder to house the cards using a laser cutter. Housing the cards in a folder, rather than binding them into book form, allows them to be rearranged and encountered in any order—and perhaps distributed to others, either to start new conversations or as a way to keep from having to contemplate the questions yourself any further. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773346295752-P40IWL30X3TO4EWIR5DV/mcba-prize-2024-Cynthia-Gipple-Ripple-Lake-Observations-1.jpg Entries & Jurors - 2024 Entries - Cynthia Gipple St. Paul , MN sites.google.com/view/cynthiagipple Ripple, Lake Observations and Reflections 2022-2023 Watercolors, ink, Burga, Rives BFK, Basis paper, Suminagashi ink on fabric, book board, cotton and linen thread 28″x28″”x10″ Artist Statement I make one-of-a-kind Artists’ Books, prints, shadow boxes, and paper basket vessels. I use traditional knit, knot, sew, coil, stitch, print, paint, and spin, hand techniques. My projects are inspired by found and reused materials, woods, forests and waterways, architecture, memories, and stories. I grew up on a small lake. As a young person, I had mentors who supported and expanded my interests in traditional crafts, the natural world, object making like snowshoes and a potter’s wheel, art and print making projects. I’ve worked as an intern architect, a librarian, and educator. Teaching in Youth Programs at Minnesota Center for Book Arts (MCBA), and completing my MCBA certificate in paper, print and binding, were significant influences in solidified the joining of paper architecture and the book in my work. Ripple began with painting small watercolors and writing poems near Minnesota waterways. As my collection of the 240 pages grew, I started to think about securing them in an accordion spine. The spine became the structure of this ripple object. Like a ripple, this project grew from the center as a single page, and outward to structure, then container, and on to an object that reflects the whole. I also work as the handler in a dog therapy team. Winnie and I visit reluctant readers and people in the hospice setting. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773346295870-57YGSU54LM6HCK1YAIHY/mcba-prize-2024-Cynthia-Gipple-Ripple-Lake-Observations-2.jpg Entries & Jurors - 2024 Entries - Cynthia Gipple St. Paul , MN sites.google.com/view/cynthiagipple Ripple, Lake Observations and Reflections 2022-2023 Watercolors, ink, Burga, Rives BFK, Basis paper, Suminagashi ink on fabric, book board, cotton and linen thread 28″x28″”x10″ Artist Statement I make one-of-a-kind Artists’ Books, prints, shadow boxes, and paper basket vessels. I use traditional knit, knot, sew, coil, stitch, print, paint, and spin, hand techniques. My projects are inspired by found and reused materials, woods, forests and waterways, architecture, memories, and stories. I grew up on a small lake. As a young person, I had mentors who supported and expanded my interests in traditional crafts, the natural world, object making like snowshoes and a potter’s wheel, art and print making projects. I’ve worked as an intern architect, a librarian, and educator. Teaching in Youth Programs at Minnesota Center for Book Arts (MCBA), and completing my MCBA certificate in paper, print and binding, were significant influences in solidified the joining of paper architecture and the book in my work. Ripple began with painting small watercolors and writing poems near Minnesota waterways. As my collection of the 240 pages grew, I started to think about securing them in an accordion spine. The spine became the structure of this ripple object. Like a ripple, this project grew from the center as a single page, and outward to structure, then container, and on to an object that reflects the whole. I also work as the handler in a dog therapy team. Winnie and I visit reluctant readers and people in the hospice setting. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773346297184-09OZAPUJSDQYPZOUMSDI/mcba-prize-2024-Cynthia-Gipple-Ripple-Lake-Observations-3.jpg Entries & Jurors - 2024 Entries - Cynthia Gipple St. Paul , MN sites.google.com/view/cynthiagipple Ripple, Lake Observations and Reflections 2022-2023 Watercolors, ink, Burga, Rives BFK, Basis paper, Suminagashi ink on fabric, book board, cotton and linen thread 28″x28″”x10″ Artist Statement I make one-of-a-kind Artists’ Books, prints, shadow boxes, and paper basket vessels. I use traditional knit, knot, sew, coil, stitch, print, paint, and spin, hand techniques. My projects are inspired by found and reused materials, woods, forests and waterways, architecture, memories, and stories. I grew up on a small lake. As a young person, I had mentors who supported and expanded my interests in traditional crafts, the natural world, object making like snowshoes and a potter’s wheel, art and print making projects. I’ve worked as an intern architect, a librarian, and educator. Teaching in Youth Programs at Minnesota Center for Book Arts (MCBA), and completing my MCBA certificate in paper, print and binding, were significant influences in solidified the joining of paper architecture and the book in my work. Ripple began with painting small watercolors and writing poems near Minnesota waterways. As my collection of the 240 pages grew, I started to think about securing them in an accordion spine. The spine became the structure of this ripple object. Like a ripple, this project grew from the center as a single page, and outward to structure, then container, and on to an object that reflects the whole. I also work as the handler in a dog therapy team. Winnie and I visit reluctant readers and people in the hospice setting. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773346297469-YW3RN1OM3B0BXZVS7HJO/mcba-prize-2024-Cynthia-Gipple-Ripple-Lake-Observations-4.jpg Entries & Jurors - 2024 Entries - Cynthia Gipple St. Paul , MN sites.google.com/view/cynthiagipple Ripple, Lake Observations and Reflections 2022-2023 Watercolors, ink, Burga, Rives BFK, Basis paper, Suminagashi ink on fabric, book board, cotton and linen thread 28″x28″”x10″ Artist Statement I make one-of-a-kind Artists’ Books, prints, shadow boxes, and paper basket vessels. I use traditional knit, knot, sew, coil, stitch, print, paint, and spin, hand techniques. My projects are inspired by found and reused materials, woods, forests and waterways, architecture, memories, and stories. I grew up on a small lake. As a young person, I had mentors who supported and expanded my interests in traditional crafts, the natural world, object making like snowshoes and a potter’s wheel, art and print making projects. I’ve worked as an intern architect, a librarian, and educator. Teaching in Youth Programs at Minnesota Center for Book Arts (MCBA), and completing my MCBA certificate in paper, print and binding, were significant influences in solidified the joining of paper architecture and the book in my work. Ripple began with painting small watercolors and writing poems near Minnesota waterways. As my collection of the 240 pages grew, I started to think about securing them in an accordion spine. The spine became the structure of this ripple object. Like a ripple, this project grew from the center as a single page, and outward to structure, then container, and on to an object that reflects the whole. I also work as the handler in a dog therapy team. Winnie and I visit reluctant readers and people in the hospice setting. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773346298618-XJRY9SBSIUPSABS10ZCU/mcba-prize-2024-Cynthia-Gipple-Ripple-Lake-Observations-5.jpg Entries & Jurors - 2024 Entries - Cynthia Gipple St. Paul , MN sites.google.com/view/cynthiagipple Ripple, Lake Observations and Reflections 2022-2023 Watercolors, ink, Burga, Rives BFK, Basis paper, Suminagashi ink on fabric, book board, cotton and linen thread 28″x28″”x10″ Artist Statement I make one-of-a-kind Artists’ Books, prints, shadow boxes, and paper basket vessels. I use traditional knit, knot, sew, coil, stitch, print, paint, and spin, hand techniques. My projects are inspired by found and reused materials, woods, forests and waterways, architecture, memories, and stories. I grew up on a small lake. As a young person, I had mentors who supported and expanded my interests in traditional crafts, the natural world, object making like snowshoes and a potter’s wheel, art and print making projects. I’ve worked as an intern architect, a librarian, and educator. Teaching in Youth Programs at Minnesota Center for Book Arts (MCBA), and completing my MCBA certificate in paper, print and binding, were significant influences in solidified the joining of paper architecture and the book in my work. Ripple began with painting small watercolors and writing poems near Minnesota waterways. As my collection of the 240 pages grew, I started to think about securing them in an accordion spine. The spine became the structure of this ripple object. Like a ripple, this project grew from the center as a single page, and outward to structure, then container, and on to an object that reflects the whole. I also work as the handler in a dog therapy team. Winnie and I visit reluctant readers and people in the hospice setting. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773346579778-XPFCDXPSWW1J3MDH3SAI/mcba-prize-2024-Marjon-Mudde-Ziran-1.jpg Entries & Jurors - 2024 Entries - Marjon MUDDE France https://artmarjonmudde.wordpress.com ZIRAN 2023 Linocut, etching, collages of handmade and marbles paper on fabric 8,8 x 9,8 x 1,4 inches (closed) ; 60 x 23 x 1,4 inches (open) Artist Statement Scientific facts do not often inspire book artists, who most often root their work in literature and visual arts. So did I, until I came across an article in a French “science for all” magazine explaining about the new frontiers of life. Recent research and a complete new generation of scientists have contributed to new insights and help look upon IXX and XX century theories as part of history. The neat borders of the definition of life have expanded and have become sometimes blurred: exciting new areas to be explored. Of course artists are familiar with revolutions and new ways ! So I happily started learning about Mitochondria, Giant Viruses and the behavior of oil blobs…not knowing where this would lead me. When came the time to start writing the 3 poems for this book, parallels with the ways human beings organize their social world wanted to be explored, as I often use wordplay and second meanings in my writings. The cold scientific words were replaced by poetic words (in French), to my big surprise. The same road was taken for the linocuts, based on microscope pictures, but treated with artistical freedom. Of course scientists continue to wonder about the origin of life and have resolved many puzzles recently. But it seems to me that there is still a part of mystery to the very beginnings. I saw there a link to philosophy, and added a short quote from the Tao Te King. Here science and literature join hands to enable freedom of thought and exploration. The title of the book « Zìrán », is a Chinese word, which can mean Natural in modern language, and Spontaneity in the words of the Taoists. The advantage of making a single copy artists book is that one can include a wide variety of scraps and left-overs, which is not possible for a limited edition. As I have been doing a lot of limited editions in my 40 years career, I have a huge amount of scraps and treasure boxes, put away for ‘further reference”. What a joy to select bits of handmade paper I made twenty years ago, to combine it with a cut-up big etching even older, finally use some of the beautiful marbled paper by the French master marbler Vincent Rougier. All this made such colorful and tactile compositions in which to include the new linocuts, to be mounted on cotton gauze which I dyed first in the right shade. I printed the text in letterpress, even if it’s just one copy! Hours of hand stitching it all to strips of fabric, and finally putting on the metal pieces (where I failed the first time and had to undo the binding and start all over again… ) finished the book, so I could take its measurements and create the box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773346579576-OZJ63SY8G3J3QNMGH6QI/mcba-prize-2024-Marjon-Mudde-Ziran-2.jpg Entries & Jurors - 2024 Entries - Marjon MUDDE France https://artmarjonmudde.wordpress.com ZIRAN 2023 Linocut, etching, collages of handmade and marbles paper on fabric 8,8 x 9,8 x 1,4 inches (closed) ; 60 x 23 x 1,4 inches (open) Artist Statement Scientific facts do not often inspire book artists, who most often root their work in literature and visual arts. So did I, until I came across an article in a French “science for all” magazine explaining about the new frontiers of life. Recent research and a complete new generation of scientists have contributed to new insights and help look upon IXX and XX century theories as part of history. The neat borders of the definition of life have expanded and have become sometimes blurred: exciting new areas to be explored. Of course artists are familiar with revolutions and new ways ! So I happily started learning about Mitochondria, Giant Viruses and the behavior of oil blobs…not knowing where this would lead me. When came the time to start writing the 3 poems for this book, parallels with the ways human beings organize their social world wanted to be explored, as I often use wordplay and second meanings in my writings. The cold scientific words were replaced by poetic words (in French), to my big surprise. The same road was taken for the linocuts, based on microscope pictures, but treated with artistical freedom. Of course scientists continue to wonder about the origin of life and have resolved many puzzles recently. But it seems to me that there is still a part of mystery to the very beginnings. I saw there a link to philosophy, and added a short quote from the Tao Te King. Here science and literature join hands to enable freedom of thought and exploration. The title of the book « Zìrán », is a Chinese word, which can mean Natural in modern language, and Spontaneity in the words of the Taoists. The advantage of making a single copy artists book is that one can include a wide variety of scraps and left-overs, which is not possible for a limited edition. As I have been doing a lot of limited editions in my 40 years career, I have a huge amount of scraps and treasure boxes, put away for ‘further reference”. What a joy to select bits of handmade paper I made twenty years ago, to combine it with a cut-up big etching even older, finally use some of the beautiful marbled paper by the French master marbler Vincent Rougier. All this made such colorful and tactile compositions in which to include the new linocuts, to be mounted on cotton gauze which I dyed first in the right shade. I printed the text in letterpress, even if it’s just one copy! Hours of hand stitching it all to strips of fabric, and finally putting on the metal pieces (where I failed the first time and had to undo the binding and start all over again… ) finished the book, so I could take its measurements and create the box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773346582751-1GDCMHEH3ZRZAYMA490I/mcba-prize-2024-Marjon-Mudde-Ziran-3.jpg Entries & Jurors - 2024 Entries - Marjon MUDDE France https://artmarjonmudde.wordpress.com ZIRAN 2023 Linocut, etching, collages of handmade and marbles paper on fabric 8,8 x 9,8 x 1,4 inches (closed) ; 60 x 23 x 1,4 inches (open) Artist Statement Scientific facts do not often inspire book artists, who most often root their work in literature and visual arts. So did I, until I came across an article in a French “science for all” magazine explaining about the new frontiers of life. Recent research and a complete new generation of scientists have contributed to new insights and help look upon IXX and XX century theories as part of history. The neat borders of the definition of life have expanded and have become sometimes blurred: exciting new areas to be explored. Of course artists are familiar with revolutions and new ways ! So I happily started learning about Mitochondria, Giant Viruses and the behavior of oil blobs…not knowing where this would lead me. When came the time to start writing the 3 poems for this book, parallels with the ways human beings organize their social world wanted to be explored, as I often use wordplay and second meanings in my writings. The cold scientific words were replaced by poetic words (in French), to my big surprise. The same road was taken for the linocuts, based on microscope pictures, but treated with artistical freedom. Of course scientists continue to wonder about the origin of life and have resolved many puzzles recently. But it seems to me that there is still a part of mystery to the very beginnings. I saw there a link to philosophy, and added a short quote from the Tao Te King. Here science and literature join hands to enable freedom of thought and exploration. The title of the book « Zìrán », is a Chinese word, which can mean Natural in modern language, and Spontaneity in the words of the Taoists. The advantage of making a single copy artists book is that one can include a wide variety of scraps and left-overs, which is not possible for a limited edition. As I have been doing a lot of limited editions in my 40 years career, I have a huge amount of scraps and treasure boxes, put away for ‘further reference”. What a joy to select bits of handmade paper I made twenty years ago, to combine it with a cut-up big etching even older, finally use some of the beautiful marbled paper by the French master marbler Vincent Rougier. All this made such colorful and tactile compositions in which to include the new linocuts, to be mounted on cotton gauze which I dyed first in the right shade. I printed the text in letterpress, even if it’s just one copy! Hours of hand stitching it all to strips of fabric, and finally putting on the metal pieces (where I failed the first time and had to undo the binding and start all over again… ) finished the book, so I could take its measurements and create the box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773346583309-OBHTLPYM81154DVXX3SE/mcba-prize-2024-Marjon-Mudde-Ziran-4.jpg Entries & Jurors - 2024 Entries - Marjon MUDDE France https://artmarjonmudde.wordpress.com ZIRAN 2023 Linocut, etching, collages of handmade and marbles paper on fabric 8,8 x 9,8 x 1,4 inches (closed) ; 60 x 23 x 1,4 inches (open) Artist Statement Scientific facts do not often inspire book artists, who most often root their work in literature and visual arts. So did I, until I came across an article in a French “science for all” magazine explaining about the new frontiers of life. Recent research and a complete new generation of scientists have contributed to new insights and help look upon IXX and XX century theories as part of history. The neat borders of the definition of life have expanded and have become sometimes blurred: exciting new areas to be explored. Of course artists are familiar with revolutions and new ways ! So I happily started learning about Mitochondria, Giant Viruses and the behavior of oil blobs…not knowing where this would lead me. When came the time to start writing the 3 poems for this book, parallels with the ways human beings organize their social world wanted to be explored, as I often use wordplay and second meanings in my writings. The cold scientific words were replaced by poetic words (in French), to my big surprise. The same road was taken for the linocuts, based on microscope pictures, but treated with artistical freedom. Of course scientists continue to wonder about the origin of life and have resolved many puzzles recently. But it seems to me that there is still a part of mystery to the very beginnings. I saw there a link to philosophy, and added a short quote from the Tao Te King. Here science and literature join hands to enable freedom of thought and exploration. The title of the book « Zìrán », is a Chinese word, which can mean Natural in modern language, and Spontaneity in the words of the Taoists. The advantage of making a single copy artists book is that one can include a wide variety of scraps and left-overs, which is not possible for a limited edition. As I have been doing a lot of limited editions in my 40 years career, I have a huge amount of scraps and treasure boxes, put away for ‘further reference”. What a joy to select bits of handmade paper I made twenty years ago, to combine it with a cut-up big etching even older, finally use some of the beautiful marbled paper by the French master marbler Vincent Rougier. All this made such colorful and tactile compositions in which to include the new linocuts, to be mounted on cotton gauze which I dyed first in the right shade. I printed the text in letterpress, even if it’s just one copy! Hours of hand stitching it all to strips of fabric, and finally putting on the metal pieces (where I failed the first time and had to undo the binding and start all over again… ) finished the book, so I could take its measurements and create the box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773346585527-GDL8ATF0927FCZHDDYWY/mcba-prize-2024-Marjon-Mudde-Ziran-5.jpg Entries & Jurors - 2024 Entries - Marjon MUDDE France https://artmarjonmudde.wordpress.com ZIRAN 2023 Linocut, etching, collages of handmade and marbles paper on fabric 8,8 x 9,8 x 1,4 inches (closed) ; 60 x 23 x 1,4 inches (open) Artist Statement Scientific facts do not often inspire book artists, who most often root their work in literature and visual arts. So did I, until I came across an article in a French “science for all” magazine explaining about the new frontiers of life. Recent research and a complete new generation of scientists have contributed to new insights and help look upon IXX and XX century theories as part of history. The neat borders of the definition of life have expanded and have become sometimes blurred: exciting new areas to be explored. Of course artists are familiar with revolutions and new ways ! So I happily started learning about Mitochondria, Giant Viruses and the behavior of oil blobs…not knowing where this would lead me. When came the time to start writing the 3 poems for this book, parallels with the ways human beings organize their social world wanted to be explored, as I often use wordplay and second meanings in my writings. The cold scientific words were replaced by poetic words (in French), to my big surprise. The same road was taken for the linocuts, based on microscope pictures, but treated with artistical freedom. Of course scientists continue to wonder about the origin of life and have resolved many puzzles recently. But it seems to me that there is still a part of mystery to the very beginnings. I saw there a link to philosophy, and added a short quote from the Tao Te King. Here science and literature join hands to enable freedom of thought and exploration. The title of the book « Zìrán », is a Chinese word, which can mean Natural in modern language, and Spontaneity in the words of the Taoists. The advantage of making a single copy artists book is that one can include a wide variety of scraps and left-overs, which is not possible for a limited edition. As I have been doing a lot of limited editions in my 40 years career, I have a huge amount of scraps and treasure boxes, put away for ‘further reference”. What a joy to select bits of handmade paper I made twenty years ago, to combine it with a cut-up big etching even older, finally use some of the beautiful marbled paper by the French master marbler Vincent Rougier. All this made such colorful and tactile compositions in which to include the new linocuts, to be mounted on cotton gauze which I dyed first in the right shade. I printed the text in letterpress, even if it’s just one copy! Hours of hand stitching it all to strips of fabric, and finally putting on the metal pieces (where I failed the first time and had to undo the binding and start all over again… ) finished the book, so I could take its measurements and create the box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773348876012-SITOEUOD60ACZGL6H76F/mcba-prize-2024-Yuqi-Liu-Mushroom-Hunting-1.jpg Entries & Jurors - 2024 Entries - Yuqi Liu New York, NY https://yuqiliu.cargo.site/homepage IG: @yuqianita Mushroom Hunting 2023 16 cmyk screen prints as artist book with handmade clamshell box 11.5 x 8.5 x 1.5 in Artist Statement This book captures a mesmerizing journey through Inwood Hill Park, Manhattan’s last old-growth forest, led by mushroom enthusiasts. It’s a visual celebration of their deep connection with nature, highlighting the intricate beauty of fungi. CMYK screen-printed photographs bound in a design inspired by a mushroom cap, capture the harmonious blend of humanity with the environment. Each page-turn immerses the reader into a world where every touch and scrutinizing gaze unravels the enigma of these organisms. These fungi, captured in their natural habitat, are not just biological entities but symbols of resilience, interconnectedness, and the perpetual beauty of life’s cycles. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773348881324-T14NTN91WV9FKEJUR383/mcba-prize-2024-Yuqi-Liu-Mushroom-Hunting-4.jpg Entries & Jurors - 2024 Entries - Yuqi Liu New York, NY https://yuqiliu.cargo.site/homepage IG: @yuqianita Mushroom Hunting 2023 16 cmyk screen prints as artist book with handmade clamshell box 11.5 x 8.5 x 1.5 in Artist Statement This book captures a mesmerizing journey through Inwood Hill Park, Manhattan’s last old-growth forest, led by mushroom enthusiasts. It’s a visual celebration of their deep connection with nature, highlighting the intricate beauty of fungi. CMYK screen-printed photographs bound in a design inspired by a mushroom cap, capture the harmonious blend of humanity with the environment. Each page-turn immerses the reader into a world where every touch and scrutinizing gaze unravels the enigma of these organisms. These fungi, captured in their natural habitat, are not just biological entities but symbols of resilience, interconnectedness, and the perpetual beauty of life’s cycles. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773348881320-N50NKY04TTBB3NVQWVAB/mcba-prize-2024-Yuqi-Liu-Mushroom-Hunting-5.jpeg Entries & Jurors - 2024 Entries - Yuqi Liu New York, NY https://yuqiliu.cargo.site/homepage IG: @yuqianita Mushroom Hunting 2023 16 cmyk screen prints as artist book with handmade clamshell box 11.5 x 8.5 x 1.5 in Artist Statement This book captures a mesmerizing journey through Inwood Hill Park, Manhattan’s last old-growth forest, led by mushroom enthusiasts. It’s a visual celebration of their deep connection with nature, highlighting the intricate beauty of fungi. CMYK screen-printed photographs bound in a design inspired by a mushroom cap, capture the harmonious blend of humanity with the environment. Each page-turn immerses the reader into a world where every touch and scrutinizing gaze unravels the enigma of these organisms. These fungi, captured in their natural habitat, are not just biological entities but symbols of resilience, interconnectedness, and the perpetual beauty of life’s cycles. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773348878259-5PF8PN90NLQW8YW4ZD8D/mcba-prize-2024-Yuqi-Liu-Mushroom-Hunting-3.jpeg Entries & Jurors - 2024 Entries - Yuqi Liu New York, NY https://yuqiliu.cargo.site/homepage IG: @yuqianita Mushroom Hunting 2023 16 cmyk screen prints as artist book with handmade clamshell box 11.5 x 8.5 x 1.5 in Artist Statement This book captures a mesmerizing journey through Inwood Hill Park, Manhattan’s last old-growth forest, led by mushroom enthusiasts. It’s a visual celebration of their deep connection with nature, highlighting the intricate beauty of fungi. CMYK screen-printed photographs bound in a design inspired by a mushroom cap, capture the harmonious blend of humanity with the environment. Each page-turn immerses the reader into a world where every touch and scrutinizing gaze unravels the enigma of these organisms. These fungi, captured in their natural habitat, are not just biological entities but symbols of resilience, interconnectedness, and the perpetual beauty of life’s cycles. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773348877932-NS1LWJDZ3T4WUDMB8AJB/mcba-prize-2024-Yuqi-Liu-Mushroom-Hunting-2.jpg Entries & Jurors - 2024 Entries - Yuqi Liu New York, NY https://yuqiliu.cargo.site/homepage IG: @yuqianita Mushroom Hunting 2023 16 cmyk screen prints as artist book with handmade clamshell box 11.5 x 8.5 x 1.5 in Artist Statement This book captures a mesmerizing journey through Inwood Hill Park, Manhattan’s last old-growth forest, led by mushroom enthusiasts. It’s a visual celebration of their deep connection with nature, highlighting the intricate beauty of fungi. CMYK screen-printed photographs bound in a design inspired by a mushroom cap, capture the harmonious blend of humanity with the environment. Each page-turn immerses the reader into a world where every touch and scrutinizing gaze unravels the enigma of these organisms. These fungi, captured in their natural habitat, are not just biological entities but symbols of resilience, interconnectedness, and the perpetual beauty of life’s cycles. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350023130-533TJ43IYXQ4NEY4QZ5V/mcba-prize-2024-Yuqi-Liu-Tides-in-the-Body-2.jpeg Entries & Jurors - 2024 Entries - Yuqi Liu New York, NY https://yuqiliu.cargo.site/homepage IG: @yuqianita Tides in the Body 2024 Riso and screen print round shape hard cover drum leaf book 5.5 X 3 X 0.5 in Artist Statement Like the moon’s influence on Earth’s tides, women’s menstrual cycles mirror the ebb and flow within our bodies. This 13-page book is crafted through RISO printing on hand-cut paper, enclosed within a silkscreened hardcover. Each page symbolizes the interconnectedness of women with the celestial rhythms, embodying the profound connection between lunar cycles and feminine essence. This work honors and explores the universal tide that unites women, highlighting the beauty and significance of this natural synchronicity. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350026275-MD2PCVXE1ABVEXSZRJI7/mcba-prize-2024-Yuqi-Liu-Tides-in-the-Body-3.jpg Entries & Jurors - 2024 Entries - Yuqi Liu New York, NY https://yuqiliu.cargo.site/homepage IG: @yuqianita Tides in the Body 2024 Riso and screen print round shape hard cover drum leaf book 5.5 X 3 X 0.5 in Artist Statement Like the moon’s influence on Earth’s tides, women’s menstrual cycles mirror the ebb and flow within our bodies. This 13-page book is crafted through RISO printing on hand-cut paper, enclosed within a silkscreened hardcover. Each page symbolizes the interconnectedness of women with the celestial rhythms, embodying the profound connection between lunar cycles and feminine essence. This work honors and explores the universal tide that unites women, highlighting the beauty and significance of this natural synchronicity. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350022616-Z0LXWDP9RZXYKOV1X2V3/mcba-prize-2024-Yuqi-Liu-Tides-in-the-Body-1.jpeg Entries & Jurors - 2024 Entries - Yuqi Liu New York, NY https://yuqiliu.cargo.site/homepage IG: @yuqianita Tides in the Body 2024 Riso and screen print round shape hard cover drum leaf book 5.5 X 3 X 0.5 in Artist Statement Like the moon’s influence on Earth’s tides, women’s menstrual cycles mirror the ebb and flow within our bodies. This 13-page book is crafted through RISO printing on hand-cut paper, enclosed within a silkscreened hardcover. Each page symbolizes the interconnectedness of women with the celestial rhythms, embodying the profound connection between lunar cycles and feminine essence. This work honors and explores the universal tide that unites women, highlighting the beauty and significance of this natural synchronicity. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350025461-93GB8X8JWYGTWX3O9LC0/mcba-prize-2024-Yuqi-Liu-Tides-in-the-Body-4.jpeg Entries & Jurors - 2024 Entries - Yuqi Liu New York, NY https://yuqiliu.cargo.site/homepage IG: @yuqianita Tides in the Body 2024 Riso and screen print round shape hard cover drum leaf book 5.5 X 3 X 0.5 in Artist Statement Like the moon’s influence on Earth’s tides, women’s menstrual cycles mirror the ebb and flow within our bodies. This 13-page book is crafted through RISO printing on hand-cut paper, enclosed within a silkscreened hardcover. Each page symbolizes the interconnectedness of women with the celestial rhythms, embodying the profound connection between lunar cycles and feminine essence. This work honors and explores the universal tide that unites women, highlighting the beauty and significance of this natural synchronicity. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350028073-4AK6P68RS4AES3AKXJUF/mcba-prize-2024-Yuqi-Liu-Tides-in-the-Body-5.jpeg Entries & Jurors - 2024 Entries - Yuqi Liu New York, NY https://yuqiliu.cargo.site/homepage IG: @yuqianita Tides in the Body 2024 Riso and screen print round shape hard cover drum leaf book 5.5 X 3 X 0.5 in Artist Statement Like the moon’s influence on Earth’s tides, women’s menstrual cycles mirror the ebb and flow within our bodies. This 13-page book is crafted through RISO printing on hand-cut paper, enclosed within a silkscreened hardcover. Each page symbolizes the interconnectedness of women with the celestial rhythms, embodying the profound connection between lunar cycles and feminine essence. This work honors and explores the universal tide that unites women, highlighting the beauty and significance of this natural synchronicity. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350516154-0H6TG5NSIEFKDJ1746CF/mcba-prize-2024-Mary-V-Marsh-California-Landscapes-1.jpg Entries & Jurors - 2024 Entries - Mary V. Marsh Oakland, CA www.mvmarsh.com IG: @quitecontrarypress California Landmarks: A Collection of Landscapes by Latitude 2024 Photopolymer intaglio, Cloister Old type, watercolor on Rives BFK. Foil stamp title on Cialux bookcloth spine. Drumleaf binding, Vandyke photogram covers. 8 x 11 x 5/8″ closed Artist Statement California Landmarks is a collection of landscapes with cell towers camouflaged as trees. A series of nine sites are photographed with a cell phone through a tourist’s eye; a tour in GPS order. It is inspired by the history of the transformation of the American west, and the documentation by early photographers promoting a new tourism industry. Formatted like a photo album, it’s a view of our contemporary built environment with a future nostalgia. Created and printed by Mary V. Marsh at Kala Art Institute. The Vandyke photogram covers are made from “branches” collected at the sites. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350515880-ISVJBVLOMMIWJLC03A0O/mcba-prize-2024-Mary-V-Marsh-California-Landscapes-2.jpg Entries & Jurors - 2024 Entries - Mary V. Marsh Oakland, CA www.mvmarsh.com IG: @quitecontrarypress California Landmarks: A Collection of Landscapes by Latitude 2024 Photopolymer intaglio, Cloister Old type, watercolor on Rives BFK. Foil stamp title on Cialux bookcloth spine. Drumleaf binding, Vandyke photogram covers. 8 x 11 x 5/8″ closed Artist Statement California Landmarks is a collection of landscapes with cell towers camouflaged as trees. A series of nine sites are photographed with a cell phone through a tourist’s eye; a tour in GPS order. It is inspired by the history of the transformation of the American west, and the documentation by early photographers promoting a new tourism industry. Formatted like a photo album, it’s a view of our contemporary built environment with a future nostalgia. Created and printed by Mary V. Marsh at Kala Art Institute. The Vandyke photogram covers are made from “branches” collected at the sites. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350517894-9BK1SMV1MSBCS9ILB17F/mcba-prize-2024-Mary-V-Marsh-California-Landscapes-3.jpg Entries & Jurors - 2024 Entries - Mary V. Marsh Oakland, CA www.mvmarsh.com IG: @quitecontrarypress California Landmarks: A Collection of Landscapes by Latitude 2024 Photopolymer intaglio, Cloister Old type, watercolor on Rives BFK. Foil stamp title on Cialux bookcloth spine. Drumleaf binding, Vandyke photogram covers. 8 x 11 x 5/8″ closed Artist Statement California Landmarks is a collection of landscapes with cell towers camouflaged as trees. A series of nine sites are photographed with a cell phone through a tourist’s eye; a tour in GPS order. It is inspired by the history of the transformation of the American west, and the documentation by early photographers promoting a new tourism industry. Formatted like a photo album, it’s a view of our contemporary built environment with a future nostalgia. Created and printed by Mary V. Marsh at Kala Art Institute. The Vandyke photogram covers are made from “branches” collected at the sites. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350518148-LO4NUWQX7NF606R73F3S/mcba-prize-2024-Mary-V-Marsh-California-Landscapes-4.jpg Entries & Jurors - 2024 Entries - Mary V. Marsh Oakland, CA www.mvmarsh.com IG: @quitecontrarypress California Landmarks: A Collection of Landscapes by Latitude 2024 Photopolymer intaglio, Cloister Old type, watercolor on Rives BFK. Foil stamp title on Cialux bookcloth spine. Drumleaf binding, Vandyke photogram covers. 8 x 11 x 5/8″ closed Artist Statement California Landmarks is a collection of landscapes with cell towers camouflaged as trees. A series of nine sites are photographed with a cell phone through a tourist’s eye; a tour in GPS order. It is inspired by the history of the transformation of the American west, and the documentation by early photographers promoting a new tourism industry. Formatted like a photo album, it’s a view of our contemporary built environment with a future nostalgia. Created and printed by Mary V. Marsh at Kala Art Institute. The Vandyke photogram covers are made from “branches” collected at the sites. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350520654-NHP1AJ4ZYB4KMQJ0LYTL/mcba-prize-2024-Mary-V-Marsh-California-Landscapes-5.jpg Entries & Jurors - 2024 Entries - Mary V. Marsh Oakland, CA www.mvmarsh.com IG: @quitecontrarypress California Landmarks: A Collection of Landscapes by Latitude 2024 Photopolymer intaglio, Cloister Old type, watercolor on Rives BFK. Foil stamp title on Cialux bookcloth spine. Drumleaf binding, Vandyke photogram covers. 8 x 11 x 5/8″ closed Artist Statement California Landmarks is a collection of landscapes with cell towers camouflaged as trees. A series of nine sites are photographed with a cell phone through a tourist’s eye; a tour in GPS order. It is inspired by the history of the transformation of the American west, and the documentation by early photographers promoting a new tourism industry. Formatted like a photo album, it’s a view of our contemporary built environment with a future nostalgia. Created and printed by Mary V. Marsh at Kala Art Institute. The Vandyke photogram covers are made from “branches” collected at the sites. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350699659-U3R828AAZAA6FCXOXPGA/mcba-prize-2024-Marlene-MacCallum-Where-Steps-Stop-1.jpg Entries & Jurors - 2024 Entries - Marlene MacCallum Ontario, Canada https://www.marlenemaccallum.com IG: @marlenemaccallum where steps stop 2024 Four volume book work in slipcase, drum leaf binding, archival digital pigment prints on Aya paper, letterpress, polymer photogravure 19/16 x 7 x 10 7/16 inches, each volume closed: 1/4 x 6 11/16 x 10 1/8 inches, each image spread: 13 7/16 x 10 1/16 inches Artist Statement In June 2020, I began to regularly photograph at the lake’s edge, marking the conclusion of my walk with a visual record, always from the same south-facing vantage point. From this gathering of images, where steps stop was formed. where steps stop is a four-part work about the flux of water, sky, ground, and their visual convergence. This piece is also about the nature of printing; how the record of an ephemeral situation is transformed to become a fixed printed object. In addition to the construction of images via the physical strata of print processes is the overlay of the written word. Each volume uses drum leaf binding to provide an uninterrupted image/page spread surface. The spines and covers form a word flow that links the four volumes. The first volume, when water colours, emphasizes visual experience. The sequence of page spreads reveals the radically distinct colour realities of the lake’s edge as summer shifts to fall. This volume consists of four archival digital pigment prints on Aya paper, typeface: Gibson. The second volume, below fragrant skies, evokes scent memories conjured by wind, air pressure and weather environments. The overlay of words both identifies cloud formations and suggests the invisible, subtle smells in the space. The text is letterpress printed in subtle ink. Words are pressed into the paper surface and hover amidst images of sky and cloud. Five archival digital pigment prints are overprinted with letterpress on Aya paper, typeface: News Gothic. In surfaces murmur, sonic memories are integrated into the visual record. Layers of printing echo the filter of perception. The represented space is seen through a subtle veil of thought. The digital print contains only the CMY components of a CMYK image. This is subsequently over-printed with a polymer photogravure printing of the K (black) layer. This results in a work where the coloured pigment inks sink into the paper surface and the black intaglio ink rests on top. The distinct layers of printing generate photographic and graphic realities that echo both the human presence and the natural world. Five archival digital pigment prints are layered with polymer photogravure on Aya paper, typeface: Faricy New. The fourth, and final volume, steps stop, was inspired by driving to the lake with the car radio on while the frequencies flickered between the music of Arvo Pärt and other stations. This led to an exploration of the compositional structure of Pärt’s music. His use of a repeated and evolving triad structure with a parallel melodic line is echoed by the triad of sky-water-land and the floating words that slowly build, then stop. This volume consists of six archival digital pigment prints on Aya paper, typeface: Optima. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350699910-FR3LJNMI8V0OYOD0OJ39/mcba-prize-2024-Marlene-MacCallum-Where-Steps-Stop-2.jpg Entries & Jurors - 2024 Entries - Marlene MacCallum Ontario, Canada https://www.marlenemaccallum.com IG: @marlenemaccallum where steps stop 2024 Four volume book work in slipcase, drum leaf binding, archival digital pigment prints on Aya paper, letterpress, polymer photogravure 19/16 x 7 x 10 7/16 inches, each volume closed: 1/4 x 6 11/16 x 10 1/8 inches, each image spread: 13 7/16 x 10 1/16 inches Artist Statement In June 2020, I began to regularly photograph at the lake’s edge, marking the conclusion of my walk with a visual record, always from the same south-facing vantage point. From this gathering of images, where steps stop was formed. where steps stop is a four-part work about the flux of water, sky, ground, and their visual convergence. This piece is also about the nature of printing; how the record of an ephemeral situation is transformed to become a fixed printed object. In addition to the construction of images via the physical strata of print processes is the overlay of the written word. Each volume uses drum leaf binding to provide an uninterrupted image/page spread surface. The spines and covers form a word flow that links the four volumes. The first volume, when water colours, emphasizes visual experience. The sequence of page spreads reveals the radically distinct colour realities of the lake’s edge as summer shifts to fall. This volume consists of four archival digital pigment prints on Aya paper, typeface: Gibson. The second volume, below fragrant skies, evokes scent memories conjured by wind, air pressure and weather environments. The overlay of words both identifies cloud formations and suggests the invisible, subtle smells in the space. The text is letterpress printed in subtle ink. Words are pressed into the paper surface and hover amidst images of sky and cloud. Five archival digital pigment prints are overprinted with letterpress on Aya paper, typeface: News Gothic. In surfaces murmur, sonic memories are integrated into the visual record. Layers of printing echo the filter of perception. The represented space is seen through a subtle veil of thought. The digital print contains only the CMY components of a CMYK image. This is subsequently over-printed with a polymer photogravure printing of the K (black) layer. This results in a work where the coloured pigment inks sink into the paper surface and the black intaglio ink rests on top. The distinct layers of printing generate photographic and graphic realities that echo both the human presence and the natural world. Five archival digital pigment prints are layered with polymer photogravure on Aya paper, typeface: Faricy New. The fourth, and final volume, steps stop, was inspired by driving to the lake with the car radio on while the frequencies flickered between the music of Arvo Pärt and other stations. This led to an exploration of the compositional structure of Pärt’s music. His use of a repeated and evolving triad structure with a parallel melodic line is echoed by the triad of sky-water-land and the floating words that slowly build, then stop. This volume consists of six archival digital pigment prints on Aya paper, typeface: Optima. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350703971-E7MCTXOW2G2BPBCGFBQB/mcba-prize-2024-Marlene-MacCallum-Where-Steps-Stop-3.jpg Entries & Jurors - 2024 Entries - Marlene MacCallum Ontario, Canada https://www.marlenemaccallum.com IG: @marlenemaccallum where steps stop 2024 Four volume book work in slipcase, drum leaf binding, archival digital pigment prints on Aya paper, letterpress, polymer photogravure 19/16 x 7 x 10 7/16 inches, each volume closed: 1/4 x 6 11/16 x 10 1/8 inches, each image spread: 13 7/16 x 10 1/16 inches Artist Statement In June 2020, I began to regularly photograph at the lake’s edge, marking the conclusion of my walk with a visual record, always from the same south-facing vantage point. From this gathering of images, where steps stop was formed. where steps stop is a four-part work about the flux of water, sky, ground, and their visual convergence. This piece is also about the nature of printing; how the record of an ephemeral situation is transformed to become a fixed printed object. In addition to the construction of images via the physical strata of print processes is the overlay of the written word. Each volume uses drum leaf binding to provide an uninterrupted image/page spread surface. The spines and covers form a word flow that links the four volumes. The first volume, when water colours, emphasizes visual experience. The sequence of page spreads reveals the radically distinct colour realities of the lake’s edge as summer shifts to fall. This volume consists of four archival digital pigment prints on Aya paper, typeface: Gibson. The second volume, below fragrant skies, evokes scent memories conjured by wind, air pressure and weather environments. The overlay of words both identifies cloud formations and suggests the invisible, subtle smells in the space. The text is letterpress printed in subtle ink. Words are pressed into the paper surface and hover amidst images of sky and cloud. Five archival digital pigment prints are overprinted with letterpress on Aya paper, typeface: News Gothic. In surfaces murmur, sonic memories are integrated into the visual record. Layers of printing echo the filter of perception. The represented space is seen through a subtle veil of thought. The digital print contains only the CMY components of a CMYK image. This is subsequently over-printed with a polymer photogravure printing of the K (black) layer. This results in a work where the coloured pigment inks sink into the paper surface and the black intaglio ink rests on top. The distinct layers of printing generate photographic and graphic realities that echo both the human presence and the natural world. Five archival digital pigment prints are layered with polymer photogravure on Aya paper, typeface: Faricy New. The fourth, and final volume, steps stop, was inspired by driving to the lake with the car radio on while the frequencies flickered between the music of Arvo Pärt and other stations. This led to an exploration of the compositional structure of Pärt’s music. His use of a repeated and evolving triad structure with a parallel melodic line is echoed by the triad of sky-water-land and the floating words that slowly build, then stop. This volume consists of six archival digital pigment prints on Aya paper, typeface: Optima. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350704231-TNXK42EIW8JQX21TU7LR/mcba-prize-2024-Marlene-MacCallum-Where-Steps-Stop-4.jpg Entries & Jurors - 2024 Entries - Marlene MacCallum Ontario, Canada https://www.marlenemaccallum.com IG: @marlenemaccallum where steps stop 2024 Four volume book work in slipcase, drum leaf binding, archival digital pigment prints on Aya paper, letterpress, polymer photogravure 19/16 x 7 x 10 7/16 inches, each volume closed: 1/4 x 6 11/16 x 10 1/8 inches, each image spread: 13 7/16 x 10 1/16 inches Artist Statement In June 2020, I began to regularly photograph at the lake’s edge, marking the conclusion of my walk with a visual record, always from the same south-facing vantage point. From this gathering of images, where steps stop was formed. where steps stop is a four-part work about the flux of water, sky, ground, and their visual convergence. This piece is also about the nature of printing; how the record of an ephemeral situation is transformed to become a fixed printed object. In addition to the construction of images via the physical strata of print processes is the overlay of the written word. Each volume uses drum leaf binding to provide an uninterrupted image/page spread surface. The spines and covers form a word flow that links the four volumes. The first volume, when water colours, emphasizes visual experience. The sequence of page spreads reveals the radically distinct colour realities of the lake’s edge as summer shifts to fall. This volume consists of four archival digital pigment prints on Aya paper, typeface: Gibson. The second volume, below fragrant skies, evokes scent memories conjured by wind, air pressure and weather environments. The overlay of words both identifies cloud formations and suggests the invisible, subtle smells in the space. The text is letterpress printed in subtle ink. Words are pressed into the paper surface and hover amidst images of sky and cloud. Five archival digital pigment prints are overprinted with letterpress on Aya paper, typeface: News Gothic. In surfaces murmur, sonic memories are integrated into the visual record. Layers of printing echo the filter of perception. The represented space is seen through a subtle veil of thought. The digital print contains only the CMY components of a CMYK image. This is subsequently over-printed with a polymer photogravure printing of the K (black) layer. This results in a work where the coloured pigment inks sink into the paper surface and the black intaglio ink rests on top. The distinct layers of printing generate photographic and graphic realities that echo both the human presence and the natural world. Five archival digital pigment prints are layered with polymer photogravure on Aya paper, typeface: Faricy New. The fourth, and final volume, steps stop, was inspired by driving to the lake with the car radio on while the frequencies flickered between the music of Arvo Pärt and other stations. This led to an exploration of the compositional structure of Pärt’s music. His use of a repeated and evolving triad structure with a parallel melodic line is echoed by the triad of sky-water-land and the floating words that slowly build, then stop. This volume consists of six archival digital pigment prints on Aya paper, typeface: Optima. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350706604-89US2G0BHVASYWX2FQGH/mcba-prize-2024-Marlene-MacCallum-Where-Steps-Stop-5.jpg Entries & Jurors - 2024 Entries - Marlene MacCallum Ontario, Canada https://www.marlenemaccallum.com IG: @marlenemaccallum where steps stop 2024 Four volume book work in slipcase, drum leaf binding, archival digital pigment prints on Aya paper, letterpress, polymer photogravure 19/16 x 7 x 10 7/16 inches, each volume closed: 1/4 x 6 11/16 x 10 1/8 inches, each image spread: 13 7/16 x 10 1/16 inches Artist Statement In June 2020, I began to regularly photograph at the lake’s edge, marking the conclusion of my walk with a visual record, always from the same south-facing vantage point. From this gathering of images, where steps stop was formed. where steps stop is a four-part work about the flux of water, sky, ground, and their visual convergence. This piece is also about the nature of printing; how the record of an ephemeral situation is transformed to become a fixed printed object. In addition to the construction of images via the physical strata of print processes is the overlay of the written word. Each volume uses drum leaf binding to provide an uninterrupted image/page spread surface. The spines and covers form a word flow that links the four volumes. The first volume, when water colours, emphasizes visual experience. The sequence of page spreads reveals the radically distinct colour realities of the lake’s edge as summer shifts to fall. This volume consists of four archival digital pigment prints on Aya paper, typeface: Gibson. The second volume, below fragrant skies, evokes scent memories conjured by wind, air pressure and weather environments. The overlay of words both identifies cloud formations and suggests the invisible, subtle smells in the space. The text is letterpress printed in subtle ink. Words are pressed into the paper surface and hover amidst images of sky and cloud. Five archival digital pigment prints are overprinted with letterpress on Aya paper, typeface: News Gothic. In surfaces murmur, sonic memories are integrated into the visual record. Layers of printing echo the filter of perception. The represented space is seen through a subtle veil of thought. The digital print contains only the CMY components of a CMYK image. This is subsequently over-printed with a polymer photogravure printing of the K (black) layer. This results in a work where the coloured pigment inks sink into the paper surface and the black intaglio ink rests on top. The distinct layers of printing generate photographic and graphic realities that echo both the human presence and the natural world. Five archival digital pigment prints are layered with polymer photogravure on Aya paper, typeface: Faricy New. The fourth, and final volume, steps stop, was inspired by driving to the lake with the car radio on while the frequencies flickered between the music of Arvo Pärt and other stations. This led to an exploration of the compositional structure of Pärt’s music. His use of a repeated and evolving triad structure with a parallel melodic line is echoed by the triad of sky-water-land and the floating words that slowly build, then stop. This volume consists of six archival digital pigment prints on Aya paper, typeface: Optima. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350878380-FWOPAQRQ5XUFTQPYCX7W/mcba-prize-2024-Marlene-MacCallum-Sleepwalk-1.jpg Entries & Jurors - 2024 Entries - Marlene MacCallum Ontario, Canada https://www.marlenemaccallum.com IG: @marlenemaccallum sleep walk 2023 Sewn board binding with wraparound case with magnetic closure system, archival digital pigment prints on Asuka and Niyodo papers Four volumes held in slipcase: Closed case: 1 1/16 x 7 1/8 x 10 3/16 inches, folio section page spreads: 13 7/16 x 10 1/16 inches, expanded accordion sections: 26 3/4 x 10 1/16 inches Artist Statement In early June 2020, to mark the end of my regular walks, I began to photograph at the edge of Lake Ontario, always from the same south-facing vantage point. Over the following months and years, I slowly amassed a visual record that reflects the ever-changing conjunction of sky, water, and land. My conception of this vast lake as a static entity was transformed into a realization of the mutability, vulnerability, and adaptability of this environment. The process of making sleep walk was a discovery of the phenomena of shifting states: natural, physical, social and psychological. This resulted in a seven-section work, using a combination of accordion and nested folio sections. Section One: fluctuate The unfolding natural pattern of seasonal flux. Two forms of time are present, the diachronic time of movement through the book and the synchronic time of each page. Section Two: sublimate Each section begins with a word that encapsulates a form of shift. Sublimation—the phenomenal occurrence as snow bypasses its watery self to become sky, this shocking shift of states where water feels wedged between solid and gas and the ever-present horizon. The artist is out of view but present in how the work is framed and offered, sharing the wonder of a world that is ever affected by our presence. Section Three: invert Negative to positive—a world of photographic inversions where the shift-maker is the artist choosing to flip black and white and colour when given the surprising gift that a lake’s edge can be its own mirror image. The eerie process of translation when a negative turns snow into stone. Section Four: lit becomes split The rip tide that spills past into future. Section Five: saturate The cycle of drain and rain unbalanced by temperature shifts. Section Six: cloud The visual veil. Section Seven: sleep walk The algae clogging the water and zebra mussels clogging the shore. Are we oblivious to or observant of the evidence at the event horizon? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350878572-K15EVWHV3EE80LQ33FZB/mcba-prize-2024-Marlene-MacCallum-Sleepwalk-2.jpg Entries & Jurors - 2024 Entries - Marlene MacCallum Ontario, Canada https://www.marlenemaccallum.com IG: @marlenemaccallum sleep walk 2023 Sewn board binding with wraparound case with magnetic closure system, archival digital pigment prints on Asuka and Niyodo papers Four volumes held in slipcase: Closed case: 1 1/16 x 7 1/8 x 10 3/16 inches, folio section page spreads: 13 7/16 x 10 1/16 inches, expanded accordion sections: 26 3/4 x 10 1/16 inches Artist Statement In early June 2020, to mark the end of my regular walks, I began to photograph at the edge of Lake Ontario, always from the same south-facing vantage point. Over the following months and years, I slowly amassed a visual record that reflects the ever-changing conjunction of sky, water, and land. My conception of this vast lake as a static entity was transformed into a realization of the mutability, vulnerability, and adaptability of this environment. The process of making sleep walk was a discovery of the phenomena of shifting states: natural, physical, social and psychological. This resulted in a seven-section work, using a combination of accordion and nested folio sections. Section One: fluctuate The unfolding natural pattern of seasonal flux. Two forms of time are present, the diachronic time of movement through the book and the synchronic time of each page. Section Two: sublimate Each section begins with a word that encapsulates a form of shift. Sublimation—the phenomenal occurrence as snow bypasses its watery self to become sky, this shocking shift of states where water feels wedged between solid and gas and the ever-present horizon. The artist is out of view but present in how the work is framed and offered, sharing the wonder of a world that is ever affected by our presence. Section Three: invert Negative to positive—a world of photographic inversions where the shift-maker is the artist choosing to flip black and white and colour when given the surprising gift that a lake’s edge can be its own mirror image. The eerie process of translation when a negative turns snow into stone. Section Four: lit becomes split The rip tide that spills past into future. Section Five: saturate The cycle of drain and rain unbalanced by temperature shifts. Section Six: cloud The visual veil. Section Seven: sleep walk The algae clogging the water and zebra mussels clogging the shore. Are we oblivious to or observant of the evidence at the event horizon? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350881771-LRZD7IWVNVDK3BT770RA/mcba-prize-2024-Marlene-MacCallum-Sleepwalk-3.jpg Entries & Jurors - 2024 Entries - Marlene MacCallum Ontario, Canada https://www.marlenemaccallum.com IG: @marlenemaccallum sleep walk 2023 Sewn board binding with wraparound case with magnetic closure system, archival digital pigment prints on Asuka and Niyodo papers Four volumes held in slipcase: Closed case: 1 1/16 x 7 1/8 x 10 3/16 inches, folio section page spreads: 13 7/16 x 10 1/16 inches, expanded accordion sections: 26 3/4 x 10 1/16 inches Artist Statement In early June 2020, to mark the end of my regular walks, I began to photograph at the edge of Lake Ontario, always from the same south-facing vantage point. Over the following months and years, I slowly amassed a visual record that reflects the ever-changing conjunction of sky, water, and land. My conception of this vast lake as a static entity was transformed into a realization of the mutability, vulnerability, and adaptability of this environment. The process of making sleep walk was a discovery of the phenomena of shifting states: natural, physical, social and psychological. This resulted in a seven-section work, using a combination of accordion and nested folio sections. Section One: fluctuate The unfolding natural pattern of seasonal flux. Two forms of time are present, the diachronic time of movement through the book and the synchronic time of each page. Section Two: sublimate Each section begins with a word that encapsulates a form of shift. Sublimation—the phenomenal occurrence as snow bypasses its watery self to become sky, this shocking shift of states where water feels wedged between solid and gas and the ever-present horizon. The artist is out of view but present in how the work is framed and offered, sharing the wonder of a world that is ever affected by our presence. Section Three: invert Negative to positive—a world of photographic inversions where the shift-maker is the artist choosing to flip black and white and colour when given the surprising gift that a lake’s edge can be its own mirror image. The eerie process of translation when a negative turns snow into stone. Section Four: lit becomes split The rip tide that spills past into future. Section Five: saturate The cycle of drain and rain unbalanced by temperature shifts. Section Six: cloud The visual veil. Section Seven: sleep walk The algae clogging the water and zebra mussels clogging the shore. Are we oblivious to or observant of the evidence at the event horizon? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350882445-J8AU2M97X5N8OEXBIUVV/mcba-prize-2024-Marlene-MacCallum-Sleepwalk-4.jpg Entries & Jurors - 2024 Entries - Marlene MacCallum Ontario, Canada https://www.marlenemaccallum.com IG: @marlenemaccallum sleep walk 2023 Sewn board binding with wraparound case with magnetic closure system, archival digital pigment prints on Asuka and Niyodo papers Four volumes held in slipcase: Closed case: 1 1/16 x 7 1/8 x 10 3/16 inches, folio section page spreads: 13 7/16 x 10 1/16 inches, expanded accordion sections: 26 3/4 x 10 1/16 inches Artist Statement In early June 2020, to mark the end of my regular walks, I began to photograph at the edge of Lake Ontario, always from the same south-facing vantage point. Over the following months and years, I slowly amassed a visual record that reflects the ever-changing conjunction of sky, water, and land. My conception of this vast lake as a static entity was transformed into a realization of the mutability, vulnerability, and adaptability of this environment. The process of making sleep walk was a discovery of the phenomena of shifting states: natural, physical, social and psychological. This resulted in a seven-section work, using a combination of accordion and nested folio sections. Section One: fluctuate The unfolding natural pattern of seasonal flux. Two forms of time are present, the diachronic time of movement through the book and the synchronic time of each page. Section Two: sublimate Each section begins with a word that encapsulates a form of shift. Sublimation—the phenomenal occurrence as snow bypasses its watery self to become sky, this shocking shift of states where water feels wedged between solid and gas and the ever-present horizon. The artist is out of view but present in how the work is framed and offered, sharing the wonder of a world that is ever affected by our presence. Section Three: invert Negative to positive—a world of photographic inversions where the shift-maker is the artist choosing to flip black and white and colour when given the surprising gift that a lake’s edge can be its own mirror image. The eerie process of translation when a negative turns snow into stone. Section Four: lit becomes split The rip tide that spills past into future. Section Five: saturate The cycle of drain and rain unbalanced by temperature shifts. Section Six: cloud The visual veil. Section Seven: sleep walk The algae clogging the water and zebra mussels clogging the shore. Are we oblivious to or observant of the evidence at the event horizon? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773350883922-UM9SV16TT5Z31J3S6DAD/mcba-prize-2024-Marlene-MacCallum-Sleepwalk-5.jpg Entries & Jurors - 2024 Entries - Marlene MacCallum Ontario, Canada https://www.marlenemaccallum.com IG: @marlenemaccallum sleep walk 2023 Sewn board binding with wraparound case with magnetic closure system, archival digital pigment prints on Asuka and Niyodo papers Four volumes held in slipcase: Closed case: 1 1/16 x 7 1/8 x 10 3/16 inches, folio section page spreads: 13 7/16 x 10 1/16 inches, expanded accordion sections: 26 3/4 x 10 1/16 inches Artist Statement In early June 2020, to mark the end of my regular walks, I began to photograph at the edge of Lake Ontario, always from the same south-facing vantage point. Over the following months and years, I slowly amassed a visual record that reflects the ever-changing conjunction of sky, water, and land. My conception of this vast lake as a static entity was transformed into a realization of the mutability, vulnerability, and adaptability of this environment. The process of making sleep walk was a discovery of the phenomena of shifting states: natural, physical, social and psychological. This resulted in a seven-section work, using a combination of accordion and nested folio sections. Section One: fluctuate The unfolding natural pattern of seasonal flux. Two forms of time are present, the diachronic time of movement through the book and the synchronic time of each page. Section Two: sublimate Each section begins with a word that encapsulates a form of shift. Sublimation—the phenomenal occurrence as snow bypasses its watery self to become sky, this shocking shift of states where water feels wedged between solid and gas and the ever-present horizon. The artist is out of view but present in how the work is framed and offered, sharing the wonder of a world that is ever affected by our presence. Section Three: invert Negative to positive—a world of photographic inversions where the shift-maker is the artist choosing to flip black and white and colour when given the surprising gift that a lake’s edge can be its own mirror image. The eerie process of translation when a negative turns snow into stone. Section Four: lit becomes split The rip tide that spills past into future. Section Five: saturate The cycle of drain and rain unbalanced by temperature shifts. Section Six: cloud The visual veil. Section Seven: sleep walk The algae clogging the water and zebra mussels clogging the shore. Are we oblivious to or observant of the evidence at the event horizon? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351113506-NTZWO4OLOC2L4DYBNWVE/mcba-prize-2024-Anna-Gritti-Nel-Mare-5.jpeg Entries & Jurors - 2024 Entries - Anna Gritti Italy www.annagritti.com IG: anna_gritti Nel mare (Into the Sea) 2024 Engraving (mezzotint, acquaforte, puntasecca), passport paper, mixed kinds of paper, wires 5,12×3,4×0,71 Artist Statement My book is dedicated to all the human beings who lost their lives in the desperate attempt to cross the Mediterranean Sea with makeshift boats and were unable to reach Europe, in the hope of starting a life without wars, famines and violence of every type. It is a silent book, it contains only a poem by the great Italian writer Erri de Luca “Our sea that you are not in the skies”, while on the cover there is article 98 of the UNCLOS and on the back cover article 10 of the Italian Constitution concerning the rights of refugees. In the hidden pages there is: – an original passport page with a “Rejected” stamp stamped by me – an ultrasound in inverted colors (water/life-water/death) with little clothes hanging, a red T-shirt and blue pants, what little Ailan (a Syrian baby three years old) was wearing when he was found dead on the shore, transported by the sea – a double page in gold leaf reminiscent of the gold paper blankets used by emergency workers – another hidden page shows a nautical school exercise to plot a route, on graph paper. The pop ups, in addition to the clothes, are an upright and an upside down boat, both made with passport sheets. The inside of the cover is shaped like a life jacket. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351111232-B3T4YOXV8O1FOHD7GH3R/mcba-prize-2024-Anna-Gritti-Nel-Mare-4.jpeg Entries & Jurors - 2024 Entries - Anna Gritti Italy www.annagritti.com IG: anna_gritti Nel mare (Into the Sea) 2024 Engraving (mezzotint, acquaforte, puntasecca), passport paper, mixed kinds of paper, wires 5,12×3,4×0,71 Artist Statement My book is dedicated to all the human beings who lost their lives in the desperate attempt to cross the Mediterranean Sea with makeshift boats and were unable to reach Europe, in the hope of starting a life without wars, famines and violence of every type. It is a silent book, it contains only a poem by the great Italian writer Erri de Luca “Our sea that you are not in the skies”, while on the cover there is article 98 of the UNCLOS and on the back cover article 10 of the Italian Constitution concerning the rights of refugees. In the hidden pages there is: – an original passport page with a “Rejected” stamp stamped by me – an ultrasound in inverted colors (water/life-water/death) with little clothes hanging, a red T-shirt and blue pants, what little Ailan (a Syrian baby three years old) was wearing when he was found dead on the shore, transported by the sea – a double page in gold leaf reminiscent of the gold paper blankets used by emergency workers – another hidden page shows a nautical school exercise to plot a route, on graph paper. The pop ups, in addition to the clothes, are an upright and an upside down boat, both made with passport sheets. The inside of the cover is shaped like a life jacket. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351110741-1VYH1P3B8HVYBRDJ7KTE/mcba-prize-2024-Anna-Gritti-Nel-Mare-3.jpeg Entries & Jurors - 2024 Entries - Anna Gritti Italy www.annagritti.com IG: anna_gritti Nel mare (Into the Sea) 2024 Engraving (mezzotint, acquaforte, puntasecca), passport paper, mixed kinds of paper, wires 5,12×3,4×0,71 Artist Statement My book is dedicated to all the human beings who lost their lives in the desperate attempt to cross the Mediterranean Sea with makeshift boats and were unable to reach Europe, in the hope of starting a life without wars, famines and violence of every type. It is a silent book, it contains only a poem by the great Italian writer Erri de Luca “Our sea that you are not in the skies”, while on the cover there is article 98 of the UNCLOS and on the back cover article 10 of the Italian Constitution concerning the rights of refugees. In the hidden pages there is: – an original passport page with a “Rejected” stamp stamped by me – an ultrasound in inverted colors (water/life-water/death) with little clothes hanging, a red T-shirt and blue pants, what little Ailan (a Syrian baby three years old) was wearing when he was found dead on the shore, transported by the sea – a double page in gold leaf reminiscent of the gold paper blankets used by emergency workers – another hidden page shows a nautical school exercise to plot a route, on graph paper. The pop ups, in addition to the clothes, are an upright and an upside down boat, both made with passport sheets. The inside of the cover is shaped like a life jacket. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351106608-MOMRI00H3NBOUGZ913XI/mcba-prize-2024-Anna-Gritti-Nel-Mare-2.jpeg Entries & Jurors - 2024 Entries - Anna Gritti Italy www.annagritti.com IG: anna_gritti Nel mare (Into the Sea) 2024 Engraving (mezzotint, acquaforte, puntasecca), passport paper, mixed kinds of paper, wires 5,12×3,4×0,71 Artist Statement My book is dedicated to all the human beings who lost their lives in the desperate attempt to cross the Mediterranean Sea with makeshift boats and were unable to reach Europe, in the hope of starting a life without wars, famines and violence of every type. It is a silent book, it contains only a poem by the great Italian writer Erri de Luca “Our sea that you are not in the skies”, while on the cover there is article 98 of the UNCLOS and on the back cover article 10 of the Italian Constitution concerning the rights of refugees. In the hidden pages there is: – an original passport page with a “Rejected” stamp stamped by me – an ultrasound in inverted colors (water/life-water/death) with little clothes hanging, a red T-shirt and blue pants, what little Ailan (a Syrian baby three years old) was wearing when he was found dead on the shore, transported by the sea – a double page in gold leaf reminiscent of the gold paper blankets used by emergency workers – another hidden page shows a nautical school exercise to plot a route, on graph paper. The pop ups, in addition to the clothes, are an upright and an upside down boat, both made with passport sheets. The inside of the cover is shaped like a life jacket. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351106175-L7NBRT3SPG7A2DKN568H/mcba-prize-2024-Anna-Gritti-Nel-Mare-1.jpeg Entries & Jurors - 2024 Entries - Anna Gritti Italy www.annagritti.com IG: anna_gritti Nel mare (Into the Sea) 2024 Engraving (mezzotint, acquaforte, puntasecca), passport paper, mixed kinds of paper, wires 5,12×3,4×0,71 Artist Statement My book is dedicated to all the human beings who lost their lives in the desperate attempt to cross the Mediterranean Sea with makeshift boats and were unable to reach Europe, in the hope of starting a life without wars, famines and violence of every type. It is a silent book, it contains only a poem by the great Italian writer Erri de Luca “Our sea that you are not in the skies”, while on the cover there is article 98 of the UNCLOS and on the back cover article 10 of the Italian Constitution concerning the rights of refugees. In the hidden pages there is: – an original passport page with a “Rejected” stamp stamped by me – an ultrasound in inverted colors (water/life-water/death) with little clothes hanging, a red T-shirt and blue pants, what little Ailan (a Syrian baby three years old) was wearing when he was found dead on the shore, transported by the sea – a double page in gold leaf reminiscent of the gold paper blankets used by emergency workers – another hidden page shows a nautical school exercise to plot a route, on graph paper. The pop ups, in addition to the clothes, are an upright and an upside down boat, both made with passport sheets. The inside of the cover is shaped like a life jacket. https://www.mcbaprize.org/mcba-prize/radha-pandey-flora-of-mughal-india monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770284802914-BTLY11ZRH7MDGN8T8YW9/mcba-prize-winner-2024-Bogunvillea_Overlap-1-1152x1536.jpg Entries & Jurors - Radha Pandey, “Flora of Mughal India” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770284803150-WYI3MFV67H0JC3BZ0U8S/mcba-prize-winner-2024-Half_Titles-1-scaled.jpg Entries & Jurors - Radha Pandey, “Flora of Mughal India” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770284804052-JHVX6VJYPESXQBKIL2G6/mcba-prize-winner-2024-LotusHarsringar_-3-1024x827.jpg Entries & Jurors - Radha Pandey, “Flora of Mughal India” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770284804267-SA903VBFISIPFGA1VQR0/mcba-prize-winner-2024-Titles-1-1024x768.jpg Entries & Jurors - Radha Pandey, “Flora of Mughal India” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770284805099-JBXHCP8Z70VHBHNFMMGO/mcba-prize-winner-2024-SilkCotton_Full-1-1038x576.jpg Entries & Jurors - Radha Pandey, “Flora of Mughal India” https://www.mcbaprize.org/mcba-prize/leonard-seastone-a-long-hill-homeward monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772731026793-TWTTHVOCUXGTOCKHPS14/mcba-prize-2024-Leonard-Seastone-A-Long-Hill-Homeward-4.jpg Entries & Jurors - Leonard Seastone, “A Long Hill Homeward” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772731027539-Y4M5UUMER2U54K3OZ1AW/mcba-prize-2024-Leonard-Seastone-A-Long-Hill-Homeward-5.jpg Entries & Jurors - Leonard Seastone, “A Long Hill Homeward” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772731025527-VW3EMUN4A4S6VLDLDKCI/mcba-prize-2024-Leonard-Seastone-A-Long-Hill-Homeward-2.jpg Entries & Jurors - Leonard Seastone, “A Long Hill Homeward” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772731025124-69A2HUG5ZOBPS7W5D3W8/mcba-prize-2024-Leonard-Seastone-A-Long-Hill-Homeward-1.jpg Entries & Jurors - Leonard Seastone, “A Long Hill Homeward” https://www.mcbaprize.org/mcba-prize/lanxuan-liu-cured-sealed monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770732039239-0DHSGHMNC4GC6IBIRFAC/Florence-Lanxuan-Liu-Cured-and-Sealed-mcba-prize-semi-finalist-2024%3D1.jpg Entries & Jurors - Florence Lanxuan Liu, “Cured &amp; Sealed” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770732037875-11O0GXXR1C1JI2PA2QRL/Florence-Lanxuan-Liu-Cured-and-Sealed-mcba-prize-semi-finalist-2024%3D2.jpg Entries & Jurors - Florence Lanxuan Liu, “Cured &amp; Sealed” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770732036463-1KJ2MHIYO9LP28BY056D/Florence-Lanxuan-Liu-Cured-and-Sealed-mcba-prize-semi-finalist-2024%3D3.jpg Entries & Jurors - Florence Lanxuan Liu, “Cured &amp; Sealed” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770732036452-DPPN5ECF9SNC3AV9UV7V/Florence-Lanxuan-Liu-Cured-and-Sealed-mcba-prize-semi-finalist-2024%3D4.jpg Entries & Jurors - Florence Lanxuan Liu, “Cured &amp; Sealed” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772816742298-3KWVOTCK6VI6XTF4FMQ4/LIU_Cured_and_Sealed_1-1038x576.jpg Entries & Jurors - Florence Lanxuan Liu, “Cured &amp; Sealed” https://www.mcbaprize.org/mcba-prize/2024-mcba-prize-juror-yuka-petz monthly 0.5 2026-03-18 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/16038247-bbb8-40c6-8ae5-9e815adeed38/MCBA-prize-2024-juror-Yuka_Petz_headshot_credit_Tony_Hannawacker.jpg Entries & Jurors - 2024 MCBA Prize Juror Bio: Yuka Petz - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.mcbaprize.org/mcba-prize/anne-covall-in-the-dark monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770286382894-RUOPJ576EE6YHW6GH9YV/mcba-prize-2024-finalist-Image_1_In_the_Dark-1024x761.jpg Entries & Jurors - Anne Covell, “In the Dark” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770286383960-4KH8JNZABM6D7CW44NTN/mcba-prize-2024-finalist-Image_2_In_the_Dark-1024x768.jpg Entries & Jurors - Anne Covell, “In the Dark” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770286385244-12QN0QW45IQ5MD2468EH/mcba-prize-2024-finalist-Image_3_In_the_Dark-1024x768.jpg Entries & Jurors - Anne Covell, “In the Dark” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770286384079-357KJ7IEP8GFFKC9AY2O/mcba-prize-2024-finalist-Image_4_In_the_Dark-1-1024x768.jpg Entries & Jurors - Anne Covell, “In the Dark” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770286382890-A3LI9XTEUCZOXTQA1YTC/mcba-prize-2024-finalist-Image_5_In_the_Dark-1024x768.jpg Entries & Jurors - Anne Covell, “In the Dark” https://www.mcbaprize.org/mcba-prize/alisa-banks-history-of-a-people monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770286045714-NU3799MNEBRMHJJ380MF/mcba-prize-2024-finalist-HOPdeluxclosed-1-978x1024.jpg Entries & Jurors - Alisa Banks, “History of a People” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770286045710-R8G35QGIVCLFORRBNZ97/mcba-prize-2024-finalist-HOPdeluxopen-1.jpg Entries & Jurors - Alisa Banks, “History of a People” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770286046771-6AEMT66I73X3HIVJV9LN/mcba-prize-2024-finalist-HOPdeluxopencloseup-1-1024x780.jpg Entries & Jurors - Alisa Banks, “History of a People” https://www.mcbaprize.org/mcba-prize/2022-entries monthly 0.5 2026-04-03 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773425230861-JQPABM4UGCDGSJ9BIICY/mcba-prize-2022-Hyungzoo-Kim-Frame-4.jpg Entries & Jurors - 2022 Entries - HYUNZOO KIM Paju-si, Republic of Korea https://www.instagram.com/poem0press/ FRAME 2021 paper, cement 5.27×4.64×3.5 in Artist Statement FRAMEHyunzoo Kim ‘I’ incident.<Frame> is a self-portrait series. With the theme of the ‘frame’ of society felt as a woman and an artist, it is a work that builds up thoughts through cracks and is interwoven with the writings of ‘Jean-Luc Nancy’. <Frame>, a ‘pointillism series’ started in 2015, is included in the book. Canvas No. 20 size work was cut and edited to fit the plate shape, and it is a format that can be ‘reconstructed’ in a larger size by placing the sheets in order like a ‘puzzle’. Using my body as a material, the texture of ‘flesh’ and the state of the ‘clump’ were taken as ‘dots’, and the history of ‘I’ was recorded by writing the writings of the French philosopher ‘Jean Luc Nancy’ <Corpus>. explained together. In this way, the parts of pointillism were overlapped and bound as a ‘stratum of existence’. The ‘Strength of the Frame’, which consists of a total of 568 pages, was finished with cement. We focused on planning so that the content and form of the book could be revealed as a symbol. Self-portrait and body language were confined in a small plate of 94x78mm, and beyond that, I tried to express the present ‘I’ surrounded by the wall of the world represented by concrete. · Materials and techniques: Dot a pen on paper · Binding: Handmade, Cement · 70 copies/ Limited Edition https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773425230089-G9TMSHN0UH54FTLDVDH3/mcba-prize-2022-Hyungzoo-Kim-Frame-3.jpg Entries & Jurors - 2022 Entries - HYUNZOO KIM Paju-si, Republic of Korea https://www.instagram.com/poem0press/ FRAME 2021 paper, cement 5.27×4.64×3.5 in Artist Statement FRAMEHyunzoo Kim ‘I’ incident.<Frame> is a self-portrait series. With the theme of the ‘frame’ of society felt as a woman and an artist, it is a work that builds up thoughts through cracks and is interwoven with the writings of ‘Jean-Luc Nancy’. <Frame>, a ‘pointillism series’ started in 2015, is included in the book. Canvas No. 20 size work was cut and edited to fit the plate shape, and it is a format that can be ‘reconstructed’ in a larger size by placing the sheets in order like a ‘puzzle’. Using my body as a material, the texture of ‘flesh’ and the state of the ‘clump’ were taken as ‘dots’, and the history of ‘I’ was recorded by writing the writings of the French philosopher ‘Jean Luc Nancy’ <Corpus>. explained together. In this way, the parts of pointillism were overlapped and bound as a ‘stratum of existence’. The ‘Strength of the Frame’, which consists of a total of 568 pages, was finished with cement. We focused on planning so that the content and form of the book could be revealed as a symbol. Self-portrait and body language were confined in a small plate of 94x78mm, and beyond that, I tried to express the present ‘I’ surrounded by the wall of the world represented by concrete. · Materials and techniques: Dot a pen on paper · Binding: Handmade, Cement · 70 copies/ Limited Edition https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773425228846-WNZS8ANWJCR8CK3Y8NZN/mcba-prize-2022-Hyungzoo-Kim-Frame-2.jpg Entries & Jurors - 2022 Entries - HYUNZOO KIM Paju-si, Republic of Korea https://www.instagram.com/poem0press/ FRAME 2021 paper, cement 5.27×4.64×3.5 in Artist Statement FRAMEHyunzoo Kim ‘I’ incident.<Frame> is a self-portrait series. With the theme of the ‘frame’ of society felt as a woman and an artist, it is a work that builds up thoughts through cracks and is interwoven with the writings of ‘Jean-Luc Nancy’. <Frame>, a ‘pointillism series’ started in 2015, is included in the book. Canvas No. 20 size work was cut and edited to fit the plate shape, and it is a format that can be ‘reconstructed’ in a larger size by placing the sheets in order like a ‘puzzle’. Using my body as a material, the texture of ‘flesh’ and the state of the ‘clump’ were taken as ‘dots’, and the history of ‘I’ was recorded by writing the writings of the French philosopher ‘Jean Luc Nancy’ <Corpus>. explained together. In this way, the parts of pointillism were overlapped and bound as a ‘stratum of existence’. The ‘Strength of the Frame’, which consists of a total of 568 pages, was finished with cement. We focused on planning so that the content and form of the book could be revealed as a symbol. Self-portrait and body language were confined in a small plate of 94x78mm, and beyond that, I tried to express the present ‘I’ surrounded by the wall of the world represented by concrete. · Materials and techniques: Dot a pen on paper · Binding: Handmade, Cement · 70 copies/ Limited Edition https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773425228253-L8426CHGVDTQT64XFLQ0/mcba-prize-2022-Hyungzoo-Kim-Frame-1.jpg Entries & Jurors - 2022 Entries - HYUNZOO KIM Paju-si, Republic of Korea https://www.instagram.com/poem0press/ FRAME 2021 paper, cement 5.27×4.64×3.5 in Artist Statement FRAMEHyunzoo Kim ‘I’ incident.<Frame> is a self-portrait series. With the theme of the ‘frame’ of society felt as a woman and an artist, it is a work that builds up thoughts through cracks and is interwoven with the writings of ‘Jean-Luc Nancy’. <Frame>, a ‘pointillism series’ started in 2015, is included in the book. Canvas No. 20 size work was cut and edited to fit the plate shape, and it is a format that can be ‘reconstructed’ in a larger size by placing the sheets in order like a ‘puzzle’. Using my body as a material, the texture of ‘flesh’ and the state of the ‘clump’ were taken as ‘dots’, and the history of ‘I’ was recorded by writing the writings of the French philosopher ‘Jean Luc Nancy’ <Corpus>. explained together. In this way, the parts of pointillism were overlapped and bound as a ‘stratum of existence’. The ‘Strength of the Frame’, which consists of a total of 568 pages, was finished with cement. We focused on planning so that the content and form of the book could be revealed as a symbol. Self-portrait and body language were confined in a small plate of 94x78mm, and beyond that, I tried to express the present ‘I’ surrounded by the wall of the world represented by concrete. · Materials and techniques: Dot a pen on paper · Binding: Handmade, Cement · 70 copies/ Limited Edition https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773422721640-KWC871BVKKVDCZ9NT82T/mcba-prize-2022-Magdeleine-Ferru-Pukmina-1.jpg Entries & Jurors - 2022 Entries - Magdéleine Ferru justmagd.com Pukmina, Passeuse d’Âmes 2021 15 cyanotype, with pencil coloring & inkjet print, on canson paper, in a leporelo 6 x 6 x 1 closed, 6 x 53 open Artist Statement After studying photography in Montreal (Quebec), I traveled the world, breathing in other langages, lifestyle and traditions. Influenced by different kind of art, I realised that I needed to add matter to my photographic reflection. I went back to the darkroom, learned alternative process and took book binding and book sculpture workshop. From there I felt free to explore, imagine, and create my own style. Artist’s books have since been an important part of my practice. Here I introduce one of my latest projects: Pukmina Passeuse d’Âmes (Soul guide). In Inuit mythology Pukimna—or Pinga (“the one from above”)—is the guardian of the caribou hordes, goddess of fertility and medicine. She also plays a funerary role accompanying the soul of the deceased to Adlivun (life after death). The antler adorning the heads of caribou evoke a tree which roots would be in the skull of the animal, making the latter a “Tree of Life” allowing communication between the worlds of below and of above. I like using cyanotype for its timeless and mysterious side. The vagueness of the where and when, territory and time frame, gives a path to dreams and wanderings, to another reality that everyone can reinterpret in their own way. For this project blending different technics reinforce the dreamlike side of the legend. Pukmina is an artist’s book, leporello, composed of 15 photos of cyanotype over inkjet print, on canson recycled paper and with pencil coloring. (6x6in closed, and 6x53in fully opened) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773422724030-QLVIY7059JAOCX6L92RA/mcba-prize-2022-Magdeleine-Ferru-Pukmina-3.jpg Entries & Jurors - 2022 Entries - Magdéleine Ferru justmagd.com Pukmina, Passeuse d’Âmes 2021 15 cyanotype, with pencil coloring & inkjet print, on canson paper, in a leporelo 6 x 6 x 1 closed, 6 x 53 open Artist Statement After studying photography in Montreal (Quebec), I traveled the world, breathing in other langages, lifestyle and traditions. Influenced by different kind of art, I realised that I needed to add matter to my photographic reflection. I went back to the darkroom, learned alternative process and took book binding and book sculpture workshop. From there I felt free to explore, imagine, and create my own style. Artist’s books have since been an important part of my practice. Here I introduce one of my latest projects: Pukmina Passeuse d’Âmes (Soul guide). In Inuit mythology Pukimna—or Pinga (“the one from above”)—is the guardian of the caribou hordes, goddess of fertility and medicine. She also plays a funerary role accompanying the soul of the deceased to Adlivun (life after death). The antler adorning the heads of caribou evoke a tree which roots would be in the skull of the animal, making the latter a “Tree of Life” allowing communication between the worlds of below and of above. I like using cyanotype for its timeless and mysterious side. The vagueness of the where and when, territory and time frame, gives a path to dreams and wanderings, to another reality that everyone can reinterpret in their own way. For this project blending different technics reinforce the dreamlike side of the legend. Pukmina is an artist’s book, leporello, composed of 15 photos of cyanotype over inkjet print, on canson recycled paper and with pencil coloring. (6x6in closed, and 6x53in fully opened) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773422721297-43MWUI5PKX69PRCAJS73/mcba-prize-2022-Magdeleine-Ferru-Pukmina-2.jpg Entries & Jurors - 2022 Entries - Magdéleine Ferru justmagd.com Pukmina, Passeuse d’Âmes 2021 15 cyanotype, with pencil coloring & inkjet print, on canson paper, in a leporelo 6 x 6 x 1 closed, 6 x 53 open Artist Statement After studying photography in Montreal (Quebec), I traveled the world, breathing in other langages, lifestyle and traditions. Influenced by different kind of art, I realised that I needed to add matter to my photographic reflection. I went back to the darkroom, learned alternative process and took book binding and book sculpture workshop. From there I felt free to explore, imagine, and create my own style. Artist’s books have since been an important part of my practice. Here I introduce one of my latest projects: Pukmina Passeuse d’Âmes (Soul guide). In Inuit mythology Pukimna—or Pinga (“the one from above”)—is the guardian of the caribou hordes, goddess of fertility and medicine. She also plays a funerary role accompanying the soul of the deceased to Adlivun (life after death). The antler adorning the heads of caribou evoke a tree which roots would be in the skull of the animal, making the latter a “Tree of Life” allowing communication between the worlds of below and of above. I like using cyanotype for its timeless and mysterious side. The vagueness of the where and when, territory and time frame, gives a path to dreams and wanderings, to another reality that everyone can reinterpret in their own way. For this project blending different technics reinforce the dreamlike side of the legend. Pukmina is an artist’s book, leporello, composed of 15 photos of cyanotype over inkjet print, on canson recycled paper and with pencil coloring. (6x6in closed, and 6x53in fully opened) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773422724032-MQ4GY0O9P7Z9OZPF062I/mcba-prize-2022-Magdeleine-Ferru-Pukmina-4.jpg Entries & Jurors - 2022 Entries - Magdéleine Ferru justmagd.com Pukmina, Passeuse d’Âmes 2021 15 cyanotype, with pencil coloring & inkjet print, on canson paper, in a leporelo 6 x 6 x 1 closed, 6 x 53 open Artist Statement After studying photography in Montreal (Quebec), I traveled the world, breathing in other langages, lifestyle and traditions. Influenced by different kind of art, I realised that I needed to add matter to my photographic reflection. I went back to the darkroom, learned alternative process and took book binding and book sculpture workshop. From there I felt free to explore, imagine, and create my own style. Artist’s books have since been an important part of my practice. Here I introduce one of my latest projects: Pukmina Passeuse d’Âmes (Soul guide). In Inuit mythology Pukimna—or Pinga (“the one from above”)—is the guardian of the caribou hordes, goddess of fertility and medicine. She also plays a funerary role accompanying the soul of the deceased to Adlivun (life after death). The antler adorning the heads of caribou evoke a tree which roots would be in the skull of the animal, making the latter a “Tree of Life” allowing communication between the worlds of below and of above. I like using cyanotype for its timeless and mysterious side. The vagueness of the where and when, territory and time frame, gives a path to dreams and wanderings, to another reality that everyone can reinterpret in their own way. For this project blending different technics reinforce the dreamlike side of the legend. Pukmina is an artist’s book, leporello, composed of 15 photos of cyanotype over inkjet print, on canson recycled paper and with pencil coloring. (6x6in closed, and 6x53in fully opened) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773422725187-CLOY1158L3T0020M98VQ/mcba-prize-2022-Magdeleine-Ferru-Pukmina-5.jpg Entries & Jurors - 2022 Entries - Magdéleine Ferru justmagd.com Pukmina, Passeuse d’Âmes 2021 15 cyanotype, with pencil coloring & inkjet print, on canson paper, in a leporelo 6 x 6 x 1 closed, 6 x 53 open Artist Statement After studying photography in Montreal (Quebec), I traveled the world, breathing in other langages, lifestyle and traditions. Influenced by different kind of art, I realised that I needed to add matter to my photographic reflection. I went back to the darkroom, learned alternative process and took book binding and book sculpture workshop. From there I felt free to explore, imagine, and create my own style. Artist’s books have since been an important part of my practice. Here I introduce one of my latest projects: Pukmina Passeuse d’Âmes (Soul guide). In Inuit mythology Pukimna—or Pinga (“the one from above”)—is the guardian of the caribou hordes, goddess of fertility and medicine. She also plays a funerary role accompanying the soul of the deceased to Adlivun (life after death). The antler adorning the heads of caribou evoke a tree which roots would be in the skull of the animal, making the latter a “Tree of Life” allowing communication between the worlds of below and of above. I like using cyanotype for its timeless and mysterious side. The vagueness of the where and when, territory and time frame, gives a path to dreams and wanderings, to another reality that everyone can reinterpret in their own way. For this project blending different technics reinforce the dreamlike side of the legend. Pukmina is an artist’s book, leporello, composed of 15 photos of cyanotype over inkjet print, on canson recycled paper and with pencil coloring. (6x6in closed, and 6x53in fully opened) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773418238717-NNKFIA5K4OOCBTNL0PYM/mcba-prize-2022-Cathleen-Casey-Jill-Soloway-Writer-Producer-Director-1.png Entries & Jurors - 2022 Entries - Cathleen Casey Portland, OR cathleencasey.com Jill Soloway: Writer, Producer & Director 2020 Unique book: Accordion book in wooden box Box: 4.5″ x 2.75″ x 2″ > Accordion book insert: 4″ x 2″ folded, 136″ [11′] x 4″ open Jill Soloway > Writer, Producer & Director Jill Soloway: Writer, director, producer for tv and movies; series Transparent and I Love Dick In I Love Dick, one season with eight episodes, Chris [Kathryn Hahn], a B-level indie filmmaker, intends to drop off her husband, Sylvere, in Marfa, TX, for a writing residency. He’s a French scholar writing about the Holocaust and fifteen years her senior. When her short film fails to gain entry to a prominent show due to mismanaged music rights, she stays and begins a complicated and obsessive relationship with Dick [Kevin Bacon], who’s based on the sculptor Donald Judd. She writes a series of brilliant projections about her desire - part journal and part manifesto - in the form of letters which she inserts into envelopes, tapes together and puts in a dead-moth-adorned wooden box tied with string. I Love Dick is adapted from the lauded feminist novel of the same name by Chris Kraus [1997]. In this brilliant but misunderstood series, Solloway showcases numerous 70-80s feminist artists such as Eleanor Antin, Hannah Wilke, Agnès Varda, Marina Abramovic, Carolee Schneemann and Petra Cortright. Periodically Hahn reads the book’s epigrams such as “Every letter is a love letter”, as the words flash against a bright red screen in Barbara Kruger style in white letters. My accordion book serially uses quotes from the female characters in the TV series. The consecutive text on my accordion book consists of quotes from I Love Dick: It’s a wonder any woman can think of herself as an artist. I was born into a world that presumes there is something grotesque about female desire. I had girlfriends from an early age. I will not be muzzled. Art is a promise, a potential sacred space. There are 500 times as many female nudes in art history books as there are female artists. This song is my small song. > One of thirteen artists books for part of my one-woman show titled At Right Angles to the World*: 13 Talented and Influential Lesbians. [*Pulitizer-Prize winning poet Elisabth Bishop, Poems, Prose and Letters] Colophon: Accordion book - Astrobright card stock, 65 lbs. Yard sale mitered-corner wooden box Tin insect: 1972, San Francisco 4-strand braided tie: black cord Box: 4.5” x 2.75” x 2”, Accordion book: 136” x 2” [unfolded], 2020 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773418239148-P3PPV6ORID69QU28WZ93/mcba-prize-2022-Cathleen-Casey-Jill-Soloway-Writer-Producer-Director-2.png Entries & Jurors - 2022 Entries - Cathleen Casey Portland, OR cathleencasey.com Jill Soloway: Writer, Producer & Director 2020 Unique book: Accordion book in wooden box Box: 4.5″ x 2.75″ x 2″ > Accordion book insert: 4″ x 2″ folded, 136″ [11′] x 4″ open Jill Soloway > Writer, Producer & Director Jill Soloway: Writer, director, producer for tv and movies; series Transparent and I Love Dick In I Love Dick, one season with eight episodes, Chris [Kathryn Hahn], a B-level indie filmmaker, intends to drop off her husband, Sylvere, in Marfa, TX, for a writing residency. He’s a French scholar writing about the Holocaust and fifteen years her senior. When her short film fails to gain entry to a prominent show due to mismanaged music rights, she stays and begins a complicated and obsessive relationship with Dick [Kevin Bacon], who’s based on the sculptor Donald Judd. She writes a series of brilliant projections about her desire - part journal and part manifesto - in the form of letters which she inserts into envelopes, tapes together and puts in a dead-moth-adorned wooden box tied with string. I Love Dick is adapted from the lauded feminist novel of the same name by Chris Kraus [1997]. In this brilliant but misunderstood series, Solloway showcases numerous 70-80s feminist artists such as Eleanor Antin, Hannah Wilke, Agnès Varda, Marina Abramovic, Carolee Schneemann and Petra Cortright. Periodically Hahn reads the book’s epigrams such as “Every letter is a love letter”, as the words flash against a bright red screen in Barbara Kruger style in white letters. My accordion book serially uses quotes from the female characters in the TV series. The consecutive text on my accordion book consists of quotes from I Love Dick: It’s a wonder any woman can think of herself as an artist. I was born into a world that presumes there is something grotesque about female desire. I had girlfriends from an early age. I will not be muzzled. Art is a promise, a potential sacred space. There are 500 times as many female nudes in art history books as there are female artists. This song is my small song. > One of thirteen artists books for part of my one-woman show titled At Right Angles to the World*: 13 Talented and Influential Lesbians. [*Pulitizer-Prize winning poet Elisabth Bishop, Poems, Prose and Letters] Colophon: Accordion book - Astrobright card stock, 65 lbs. Yard sale mitered-corner wooden box Tin insect: 1972, San Francisco 4-strand braided tie: black cord Box: 4.5” x 2.75” x 2”, Accordion book: 136” x 2” [unfolded], 2020 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773418240625-TX86L3AG4ETT0Q0N6IRM/mcba-prize-2022-Cathleen-Casey-Jill-Soloway-Writer-Producer-Director-3.png Entries & Jurors - 2022 Entries - Cathleen Casey Portland, OR cathleencasey.com Jill Soloway: Writer, Producer & Director 2020 Unique book: Accordion book in wooden box Box: 4.5″ x 2.75″ x 2″ > Accordion book insert: 4″ x 2″ folded, 136″ [11′] x 4″ open Jill Soloway > Writer, Producer & Director Jill Soloway: Writer, director, producer for tv and movies; series Transparent and I Love Dick In I Love Dick, one season with eight episodes, Chris [Kathryn Hahn], a B-level indie filmmaker, intends to drop off her husband, Sylvere, in Marfa, TX, for a writing residency. He’s a French scholar writing about the Holocaust and fifteen years her senior. When her short film fails to gain entry to a prominent show due to mismanaged music rights, she stays and begins a complicated and obsessive relationship with Dick [Kevin Bacon], who’s based on the sculptor Donald Judd. She writes a series of brilliant projections about her desire - part journal and part manifesto - in the form of letters which she inserts into envelopes, tapes together and puts in a dead-moth-adorned wooden box tied with string. I Love Dick is adapted from the lauded feminist novel of the same name by Chris Kraus [1997]. In this brilliant but misunderstood series, Solloway showcases numerous 70-80s feminist artists such as Eleanor Antin, Hannah Wilke, Agnès Varda, Marina Abramovic, Carolee Schneemann and Petra Cortright. Periodically Hahn reads the book’s epigrams such as “Every letter is a love letter”, as the words flash against a bright red screen in Barbara Kruger style in white letters. My accordion book serially uses quotes from the female characters in the TV series. The consecutive text on my accordion book consists of quotes from I Love Dick: It’s a wonder any woman can think of herself as an artist. I was born into a world that presumes there is something grotesque about female desire. I had girlfriends from an early age. I will not be muzzled. Art is a promise, a potential sacred space. There are 500 times as many female nudes in art history books as there are female artists. This song is my small song. > One of thirteen artists books for part of my one-woman show titled At Right Angles to the World*: 13 Talented and Influential Lesbians. [*Pulitizer-Prize winning poet Elisabth Bishop, Poems, Prose and Letters] Colophon: Accordion book - Astrobright card stock, 65 lbs. Yard sale mitered-corner wooden box Tin insect: 1972, San Francisco 4-strand braided tie: black cord Box: 4.5” x 2.75” x 2”, Accordion book: 136” x 2” [unfolded], 2020 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773418241780-XE12XHQQPYVHZC9II77E/mcba-prize-2022-Cathleen-Casey-Jill-Soloway-Writer-Producer-Director-4.png Entries & Jurors - 2022 Entries - Cathleen Casey Portland, OR cathleencasey.com Jill Soloway: Writer, Producer & Director 2020 Unique book: Accordion book in wooden box Box: 4.5″ x 2.75″ x 2″ > Accordion book insert: 4″ x 2″ folded, 136″ [11′] x 4″ open Jill Soloway > Writer, Producer & Director Jill Soloway: Writer, director, producer for tv and movies; series Transparent and I Love Dick In I Love Dick, one season with eight episodes, Chris [Kathryn Hahn], a B-level indie filmmaker, intends to drop off her husband, Sylvere, in Marfa, TX, for a writing residency. He’s a French scholar writing about the Holocaust and fifteen years her senior. When her short film fails to gain entry to a prominent show due to mismanaged music rights, she stays and begins a complicated and obsessive relationship with Dick [Kevin Bacon], who’s based on the sculptor Donald Judd. She writes a series of brilliant projections about her desire - part journal and part manifesto - in the form of letters which she inserts into envelopes, tapes together and puts in a dead-moth-adorned wooden box tied with string. I Love Dick is adapted from the lauded feminist novel of the same name by Chris Kraus [1997]. In this brilliant but misunderstood series, Solloway showcases numerous 70-80s feminist artists such as Eleanor Antin, Hannah Wilke, Agnès Varda, Marina Abramovic, Carolee Schneemann and Petra Cortright. Periodically Hahn reads the book’s epigrams such as “Every letter is a love letter”, as the words flash against a bright red screen in Barbara Kruger style in white letters. My accordion book serially uses quotes from the female characters in the TV series. The consecutive text on my accordion book consists of quotes from I Love Dick: It’s a wonder any woman can think of herself as an artist. I was born into a world that presumes there is something grotesque about female desire. I had girlfriends from an early age. I will not be muzzled. Art is a promise, a potential sacred space. There are 500 times as many female nudes in art history books as there are female artists. This song is my small song. > One of thirteen artists books for part of my one-woman show titled At Right Angles to the World*: 13 Talented and Influential Lesbians. [*Pulitizer-Prize winning poet Elisabth Bishop, Poems, Prose and Letters] Colophon: Accordion book - Astrobright card stock, 65 lbs. Yard sale mitered-corner wooden box Tin insect: 1972, San Francisco 4-strand braided tie: black cord Box: 4.5” x 2.75” x 2”, Accordion book: 136” x 2” [unfolded], 2020 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773418243313-I9SGNW6OLP02EXAKVQBZ/mcba-prize-2022-Cathleen-Casey-Jill-Soloway-Writer-Producer-Director-5.png Entries & Jurors - 2022 Entries - Cathleen Casey Portland, OR cathleencasey.com Jill Soloway: Writer, Producer & Director 2020 Unique book: Accordion book in wooden box Box: 4.5″ x 2.75″ x 2″ > Accordion book insert: 4″ x 2″ folded, 136″ [11′] x 4″ open Jill Soloway > Writer, Producer & Director Jill Soloway: Writer, director, producer for tv and movies; series Transparent and I Love Dick In I Love Dick, one season with eight episodes, Chris [Kathryn Hahn], a B-level indie filmmaker, intends to drop off her husband, Sylvere, in Marfa, TX, for a writing residency. He’s a French scholar writing about the Holocaust and fifteen years her senior. When her short film fails to gain entry to a prominent show due to mismanaged music rights, she stays and begins a complicated and obsessive relationship with Dick [Kevin Bacon], who’s based on the sculptor Donald Judd. She writes a series of brilliant projections about her desire - part journal and part manifesto - in the form of letters which she inserts into envelopes, tapes together and puts in a dead-moth-adorned wooden box tied with string. I Love Dick is adapted from the lauded feminist novel of the same name by Chris Kraus [1997]. In this brilliant but misunderstood series, Solloway showcases numerous 70-80s feminist artists such as Eleanor Antin, Hannah Wilke, Agnès Varda, Marina Abramovic, Carolee Schneemann and Petra Cortright. Periodically Hahn reads the book’s epigrams such as “Every letter is a love letter”, as the words flash against a bright red screen in Barbara Kruger style in white letters. My accordion book serially uses quotes from the female characters in the TV series. The consecutive text on my accordion book consists of quotes from I Love Dick: It’s a wonder any woman can think of herself as an artist. I was born into a world that presumes there is something grotesque about female desire. I had girlfriends from an early age. I will not be muzzled. Art is a promise, a potential sacred space. There are 500 times as many female nudes in art history books as there are female artists. This song is my small song. > One of thirteen artists books for part of my one-woman show titled At Right Angles to the World*: 13 Talented and Influential Lesbians. [*Pulitizer-Prize winning poet Elisabth Bishop, Poems, Prose and Letters] Colophon: Accordion book - Astrobright card stock, 65 lbs. Yard sale mitered-corner wooden box Tin insect: 1972, San Francisco 4-strand braided tie: black cord Box: 4.5” x 2.75” x 2”, Accordion book: 136” x 2” [unfolded], 2020 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773418957908-E18FM8TQL33HQJXOWSJY/mcba-prize-2022-Cathleen-Casey-Diana-Nyad-Record-Setting-1.png Entries & Jurors - 2022 Entries - Cathleen Casey Portland, OR cathleencasey.com Diana Nyad: Record-setting long-distance swimmer 2020 Unique book: Hanging accordion 24.75″ x 5.25″ x .75″ Diana Nyad > Long-distance Swimmer Diana Nyad: Record-setting long-distance swimmer, sports commentator, author [Find a Way, memoir], journalist, motivational speaker, linguist, national fitness icon Nyad first gained national recognition in 1975 she swam around Manhattan, breaking the record, and again in 1979 when she swam from North Bimini, The Bahamas, to Juno Beach, Florida. On September 2, 2013, at the age of sixty-four, Diana Nyad became the first person to swim from Cuba to Florida without the aid of a shark cage, swimming 111 miles in fifty-three hours from Havana to Key West. I was an other-abled swimmer [polio in 1948] in high school, unable to have my times to recorded and often even to denied to participate or compete due to my disability, but Nyad was my hero. I convinced my parents to subscribe to Sports Illustrated just to read about her. I even made a scrapbook. My hanging accordion book documents her first four and failed tries at completing the Cuba to Florida swim, plus her final record-setting swim with embroidered routes and watercolor and colored pencil art. She has three messages: One is, we should never, ever give up. Two is, you’re never too old to chase your dreams. And three is, it looks like a solitary sport, but it’s a team. > One of thirteen artists books for part of my one-woman show titled At Right Angles to the World*: 13 Talented and Influential Lesbians. [*Pulitizer Prize winning poet Elisabeth Bishop, Poems, Prose and Letters] Colophon: Accordion book -Arches Aquarelle hotpress, 140 lb. Embroidery thread Silicone swim cap and strap Watercolor Colored pencil 24.75” x 5.25” x .75”, 202 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773418958491-DYONF0A6OVLROGGKJYXO/mcba-prize-2022-Cathleen-Casey-Diana-Nyad-Record-Setting-2.png Entries & Jurors - 2022 Entries - Cathleen Casey Portland, OR cathleencasey.com Diana Nyad: Record-setting long-distance swimmer 2020 Unique book: Hanging accordion 24.75″ x 5.25″ x .75″ Diana Nyad > Long-distance Swimmer Diana Nyad: Record-setting long-distance swimmer, sports commentator, author [Find a Way, memoir], journalist, motivational speaker, linguist, national fitness icon Nyad first gained national recognition in 1975 she swam around Manhattan, breaking the record, and again in 1979 when she swam from North Bimini, The Bahamas, to Juno Beach, Florida. On September 2, 2013, at the age of sixty-four, Diana Nyad became the first person to swim from Cuba to Florida without the aid of a shark cage, swimming 111 miles in fifty-three hours from Havana to Key West. I was an other-abled swimmer [polio in 1948] in high school, unable to have my times to recorded and often even to denied to participate or compete due to my disability, but Nyad was my hero. I convinced my parents to subscribe to Sports Illustrated just to read about her. I even made a scrapbook. My hanging accordion book documents her first four and failed tries at completing the Cuba to Florida swim, plus her final record-setting swim with embroidered routes and watercolor and colored pencil art. She has three messages: One is, we should never, ever give up. Two is, you’re never too old to chase your dreams. And three is, it looks like a solitary sport, but it’s a team. > One of thirteen artists books for part of my one-woman show titled At Right Angles to the World*: 13 Talented and Influential Lesbians. [*Pulitizer Prize winning poet Elisabeth Bishop, Poems, Prose and Letters] Colophon: Accordion book -Arches Aquarelle hotpress, 140 lb. Embroidery thread Silicone swim cap and strap Watercolor Colored pencil 24.75” x 5.25” x .75”, 202 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773418960118-0PDUBQ5HQXYPFNG3F2SD/mcba-prize-2022-Cathleen-Casey-Diana-Nyad-Record-Setting-3.png Entries & Jurors - 2022 Entries - Cathleen Casey Portland, OR cathleencasey.com Diana Nyad: Record-setting long-distance swimmer 2020 Unique book: Hanging accordion 24.75″ x 5.25″ x .75″ Diana Nyad > Long-distance Swimmer Diana Nyad: Record-setting long-distance swimmer, sports commentator, author [Find a Way, memoir], journalist, motivational speaker, linguist, national fitness icon Nyad first gained national recognition in 1975 she swam around Manhattan, breaking the record, and again in 1979 when she swam from North Bimini, The Bahamas, to Juno Beach, Florida. On September 2, 2013, at the age of sixty-four, Diana Nyad became the first person to swim from Cuba to Florida without the aid of a shark cage, swimming 111 miles in fifty-three hours from Havana to Key West. I was an other-abled swimmer [polio in 1948] in high school, unable to have my times to recorded and often even to denied to participate or compete due to my disability, but Nyad was my hero. I convinced my parents to subscribe to Sports Illustrated just to read about her. I even made a scrapbook. My hanging accordion book documents her first four and failed tries at completing the Cuba to Florida swim, plus her final record-setting swim with embroidered routes and watercolor and colored pencil art. She has three messages: One is, we should never, ever give up. Two is, you’re never too old to chase your dreams. And three is, it looks like a solitary sport, but it’s a team. > One of thirteen artists books for part of my one-woman show titled At Right Angles to the World*: 13 Talented and Influential Lesbians. [*Pulitizer Prize winning poet Elisabeth Bishop, Poems, Prose and Letters] Colophon: Accordion book -Arches Aquarelle hotpress, 140 lb. Embroidery thread Silicone swim cap and strap Watercolor Colored pencil 24.75” x 5.25” x .75”, 202 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773419465149-XODKOOWRU5T9Y5O4ZMRE/mcba-prize-2022-Peter-Malutzki-2020-1.jpg Entries & Jurors - 2022 Entries - Peter Malutzki Flörsheim, Germany www.peter-malutzki.de 2020 2020 Accordion in slipcase, Zerkall mould-made paper 9.45 x 6.89 x 0.7 Artist Statement I began working on the book in January of 2020. The plan was to create 20 copies, each consisting of 20 double spreads, in accordion form. It includes a variety of texts relating to different dates that feature the number 20. The typography was handset and letterpress printed, then complemented with original postage stamps glued in. The stamps had to be in denominations of 20, with a connection to the theme of the respective page. The second double spread quotes a text by Isaac Asimov, whose 100th birthday fell on January 2, 2020. In his 1987 essay about global warming, he writes: […] It is estimated that by 2020 the concentration [of carbon dioxide] will be about 0.0660 percent, or nearly twice what it is now […]. Asimov projects a dramatic sea-level rise due to increased melting of polar ice. A Hungarian 20-fillér stamp (flood prevention) from 1940 is added. Double spread 3 commemorates January 20, 2020: Martin Luther King Day in the United States. An excerpt from his August 28, 1963, speech in Washington is interposed with a list of 20 African Americans who were arbitrarily shot and killed by police officers within 20 years, between 2001 and 2020. Double spread 7 commemorates April 6, 2020, the 500th anniversary of Raphael’s death. In 1520, the year that Raphael died, Albrecht Dürer visited the Netherlands and kept a diary of his travels. The spread features an excerpt from Dürer’s travel diary, and a QR code lets readers view a drawing by Raphael (website of Albertina Vienna) that he had given to Dürer in 1515. Double spread 8 marks the opening of a Dada exhibition in Cologne, on April 20, 1920, as well as the explosion on the Deepwater Horizon oil drilling platform on April 20, 2010, in the Gulf of Mexico, which killed 11 workers and caused an estimated 4.2 million barrels of oil to spill into the ocean. In the beginning I couldn’t know that Covid would play such an important role all over the world. So I added small hints on the pandemic. Double spread 11 for example illustrates a passage from Boccaccio’s Decameron in the shape of an airplane and points out that as of May 20, 2020 4,929,455 people worldwide had been infected with the coronavirus, and 324,063 had died of the infection. Double spread 12 commemorates World Refugee Day on June 20, 2020. The “Hun speech” by Wilhelm II – his sendoff for German soldiers in Bremerhaven (If you come face to face with the enemy, he will be defeated! Grant no pardons! Take no prisoners! …) – reminds readers of June 20, 1900, when the German ambassador Clemens von Ketteler was shot and killed in Beijing, which led to retaliation by European, Japanese and US troops. Double spread 17 commemorates the 30th anniversary of German reunification on October 3, 2020, with texts by Irmtraud Morgner (East Berlin) and Günter Bruno Fuchs (West Berlin). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773419464314-91K8B2GCIWX9015FCFX7/mcba-prize-2022-Peter-Malutzki-2020-2.jpg Entries & Jurors - 2022 Entries - Peter Malutzki Flörsheim, Germany www.peter-malutzki.de 2020 2020 Accordion in slipcase, Zerkall mould-made paper 9.45 x 6.89 x 0.7 Artist Statement I began working on the book in January of 2020. The plan was to create 20 copies, each consisting of 20 double spreads, in accordion form. It includes a variety of texts relating to different dates that feature the number 20. The typography was handset and letterpress printed, then complemented with original postage stamps glued in. The stamps had to be in denominations of 20, with a connection to the theme of the respective page. The second double spread quotes a text by Isaac Asimov, whose 100th birthday fell on January 2, 2020. In his 1987 essay about global warming, he writes: […] It is estimated that by 2020 the concentration [of carbon dioxide] will be about 0.0660 percent, or nearly twice what it is now […]. Asimov projects a dramatic sea-level rise due to increased melting of polar ice. A Hungarian 20-fillér stamp (flood prevention) from 1940 is added. Double spread 3 commemorates January 20, 2020: Martin Luther King Day in the United States. An excerpt from his August 28, 1963, speech in Washington is interposed with a list of 20 African Americans who were arbitrarily shot and killed by police officers within 20 years, between 2001 and 2020. Double spread 7 commemorates April 6, 2020, the 500th anniversary of Raphael’s death. In 1520, the year that Raphael died, Albrecht Dürer visited the Netherlands and kept a diary of his travels. The spread features an excerpt from Dürer’s travel diary, and a QR code lets readers view a drawing by Raphael (website of Albertina Vienna) that he had given to Dürer in 1515. Double spread 8 marks the opening of a Dada exhibition in Cologne, on April 20, 1920, as well as the explosion on the Deepwater Horizon oil drilling platform on April 20, 2010, in the Gulf of Mexico, which killed 11 workers and caused an estimated 4.2 million barrels of oil to spill into the ocean. In the beginning I couldn’t know that Covid would play such an important role all over the world. So I added small hints on the pandemic. Double spread 11 for example illustrates a passage from Boccaccio’s Decameron in the shape of an airplane and points out that as of May 20, 2020 4,929,455 people worldwide had been infected with the coronavirus, and 324,063 had died of the infection. Double spread 12 commemorates World Refugee Day on June 20, 2020. The “Hun speech” by Wilhelm II – his sendoff for German soldiers in Bremerhaven (If you come face to face with the enemy, he will be defeated! Grant no pardons! Take no prisoners! …) – reminds readers of June 20, 1900, when the German ambassador Clemens von Ketteler was shot and killed in Beijing, which led to retaliation by European, Japanese and US troops. Double spread 17 commemorates the 30th anniversary of German reunification on October 3, 2020, with texts by Irmtraud Morgner (East Berlin) and Günter Bruno Fuchs (West Berlin). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773419466230-HGRX17996WTVX93R0ZJ0/mcba-prize-2022-Peter-Malutzki-2020-3.jpg Entries & Jurors - 2022 Entries - Peter Malutzki Flörsheim, Germany www.peter-malutzki.de 2020 2020 Accordion in slipcase, Zerkall mould-made paper 9.45 x 6.89 x 0.7 Artist Statement I began working on the book in January of 2020. The plan was to create 20 copies, each consisting of 20 double spreads, in accordion form. It includes a variety of texts relating to different dates that feature the number 20. The typography was handset and letterpress printed, then complemented with original postage stamps glued in. The stamps had to be in denominations of 20, with a connection to the theme of the respective page. The second double spread quotes a text by Isaac Asimov, whose 100th birthday fell on January 2, 2020. In his 1987 essay about global warming, he writes: […] It is estimated that by 2020 the concentration [of carbon dioxide] will be about 0.0660 percent, or nearly twice what it is now […]. Asimov projects a dramatic sea-level rise due to increased melting of polar ice. A Hungarian 20-fillér stamp (flood prevention) from 1940 is added. Double spread 3 commemorates January 20, 2020: Martin Luther King Day in the United States. An excerpt from his August 28, 1963, speech in Washington is interposed with a list of 20 African Americans who were arbitrarily shot and killed by police officers within 20 years, between 2001 and 2020. Double spread 7 commemorates April 6, 2020, the 500th anniversary of Raphael’s death. In 1520, the year that Raphael died, Albrecht Dürer visited the Netherlands and kept a diary of his travels. The spread features an excerpt from Dürer’s travel diary, and a QR code lets readers view a drawing by Raphael (website of Albertina Vienna) that he had given to Dürer in 1515. Double spread 8 marks the opening of a Dada exhibition in Cologne, on April 20, 1920, as well as the explosion on the Deepwater Horizon oil drilling platform on April 20, 2010, in the Gulf of Mexico, which killed 11 workers and caused an estimated 4.2 million barrels of oil to spill into the ocean. In the beginning I couldn’t know that Covid would play such an important role all over the world. So I added small hints on the pandemic. Double spread 11 for example illustrates a passage from Boccaccio’s Decameron in the shape of an airplane and points out that as of May 20, 2020 4,929,455 people worldwide had been infected with the coronavirus, and 324,063 had died of the infection. Double spread 12 commemorates World Refugee Day on June 20, 2020. The “Hun speech” by Wilhelm II – his sendoff for German soldiers in Bremerhaven (If you come face to face with the enemy, he will be defeated! Grant no pardons! Take no prisoners! …) – reminds readers of June 20, 1900, when the German ambassador Clemens von Ketteler was shot and killed in Beijing, which led to retaliation by European, Japanese and US troops. Double spread 17 commemorates the 30th anniversary of German reunification on October 3, 2020, with texts by Irmtraud Morgner (East Berlin) and Günter Bruno Fuchs (West Berlin). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773419467930-WD274EL92WQOE928SNMR/mcba-prize-2022-Peter-Malutzki-2020-4.jpg Entries & Jurors - 2022 Entries - Peter Malutzki Flörsheim, Germany www.peter-malutzki.de 2020 2020 Accordion in slipcase, Zerkall mould-made paper 9.45 x 6.89 x 0.7 Artist Statement I began working on the book in January of 2020. The plan was to create 20 copies, each consisting of 20 double spreads, in accordion form. It includes a variety of texts relating to different dates that feature the number 20. The typography was handset and letterpress printed, then complemented with original postage stamps glued in. The stamps had to be in denominations of 20, with a connection to the theme of the respective page. The second double spread quotes a text by Isaac Asimov, whose 100th birthday fell on January 2, 2020. In his 1987 essay about global warming, he writes: […] It is estimated that by 2020 the concentration [of carbon dioxide] will be about 0.0660 percent, or nearly twice what it is now […]. Asimov projects a dramatic sea-level rise due to increased melting of polar ice. A Hungarian 20-fillér stamp (flood prevention) from 1940 is added. Double spread 3 commemorates January 20, 2020: Martin Luther King Day in the United States. An excerpt from his August 28, 1963, speech in Washington is interposed with a list of 20 African Americans who were arbitrarily shot and killed by police officers within 20 years, between 2001 and 2020. Double spread 7 commemorates April 6, 2020, the 500th anniversary of Raphael’s death. In 1520, the year that Raphael died, Albrecht Dürer visited the Netherlands and kept a diary of his travels. The spread features an excerpt from Dürer’s travel diary, and a QR code lets readers view a drawing by Raphael (website of Albertina Vienna) that he had given to Dürer in 1515. Double spread 8 marks the opening of a Dada exhibition in Cologne, on April 20, 1920, as well as the explosion on the Deepwater Horizon oil drilling platform on April 20, 2010, in the Gulf of Mexico, which killed 11 workers and caused an estimated 4.2 million barrels of oil to spill into the ocean. In the beginning I couldn’t know that Covid would play such an important role all over the world. So I added small hints on the pandemic. Double spread 11 for example illustrates a passage from Boccaccio’s Decameron in the shape of an airplane and points out that as of May 20, 2020 4,929,455 people worldwide had been infected with the coronavirus, and 324,063 had died of the infection. Double spread 12 commemorates World Refugee Day on June 20, 2020. The “Hun speech” by Wilhelm II – his sendoff for German soldiers in Bremerhaven (If you come face to face with the enemy, he will be defeated! Grant no pardons! Take no prisoners! …) – reminds readers of June 20, 1900, when the German ambassador Clemens von Ketteler was shot and killed in Beijing, which led to retaliation by European, Japanese and US troops. Double spread 17 commemorates the 30th anniversary of German reunification on October 3, 2020, with texts by Irmtraud Morgner (East Berlin) and Günter Bruno Fuchs (West Berlin). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773419468384-PW87PN8RAQ0F7F6CSTXF/mcba-prize-2022-Peter-Malutzki-2020-5.jpg Entries & Jurors - 2022 Entries - Peter Malutzki Flörsheim, Germany www.peter-malutzki.de 2020 2020 Accordion in slipcase, Zerkall mould-made paper 9.45 x 6.89 x 0.7 Artist Statement I began working on the book in January of 2020. The plan was to create 20 copies, each consisting of 20 double spreads, in accordion form. It includes a variety of texts relating to different dates that feature the number 20. The typography was handset and letterpress printed, then complemented with original postage stamps glued in. The stamps had to be in denominations of 20, with a connection to the theme of the respective page. The second double spread quotes a text by Isaac Asimov, whose 100th birthday fell on January 2, 2020. In his 1987 essay about global warming, he writes: […] It is estimated that by 2020 the concentration [of carbon dioxide] will be about 0.0660 percent, or nearly twice what it is now […]. Asimov projects a dramatic sea-level rise due to increased melting of polar ice. A Hungarian 20-fillér stamp (flood prevention) from 1940 is added. Double spread 3 commemorates January 20, 2020: Martin Luther King Day in the United States. An excerpt from his August 28, 1963, speech in Washington is interposed with a list of 20 African Americans who were arbitrarily shot and killed by police officers within 20 years, between 2001 and 2020. Double spread 7 commemorates April 6, 2020, the 500th anniversary of Raphael’s death. In 1520, the year that Raphael died, Albrecht Dürer visited the Netherlands and kept a diary of his travels. The spread features an excerpt from Dürer’s travel diary, and a QR code lets readers view a drawing by Raphael (website of Albertina Vienna) that he had given to Dürer in 1515. Double spread 8 marks the opening of a Dada exhibition in Cologne, on April 20, 1920, as well as the explosion on the Deepwater Horizon oil drilling platform on April 20, 2010, in the Gulf of Mexico, which killed 11 workers and caused an estimated 4.2 million barrels of oil to spill into the ocean. In the beginning I couldn’t know that Covid would play such an important role all over the world. So I added small hints on the pandemic. Double spread 11 for example illustrates a passage from Boccaccio’s Decameron in the shape of an airplane and points out that as of May 20, 2020 4,929,455 people worldwide had been infected with the coronavirus, and 324,063 had died of the infection. Double spread 12 commemorates World Refugee Day on June 20, 2020. The “Hun speech” by Wilhelm II – his sendoff for German soldiers in Bremerhaven (If you come face to face with the enemy, he will be defeated! Grant no pardons! Take no prisoners! …) – reminds readers of June 20, 1900, when the German ambassador Clemens von Ketteler was shot and killed in Beijing, which led to retaliation by European, Japanese and US troops. Double spread 17 commemorates the 30th anniversary of German reunification on October 3, 2020, with texts by Irmtraud Morgner (East Berlin) and Günter Bruno Fuchs (West Berlin). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773421090828-CG380Y26KAKJ8N2AJXLS/mcba-prize-2022-Maria-Pisano-Fractured-Covid-19-1.jpg Entries & Jurors - 2022 Entries - Maria Pisano Plainsboro, New Jersey www.mariagpisano.com Fractured: Covid 19 – Memento Mori vs. Memento Vivere 2020–2021 diverse papers, digital and intaglio printing Journal: 6.25”W x 9”H, Masks display: 34” W x 9”H , Tents display: 23”W x 6.25”H Artist Statement Fractured: Covid 19 – Memento Mori vs.Memento Vivere, reflects on the COVID-19 pandemic. This artist book takes one on the journey we, in our country, have being raked through in this epidemic, reflecting the constant barrages of lies, irresponsibility, inefficiencies and ineptitude by our Washington leaders, causing many to die, suffer physically, mentally and to go hungry in the wealthiest nation in the world. Seen from my perspective as a daily journal, and reflecting on what is presented to me via television, newspapers and the internet – the constant barrages of news that are mind altering and unnerving. Collected in a phase box, the work has three parts. A 3D Installation, presenting two contrasting views: Tents of Hope vs. Masks of Death. In the work, symbolic tent structures with the seven humanitarian qualities listed below, are used to carry the message of frontline and essential workers in the format of a protective circle/embrace. In contrast, the government’s response is represented by the use of seven masques referencing Edgar Allan Poe’s story, The Masque of the Red Death, which are paired by the Seven Deadly Sins from Dante’s Divine Comedy: Lust, gluttony, greed, sloth, wrath, envy and greed. In Poe’s story the lavish party that Prince Prospero gives for his wealthy friends takes place in seven rooms, each a different color, as reflected/represented by the masks. The tents and masks are accompanied by a 70 page Journal on the Covid-19 pandemic that upended our lives, responding to current events from early March through the end of June 2020. The work compares the response from our government to the virus vs. essential/frontline workers, who are the real heroes in our lives: individuals who are selfless and reliable, performing their work with empathy and devotion and placing their lives on the line; like Roseann and Gabriella Tucci, Annie Park, Michelle Romero, Cristina Steo – all nurses, committed workers whose voices and concerns are added to the journal. They give us HOPE, and show us Courage, Devotion, Humanity, Honor, Integrity and Truth. The journal includes poems, prose, and art by the artist, and is interjected with images of the natural progression and beauty of the seasons that for me are a blessing, providing constancy, resilience and hope. My garden is a place of joy, fragility and renewal, a focus to counteract the daily indignities in the news, a place to regenerate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773421090143-CUW53GYFBDC27GBV03KA/mcba-prize-2022-Maria-Pisano-Fractured-Covid-19-2.jpg Entries & Jurors - 2022 Entries - Maria Pisano Plainsboro, New Jersey www.mariagpisano.com Fractured: Covid 19 – Memento Mori vs. Memento Vivere 2020–2021 diverse papers, digital and intaglio printing Journal: 6.25”W x 9”H, Masks display: 34” W x 9”H , Tents display: 23”W x 6.25”H Artist Statement Fractured: Covid 19 – Memento Mori vs.Memento Vivere, reflects on the COVID-19 pandemic. This artist book takes one on the journey we, in our country, have being raked through in this epidemic, reflecting the constant barrages of lies, irresponsibility, inefficiencies and ineptitude by our Washington leaders, causing many to die, suffer physically, mentally and to go hungry in the wealthiest nation in the world. Seen from my perspective as a daily journal, and reflecting on what is presented to me via television, newspapers and the internet – the constant barrages of news that are mind altering and unnerving. Collected in a phase box, the work has three parts. A 3D Installation, presenting two contrasting views: Tents of Hope vs. Masks of Death. In the work, symbolic tent structures with the seven humanitarian qualities listed below, are used to carry the message of frontline and essential workers in the format of a protective circle/embrace. In contrast, the government’s response is represented by the use of seven masques referencing Edgar Allan Poe’s story, The Masque of the Red Death, which are paired by the Seven Deadly Sins from Dante’s Divine Comedy: Lust, gluttony, greed, sloth, wrath, envy and greed. In Poe’s story the lavish party that Prince Prospero gives for his wealthy friends takes place in seven rooms, each a different color, as reflected/represented by the masks. The tents and masks are accompanied by a 70 page Journal on the Covid-19 pandemic that upended our lives, responding to current events from early March through the end of June 2020. The work compares the response from our government to the virus vs. essential/frontline workers, who are the real heroes in our lives: individuals who are selfless and reliable, performing their work with empathy and devotion and placing their lives on the line; like Roseann and Gabriella Tucci, Annie Park, Michelle Romero, Cristina Steo – all nurses, committed workers whose voices and concerns are added to the journal. They give us HOPE, and show us Courage, Devotion, Humanity, Honor, Integrity and Truth. The journal includes poems, prose, and art by the artist, and is interjected with images of the natural progression and beauty of the seasons that for me are a blessing, providing constancy, resilience and hope. My garden is a place of joy, fragility and renewal, a focus to counteract the daily indignities in the news, a place to regenerate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773421091910-SXL4Z1HV52I6YDHP4DZ0/mcba-prize-2022-Maria-Pisano-Fractured-Covid-19-3.jpg Entries & Jurors - 2022 Entries - Maria Pisano Plainsboro, New Jersey www.mariagpisano.com Fractured: Covid 19 – Memento Mori vs. Memento Vivere 2020–2021 diverse papers, digital and intaglio printing Journal: 6.25”W x 9”H, Masks display: 34” W x 9”H , Tents display: 23”W x 6.25”H Artist Statement Fractured: Covid 19 – Memento Mori vs.Memento Vivere, reflects on the COVID-19 pandemic. This artist book takes one on the journey we, in our country, have being raked through in this epidemic, reflecting the constant barrages of lies, irresponsibility, inefficiencies and ineptitude by our Washington leaders, causing many to die, suffer physically, mentally and to go hungry in the wealthiest nation in the world. Seen from my perspective as a daily journal, and reflecting on what is presented to me via television, newspapers and the internet – the constant barrages of news that are mind altering and unnerving. Collected in a phase box, the work has three parts. A 3D Installation, presenting two contrasting views: Tents of Hope vs. Masks of Death. In the work, symbolic tent structures with the seven humanitarian qualities listed below, are used to carry the message of frontline and essential workers in the format of a protective circle/embrace. In contrast, the government’s response is represented by the use of seven masques referencing Edgar Allan Poe’s story, The Masque of the Red Death, which are paired by the Seven Deadly Sins from Dante’s Divine Comedy: Lust, gluttony, greed, sloth, wrath, envy and greed. In Poe’s story the lavish party that Prince Prospero gives for his wealthy friends takes place in seven rooms, each a different color, as reflected/represented by the masks. The tents and masks are accompanied by a 70 page Journal on the Covid-19 pandemic that upended our lives, responding to current events from early March through the end of June 2020. The work compares the response from our government to the virus vs. essential/frontline workers, who are the real heroes in our lives: individuals who are selfless and reliable, performing their work with empathy and devotion and placing their lives on the line; like Roseann and Gabriella Tucci, Annie Park, Michelle Romero, Cristina Steo – all nurses, committed workers whose voices and concerns are added to the journal. They give us HOPE, and show us Courage, Devotion, Humanity, Honor, Integrity and Truth. The journal includes poems, prose, and art by the artist, and is interjected with images of the natural progression and beauty of the seasons that for me are a blessing, providing constancy, resilience and hope. My garden is a place of joy, fragility and renewal, a focus to counteract the daily indignities in the news, a place to regenerate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773421093206-B382DWC19ETR6SZKOWCM/mcba-prize-2022-Maria-Pisano-Fractured-Covid-19-4.jpg Entries & Jurors - 2022 Entries - Maria Pisano Plainsboro, New Jersey www.mariagpisano.com Fractured: Covid 19 – Memento Mori vs. Memento Vivere 2020–2021 diverse papers, digital and intaglio printing Journal: 6.25”W x 9”H, Masks display: 34” W x 9”H , Tents display: 23”W x 6.25”H Artist Statement Fractured: Covid 19 – Memento Mori vs.Memento Vivere, reflects on the COVID-19 pandemic. This artist book takes one on the journey we, in our country, have being raked through in this epidemic, reflecting the constant barrages of lies, irresponsibility, inefficiencies and ineptitude by our Washington leaders, causing many to die, suffer physically, mentally and to go hungry in the wealthiest nation in the world. Seen from my perspective as a daily journal, and reflecting on what is presented to me via television, newspapers and the internet – the constant barrages of news that are mind altering and unnerving. Collected in a phase box, the work has three parts. A 3D Installation, presenting two contrasting views: Tents of Hope vs. Masks of Death. In the work, symbolic tent structures with the seven humanitarian qualities listed below, are used to carry the message of frontline and essential workers in the format of a protective circle/embrace. In contrast, the government’s response is represented by the use of seven masques referencing Edgar Allan Poe’s story, The Masque of the Red Death, which are paired by the Seven Deadly Sins from Dante’s Divine Comedy: Lust, gluttony, greed, sloth, wrath, envy and greed. In Poe’s story the lavish party that Prince Prospero gives for his wealthy friends takes place in seven rooms, each a different color, as reflected/represented by the masks. The tents and masks are accompanied by a 70 page Journal on the Covid-19 pandemic that upended our lives, responding to current events from early March through the end of June 2020. The work compares the response from our government to the virus vs. essential/frontline workers, who are the real heroes in our lives: individuals who are selfless and reliable, performing their work with empathy and devotion and placing their lives on the line; like Roseann and Gabriella Tucci, Annie Park, Michelle Romero, Cristina Steo – all nurses, committed workers whose voices and concerns are added to the journal. They give us HOPE, and show us Courage, Devotion, Humanity, Honor, Integrity and Truth. The journal includes poems, prose, and art by the artist, and is interjected with images of the natural progression and beauty of the seasons that for me are a blessing, providing constancy, resilience and hope. My garden is a place of joy, fragility and renewal, a focus to counteract the daily indignities in the news, a place to regenerate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773421094093-BKWZQ040K7RJFMQZCN9I/mcba-prize-2022-Maria-Pisano-Fractured-Covid-19-5.jpg Entries & Jurors - 2022 Entries - Maria Pisano Plainsboro, New Jersey www.mariagpisano.com Fractured: Covid 19 – Memento Mori vs. Memento Vivere 2020–2021 diverse papers, digital and intaglio printing Journal: 6.25”W x 9”H, Masks display: 34” W x 9”H , Tents display: 23”W x 6.25”H Artist Statement Fractured: Covid 19 – Memento Mori vs.Memento Vivere, reflects on the COVID-19 pandemic. This artist book takes one on the journey we, in our country, have being raked through in this epidemic, reflecting the constant barrages of lies, irresponsibility, inefficiencies and ineptitude by our Washington leaders, causing many to die, suffer physically, mentally and to go hungry in the wealthiest nation in the world. Seen from my perspective as a daily journal, and reflecting on what is presented to me via television, newspapers and the internet – the constant barrages of news that are mind altering and unnerving. Collected in a phase box, the work has three parts. A 3D Installation, presenting two contrasting views: Tents of Hope vs. Masks of Death. In the work, symbolic tent structures with the seven humanitarian qualities listed below, are used to carry the message of frontline and essential workers in the format of a protective circle/embrace. In contrast, the government’s response is represented by the use of seven masques referencing Edgar Allan Poe’s story, The Masque of the Red Death, which are paired by the Seven Deadly Sins from Dante’s Divine Comedy: Lust, gluttony, greed, sloth, wrath, envy and greed. In Poe’s story the lavish party that Prince Prospero gives for his wealthy friends takes place in seven rooms, each a different color, as reflected/represented by the masks. The tents and masks are accompanied by a 70 page Journal on the Covid-19 pandemic that upended our lives, responding to current events from early March through the end of June 2020. The work compares the response from our government to the virus vs. essential/frontline workers, who are the real heroes in our lives: individuals who are selfless and reliable, performing their work with empathy and devotion and placing their lives on the line; like Roseann and Gabriella Tucci, Annie Park, Michelle Romero, Cristina Steo – all nurses, committed workers whose voices and concerns are added to the journal. They give us HOPE, and show us Courage, Devotion, Humanity, Honor, Integrity and Truth. The journal includes poems, prose, and art by the artist, and is interjected with images of the natural progression and beauty of the seasons that for me are a blessing, providing constancy, resilience and hope. My garden is a place of joy, fragility and renewal, a focus to counteract the daily indignities in the news, a place to regenerate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773421300639-WZKYYVQVF34J6VVKDDOT/mcba-prize-2022-Seamus-OBrien-Snowman-Book-Project-1.jpg Entries & Jurors - 2022 Entries - Seamus O’Brien Minneapolis, Minnesota thewonderfulworldof.com The Snowman Book Project 2020 Pen and ink, graphite, color pencil 18 x 1 x 12″ Artist Statement The image samples are a collection of pages from my 137-page Snowman Book Project, started in 1999 and completed in January 2020. The Snowman Book Project began as a doodle when I was visiting my parent’s home and sketching their snowmen decorations during the holidays. But I had so much fun with the subject matter I decided to devote an entire sketchbook to the snowman character itself. The whimsical nature of the snowman and its storybook quality warranted a book format, and with the sketchbook, in particular, the presentation of the work could be more informal, allowing for ideas to ebb and flow. The story tells the tale of a snowman’s humble beginnings and follows its quest for world domination. Initially I thought this project would only take a few months to complete, but the storyline and line work, including the development of various pop-up book elements in the story, became more and more immersive, thus causing delays. Doubts that I would encounter over my own intentions for the book project would also appear in the storyline itself, with the character questioning its own motives. In many ways the snowman book unintentionally became my visual diary, where the character has conversations with me, the artist, about our dreams, artistic motivations, and intent. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773421300792-616RRPQNCWRMJZHNRYW1/mcba-prize-2022-Seamus-OBrien-Snowman-Book-Project-2.jpg Entries & Jurors - 2022 Entries - Seamus O’Brien Minneapolis, Minnesota thewonderfulworldof.com The Snowman Book Project 2020 Pen and ink, graphite, color pencil 18 x 1 x 12″ Artist Statement The image samples are a collection of pages from my 137-page Snowman Book Project, started in 1999 and completed in January 2020. The Snowman Book Project began as a doodle when I was visiting my parent’s home and sketching their snowmen decorations during the holidays. But I had so much fun with the subject matter I decided to devote an entire sketchbook to the snowman character itself. The whimsical nature of the snowman and its storybook quality warranted a book format, and with the sketchbook, in particular, the presentation of the work could be more informal, allowing for ideas to ebb and flow. The story tells the tale of a snowman’s humble beginnings and follows its quest for world domination. Initially I thought this project would only take a few months to complete, but the storyline and line work, including the development of various pop-up book elements in the story, became more and more immersive, thus causing delays. Doubts that I would encounter over my own intentions for the book project would also appear in the storyline itself, with the character questioning its own motives. In many ways the snowman book unintentionally became my visual diary, where the character has conversations with me, the artist, about our dreams, artistic motivations, and intent. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773421303530-ZQCV0RGVAM3IVBPEYY4A/mcba-prize-2022-Seamus-OBrien-Snowman-Book-Project-3.jpg Entries & Jurors - 2022 Entries - Seamus O’Brien Minneapolis, Minnesota thewonderfulworldof.com The Snowman Book Project 2020 Pen and ink, graphite, color pencil 18 x 1 x 12″ Artist Statement The image samples are a collection of pages from my 137-page Snowman Book Project, started in 1999 and completed in January 2020. The Snowman Book Project began as a doodle when I was visiting my parent’s home and sketching their snowmen decorations during the holidays. But I had so much fun with the subject matter I decided to devote an entire sketchbook to the snowman character itself. The whimsical nature of the snowman and its storybook quality warranted a book format, and with the sketchbook, in particular, the presentation of the work could be more informal, allowing for ideas to ebb and flow. The story tells the tale of a snowman’s humble beginnings and follows its quest for world domination. Initially I thought this project would only take a few months to complete, but the storyline and line work, including the development of various pop-up book elements in the story, became more and more immersive, thus causing delays. Doubts that I would encounter over my own intentions for the book project would also appear in the storyline itself, with the character questioning its own motives. In many ways the snowman book unintentionally became my visual diary, where the character has conversations with me, the artist, about our dreams, artistic motivations, and intent. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773421304124-8LON01CHBJPIZ7037W9W/mcba-prize-2022-Seamus-OBrien-Snowman-Book-Project-4.jpg Entries & Jurors - 2022 Entries - Seamus O’Brien Minneapolis, Minnesota thewonderfulworldof.com The Snowman Book Project 2020 Pen and ink, graphite, color pencil 18 x 1 x 12″ Artist Statement The image samples are a collection of pages from my 137-page Snowman Book Project, started in 1999 and completed in January 2020. The Snowman Book Project began as a doodle when I was visiting my parent’s home and sketching their snowmen decorations during the holidays. But I had so much fun with the subject matter I decided to devote an entire sketchbook to the snowman character itself. The whimsical nature of the snowman and its storybook quality warranted a book format, and with the sketchbook, in particular, the presentation of the work could be more informal, allowing for ideas to ebb and flow. The story tells the tale of a snowman’s humble beginnings and follows its quest for world domination. Initially I thought this project would only take a few months to complete, but the storyline and line work, including the development of various pop-up book elements in the story, became more and more immersive, thus causing delays. Doubts that I would encounter over my own intentions for the book project would also appear in the storyline itself, with the character questioning its own motives. In many ways the snowman book unintentionally became my visual diary, where the character has conversations with me, the artist, about our dreams, artistic motivations, and intent. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773421305792-ON4XCI10S6PE92P6DLAA/mcba-prize-2022-Seamus-OBrien-Snowman-Book-Project-5.jpg Entries & Jurors - 2022 Entries - Seamus O’Brien Minneapolis, Minnesota thewonderfulworldof.com The Snowman Book Project 2020 Pen and ink, graphite, color pencil 18 x 1 x 12″ Artist Statement The image samples are a collection of pages from my 137-page Snowman Book Project, started in 1999 and completed in January 2020. The Snowman Book Project began as a doodle when I was visiting my parent’s home and sketching their snowmen decorations during the holidays. But I had so much fun with the subject matter I decided to devote an entire sketchbook to the snowman character itself. The whimsical nature of the snowman and its storybook quality warranted a book format, and with the sketchbook, in particular, the presentation of the work could be more informal, allowing for ideas to ebb and flow. The story tells the tale of a snowman’s humble beginnings and follows its quest for world domination. Initially I thought this project would only take a few months to complete, but the storyline and line work, including the development of various pop-up book elements in the story, became more and more immersive, thus causing delays. Doubts that I would encounter over my own intentions for the book project would also appear in the storyline itself, with the character questioning its own motives. In many ways the snowman book unintentionally became my visual diary, where the character has conversations with me, the artist, about our dreams, artistic motivations, and intent. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773424513463-ED6NWJGNM4TBFECDUNE7/mcba-prize-2022-Marjon-Mudde-Me-I-1.jpg Entries & Jurors - 2022 Entries - Marjon MUDDE Lauzerte, France artmarjonmudde.wordpress.com ME-I 2021 Artist book with linocuts, handset typography, experimental binding and box 9.4 x 10.2 x 0.8 Artist Statement CONTENTS Five short stories about a lively little rabbit who innocently says things he shouldn’t. These stories are based on what really happened sometimes during the book and art classes I taught for many years to children in French schools of my neighbourhood. Of course I adapted the « real facts » for the needs of the narrative from time to time. I made a translation of the stories into English for you, but some of the French wordplay cannot be rendered… PRINTING TECHNIQUES Images : the little rabbits are done in linocut and hand printed on an etching press. The other parts of the images are printed on a proof press from wooden letters which were once used to make posters and are now part of my collection of type. It was fun to convert them into tables, seats, cars, fish bowl, etc. ! Text : all text is handset with moveable type, and hand printed on a proof press. BINDING The binding is experimental, employing a macrame knot. It is a solution I came up with for a « problem » which has bothered me for a certain period : I like to have colored thread showing on the outside of the binding, but I would like to be able to match the color of the thread with the paper on the inside…. This is the first binding where I was successful. FABRICI designed the coton fabric used for the cover especially for this project, and had 4 metres of it printed. BOX The box design had to meet with several standards : sturdiness ; a safe way to take the book out of it ; color match ; a flat inside as not to damage the book. After some drafts that did not meet all my needs, I finally made this box. EDITION The book has been edited 10, all handbound, and with a box, in 2021. 9 copies are available for exhibition and sale, One I keep for myself. WHO DID WHATWell, everything was done by me : writing, design, engraving, typesetting, printing, binding, boxmaking, cleaning up. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773424513409-VLQGV29JTOP0K6TSK5TS/mcba-prize-2022-Marjon-Mudde-Me-I-2.jpg Entries & Jurors - 2022 Entries - Marjon MUDDE Lauzerte, France artmarjonmudde.wordpress.com ME-I 2021 Artist book with linocuts, handset typography, experimental binding and box 9.4 x 10.2 x 0.8 Artist Statement CONTENTS Five short stories about a lively little rabbit who innocently says things he shouldn’t. These stories are based on what really happened sometimes during the book and art classes I taught for many years to children in French schools of my neighbourhood. Of course I adapted the « real facts » for the needs of the narrative from time to time. I made a translation of the stories into English for you, but some of the French wordplay cannot be rendered… PRINTING TECHNIQUES Images : the little rabbits are done in linocut and hand printed on an etching press. The other parts of the images are printed on a proof press from wooden letters which were once used to make posters and are now part of my collection of type. It was fun to convert them into tables, seats, cars, fish bowl, etc. ! Text : all text is handset with moveable type, and hand printed on a proof press. BINDING The binding is experimental, employing a macrame knot. It is a solution I came up with for a « problem » which has bothered me for a certain period : I like to have colored thread showing on the outside of the binding, but I would like to be able to match the color of the thread with the paper on the inside…. This is the first binding where I was successful. FABRICI designed the coton fabric used for the cover especially for this project, and had 4 metres of it printed. BOX The box design had to meet with several standards : sturdiness ; a safe way to take the book out of it ; color match ; a flat inside as not to damage the book. After some drafts that did not meet all my needs, I finally made this box. EDITION The book has been edited 10, all handbound, and with a box, in 2021. 9 copies are available for exhibition and sale, One I keep for myself. WHO DID WHATWell, everything was done by me : writing, design, engraving, typesetting, printing, binding, boxmaking, cleaning up. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773424515459-QUH644A89J9FCJCJ0SO4/mcba-prize-2022-Marjon-Mudde-Me-I-3.jpg Entries & Jurors - 2022 Entries - Marjon MUDDE Lauzerte, France artmarjonmudde.wordpress.com ME-I 2021 Artist book with linocuts, handset typography, experimental binding and box 9.4 x 10.2 x 0.8 Artist Statement CONTENTS Five short stories about a lively little rabbit who innocently says things he shouldn’t. These stories are based on what really happened sometimes during the book and art classes I taught for many years to children in French schools of my neighbourhood. Of course I adapted the « real facts » for the needs of the narrative from time to time. I made a translation of the stories into English for you, but some of the French wordplay cannot be rendered… PRINTING TECHNIQUES Images : the little rabbits are done in linocut and hand printed on an etching press. The other parts of the images are printed on a proof press from wooden letters which were once used to make posters and are now part of my collection of type. It was fun to convert them into tables, seats, cars, fish bowl, etc. ! Text : all text is handset with moveable type, and hand printed on a proof press. BINDING The binding is experimental, employing a macrame knot. It is a solution I came up with for a « problem » which has bothered me for a certain period : I like to have colored thread showing on the outside of the binding, but I would like to be able to match the color of the thread with the paper on the inside…. This is the first binding where I was successful. FABRICI designed the coton fabric used for the cover especially for this project, and had 4 metres of it printed. BOX The box design had to meet with several standards : sturdiness ; a safe way to take the book out of it ; color match ; a flat inside as not to damage the book. After some drafts that did not meet all my needs, I finally made this box. EDITION The book has been edited 10, all handbound, and with a box, in 2021. 9 copies are available for exhibition and sale, One I keep for myself. WHO DID WHATWell, everything was done by me : writing, design, engraving, typesetting, printing, binding, boxmaking, cleaning up. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773424515842-N4FAW48CQQY3XEZWYXRW/mcba-prize-2022-Marjon-Mudde-Me-I-4.jpg Entries & Jurors - 2022 Entries - Marjon MUDDE Lauzerte, France artmarjonmudde.wordpress.com ME-I 2021 Artist book with linocuts, handset typography, experimental binding and box 9.4 x 10.2 x 0.8 Artist Statement CONTENTS Five short stories about a lively little rabbit who innocently says things he shouldn’t. These stories are based on what really happened sometimes during the book and art classes I taught for many years to children in French schools of my neighbourhood. Of course I adapted the « real facts » for the needs of the narrative from time to time. I made a translation of the stories into English for you, but some of the French wordplay cannot be rendered… PRINTING TECHNIQUES Images : the little rabbits are done in linocut and hand printed on an etching press. The other parts of the images are printed on a proof press from wooden letters which were once used to make posters and are now part of my collection of type. It was fun to convert them into tables, seats, cars, fish bowl, etc. ! Text : all text is handset with moveable type, and hand printed on a proof press. BINDING The binding is experimental, employing a macrame knot. It is a solution I came up with for a « problem » which has bothered me for a certain period : I like to have colored thread showing on the outside of the binding, but I would like to be able to match the color of the thread with the paper on the inside…. This is the first binding where I was successful. FABRICI designed the coton fabric used for the cover especially for this project, and had 4 metres of it printed. BOX The box design had to meet with several standards : sturdiness ; a safe way to take the book out of it ; color match ; a flat inside as not to damage the book. After some drafts that did not meet all my needs, I finally made this box. EDITION The book has been edited 10, all handbound, and with a box, in 2021. 9 copies are available for exhibition and sale, One I keep for myself. WHO DID WHATWell, everything was done by me : writing, design, engraving, typesetting, printing, binding, boxmaking, cleaning up. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773424517239-P7QY07TCGO4C9WN53XZT/mcba-prize-2022-Marjon-Mudde-Me-I-5.jpg Entries & Jurors - 2022 Entries - Marjon MUDDE Lauzerte, France artmarjonmudde.wordpress.com ME-I 2021 Artist book with linocuts, handset typography, experimental binding and box 9.4 x 10.2 x 0.8 Artist Statement CONTENTS Five short stories about a lively little rabbit who innocently says things he shouldn’t. These stories are based on what really happened sometimes during the book and art classes I taught for many years to children in French schools of my neighbourhood. Of course I adapted the « real facts » for the needs of the narrative from time to time. I made a translation of the stories into English for you, but some of the French wordplay cannot be rendered… PRINTING TECHNIQUES Images : the little rabbits are done in linocut and hand printed on an etching press. The other parts of the images are printed on a proof press from wooden letters which were once used to make posters and are now part of my collection of type. It was fun to convert them into tables, seats, cars, fish bowl, etc. ! Text : all text is handset with moveable type, and hand printed on a proof press. BINDING The binding is experimental, employing a macrame knot. It is a solution I came up with for a « problem » which has bothered me for a certain period : I like to have colored thread showing on the outside of the binding, but I would like to be able to match the color of the thread with the paper on the inside…. This is the first binding where I was successful. FABRICI designed the coton fabric used for the cover especially for this project, and had 4 metres of it printed. BOX The box design had to meet with several standards : sturdiness ; a safe way to take the book out of it ; color match ; a flat inside as not to damage the book. After some drafts that did not meet all my needs, I finally made this box. EDITION The book has been edited 10, all handbound, and with a box, in 2021. 9 copies are available for exhibition and sale, One I keep for myself. WHO DID WHATWell, everything was done by me : writing, design, engraving, typesetting, printing, binding, boxmaking, cleaning up. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773424675961-9R3M3FDJGEJ3NUORLDVG/mcba-prize-2022-Maggie-Kerrigan-Their-Tender-Hearts-1.jpg Entries & Jurors - 2022 Entries - Maggie Kerrigan Virginia Beach, VA thebookartist.com Their Tender Hearts 2021 Altered book 180 x 180 x 180 Artist Statement Would you be outraged if thousands of children suddenly went missing with no accounting for what happened to them? Would it be the same outrage if these children slowly went missing over the course of 100 years? For nearly a century, a government sponsored program to assimilate Native American children took them from their home and sent them to Indian Boarding Schools. These children were stripped of their culture, language and heritage. Often, they suffered terrible abuse, neglect and malnutrition. It is unknown, exactly, how many of these children are unaccounted for, because it was rarely documented if a child ran away or died. The book, This Tender Land, is a fictional story that illustrates the plight of the Native American Children who endured life in these schools. The book’s pages have been punctured with 65,000 holes to illustrate the sad voids left to their families. The holes have been reassembled inside the cover of the empty book, a mass grave of precious souls. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773424675337-BVNA95IU6FXV3K40QSDJ/mcba-prize-2022-Maggie-Kerrigan-Their-Tender-Hearts-2.jpg Entries & Jurors - 2022 Entries - Maggie Kerrigan Virginia Beach, VA thebookartist.com Their Tender Hearts 2021 Altered book 180 x 180 x 180 Artist Statement Would you be outraged if thousands of children suddenly went missing with no accounting for what happened to them? Would it be the same outrage if these children slowly went missing over the course of 100 years? For nearly a century, a government sponsored program to assimilate Native American children took them from their home and sent them to Indian Boarding Schools. These children were stripped of their culture, language and heritage. Often, they suffered terrible abuse, neglect and malnutrition. It is unknown, exactly, how many of these children are unaccounted for, because it was rarely documented if a child ran away or died. The book, This Tender Land, is a fictional story that illustrates the plight of the Native American Children who endured life in these schools. The book’s pages have been punctured with 65,000 holes to illustrate the sad voids left to their families. The holes have been reassembled inside the cover of the empty book, a mass grave of precious souls. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773424677963-I87GUTARPORB2Y1UJ6QR/mcba-prize-2022-Maggie-Kerrigan-Their-Tender-Hearts-3.jpg Entries & Jurors - 2022 Entries - Maggie Kerrigan Virginia Beach, VA thebookartist.com Their Tender Hearts 2021 Altered book 180 x 180 x 180 Artist Statement Would you be outraged if thousands of children suddenly went missing with no accounting for what happened to them? Would it be the same outrage if these children slowly went missing over the course of 100 years? For nearly a century, a government sponsored program to assimilate Native American children took them from their home and sent them to Indian Boarding Schools. These children were stripped of their culture, language and heritage. Often, they suffered terrible abuse, neglect and malnutrition. It is unknown, exactly, how many of these children are unaccounted for, because it was rarely documented if a child ran away or died. The book, This Tender Land, is a fictional story that illustrates the plight of the Native American Children who endured life in these schools. The book’s pages have been punctured with 65,000 holes to illustrate the sad voids left to their families. The holes have been reassembled inside the cover of the empty book, a mass grave of precious souls. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773424680475-C0QUZ3HRC0B25LOAHX0T/mcba-prize-2022-Maggie-Kerrigan-Their-Tender-Hearts-4.jpg Entries & Jurors - 2022 Entries - Maggie Kerrigan Virginia Beach, VA thebookartist.com Their Tender Hearts 2021 Altered book 180 x 180 x 180 Artist Statement Would you be outraged if thousands of children suddenly went missing with no accounting for what happened to them? Would it be the same outrage if these children slowly went missing over the course of 100 years? For nearly a century, a government sponsored program to assimilate Native American children took them from their home and sent them to Indian Boarding Schools. These children were stripped of their culture, language and heritage. Often, they suffered terrible abuse, neglect and malnutrition. It is unknown, exactly, how many of these children are unaccounted for, because it was rarely documented if a child ran away or died. The book, This Tender Land, is a fictional story that illustrates the plight of the Native American Children who endured life in these schools. The book’s pages have been punctured with 65,000 holes to illustrate the sad voids left to their families. The holes have been reassembled inside the cover of the empty book, a mass grave of precious souls. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773424682369-YXIXWGELLB454NI6G1MH/mcba-prize-2022-Maggie-Kerrigan-Their-Tender-Hearts-5.jpg Entries & Jurors - 2022 Entries - Maggie Kerrigan Virginia Beach, VA thebookartist.com Their Tender Hearts 2021 Altered book 180 x 180 x 180 Artist Statement Would you be outraged if thousands of children suddenly went missing with no accounting for what happened to them? Would it be the same outrage if these children slowly went missing over the course of 100 years? For nearly a century, a government sponsored program to assimilate Native American children took them from their home and sent them to Indian Boarding Schools. These children were stripped of their culture, language and heritage. Often, they suffered terrible abuse, neglect and malnutrition. It is unknown, exactly, how many of these children are unaccounted for, because it was rarely documented if a child ran away or died. The book, This Tender Land, is a fictional story that illustrates the plight of the Native American Children who endured life in these schools. The book’s pages have been punctured with 65,000 holes to illustrate the sad voids left to their families. The holes have been reassembled inside the cover of the empty book, a mass grave of precious souls. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773426270244-WSRM16VXCLWEGWQFEF0M/mcba-prize-2022-Darren-Marsh-Flos-1.jpg Entries & Jurors - 2022 Entries - Darren Marsh Manchester, United Kingdom www.darrenmarsh.co.uk Flōs 2022 Digital print on paper Folded 10.5cm x 5.2cm x 3cm. Unfolded 32cm x 32cm x 5.2cm Artist Statement We must reevaluate our entrenched ideas and preconceived notions. Lynn Margulis Flōs is a meditation on a life lived within a mesh of entangled relationships. A world made up of complex patterns. Patterns beyond our known patterns connecting in unknown ways. In this world nothing makes itself, and nothing exists by itself. Beings fold with other beings and things fold with other things. Human and non-human, living and nonliving become with each other to bring about new possibilities of being otherwise. — An edition of 12 published 2022. Each a unique permutation. Folded 10.5cm x 5.2cm x 3cm Unfolded 32cm x 32cm x 5.2cm Canon Chromalife inkjet print on 70gsm Awagami Inbe and 75gsm Permalife 25% Cotton Printed slip case on 90gsm Archival Trace https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773426280716-7OEO3SJKM5KXRTR3PQHA/mcba-prize-2022-Darren-Marsh-Flos-2.jpg Entries & Jurors - 2022 Entries - Darren Marsh Manchester, United Kingdom www.darrenmarsh.co.uk Flōs 2022 Digital print on paper Folded 10.5cm x 5.2cm x 3cm. Unfolded 32cm x 32cm x 5.2cm Artist Statement We must reevaluate our entrenched ideas and preconceived notions. Lynn Margulis Flōs is a meditation on a life lived within a mesh of entangled relationships. A world made up of complex patterns. Patterns beyond our known patterns connecting in unknown ways. In this world nothing makes itself, and nothing exists by itself. Beings fold with other beings and things fold with other things. Human and non-human, living and nonliving become with each other to bring about new possibilities of being otherwise. — An edition of 12 published 2022. Each a unique permutation. Folded 10.5cm x 5.2cm x 3cm Unfolded 32cm x 32cm x 5.2cm Canon Chromalife inkjet print on 70gsm Awagami Inbe and 75gsm Permalife 25% Cotton Printed slip case on 90gsm Archival Trace https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773426280758-SCQ8CT3M5ZC5M7C5922F/mcba-prize-2022-Darren-Marsh-Flos-3.jpg Entries & Jurors - 2022 Entries - Darren Marsh Manchester, United Kingdom www.darrenmarsh.co.uk Flōs 2022 Digital print on paper Folded 10.5cm x 5.2cm x 3cm. Unfolded 32cm x 32cm x 5.2cm Artist Statement We must reevaluate our entrenched ideas and preconceived notions. Lynn Margulis Flōs is a meditation on a life lived within a mesh of entangled relationships. A world made up of complex patterns. Patterns beyond our known patterns connecting in unknown ways. In this world nothing makes itself, and nothing exists by itself. Beings fold with other beings and things fold with other things. Human and non-human, living and nonliving become with each other to bring about new possibilities of being otherwise. — An edition of 12 published 2022. Each a unique permutation. Folded 10.5cm x 5.2cm x 3cm Unfolded 32cm x 32cm x 5.2cm Canon Chromalife inkjet print on 70gsm Awagami Inbe and 75gsm Permalife 25% Cotton Printed slip case on 90gsm Archival Trace https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773426283320-CCCKI2C634LP2EYRH33S/mcba-prize-2022-Darren-Marsh-Flos-4.jpg Entries & Jurors - 2022 Entries - Darren Marsh Manchester, United Kingdom www.darrenmarsh.co.uk Flōs 2022 Digital print on paper Folded 10.5cm x 5.2cm x 3cm. Unfolded 32cm x 32cm x 5.2cm Artist Statement We must reevaluate our entrenched ideas and preconceived notions. Lynn Margulis Flōs is a meditation on a life lived within a mesh of entangled relationships. A world made up of complex patterns. Patterns beyond our known patterns connecting in unknown ways. In this world nothing makes itself, and nothing exists by itself. Beings fold with other beings and things fold with other things. Human and non-human, living and nonliving become with each other to bring about new possibilities of being otherwise. — An edition of 12 published 2022. Each a unique permutation. Folded 10.5cm x 5.2cm x 3cm Unfolded 32cm x 32cm x 5.2cm Canon Chromalife inkjet print on 70gsm Awagami Inbe and 75gsm Permalife 25% Cotton Printed slip case on 90gsm Archival Trace https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773426283868-DC3EIP5DJM143Y9EOG74/mcba-prize-2022-Darren-Marsh-Flos-5.jpg Entries & Jurors - 2022 Entries - Darren Marsh Manchester, United Kingdom www.darrenmarsh.co.uk Flōs 2022 Digital print on paper Folded 10.5cm x 5.2cm x 3cm. Unfolded 32cm x 32cm x 5.2cm Artist Statement We must reevaluate our entrenched ideas and preconceived notions. Lynn Margulis Flōs is a meditation on a life lived within a mesh of entangled relationships. A world made up of complex patterns. Patterns beyond our known patterns connecting in unknown ways. In this world nothing makes itself, and nothing exists by itself. Beings fold with other beings and things fold with other things. Human and non-human, living and nonliving become with each other to bring about new possibilities of being otherwise. — An edition of 12 published 2022. Each a unique permutation. Folded 10.5cm x 5.2cm x 3cm Unfolded 32cm x 32cm x 5.2cm Canon Chromalife inkjet print on 70gsm Awagami Inbe and 75gsm Permalife 25% Cotton Printed slip case on 90gsm Archival Trace https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773427122886-P6VBEP0MIQF0EEX9F7CV/mcba-prize-2022-Mindy-Belloff-Postmodern-Feminist-Discourse-2.jpg Entries & Jurors - 2022 Entries - Mindy Belloff NEW YORK, New York www.IntimaPress.com Hester . Emma . Sonia (Subtitle: Joni . Annie . Tracy) – A Postmodern Feminist Discourse 2021 Fine Press Edition: Ed. 32, 300-pages, 2021. Main text excerpted from Nathaniel Hawthorne’s “The Scarlet Letter,” Gustave Flaubert’s “Madam Bovary,” and Fyodor Dostoevsky’s “Crime and Punishment.” Concept, designs, typography, artworks, printing, and publishing by Mindy Belloff, NYC. Includes an Introduction, “No Text Stands Alone,” written by Saul Ostrow, art critic and curator; an Afterword, “Through A Feminist Lens,” and an Appendix with over 100 references, and list of over 40 artworks and calligrams. Over 180 letterpress runs. Standard binding aqua blue Sokoto leather spine millimeter binding with letterpress printed covers printed by Mindy Belloff, inside a unique middle opening box, sewn and bound by Celine Lombardi. Main text and artworks printed on an Epson Professional SureColor P600 inkjet printer with archival pigmented inks, commentaries and calligrams printed letterpress on a Universal III Automatic Adjustable Bed Press (Uni III A/B), on Crane’s cotton rag text weight papers. Back endsheet printed letterpress. The text is digitally typeset in Adobe Jenson Pro with additional fonts (Lydian Cursive MT, Fine Gothic Medium, Luminari, Berliner, Berliner Fraktur, Garamond Premier Pro, and Goudy Text MT). The typography and page compositions were designed in Adobe InDesign and image reproductions of artwork were painstakingly color corrected in Adobe PhotoShop, some drawings and photographs also manipulated in Adobe Illustrator. 10.5 x 7.75 x 1.75 inches Hester . Emma . Sonia, is a feminist reading of Nathaniel Hawthorne’s The Scarlet Letter, Gustave Flaubert’s Madame Bovary, and Fyodor Dostoevsky’s Crime and Punishment. This heavily researched 300-page volume presents a multiplicity of voices in converstaion with Hester Prynne, Emma Bovary, and Sonia Marmeladov. Inspired by polyglot bibles and illuminated manuscripts, passages of text span centuries from ancient Nag Hammadi poetry, to the 15th-century treatise the Malleus Maleficarum (Witches Hammer), to 20th century philosophy and contemporary song lyrics, which all communicate with the three literary classics. A selection of texts are in Latin, French, and Russian. Joni . Annie . Tracy, the subtitle of the edition, highlights singer-songwriters Joni Mitchell, Annie Lennox, Tracy Chapman and other favored musical artists (Janis Joplin, Etta James, Leon Russell, Mary J. Blige, Laurie Anderson, and others), whose poignant, poetic lines are familiar to a generation coming of age in the 1960s-1990s. Text of philosophers, writers, and poets such as Simone de Beauvoir, Virginia Woolf, Rainer Maria Rilke, William Blake, Julia Kristeva, Friedrich Nietzsche, Bell Hooks, and Arthur Rimbaud, are incorporated into brilliant typographical designs, deconstructing the original narratives. Additional references to contemporary issues include the global coronavirus pandemic, and the Black Lives Matter movement. T he opposite of love is not hate but power. Power obliterates another's individuality. ‒ Marion Woodman we are of our generation...I began work on this edition well before the pandemic became a threat in March of 2020. Since this time in the U.S., we have witnessed a divisive political climate, an environmental crisis, an enormous amount of suffering and loss to the Covid-19 virus and its variants, racial inequalities, and Black Lives Matter protests. This project was delayed as we adjusted to virtual schooling, a medical crisis in city hospitals, and new realities of mask wearing and social distancing. Plunging oneself into research and narratives can be a healthy way to balance daily angst, or perhaps a way to simply escape stresses. I surrounded myself with books, including many "old friends" on cultural critique from graduate school. Spending additional hours at home provided extra time to read and research, tweak designs through endless sleepless hours, and focus on new drawings. I worked on all three sections of the volume simultaneously back and forth, before finalizing each one in succession, which became more complex from Hester, to Emma, to Sonia. I compiled over 100 bibliographic references and included an Afterword in the appendix. Personal narrative has defined my work over the years, and my own mythology informs the artworks I have created. In the early 1990’s, as AIDS ravaged the lives of friends and creatives, I exhibited installations in New York, from a series titled Loss, Irony, Identity, with subtitles: Tell Me Why, Witness, and Empathy. Many of the works reproduced in this edition are from these series. There are over 40 reproductions of fine artworks – paintings, drawings, photographs, and calligrams. As I re-read Susan Sontag's essay, AIDS and its Metaphors, Sontag referenced the last chapter of Crime and Punishment, where Raskolnikov dreamt that, "the whole world was condemned to a terrible, new strange plague that had come to Europe from the depths of Asia." In his dream, the people "did not know how to judge and could not agree what to consider evil and what good; they did not know whom to blame, whom to justify." This reference to the cholera epidemic was the link in the narrative for me, to the current global health crisis, and a chilling reminder of past health emergencies and the stigma of diseases. In addition to commentary from Sontag, I included facts about the cholera outbreak in Russia from the mid-1800’s, a selection of text from Camus' The Plague, and statistics on Covid from the World Health Organization. I am quietly slipping into the waters depths, towards fear. ‒ Jean-Paul Sartre In Saul Ostrow's Introduction, No Text Stands Alone, he describes the book as a dialogic, and the texts as inter-subjective–each text is understood in the context of other text. The reader is challenged to engage with Hester . Emma . Sonia in a more active way than with a traditional linear reading, and to consider the commentaries in relation to one another and to the main texts. The resulting layered discourse recontextualizes the stories, bringing additional voices to the fore. The three sections are condensed and combined into one volume, reframed to create a critical dialogue for the 21st-century. A feminist is a man or a woman who says, "Yes, there's a problem with gender as it is today, and we must fix it. We must do better." ‒ Chimamanda Ngozi Adichie https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773427124982-70V9JPS8XKZB39O87RY6/mcba-prize-2022-Mindy-Belloff-Postmodern-Feminist-Discourse-3.jpg Entries & Jurors - 2022 Entries - Mindy Belloff NEW YORK, New York www.IntimaPress.com Hester . Emma . Sonia (Subtitle: Joni . Annie . Tracy) – A Postmodern Feminist Discourse 2021 Fine Press Edition: Ed. 32, 300-pages, 2021. Main text excerpted from Nathaniel Hawthorne’s “The Scarlet Letter,” Gustave Flaubert’s “Madam Bovary,” and Fyodor Dostoevsky’s “Crime and Punishment.” Concept, designs, typography, artworks, printing, and publishing by Mindy Belloff, NYC. Includes an Introduction, “No Text Stands Alone,” written by Saul Ostrow, art critic and curator; an Afterword, “Through A Feminist Lens,” and an Appendix with over 100 references, and list of over 40 artworks and calligrams. Over 180 letterpress runs. Standard binding aqua blue Sokoto leather spine millimeter binding with letterpress printed covers printed by Mindy Belloff, inside a unique middle opening box, sewn and bound by Celine Lombardi. Main text and artworks printed on an Epson Professional SureColor P600 inkjet printer with archival pigmented inks, commentaries and calligrams printed letterpress on a Universal III Automatic Adjustable Bed Press (Uni III A/B), on Crane’s cotton rag text weight papers. Back endsheet printed letterpress. The text is digitally typeset in Adobe Jenson Pro with additional fonts (Lydian Cursive MT, Fine Gothic Medium, Luminari, Berliner, Berliner Fraktur, Garamond Premier Pro, and Goudy Text MT). The typography and page compositions were designed in Adobe InDesign and image reproductions of artwork were painstakingly color corrected in Adobe PhotoShop, some drawings and photographs also manipulated in Adobe Illustrator. 10.5 x 7.75 x 1.75 inches Hester . Emma . Sonia, is a feminist reading of Nathaniel Hawthorne’s The Scarlet Letter, Gustave Flaubert’s Madame Bovary, and Fyodor Dostoevsky’s Crime and Punishment. This heavily researched 300-page volume presents a multiplicity of voices in converstaion with Hester Prynne, Emma Bovary, and Sonia Marmeladov. Inspired by polyglot bibles and illuminated manuscripts, passages of text span centuries from ancient Nag Hammadi poetry, to the 15th-century treatise the Malleus Maleficarum (Witches Hammer), to 20th century philosophy and contemporary song lyrics, which all communicate with the three literary classics. A selection of texts are in Latin, French, and Russian. Joni . Annie . Tracy, the subtitle of the edition, highlights singer-songwriters Joni Mitchell, Annie Lennox, Tracy Chapman and other favored musical artists (Janis Joplin, Etta James, Leon Russell, Mary J. Blige, Laurie Anderson, and others), whose poignant, poetic lines are familiar to a generation coming of age in the 1960s-1990s. Text of philosophers, writers, and poets such as Simone de Beauvoir, Virginia Woolf, Rainer Maria Rilke, William Blake, Julia Kristeva, Friedrich Nietzsche, Bell Hooks, and Arthur Rimbaud, are incorporated into brilliant typographical designs, deconstructing the original narratives. Additional references to contemporary issues include the global coronavirus pandemic, and the Black Lives Matter movement. T he opposite of love is not hate but power. Power obliterates another's individuality. ‒ Marion Woodman we are of our generation...I began work on this edition well before the pandemic became a threat in March of 2020. Since this time in the U.S., we have witnessed a divisive political climate, an environmental crisis, an enormous amount of suffering and loss to the Covid-19 virus and its variants, racial inequalities, and Black Lives Matter protests. This project was delayed as we adjusted to virtual schooling, a medical crisis in city hospitals, and new realities of mask wearing and social distancing. Plunging oneself into research and narratives can be a healthy way to balance daily angst, or perhaps a way to simply escape stresses. I surrounded myself with books, including many "old friends" on cultural critique from graduate school. Spending additional hours at home provided extra time to read and research, tweak designs through endless sleepless hours, and focus on new drawings. I worked on all three sections of the volume simultaneously back and forth, before finalizing each one in succession, which became more complex from Hester, to Emma, to Sonia. I compiled over 100 bibliographic references and included an Afterword in the appendix. Personal narrative has defined my work over the years, and my own mythology informs the artworks I have created. In the early 1990’s, as AIDS ravaged the lives of friends and creatives, I exhibited installations in New York, from a series titled Loss, Irony, Identity, with subtitles: Tell Me Why, Witness, and Empathy. Many of the works reproduced in this edition are from these series. There are over 40 reproductions of fine artworks – paintings, drawings, photographs, and calligrams. As I re-read Susan Sontag's essay, AIDS and its Metaphors, Sontag referenced the last chapter of Crime and Punishment, where Raskolnikov dreamt that, "the whole world was condemned to a terrible, new strange plague that had come to Europe from the depths of Asia." In his dream, the people "did not know how to judge and could not agree what to consider evil and what good; they did not know whom to blame, whom to justify." This reference to the cholera epidemic was the link in the narrative for me, to the current global health crisis, and a chilling reminder of past health emergencies and the stigma of diseases. In addition to commentary from Sontag, I included facts about the cholera outbreak in Russia from the mid-1800’s, a selection of text from Camus' The Plague, and statistics on Covid from the World Health Organization. I am quietly slipping into the waters depths, towards fear. ‒ Jean-Paul Sartre In Saul Ostrow's Introduction, No Text Stands Alone, he describes the book as a dialogic, and the texts as inter-subjective–each text is understood in the context of other text. The reader is challenged to engage with Hester . Emma . Sonia in a more active way than with a traditional linear reading, and to consider the commentaries in relation to one another and to the main texts. The resulting layered discourse recontextualizes the stories, bringing additional voices to the fore. The three sections are condensed and combined into one volume, reframed to create a critical dialogue for the 21st-century. A feminist is a man or a woman who says, "Yes, there's a problem with gender as it is today, and we must fix it. We must do better." ‒ Chimamanda Ngozi Adichie https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773427123743-MB4OBNVPDTCYRH9P80Z4/mcba-prize-2022-Mindy-Belloff-Postmodern-Feminist-Discourse-1.jpg Entries & Jurors - 2022 Entries - Mindy Belloff NEW YORK, New York www.IntimaPress.com Hester . Emma . Sonia (Subtitle: Joni . Annie . Tracy) – A Postmodern Feminist Discourse 2021 Fine Press Edition: Ed. 32, 300-pages, 2021. Main text excerpted from Nathaniel Hawthorne’s “The Scarlet Letter,” Gustave Flaubert’s “Madam Bovary,” and Fyodor Dostoevsky’s “Crime and Punishment.” Concept, designs, typography, artworks, printing, and publishing by Mindy Belloff, NYC. Includes an Introduction, “No Text Stands Alone,” written by Saul Ostrow, art critic and curator; an Afterword, “Through A Feminist Lens,” and an Appendix with over 100 references, and list of over 40 artworks and calligrams. Over 180 letterpress runs. Standard binding aqua blue Sokoto leather spine millimeter binding with letterpress printed covers printed by Mindy Belloff, inside a unique middle opening box, sewn and bound by Celine Lombardi. Main text and artworks printed on an Epson Professional SureColor P600 inkjet printer with archival pigmented inks, commentaries and calligrams printed letterpress on a Universal III Automatic Adjustable Bed Press (Uni III A/B), on Crane’s cotton rag text weight papers. Back endsheet printed letterpress. The text is digitally typeset in Adobe Jenson Pro with additional fonts (Lydian Cursive MT, Fine Gothic Medium, Luminari, Berliner, Berliner Fraktur, Garamond Premier Pro, and Goudy Text MT). The typography and page compositions were designed in Adobe InDesign and image reproductions of artwork were painstakingly color corrected in Adobe PhotoShop, some drawings and photographs also manipulated in Adobe Illustrator. 10.5 x 7.75 x 1.75 inches Hester . Emma . Sonia, is a feminist reading of Nathaniel Hawthorne’s The Scarlet Letter, Gustave Flaubert’s Madame Bovary, and Fyodor Dostoevsky’s Crime and Punishment. This heavily researched 300-page volume presents a multiplicity of voices in converstaion with Hester Prynne, Emma Bovary, and Sonia Marmeladov. Inspired by polyglot bibles and illuminated manuscripts, passages of text span centuries from ancient Nag Hammadi poetry, to the 15th-century treatise the Malleus Maleficarum (Witches Hammer), to 20th century philosophy and contemporary song lyrics, which all communicate with the three literary classics. A selection of texts are in Latin, French, and Russian. Joni . Annie . Tracy, the subtitle of the edition, highlights singer-songwriters Joni Mitchell, Annie Lennox, Tracy Chapman and other favored musical artists (Janis Joplin, Etta James, Leon Russell, Mary J. Blige, Laurie Anderson, and others), whose poignant, poetic lines are familiar to a generation coming of age in the 1960s-1990s. Text of philosophers, writers, and poets such as Simone de Beauvoir, Virginia Woolf, Rainer Maria Rilke, William Blake, Julia Kristeva, Friedrich Nietzsche, Bell Hooks, and Arthur Rimbaud, are incorporated into brilliant typographical designs, deconstructing the original narratives. Additional references to contemporary issues include the global coronavirus pandemic, and the Black Lives Matter movement. T he opposite of love is not hate but power. Power obliterates another's individuality. ‒ Marion Woodman we are of our generation...I began work on this edition well before the pandemic became a threat in March of 2020. Since this time in the U.S., we have witnessed a divisive political climate, an environmental crisis, an enormous amount of suffering and loss to the Covid-19 virus and its variants, racial inequalities, and Black Lives Matter protests. This project was delayed as we adjusted to virtual schooling, a medical crisis in city hospitals, and new realities of mask wearing and social distancing. Plunging oneself into research and narratives can be a healthy way to balance daily angst, or perhaps a way to simply escape stresses. I surrounded myself with books, including many "old friends" on cultural critique from graduate school. Spending additional hours at home provided extra time to read and research, tweak designs through endless sleepless hours, and focus on new drawings. I worked on all three sections of the volume simultaneously back and forth, before finalizing each one in succession, which became more complex from Hester, to Emma, to Sonia. I compiled over 100 bibliographic references and included an Afterword in the appendix. Personal narrative has defined my work over the years, and my own mythology informs the artworks I have created. In the early 1990’s, as AIDS ravaged the lives of friends and creatives, I exhibited installations in New York, from a series titled Loss, Irony, Identity, with subtitles: Tell Me Why, Witness, and Empathy. Many of the works reproduced in this edition are from these series. There are over 40 reproductions of fine artworks – paintings, drawings, photographs, and calligrams. As I re-read Susan Sontag's essay, AIDS and its Metaphors, Sontag referenced the last chapter of Crime and Punishment, where Raskolnikov dreamt that, "the whole world was condemned to a terrible, new strange plague that had come to Europe from the depths of Asia." In his dream, the people "did not know how to judge and could not agree what to consider evil and what good; they did not know whom to blame, whom to justify." This reference to the cholera epidemic was the link in the narrative for me, to the current global health crisis, and a chilling reminder of past health emergencies and the stigma of diseases. In addition to commentary from Sontag, I included facts about the cholera outbreak in Russia from the mid-1800’s, a selection of text from Camus' The Plague, and statistics on Covid from the World Health Organization. I am quietly slipping into the waters depths, towards fear. ‒ Jean-Paul Sartre In Saul Ostrow's Introduction, No Text Stands Alone, he describes the book as a dialogic, and the texts as inter-subjective–each text is understood in the context of other text. The reader is challenged to engage with Hester . Emma . Sonia in a more active way than with a traditional linear reading, and to consider the commentaries in relation to one another and to the main texts. The resulting layered discourse recontextualizes the stories, bringing additional voices to the fore. The three sections are condensed and combined into one volume, reframed to create a critical dialogue for the 21st-century. A feminist is a man or a woman who says, "Yes, there's a problem with gender as it is today, and we must fix it. We must do better." ‒ Chimamanda Ngozi Adichie https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773427126730-MJ9B4IXE6906B5IYNE67/mcba-prize-2022-Mindy-Belloff-Postmodern-Feminist-Discourse-4.jpg Entries & Jurors - 2022 Entries - Mindy Belloff NEW YORK, New York www.IntimaPress.com Hester . Emma . Sonia (Subtitle: Joni . Annie . Tracy) – A Postmodern Feminist Discourse 2021 Fine Press Edition: Ed. 32, 300-pages, 2021. Main text excerpted from Nathaniel Hawthorne’s “The Scarlet Letter,” Gustave Flaubert’s “Madam Bovary,” and Fyodor Dostoevsky’s “Crime and Punishment.” Concept, designs, typography, artworks, printing, and publishing by Mindy Belloff, NYC. Includes an Introduction, “No Text Stands Alone,” written by Saul Ostrow, art critic and curator; an Afterword, “Through A Feminist Lens,” and an Appendix with over 100 references, and list of over 40 artworks and calligrams. Over 180 letterpress runs. Standard binding aqua blue Sokoto leather spine millimeter binding with letterpress printed covers printed by Mindy Belloff, inside a unique middle opening box, sewn and bound by Celine Lombardi. Main text and artworks printed on an Epson Professional SureColor P600 inkjet printer with archival pigmented inks, commentaries and calligrams printed letterpress on a Universal III Automatic Adjustable Bed Press (Uni III A/B), on Crane’s cotton rag text weight papers. Back endsheet printed letterpress. The text is digitally typeset in Adobe Jenson Pro with additional fonts (Lydian Cursive MT, Fine Gothic Medium, Luminari, Berliner, Berliner Fraktur, Garamond Premier Pro, and Goudy Text MT). The typography and page compositions were designed in Adobe InDesign and image reproductions of artwork were painstakingly color corrected in Adobe PhotoShop, some drawings and photographs also manipulated in Adobe Illustrator. 10.5 x 7.75 x 1.75 inches Hester . Emma . Sonia, is a feminist reading of Nathaniel Hawthorne’s The Scarlet Letter, Gustave Flaubert’s Madame Bovary, and Fyodor Dostoevsky’s Crime and Punishment. This heavily researched 300-page volume presents a multiplicity of voices in converstaion with Hester Prynne, Emma Bovary, and Sonia Marmeladov. Inspired by polyglot bibles and illuminated manuscripts, passages of text span centuries from ancient Nag Hammadi poetry, to the 15th-century treatise the Malleus Maleficarum (Witches Hammer), to 20th century philosophy and contemporary song lyrics, which all communicate with the three literary classics. A selection of texts are in Latin, French, and Russian. Joni . Annie . Tracy, the subtitle of the edition, highlights singer-songwriters Joni Mitchell, Annie Lennox, Tracy Chapman and other favored musical artists (Janis Joplin, Etta James, Leon Russell, Mary J. Blige, Laurie Anderson, and others), whose poignant, poetic lines are familiar to a generation coming of age in the 1960s-1990s. Text of philosophers, writers, and poets such as Simone de Beauvoir, Virginia Woolf, Rainer Maria Rilke, William Blake, Julia Kristeva, Friedrich Nietzsche, Bell Hooks, and Arthur Rimbaud, are incorporated into brilliant typographical designs, deconstructing the original narratives. Additional references to contemporary issues include the global coronavirus pandemic, and the Black Lives Matter movement. T he opposite of love is not hate but power. Power obliterates another's individuality. ‒ Marion Woodman we are of our generation...I began work on this edition well before the pandemic became a threat in March of 2020. Since this time in the U.S., we have witnessed a divisive political climate, an environmental crisis, an enormous amount of suffering and loss to the Covid-19 virus and its variants, racial inequalities, and Black Lives Matter protests. This project was delayed as we adjusted to virtual schooling, a medical crisis in city hospitals, and new realities of mask wearing and social distancing. Plunging oneself into research and narratives can be a healthy way to balance daily angst, or perhaps a way to simply escape stresses. I surrounded myself with books, including many "old friends" on cultural critique from graduate school. Spending additional hours at home provided extra time to read and research, tweak designs through endless sleepless hours, and focus on new drawings. I worked on all three sections of the volume simultaneously back and forth, before finalizing each one in succession, which became more complex from Hester, to Emma, to Sonia. I compiled over 100 bibliographic references and included an Afterword in the appendix. Personal narrative has defined my work over the years, and my own mythology informs the artworks I have created. In the early 1990’s, as AIDS ravaged the lives of friends and creatives, I exhibited installations in New York, from a series titled Loss, Irony, Identity, with subtitles: Tell Me Why, Witness, and Empathy. Many of the works reproduced in this edition are from these series. There are over 40 reproductions of fine artworks – paintings, drawings, photographs, and calligrams. As I re-read Susan Sontag's essay, AIDS and its Metaphors, Sontag referenced the last chapter of Crime and Punishment, where Raskolnikov dreamt that, "the whole world was condemned to a terrible, new strange plague that had come to Europe from the depths of Asia." In his dream, the people "did not know how to judge and could not agree what to consider evil and what good; they did not know whom to blame, whom to justify." This reference to the cholera epidemic was the link in the narrative for me, to the current global health crisis, and a chilling reminder of past health emergencies and the stigma of diseases. In addition to commentary from Sontag, I included facts about the cholera outbreak in Russia from the mid-1800’s, a selection of text from Camus' The Plague, and statistics on Covid from the World Health Organization. I am quietly slipping into the waters depths, towards fear. ‒ Jean-Paul Sartre In Saul Ostrow's Introduction, No Text Stands Alone, he describes the book as a dialogic, and the texts as inter-subjective–each text is understood in the context of other text. The reader is challenged to engage with Hester . Emma . Sonia in a more active way than with a traditional linear reading, and to consider the commentaries in relation to one another and to the main texts. The resulting layered discourse recontextualizes the stories, bringing additional voices to the fore. The three sections are condensed and combined into one volume, reframed to create a critical dialogue for the 21st-century. A feminist is a man or a woman who says, "Yes, there's a problem with gender as it is today, and we must fix it. We must do better." ‒ Chimamanda Ngozi Adichie https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773427127455-MX5LOI2VI4E49N64Y7EW/mcba-prize-2022-Mindy-Belloff-Postmodern-Feminist-Discourse-5.jpg Entries & Jurors - 2022 Entries - Mindy Belloff NEW YORK, New York www.IntimaPress.com Hester . Emma . Sonia (Subtitle: Joni . Annie . Tracy) – A Postmodern Feminist Discourse 2021 Fine Press Edition: Ed. 32, 300-pages, 2021. Main text excerpted from Nathaniel Hawthorne’s “The Scarlet Letter,” Gustave Flaubert’s “Madam Bovary,” and Fyodor Dostoevsky’s “Crime and Punishment.” Concept, designs, typography, artworks, printing, and publishing by Mindy Belloff, NYC. Includes an Introduction, “No Text Stands Alone,” written by Saul Ostrow, art critic and curator; an Afterword, “Through A Feminist Lens,” and an Appendix with over 100 references, and list of over 40 artworks and calligrams. Over 180 letterpress runs. Standard binding aqua blue Sokoto leather spine millimeter binding with letterpress printed covers printed by Mindy Belloff, inside a unique middle opening box, sewn and bound by Celine Lombardi. Main text and artworks printed on an Epson Professional SureColor P600 inkjet printer with archival pigmented inks, commentaries and calligrams printed letterpress on a Universal III Automatic Adjustable Bed Press (Uni III A/B), on Crane’s cotton rag text weight papers. Back endsheet printed letterpress. The text is digitally typeset in Adobe Jenson Pro with additional fonts (Lydian Cursive MT, Fine Gothic Medium, Luminari, Berliner, Berliner Fraktur, Garamond Premier Pro, and Goudy Text MT). The typography and page compositions were designed in Adobe InDesign and image reproductions of artwork were painstakingly color corrected in Adobe PhotoShop, some drawings and photographs also manipulated in Adobe Illustrator. 10.5 x 7.75 x 1.75 inches Hester . Emma . Sonia, is a feminist reading of Nathaniel Hawthorne’s The Scarlet Letter, Gustave Flaubert’s Madame Bovary, and Fyodor Dostoevsky’s Crime and Punishment. This heavily researched 300-page volume presents a multiplicity of voices in converstaion with Hester Prynne, Emma Bovary, and Sonia Marmeladov. Inspired by polyglot bibles and illuminated manuscripts, passages of text span centuries from ancient Nag Hammadi poetry, to the 15th-century treatise the Malleus Maleficarum (Witches Hammer), to 20th century philosophy and contemporary song lyrics, which all communicate with the three literary classics. A selection of texts are in Latin, French, and Russian. Joni . Annie . Tracy, the subtitle of the edition, highlights singer-songwriters Joni Mitchell, Annie Lennox, Tracy Chapman and other favored musical artists (Janis Joplin, Etta James, Leon Russell, Mary J. Blige, Laurie Anderson, and others), whose poignant, poetic lines are familiar to a generation coming of age in the 1960s-1990s. Text of philosophers, writers, and poets such as Simone de Beauvoir, Virginia Woolf, Rainer Maria Rilke, William Blake, Julia Kristeva, Friedrich Nietzsche, Bell Hooks, and Arthur Rimbaud, are incorporated into brilliant typographical designs, deconstructing the original narratives. Additional references to contemporary issues include the global coronavirus pandemic, and the Black Lives Matter movement. T he opposite of love is not hate but power. Power obliterates another's individuality. ‒ Marion Woodman we are of our generation...I began work on this edition well before the pandemic became a threat in March of 2020. Since this time in the U.S., we have witnessed a divisive political climate, an environmental crisis, an enormous amount of suffering and loss to the Covid-19 virus and its variants, racial inequalities, and Black Lives Matter protests. This project was delayed as we adjusted to virtual schooling, a medical crisis in city hospitals, and new realities of mask wearing and social distancing. Plunging oneself into research and narratives can be a healthy way to balance daily angst, or perhaps a way to simply escape stresses. I surrounded myself with books, including many "old friends" on cultural critique from graduate school. Spending additional hours at home provided extra time to read and research, tweak designs through endless sleepless hours, and focus on new drawings. I worked on all three sections of the volume simultaneously back and forth, before finalizing each one in succession, which became more complex from Hester, to Emma, to Sonia. I compiled over 100 bibliographic references and included an Afterword in the appendix. Personal narrative has defined my work over the years, and my own mythology informs the artworks I have created. In the early 1990’s, as AIDS ravaged the lives of friends and creatives, I exhibited installations in New York, from a series titled Loss, Irony, Identity, with subtitles: Tell Me Why, Witness, and Empathy. Many of the works reproduced in this edition are from these series. There are over 40 reproductions of fine artworks – paintings, drawings, photographs, and calligrams. As I re-read Susan Sontag's essay, AIDS and its Metaphors, Sontag referenced the last chapter of Crime and Punishment, where Raskolnikov dreamt that, "the whole world was condemned to a terrible, new strange plague that had come to Europe from the depths of Asia." In his dream, the people "did not know how to judge and could not agree what to consider evil and what good; they did not know whom to blame, whom to justify." This reference to the cholera epidemic was the link in the narrative for me, to the current global health crisis, and a chilling reminder of past health emergencies and the stigma of diseases. In addition to commentary from Sontag, I included facts about the cholera outbreak in Russia from the mid-1800’s, a selection of text from Camus' The Plague, and statistics on Covid from the World Health Organization. I am quietly slipping into the waters depths, towards fear. ‒ Jean-Paul Sartre In Saul Ostrow's Introduction, No Text Stands Alone, he describes the book as a dialogic, and the texts as inter-subjective–each text is understood in the context of other text. The reader is challenged to engage with Hester . Emma . Sonia in a more active way than with a traditional linear reading, and to consider the commentaries in relation to one another and to the main texts. The resulting layered discourse recontextualizes the stories, bringing additional voices to the fore. The three sections are condensed and combined into one volume, reframed to create a critical dialogue for the 21st-century. A feminist is a man or a woman who says, "Yes, there's a problem with gender as it is today, and we must fix it. We must do better." ‒ Chimamanda Ngozi Adichie https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773430388062-H96GUH0K8N0J03HXUJ2I/mcba-prize-2022-Diane-Jacobs-Owed-to-the-Mountain-2.jpg Entries & Jurors - 2022 Entries - Diane Jacobs Portland, Oregon www.dianejacobs.net Owed to The Mountain 2021 lithography, wood engraving, reduction woodcut, linoleum cut, copper etching, plexiglass, tree branches, acrylic paint, handmade paper, celedonite, Multnomah indigo blue, hematite red, and vine charcoal black pigments, handset letterpress metal type, solar etchings made from Sumi ink drawings, eco printing, mono print, and silkscreen book cloth. box: 14″ x 14″ x 7.5″ closed, 60″ x 60″ x 7″ open, book: 13.25″ x 13″ closed, 13.25″ x 26.25″ open Artist Statement Owed to The Mountain Stories are both history and prophecy – time is circular – stories are among our most potent tools for restoring the landand our relationship to it. – Robin Kimmerer Owed to The Mountain is a sculptural artist book – the box unfolds one leaf at a time, to reveal each of the four directions. The Mountain is featured in four different printmaking techniques: West face – etching, North face – wood engraving, East face – lithograph, and South face – reduction woodcut. There are four linoleum cut river prints and three handset, letterpress-printed stories from the Confederated Tribes of Warm Springs. The box opens flat and in the center a paper mountain peeks through a cloud layer held up by five tree trunks. There are three handmade paper mountain skins nested inside one another. The outermost layer is made with celadonite pigment and accentuated with white ink exposing words. The middle surface details the dwindling glaciers and the innermost represents the volcanic strata. Beneath the mountain rests a fine press book. Animal ink drawings in various colorful ecosystems and habitats appear among the text, documenting the changing seasons. The stories weave multiple Native voices that underscore the value of friendship, reciprocity, interdependence, and cooperation. Materials and printmaking techniques for the fine-press book include solar etching plates developed from Sumi ink animal drawings, a monoprint centerfold, a water motif silkscreen printed on book cloth for the hard covers, end sheets made from eco-printing plants found on Mt. Hood, habitats created from pressure printing and reduction woodcuts, and stories handset in Weiss foundry type (Roman and italic 12 pt., 14 pt., and 18 pt.) and printed letterpress. Book pages are Zerkall paper, end pages are Rives lightweight, and the beaver and river otter were printed on mulberry paper and adhered to the inside covers. Owed to The Mountain takes three forms: an eight-copy limited edition (a collapsible box holding a three-dimensional paper mountain with a copy of the fine-press book beneath), the fine-press book (a 32 copy edition numbered 9 – 40), and a digital edition of 279 copies printed at Morel Ink in Portland, Oregon. Owed to The Mountain cultivates a powerful story that inspires knowing a place deeply, sharing Indigenous wisdom, and building a community that turns its love for a mountain into action. Mt. Hood has the 6th largest carbon stores of all National Forests in the country! By galvanizing a movement that advocates for the US Forest Service management plan to be updated, Mt Hood can be celebrated and treated as a living ecosystem and increase its climate resilience. Fire suppression has left our forests and their inhabitants vulnerable to catastrophic fires. Native people have known all along that fire is an integral part of an interrelated system of people, plants, animals, and the land. Through this project’s research, interviews, and by spending time on the mountain, I understand how important it is that we protect clean drinking water, promote wildlife habitat restoration, support forest maturation, and prioritize the vision and cultural traditions of Native communities, including the practice of controlled burns. We owe it to the Mountain. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773430387901-VRAT3D51RV7B33UARRWD/mcba-prize-2022-Diane-Jacobs-Owed-to-the-Mountain-1.jpg Entries & Jurors - 2022 Entries - Diane Jacobs Portland, Oregon www.dianejacobs.net Owed to The Mountain 2021 lithography, wood engraving, reduction woodcut, linoleum cut, copper etching, plexiglass, tree branches, acrylic paint, handmade paper, celedonite, Multnomah indigo blue, hematite red, and vine charcoal black pigments, handset letterpress metal type, solar etchings made from Sumi ink drawings, eco printing, mono print, and silkscreen book cloth. box: 14″ x 14″ x 7.5″ closed, 60″ x 60″ x 7″ open, book: 13.25″ x 13″ closed, 13.25″ x 26.25″ open Artist Statement Owed to The Mountain Stories are both history and prophecy – time is circular – stories are among our most potent tools for restoring the landand our relationship to it. – Robin Kimmerer Owed to The Mountain is a sculptural artist book – the box unfolds one leaf at a time, to reveal each of the four directions. The Mountain is featured in four different printmaking techniques: West face – etching, North face – wood engraving, East face – lithograph, and South face – reduction woodcut. There are four linoleum cut river prints and three handset, letterpress-printed stories from the Confederated Tribes of Warm Springs. The box opens flat and in the center a paper mountain peeks through a cloud layer held up by five tree trunks. There are three handmade paper mountain skins nested inside one another. The outermost layer is made with celadonite pigment and accentuated with white ink exposing words. The middle surface details the dwindling glaciers and the innermost represents the volcanic strata. Beneath the mountain rests a fine press book. Animal ink drawings in various colorful ecosystems and habitats appear among the text, documenting the changing seasons. The stories weave multiple Native voices that underscore the value of friendship, reciprocity, interdependence, and cooperation. Materials and printmaking techniques for the fine-press book include solar etching plates developed from Sumi ink animal drawings, a monoprint centerfold, a water motif silkscreen printed on book cloth for the hard covers, end sheets made from eco-printing plants found on Mt. Hood, habitats created from pressure printing and reduction woodcuts, and stories handset in Weiss foundry type (Roman and italic 12 pt., 14 pt., and 18 pt.) and printed letterpress. Book pages are Zerkall paper, end pages are Rives lightweight, and the beaver and river otter were printed on mulberry paper and adhered to the inside covers. Owed to The Mountain takes three forms: an eight-copy limited edition (a collapsible box holding a three-dimensional paper mountain with a copy of the fine-press book beneath), the fine-press book (a 32 copy edition numbered 9 – 40), and a digital edition of 279 copies printed at Morel Ink in Portland, Oregon. Owed to The Mountain cultivates a powerful story that inspires knowing a place deeply, sharing Indigenous wisdom, and building a community that turns its love for a mountain into action. Mt. Hood has the 6th largest carbon stores of all National Forests in the country! By galvanizing a movement that advocates for the US Forest Service management plan to be updated, Mt Hood can be celebrated and treated as a living ecosystem and increase its climate resilience. Fire suppression has left our forests and their inhabitants vulnerable to catastrophic fires. Native people have known all along that fire is an integral part of an interrelated system of people, plants, animals, and the land. Through this project’s research, interviews, and by spending time on the mountain, I understand how important it is that we protect clean drinking water, promote wildlife habitat restoration, support forest maturation, and prioritize the vision and cultural traditions of Native communities, including the practice of controlled burns. We owe it to the Mountain. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773430390988-E32J308CRIT3VB2I1ODC/mcba-prize-2022-Diane-Jacobs-Owed-to-the-Mountain-3.jpg Entries & Jurors - 2022 Entries - Diane Jacobs Portland, Oregon www.dianejacobs.net Owed to The Mountain 2021 lithography, wood engraving, reduction woodcut, linoleum cut, copper etching, plexiglass, tree branches, acrylic paint, handmade paper, celedonite, Multnomah indigo blue, hematite red, and vine charcoal black pigments, handset letterpress metal type, solar etchings made from Sumi ink drawings, eco printing, mono print, and silkscreen book cloth. box: 14″ x 14″ x 7.5″ closed, 60″ x 60″ x 7″ open, book: 13.25″ x 13″ closed, 13.25″ x 26.25″ open Artist Statement Owed to The Mountain Stories are both history and prophecy – time is circular – stories are among our most potent tools for restoring the landand our relationship to it. – Robin Kimmerer Owed to The Mountain is a sculptural artist book – the box unfolds one leaf at a time, to reveal each of the four directions. The Mountain is featured in four different printmaking techniques: West face – etching, North face – wood engraving, East face – lithograph, and South face – reduction woodcut. There are four linoleum cut river prints and three handset, letterpress-printed stories from the Confederated Tribes of Warm Springs. The box opens flat and in the center a paper mountain peeks through a cloud layer held up by five tree trunks. There are three handmade paper mountain skins nested inside one another. The outermost layer is made with celadonite pigment and accentuated with white ink exposing words. The middle surface details the dwindling glaciers and the innermost represents the volcanic strata. Beneath the mountain rests a fine press book. Animal ink drawings in various colorful ecosystems and habitats appear among the text, documenting the changing seasons. The stories weave multiple Native voices that underscore the value of friendship, reciprocity, interdependence, and cooperation. Materials and printmaking techniques for the fine-press book include solar etching plates developed from Sumi ink animal drawings, a monoprint centerfold, a water motif silkscreen printed on book cloth for the hard covers, end sheets made from eco-printing plants found on Mt. Hood, habitats created from pressure printing and reduction woodcuts, and stories handset in Weiss foundry type (Roman and italic 12 pt., 14 pt., and 18 pt.) and printed letterpress. Book pages are Zerkall paper, end pages are Rives lightweight, and the beaver and river otter were printed on mulberry paper and adhered to the inside covers. Owed to The Mountain takes three forms: an eight-copy limited edition (a collapsible box holding a three-dimensional paper mountain with a copy of the fine-press book beneath), the fine-press book (a 32 copy edition numbered 9 – 40), and a digital edition of 279 copies printed at Morel Ink in Portland, Oregon. Owed to The Mountain cultivates a powerful story that inspires knowing a place deeply, sharing Indigenous wisdom, and building a community that turns its love for a mountain into action. Mt. Hood has the 6th largest carbon stores of all National Forests in the country! By galvanizing a movement that advocates for the US Forest Service management plan to be updated, Mt Hood can be celebrated and treated as a living ecosystem and increase its climate resilience. Fire suppression has left our forests and their inhabitants vulnerable to catastrophic fires. Native people have known all along that fire is an integral part of an interrelated system of people, plants, animals, and the land. Through this project’s research, interviews, and by spending time on the mountain, I understand how important it is that we protect clean drinking water, promote wildlife habitat restoration, support forest maturation, and prioritize the vision and cultural traditions of Native communities, including the practice of controlled burns. We owe it to the Mountain. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773430391067-BNPSSGAN3DEK7PWIHKP4/mcba-prize-2022-Diane-Jacobs-Owed-to-the-Mountain-4.jpg Entries & Jurors - 2022 Entries - Diane Jacobs Portland, Oregon www.dianejacobs.net Owed to The Mountain 2021 lithography, wood engraving, reduction woodcut, linoleum cut, copper etching, plexiglass, tree branches, acrylic paint, handmade paper, celedonite, Multnomah indigo blue, hematite red, and vine charcoal black pigments, handset letterpress metal type, solar etchings made from Sumi ink drawings, eco printing, mono print, and silkscreen book cloth. box: 14″ x 14″ x 7.5″ closed, 60″ x 60″ x 7″ open, book: 13.25″ x 13″ closed, 13.25″ x 26.25″ open Artist Statement Owed to The Mountain Stories are both history and prophecy – time is circular – stories are among our most potent tools for restoring the landand our relationship to it. – Robin Kimmerer Owed to The Mountain is a sculptural artist book – the box unfolds one leaf at a time, to reveal each of the four directions. The Mountain is featured in four different printmaking techniques: West face – etching, North face – wood engraving, East face – lithograph, and South face – reduction woodcut. There are four linoleum cut river prints and three handset, letterpress-printed stories from the Confederated Tribes of Warm Springs. The box opens flat and in the center a paper mountain peeks through a cloud layer held up by five tree trunks. There are three handmade paper mountain skins nested inside one another. The outermost layer is made with celadonite pigment and accentuated with white ink exposing words. The middle surface details the dwindling glaciers and the innermost represents the volcanic strata. Beneath the mountain rests a fine press book. Animal ink drawings in various colorful ecosystems and habitats appear among the text, documenting the changing seasons. The stories weave multiple Native voices that underscore the value of friendship, reciprocity, interdependence, and cooperation. Materials and printmaking techniques for the fine-press book include solar etching plates developed from Sumi ink animal drawings, a monoprint centerfold, a water motif silkscreen printed on book cloth for the hard covers, end sheets made from eco-printing plants found on Mt. Hood, habitats created from pressure printing and reduction woodcuts, and stories handset in Weiss foundry type (Roman and italic 12 pt., 14 pt., and 18 pt.) and printed letterpress. Book pages are Zerkall paper, end pages are Rives lightweight, and the beaver and river otter were printed on mulberry paper and adhered to the inside covers. Owed to The Mountain takes three forms: an eight-copy limited edition (a collapsible box holding a three-dimensional paper mountain with a copy of the fine-press book beneath), the fine-press book (a 32 copy edition numbered 9 – 40), and a digital edition of 279 copies printed at Morel Ink in Portland, Oregon. Owed to The Mountain cultivates a powerful story that inspires knowing a place deeply, sharing Indigenous wisdom, and building a community that turns its love for a mountain into action. Mt. Hood has the 6th largest carbon stores of all National Forests in the country! By galvanizing a movement that advocates for the US Forest Service management plan to be updated, Mt Hood can be celebrated and treated as a living ecosystem and increase its climate resilience. Fire suppression has left our forests and their inhabitants vulnerable to catastrophic fires. Native people have known all along that fire is an integral part of an interrelated system of people, plants, animals, and the land. Through this project’s research, interviews, and by spending time on the mountain, I understand how important it is that we protect clean drinking water, promote wildlife habitat restoration, support forest maturation, and prioritize the vision and cultural traditions of Native communities, including the practice of controlled burns. We owe it to the Mountain. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773430393368-GTPSTCWYGKKBMDHH6DMB/mcba-prize-2022-Diane-Jacobs-Owed-to-the-Mountain-5.jpg Entries & Jurors - 2022 Entries - Diane Jacobs Portland, Oregon www.dianejacobs.net Owed to The Mountain 2021 lithography, wood engraving, reduction woodcut, linoleum cut, copper etching, plexiglass, tree branches, acrylic paint, handmade paper, celedonite, Multnomah indigo blue, hematite red, and vine charcoal black pigments, handset letterpress metal type, solar etchings made from Sumi ink drawings, eco printing, mono print, and silkscreen book cloth. box: 14″ x 14″ x 7.5″ closed, 60″ x 60″ x 7″ open, book: 13.25″ x 13″ closed, 13.25″ x 26.25″ open Artist Statement Owed to The Mountain Stories are both history and prophecy – time is circular – stories are among our most potent tools for restoring the landand our relationship to it. – Robin Kimmerer Owed to The Mountain is a sculptural artist book – the box unfolds one leaf at a time, to reveal each of the four directions. The Mountain is featured in four different printmaking techniques: West face – etching, North face – wood engraving, East face – lithograph, and South face – reduction woodcut. There are four linoleum cut river prints and three handset, letterpress-printed stories from the Confederated Tribes of Warm Springs. The box opens flat and in the center a paper mountain peeks through a cloud layer held up by five tree trunks. There are three handmade paper mountain skins nested inside one another. The outermost layer is made with celadonite pigment and accentuated with white ink exposing words. The middle surface details the dwindling glaciers and the innermost represents the volcanic strata. Beneath the mountain rests a fine press book. Animal ink drawings in various colorful ecosystems and habitats appear among the text, documenting the changing seasons. The stories weave multiple Native voices that underscore the value of friendship, reciprocity, interdependence, and cooperation. Materials and printmaking techniques for the fine-press book include solar etching plates developed from Sumi ink animal drawings, a monoprint centerfold, a water motif silkscreen printed on book cloth for the hard covers, end sheets made from eco-printing plants found on Mt. Hood, habitats created from pressure printing and reduction woodcuts, and stories handset in Weiss foundry type (Roman and italic 12 pt., 14 pt., and 18 pt.) and printed letterpress. Book pages are Zerkall paper, end pages are Rives lightweight, and the beaver and river otter were printed on mulberry paper and adhered to the inside covers. Owed to The Mountain takes three forms: an eight-copy limited edition (a collapsible box holding a three-dimensional paper mountain with a copy of the fine-press book beneath), the fine-press book (a 32 copy edition numbered 9 – 40), and a digital edition of 279 copies printed at Morel Ink in Portland, Oregon. Owed to The Mountain cultivates a powerful story that inspires knowing a place deeply, sharing Indigenous wisdom, and building a community that turns its love for a mountain into action. Mt. Hood has the 6th largest carbon stores of all National Forests in the country! By galvanizing a movement that advocates for the US Forest Service management plan to be updated, Mt Hood can be celebrated and treated as a living ecosystem and increase its climate resilience. Fire suppression has left our forests and their inhabitants vulnerable to catastrophic fires. Native people have known all along that fire is an integral part of an interrelated system of people, plants, animals, and the land. Through this project’s research, interviews, and by spending time on the mountain, I understand how important it is that we protect clean drinking water, promote wildlife habitat restoration, support forest maturation, and prioritize the vision and cultural traditions of Native communities, including the practice of controlled burns. We owe it to the Mountain. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773430566713-35I3QHJR7XXANPQ3X6ET/mcba-prize-2022-Servane-Briand-Threads-Of-Life-1.jpg Entries & Jurors - 2022 Entries - servane briand Palo alto, California servanebriand.com Threads of Life 2021 book arts each box is 9″ x 4″ x 4″ closed and 9″ x 12″ x4″ open Artist Statement Threads of Life interweaves the stories of the three Fates, the origin of life, genetics and the development of human communication. It explores our endless search for meaning through arts and sciences and the stories we tell ourselves. Text and textile share the same etymological root. A key process in the cell cycle, mitosis, derives its name from the Greek word mitos, thread. The book plays with the origin of words and how they echo each other when used in science or in the arts to convey various ways of analyzing the world. This is reinforced by the multiple ways one can enter the book and its different narratives: Vertical Drawers from bottom to top: – threads of DNA [double spiral and square knots with DMC embroidery cotton on linen bookbinding cord] – one single cell [silk ribbons, threads and hair, encased in hexagonal structure made of book boards and abaca paper handmade by the artist and covered with beeswax] – one more complex combination of cells [tessellation of handmade abaca paper] – evolution of threads to textile to text [woven hexagonal structures made of walnut dyed paper thread/ Japanese moro-jifu] – sketch book that contains hand written text and drawings narrating some of the research that went into creating the three main stories – story [each book in the upper drawer is a 23 panels hexagonal boustrophedon accordion structure; original drawings and digital printing on Hahnemühle Ingres, finished with beeswax; small magnets hidden in each book’s cover to easily retrieve the books from drawer] Three stories, one in each top drawer: First Box – Clotho, the one who spins the thread of life from the distaff to the spindle. The story narrates the evolution of life on earth, from its earliest known origins near hydrothermal vents to the present. The narrative is created with quotes in four languages that each relates to the organism it represents. The back image is that of a tangled web as we now understand the evolution of life has not been linear. Second Box – Lachesis, the one who measures the thread of life. The story centers on Homo Sapiens, with the 23 chromosomes. Following the same organization, the narrative is created by quotes that are connected to their respective chromosomes. The back image is a tree like structure reminiscent of dendrites and neuronal connections. Third Box – Atropos, the one who cuts the thread of life. Inspired by Samuel Morse who invented the telegraph after the death of his beloved wife, Lucretia, the book centers on the history of communications, the threads that connect us. The book spells the names of the three Fates in Morse code. The back image is an abstracted representation of a loom. All the stories reference historical and mythological women who were weavers and makers and sometimes change the course of history, like the great Lucretia whose death gave birth to the Roman Republic. Together the three Moirai -and their polymeric meristics- remind us of the great weavers and the threads we combine to create fanciful yarns. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773430567191-V4A4W6PULTBY6FMM2B9W/mcba-prize-2022-Servane-Briand-Threads-Of-Life-2.jpg Entries & Jurors - 2022 Entries - servane briand Palo alto, California servanebriand.com Threads of Life 2021 book arts each box is 9″ x 4″ x 4″ closed and 9″ x 12″ x4″ open Artist Statement Threads of Life interweaves the stories of the three Fates, the origin of life, genetics and the development of human communication. It explores our endless search for meaning through arts and sciences and the stories we tell ourselves. Text and textile share the same etymological root. A key process in the cell cycle, mitosis, derives its name from the Greek word mitos, thread. The book plays with the origin of words and how they echo each other when used in science or in the arts to convey various ways of analyzing the world. This is reinforced by the multiple ways one can enter the book and its different narratives: Vertical Drawers from bottom to top: – threads of DNA [double spiral and square knots with DMC embroidery cotton on linen bookbinding cord] – one single cell [silk ribbons, threads and hair, encased in hexagonal structure made of book boards and abaca paper handmade by the artist and covered with beeswax] – one more complex combination of cells [tessellation of handmade abaca paper] – evolution of threads to textile to text [woven hexagonal structures made of walnut dyed paper thread/ Japanese moro-jifu] – sketch book that contains hand written text and drawings narrating some of the research that went into creating the three main stories – story [each book in the upper drawer is a 23 panels hexagonal boustrophedon accordion structure; original drawings and digital printing on Hahnemühle Ingres, finished with beeswax; small magnets hidden in each book’s cover to easily retrieve the books from drawer] Three stories, one in each top drawer: First Box – Clotho, the one who spins the thread of life from the distaff to the spindle. The story narrates the evolution of life on earth, from its earliest known origins near hydrothermal vents to the present. The narrative is created with quotes in four languages that each relates to the organism it represents. The back image is that of a tangled web as we now understand the evolution of life has not been linear. Second Box – Lachesis, the one who measures the thread of life. The story centers on Homo Sapiens, with the 23 chromosomes. Following the same organization, the narrative is created by quotes that are connected to their respective chromosomes. The back image is a tree like structure reminiscent of dendrites and neuronal connections. Third Box – Atropos, the one who cuts the thread of life. Inspired by Samuel Morse who invented the telegraph after the death of his beloved wife, Lucretia, the book centers on the history of communications, the threads that connect us. The book spells the names of the three Fates in Morse code. The back image is an abstracted representation of a loom. All the stories reference historical and mythological women who were weavers and makers and sometimes change the course of history, like the great Lucretia whose death gave birth to the Roman Republic. Together the three Moirai -and their polymeric meristics- remind us of the great weavers and the threads we combine to create fanciful yarns. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773430570278-KZC4TD6CNHKVXXQKJ7PZ/mcba-prize-2022-Servane-Briand-Threads-Of-Life-3.jpg Entries & Jurors - 2022 Entries - servane briand Palo alto, California servanebriand.com Threads of Life 2021 book arts each box is 9″ x 4″ x 4″ closed and 9″ x 12″ x4″ open Artist Statement Threads of Life interweaves the stories of the three Fates, the origin of life, genetics and the development of human communication. It explores our endless search for meaning through arts and sciences and the stories we tell ourselves. Text and textile share the same etymological root. A key process in the cell cycle, mitosis, derives its name from the Greek word mitos, thread. The book plays with the origin of words and how they echo each other when used in science or in the arts to convey various ways of analyzing the world. This is reinforced by the multiple ways one can enter the book and its different narratives: Vertical Drawers from bottom to top: – threads of DNA [double spiral and square knots with DMC embroidery cotton on linen bookbinding cord] – one single cell [silk ribbons, threads and hair, encased in hexagonal structure made of book boards and abaca paper handmade by the artist and covered with beeswax] – one more complex combination of cells [tessellation of handmade abaca paper] – evolution of threads to textile to text [woven hexagonal structures made of walnut dyed paper thread/ Japanese moro-jifu] – sketch book that contains hand written text and drawings narrating some of the research that went into creating the three main stories – story [each book in the upper drawer is a 23 panels hexagonal boustrophedon accordion structure; original drawings and digital printing on Hahnemühle Ingres, finished with beeswax; small magnets hidden in each book’s cover to easily retrieve the books from drawer] Three stories, one in each top drawer: First Box – Clotho, the one who spins the thread of life from the distaff to the spindle. The story narrates the evolution of life on earth, from its earliest known origins near hydrothermal vents to the present. The narrative is created with quotes in four languages that each relates to the organism it represents. The back image is that of a tangled web as we now understand the evolution of life has not been linear. Second Box – Lachesis, the one who measures the thread of life. The story centers on Homo Sapiens, with the 23 chromosomes. Following the same organization, the narrative is created by quotes that are connected to their respective chromosomes. The back image is a tree like structure reminiscent of dendrites and neuronal connections. Third Box – Atropos, the one who cuts the thread of life. Inspired by Samuel Morse who invented the telegraph after the death of his beloved wife, Lucretia, the book centers on the history of communications, the threads that connect us. The book spells the names of the three Fates in Morse code. The back image is an abstracted representation of a loom. All the stories reference historical and mythological women who were weavers and makers and sometimes change the course of history, like the great Lucretia whose death gave birth to the Roman Republic. Together the three Moirai -and their polymeric meristics- remind us of the great weavers and the threads we combine to create fanciful yarns. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773430570559-Q5Q7T7B5KMBZUUQTPDX5/mcba-prize-2022-Servane-Briand-Threads-Of-Life-4.jpg Entries & Jurors - 2022 Entries - servane briand Palo alto, California servanebriand.com Threads of Life 2021 book arts each box is 9″ x 4″ x 4″ closed and 9″ x 12″ x4″ open Artist Statement Threads of Life interweaves the stories of the three Fates, the origin of life, genetics and the development of human communication. It explores our endless search for meaning through arts and sciences and the stories we tell ourselves. Text and textile share the same etymological root. A key process in the cell cycle, mitosis, derives its name from the Greek word mitos, thread. The book plays with the origin of words and how they echo each other when used in science or in the arts to convey various ways of analyzing the world. This is reinforced by the multiple ways one can enter the book and its different narratives: Vertical Drawers from bottom to top: – threads of DNA [double spiral and square knots with DMC embroidery cotton on linen bookbinding cord] – one single cell [silk ribbons, threads and hair, encased in hexagonal structure made of book boards and abaca paper handmade by the artist and covered with beeswax] – one more complex combination of cells [tessellation of handmade abaca paper] – evolution of threads to textile to text [woven hexagonal structures made of walnut dyed paper thread/ Japanese moro-jifu] – sketch book that contains hand written text and drawings narrating some of the research that went into creating the three main stories – story [each book in the upper drawer is a 23 panels hexagonal boustrophedon accordion structure; original drawings and digital printing on Hahnemühle Ingres, finished with beeswax; small magnets hidden in each book’s cover to easily retrieve the books from drawer] Three stories, one in each top drawer: First Box – Clotho, the one who spins the thread of life from the distaff to the spindle. The story narrates the evolution of life on earth, from its earliest known origins near hydrothermal vents to the present. The narrative is created with quotes in four languages that each relates to the organism it represents. The back image is that of a tangled web as we now understand the evolution of life has not been linear. Second Box – Lachesis, the one who measures the thread of life. The story centers on Homo Sapiens, with the 23 chromosomes. Following the same organization, the narrative is created by quotes that are connected to their respective chromosomes. The back image is a tree like structure reminiscent of dendrites and neuronal connections. Third Box – Atropos, the one who cuts the thread of life. Inspired by Samuel Morse who invented the telegraph after the death of his beloved wife, Lucretia, the book centers on the history of communications, the threads that connect us. The book spells the names of the three Fates in Morse code. The back image is an abstracted representation of a loom. All the stories reference historical and mythological women who were weavers and makers and sometimes change the course of history, like the great Lucretia whose death gave birth to the Roman Republic. Together the three Moirai -and their polymeric meristics- remind us of the great weavers and the threads we combine to create fanciful yarns. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773430572522-7GFT2P87SFY5KLTFWJ5T/mcba-prize-2022-Servane-Briand-Threads-Of-Life-5.jpg Entries & Jurors - 2022 Entries - servane briand Palo alto, California servanebriand.com Threads of Life 2021 book arts each box is 9″ x 4″ x 4″ closed and 9″ x 12″ x4″ open Artist Statement Threads of Life interweaves the stories of the three Fates, the origin of life, genetics and the development of human communication. It explores our endless search for meaning through arts and sciences and the stories we tell ourselves. Text and textile share the same etymological root. A key process in the cell cycle, mitosis, derives its name from the Greek word mitos, thread. The book plays with the origin of words and how they echo each other when used in science or in the arts to convey various ways of analyzing the world. This is reinforced by the multiple ways one can enter the book and its different narratives: Vertical Drawers from bottom to top: – threads of DNA [double spiral and square knots with DMC embroidery cotton on linen bookbinding cord] – one single cell [silk ribbons, threads and hair, encased in hexagonal structure made of book boards and abaca paper handmade by the artist and covered with beeswax] – one more complex combination of cells [tessellation of handmade abaca paper] – evolution of threads to textile to text [woven hexagonal structures made of walnut dyed paper thread/ Japanese moro-jifu] – sketch book that contains hand written text and drawings narrating some of the research that went into creating the three main stories – story [each book in the upper drawer is a 23 panels hexagonal boustrophedon accordion structure; original drawings and digital printing on Hahnemühle Ingres, finished with beeswax; small magnets hidden in each book’s cover to easily retrieve the books from drawer] Three stories, one in each top drawer: First Box – Clotho, the one who spins the thread of life from the distaff to the spindle. The story narrates the evolution of life on earth, from its earliest known origins near hydrothermal vents to the present. The narrative is created with quotes in four languages that each relates to the organism it represents. The back image is that of a tangled web as we now understand the evolution of life has not been linear. Second Box – Lachesis, the one who measures the thread of life. The story centers on Homo Sapiens, with the 23 chromosomes. Following the same organization, the narrative is created by quotes that are connected to their respective chromosomes. The back image is a tree like structure reminiscent of dendrites and neuronal connections. Third Box – Atropos, the one who cuts the thread of life. Inspired by Samuel Morse who invented the telegraph after the death of his beloved wife, Lucretia, the book centers on the history of communications, the threads that connect us. The book spells the names of the three Fates in Morse code. The back image is an abstracted representation of a loom. All the stories reference historical and mythological women who were weavers and makers and sometimes change the course of history, like the great Lucretia whose death gave birth to the Roman Republic. Together the three Moirai -and their polymeric meristics- remind us of the great weavers and the threads we combine to create fanciful yarns. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773430856790-5JL30Y5AU8DWUKQHEV4X/mcba-prize-2022-Anne-Deuter-Hin-Lieben-Weg-Lieben-1.jpg Entries & Jurors - 2022 Entries - Anne Deuter Leipzig, Germany www.annedeuter.de HIN LIEBEN WEG LIEBEN 2022 artbook 7,4*10,6*2,7 When it happens to us, we notice it instantly. then she can take us gently in her arms, envelop us and create a smile in our faces. at the same time, we can‘t control it. it can hurt. when i love, i risk myself. HIN LIEBEN WEG LIEBEN is an artbook about love. The book gives the reader two poems. One poem is about falling in love, the other poem is when love ends. The poems face each other and yet cannot be read at the same time. When one poem is unfolded, the book grows into the shape of a semicircle or helmet. The inside of the book abstractly depicts the brain waves that occur when falling in love and falling out of love. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773430856779-OSPED4VEBI0TTKGNRXQY/mcba-prize-2022-Anne-Deuter-Hin-Lieben-Weg-Lieben-2.jpg Entries & Jurors - 2022 Entries - Anne Deuter Leipzig, Germany www.annedeuter.de HIN LIEBEN WEG LIEBEN 2022 artbook 7,4*10,6*2,7 When it happens to us, we notice it instantly. then she can take us gently in her arms, envelop us and create a smile in our faces. at the same time, we can‘t control it. it can hurt. when i love, i risk myself. HIN LIEBEN WEG LIEBEN is an artbook about love. The book gives the reader two poems. One poem is about falling in love, the other poem is when love ends. The poems face each other and yet cannot be read at the same time. When one poem is unfolded, the book grows into the shape of a semicircle or helmet. The inside of the book abstractly depicts the brain waves that occur when falling in love and falling out of love. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773430858852-5H2IF2DE44GWGHO6MMDK/mcba-prize-2022-Anne-Deuter-Hin-Lieben-Weg-Lieben-3.jpg Entries & Jurors - 2022 Entries - Anne Deuter Leipzig, Germany www.annedeuter.de HIN LIEBEN WEG LIEBEN 2022 artbook 7,4*10,6*2,7 When it happens to us, we notice it instantly. then she can take us gently in her arms, envelop us and create a smile in our faces. at the same time, we can‘t control it. it can hurt. when i love, i risk myself. HIN LIEBEN WEG LIEBEN is an artbook about love. The book gives the reader two poems. One poem is about falling in love, the other poem is when love ends. The poems face each other and yet cannot be read at the same time. When one poem is unfolded, the book grows into the shape of a semicircle or helmet. The inside of the book abstractly depicts the brain waves that occur when falling in love and falling out of love. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773430859060-THEGUA7QAGKGBLZV7LV4/mcba-prize-2022-Anne-Deuter-Hin-Lieben-Weg-Lieben-4.jpg Entries & Jurors - 2022 Entries - Anne Deuter Leipzig, Germany www.annedeuter.de HIN LIEBEN WEG LIEBEN 2022 artbook 7,4*10,6*2,7 When it happens to us, we notice it instantly. then she can take us gently in her arms, envelop us and create a smile in our faces. at the same time, we can‘t control it. it can hurt. when i love, i risk myself. HIN LIEBEN WEG LIEBEN is an artbook about love. The book gives the reader two poems. One poem is about falling in love, the other poem is when love ends. The poems face each other and yet cannot be read at the same time. When one poem is unfolded, the book grows into the shape of a semicircle or helmet. The inside of the book abstractly depicts the brain waves that occur when falling in love and falling out of love. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773430860537-L43JRY5GYEOQOB74QIBA/mcba-prize-2022-Anne-Deuter-Hin-Lieben-Weg-Lieben-5.jpg Entries & Jurors - 2022 Entries - Anne Deuter Leipzig, Germany www.annedeuter.de HIN LIEBEN WEG LIEBEN 2022 artbook 7,4*10,6*2,7 When it happens to us, we notice it instantly. then she can take us gently in her arms, envelop us and create a smile in our faces. at the same time, we can‘t control it. it can hurt. when i love, i risk myself. HIN LIEBEN WEG LIEBEN is an artbook about love. The book gives the reader two poems. One poem is about falling in love, the other poem is when love ends. The poems face each other and yet cannot be read at the same time. When one poem is unfolded, the book grows into the shape of a semicircle or helmet. The inside of the book abstractly depicts the brain waves that occur when falling in love and falling out of love. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694033865-87NXPC3AZ4SLNURSJEFE/mcba-prize-2022-Stephanie-Wolff-The-Swiss-Cheese-Defense-1.jpg Entries & Jurors - 2022 Entries - Stephanie Wolff Norwich, Vermont www.stephaniewolffstudio.com The Swiss Cheese Defense 2020 Artist’s book with cut paper text and illustrations .75 x 3.75 x 3.75 Artist Statement The Swiss Cheese Defense Statement This book is my interpretation of The Swiss Cheese Respiratory Virus Defense, an infographic showing the possible protective layers between a virus and a human. Each page is a layer of defense, including physical distance, test and trace, and vaccines, with the interior covers showing the coronavirus on one side and a human form on the other. Since any single layer has holes in it, the use of multiple layers offers greater protection. The infographic is by Australian virologist Ian M. Mackay, built on ideas by James Reason, and used under a CC BY 4.0 license. creativecommons.org. Mackay, Ian M. (2020): The Swiss Cheese Respiratory Virus Defence, figshare. Figure. http://doi.org/10.6084/m9.figshare.13082618.v20 The papers are hand- and machine-cut text and illustrations and have been hand-colored with acrylic ink. All text is set in Futura. The single sheets are bound in a concertina with soft covers and housed in a slipcase with a colophon wrapper and protective chemise. Edition of 3. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694033993-TFSKLGO0Z2LL34IWK6LK/mcba-prize-2022-Stephanie-Wolff-The-Swiss-Cheese-Defense-2.jpg Entries & Jurors - 2022 Entries - Stephanie Wolff Norwich, Vermont www.stephaniewolffstudio.com The Swiss Cheese Defense 2020 Artist’s book with cut paper text and illustrations .75 x 3.75 x 3.75 Artist Statement The Swiss Cheese Defense Statement This book is my interpretation of The Swiss Cheese Respiratory Virus Defense, an infographic showing the possible protective layers between a virus and a human. Each page is a layer of defense, including physical distance, test and trace, and vaccines, with the interior covers showing the coronavirus on one side and a human form on the other. Since any single layer has holes in it, the use of multiple layers offers greater protection. The infographic is by Australian virologist Ian M. Mackay, built on ideas by James Reason, and used under a CC BY 4.0 license. creativecommons.org. Mackay, Ian M. (2020): The Swiss Cheese Respiratory Virus Defence, figshare. Figure. http://doi.org/10.6084/m9.figshare.13082618.v20 The papers are hand- and machine-cut text and illustrations and have been hand-colored with acrylic ink. All text is set in Futura. The single sheets are bound in a concertina with soft covers and housed in a slipcase with a colophon wrapper and protective chemise. Edition of 3. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694035462-2X9YCN6HSGSOUQRSPLG3/mcba-prize-2022-Stephanie-Wolff-The-Swiss-Cheese-Defense-3.jpg Entries & Jurors - 2022 Entries - Stephanie Wolff Norwich, Vermont www.stephaniewolffstudio.com The Swiss Cheese Defense 2020 Artist’s book with cut paper text and illustrations .75 x 3.75 x 3.75 Artist Statement The Swiss Cheese Defense Statement This book is my interpretation of The Swiss Cheese Respiratory Virus Defense, an infographic showing the possible protective layers between a virus and a human. Each page is a layer of defense, including physical distance, test and trace, and vaccines, with the interior covers showing the coronavirus on one side and a human form on the other. Since any single layer has holes in it, the use of multiple layers offers greater protection. The infographic is by Australian virologist Ian M. Mackay, built on ideas by James Reason, and used under a CC BY 4.0 license. creativecommons.org. Mackay, Ian M. (2020): The Swiss Cheese Respiratory Virus Defence, figshare. Figure. http://doi.org/10.6084/m9.figshare.13082618.v20 The papers are hand- and machine-cut text and illustrations and have been hand-colored with acrylic ink. All text is set in Futura. The single sheets are bound in a concertina with soft covers and housed in a slipcase with a colophon wrapper and protective chemise. Edition of 3. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694036078-VY4Y9J7CEP9AA7CN2HJ5/mcba-prize-2022-Stephanie-Wolff-The-Swiss-Cheese-Defense-4.jpg Entries & Jurors - 2022 Entries - Stephanie Wolff Norwich, Vermont www.stephaniewolffstudio.com The Swiss Cheese Defense 2020 Artist’s book with cut paper text and illustrations .75 x 3.75 x 3.75 Artist Statement The Swiss Cheese Defense Statement This book is my interpretation of The Swiss Cheese Respiratory Virus Defense, an infographic showing the possible protective layers between a virus and a human. Each page is a layer of defense, including physical distance, test and trace, and vaccines, with the interior covers showing the coronavirus on one side and a human form on the other. Since any single layer has holes in it, the use of multiple layers offers greater protection. The infographic is by Australian virologist Ian M. Mackay, built on ideas by James Reason, and used under a CC BY 4.0 license. creativecommons.org. Mackay, Ian M. (2020): The Swiss Cheese Respiratory Virus Defence, figshare. Figure. http://doi.org/10.6084/m9.figshare.13082618.v20 The papers are hand- and machine-cut text and illustrations and have been hand-colored with acrylic ink. All text is set in Futura. The single sheets are bound in a concertina with soft covers and housed in a slipcase with a colophon wrapper and protective chemise. Edition of 3. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694616011-NXLCNMZSSHCFK44XHK92/mcba-prize-2022-Heidrun-Mumper-Drumm-ongoing-ness-i-will-fold-into-other-1.jpeg Entries & Jurors - 2022 Entries - Heidrun Mumper-Drumm Pasadena, California ongoing ness I will fold into other. 2021–2022 paper, letterpress, found objects 6.25″ x 8.5″ book / 2.375″ x 1.375″ x .5″ matchbox artist statement project description ] ongoing ness I will fold into other. Soft-bound book, sewn binding [butterfly stitch] measures 6.25” x 8.5” folded letterpress printed / wood type / vandercook proof press / edition of 10 by untying and removing binding stitch, cover opens and pages unfold to reveal reverse colors multi-fold cover / unfolds to 12.5” x 17” by removing binding stitch hand-set with wood and metal type, and the reverse of wood type Strathmore laid paper, 5 copies blue-green, 5 copies pale orange French fold, fore-edge hand painted 24 text pages / French fold hand set with wood type, and the reverse of wood type hand made paper, Nepal, semi transparent, printed 2-sides, show through matchboxz bio-geo-art-ifact. 50 matchboxes accompany the folded book, each containing a variety of items from biological and geological sources to be assembled into biogeoartifacts, matchbox measures 2.375” x 1.375” x 0.5” Rives BFK, letterpress printed, metal & wood type, & various cuts, cut and folded into matchboxes, and filled with nature- and man-made objects, remnants, and scraps. what ] The paradigm shift has been slow. Accelerating climate change, continuing resource depletion and biodiversity loss, and geological scale human impact challenges the viability of the ‘sustainable’ plan. My art practice explores a re-vision of sustainability as resilience, adaptation, regeneration. These broad ideas inspire my experiments with language, data, and their meaning and promise. I find fragments everywhere and compose type and visual structures and narratives that bring them together to suggest a possible meaning and that anticipate a possible future. ongoing ness I will fold into other is a sequential and artifactual exploration of how we live. I am inspired by Donna Haraway, Bruno Latour and others who examine how we inhabit this Earth. The work is an aesthetic synthesis of their observations that I have reflected on and express as a book. Using letters and words, that echo each other, semi-organized as a sequential folding and unfolding book, ongoing ness simulates a future existence of humans [the mark makers]. Seen behind each letter is its dimensional counterpart in color and form. It’s a messy, un-explained, yet optimistic view of the Earth and terrestrial’s that inhabit it. Ultimately, by removing the binding stitch in the center-fold, the pages open, un-folding, to be reimagined and re-folded endlessly. matchboxz bio-geo-art-ifact invites the reader to imagine a future in which bio-logical and geo-logical elements have become a ‘new’ re-folded organism. Processes such as synthesis, growth, and adaptation can combine these elements into a mash-up creature, a biogeoartifact. The reader may see this as happening now, everywhere, where everything is in a state of play. why ] The work is provoked by science, scientific thinking, and the manifestation of data, and is itself a provocation. The work does not have resolution nor conclusion, but might have some truth as a representation of how we connect with and imagine earthly forms. Questions are asked and answered with visual experiments of connectedness. How are we a part of the Anthropocene, actors in change and permanence? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694620805-VCSNYFU2PIKPVIEZIFTK/mcba-prize-2022-Heidrun-Mumper-Drumm-ongoing-ness-i-will-fold-into-other-2.jpeg Entries & Jurors - 2022 Entries - Heidrun Mumper-Drumm Pasadena, California ongoing ness I will fold into other. 2021–2022 paper, letterpress, found objects 6.25″ x 8.5″ book / 2.375″ x 1.375″ x .5″ matchbox artist statement project description ] ongoing ness I will fold into other. Soft-bound book, sewn binding [butterfly stitch] measures 6.25” x 8.5” folded letterpress printed / wood type / vandercook proof press / edition of 10 by untying and removing binding stitch, cover opens and pages unfold to reveal reverse colors multi-fold cover / unfolds to 12.5” x 17” by removing binding stitch hand-set with wood and metal type, and the reverse of wood type Strathmore laid paper, 5 copies blue-green, 5 copies pale orange French fold, fore-edge hand painted 24 text pages / French fold hand set with wood type, and the reverse of wood type hand made paper, Nepal, semi transparent, printed 2-sides, show through matchboxz bio-geo-art-ifact. 50 matchboxes accompany the folded book, each containing a variety of items from biological and geological sources to be assembled into biogeoartifacts, matchbox measures 2.375” x 1.375” x 0.5” Rives BFK, letterpress printed, metal & wood type, & various cuts, cut and folded into matchboxes, and filled with nature- and man-made objects, remnants, and scraps. what ] The paradigm shift has been slow. Accelerating climate change, continuing resource depletion and biodiversity loss, and geological scale human impact challenges the viability of the ‘sustainable’ plan. My art practice explores a re-vision of sustainability as resilience, adaptation, regeneration. These broad ideas inspire my experiments with language, data, and their meaning and promise. I find fragments everywhere and compose type and visual structures and narratives that bring them together to suggest a possible meaning and that anticipate a possible future. ongoing ness I will fold into other is a sequential and artifactual exploration of how we live. I am inspired by Donna Haraway, Bruno Latour and others who examine how we inhabit this Earth. The work is an aesthetic synthesis of their observations that I have reflected on and express as a book. Using letters and words, that echo each other, semi-organized as a sequential folding and unfolding book, ongoing ness simulates a future existence of humans [the mark makers]. Seen behind each letter is its dimensional counterpart in color and form. It’s a messy, un-explained, yet optimistic view of the Earth and terrestrial’s that inhabit it. Ultimately, by removing the binding stitch in the center-fold, the pages open, un-folding, to be reimagined and re-folded endlessly. matchboxz bio-geo-art-ifact invites the reader to imagine a future in which bio-logical and geo-logical elements have become a ‘new’ re-folded organism. Processes such as synthesis, growth, and adaptation can combine these elements into a mash-up creature, a biogeoartifact. The reader may see this as happening now, everywhere, where everything is in a state of play. why ] The work is provoked by science, scientific thinking, and the manifestation of data, and is itself a provocation. The work does not have resolution nor conclusion, but might have some truth as a representation of how we connect with and imagine earthly forms. Questions are asked and answered with visual experiments of connectedness. How are we a part of the Anthropocene, actors in change and permanence? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694618992-OA4WC8XBQF73NBAKFDFS/mcba-prize-2022-Heidrun-Mumper-Drumm-ongoing-ness-i-will-fold-into-other-3.jpeg Entries & Jurors - 2022 Entries - Heidrun Mumper-Drumm Pasadena, California ongoing ness I will fold into other. 2021–2022 paper, letterpress, found objects 6.25″ x 8.5″ book / 2.375″ x 1.375″ x .5″ matchbox artist statement project description ] ongoing ness I will fold into other. Soft-bound book, sewn binding [butterfly stitch] measures 6.25” x 8.5” folded letterpress printed / wood type / vandercook proof press / edition of 10 by untying and removing binding stitch, cover opens and pages unfold to reveal reverse colors multi-fold cover / unfolds to 12.5” x 17” by removing binding stitch hand-set with wood and metal type, and the reverse of wood type Strathmore laid paper, 5 copies blue-green, 5 copies pale orange French fold, fore-edge hand painted 24 text pages / French fold hand set with wood type, and the reverse of wood type hand made paper, Nepal, semi transparent, printed 2-sides, show through matchboxz bio-geo-art-ifact. 50 matchboxes accompany the folded book, each containing a variety of items from biological and geological sources to be assembled into biogeoartifacts, matchbox measures 2.375” x 1.375” x 0.5” Rives BFK, letterpress printed, metal & wood type, & various cuts, cut and folded into matchboxes, and filled with nature- and man-made objects, remnants, and scraps. what ] The paradigm shift has been slow. Accelerating climate change, continuing resource depletion and biodiversity loss, and geological scale human impact challenges the viability of the ‘sustainable’ plan. My art practice explores a re-vision of sustainability as resilience, adaptation, regeneration. These broad ideas inspire my experiments with language, data, and their meaning and promise. I find fragments everywhere and compose type and visual structures and narratives that bring them together to suggest a possible meaning and that anticipate a possible future. ongoing ness I will fold into other is a sequential and artifactual exploration of how we live. I am inspired by Donna Haraway, Bruno Latour and others who examine how we inhabit this Earth. The work is an aesthetic synthesis of their observations that I have reflected on and express as a book. Using letters and words, that echo each other, semi-organized as a sequential folding and unfolding book, ongoing ness simulates a future existence of humans [the mark makers]. Seen behind each letter is its dimensional counterpart in color and form. It’s a messy, un-explained, yet optimistic view of the Earth and terrestrial’s that inhabit it. Ultimately, by removing the binding stitch in the center-fold, the pages open, un-folding, to be reimagined and re-folded endlessly. matchboxz bio-geo-art-ifact invites the reader to imagine a future in which bio-logical and geo-logical elements have become a ‘new’ re-folded organism. Processes such as synthesis, growth, and adaptation can combine these elements into a mash-up creature, a biogeoartifact. The reader may see this as happening now, everywhere, where everything is in a state of play. why ] The work is provoked by science, scientific thinking, and the manifestation of data, and is itself a provocation. The work does not have resolution nor conclusion, but might have some truth as a representation of how we connect with and imagine earthly forms. Questions are asked and answered with visual experiments of connectedness. How are we a part of the Anthropocene, actors in change and permanence? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694618837-OQ7K2O6FO91DVTKJO8G8/mcba-prize-2022-Heidrun-Mumper-Drumm-ongoing-ness-i-will-fold-into-other-4.jpeg Entries & Jurors - 2022 Entries - Heidrun Mumper-Drumm Pasadena, California ongoing ness I will fold into other. 2021–2022 paper, letterpress, found objects 6.25″ x 8.5″ book / 2.375″ x 1.375″ x .5″ matchbox artist statement project description ] ongoing ness I will fold into other. Soft-bound book, sewn binding [butterfly stitch] measures 6.25” x 8.5” folded letterpress printed / wood type / vandercook proof press / edition of 10 by untying and removing binding stitch, cover opens and pages unfold to reveal reverse colors multi-fold cover / unfolds to 12.5” x 17” by removing binding stitch hand-set with wood and metal type, and the reverse of wood type Strathmore laid paper, 5 copies blue-green, 5 copies pale orange French fold, fore-edge hand painted 24 text pages / French fold hand set with wood type, and the reverse of wood type hand made paper, Nepal, semi transparent, printed 2-sides, show through matchboxz bio-geo-art-ifact. 50 matchboxes accompany the folded book, each containing a variety of items from biological and geological sources to be assembled into biogeoartifacts, matchbox measures 2.375” x 1.375” x 0.5” Rives BFK, letterpress printed, metal & wood type, & various cuts, cut and folded into matchboxes, and filled with nature- and man-made objects, remnants, and scraps. what ] The paradigm shift has been slow. Accelerating climate change, continuing resource depletion and biodiversity loss, and geological scale human impact challenges the viability of the ‘sustainable’ plan. My art practice explores a re-vision of sustainability as resilience, adaptation, regeneration. These broad ideas inspire my experiments with language, data, and their meaning and promise. I find fragments everywhere and compose type and visual structures and narratives that bring them together to suggest a possible meaning and that anticipate a possible future. ongoing ness I will fold into other is a sequential and artifactual exploration of how we live. I am inspired by Donna Haraway, Bruno Latour and others who examine how we inhabit this Earth. The work is an aesthetic synthesis of their observations that I have reflected on and express as a book. Using letters and words, that echo each other, semi-organized as a sequential folding and unfolding book, ongoing ness simulates a future existence of humans [the mark makers]. Seen behind each letter is its dimensional counterpart in color and form. It’s a messy, un-explained, yet optimistic view of the Earth and terrestrial’s that inhabit it. Ultimately, by removing the binding stitch in the center-fold, the pages open, un-folding, to be reimagined and re-folded endlessly. matchboxz bio-geo-art-ifact invites the reader to imagine a future in which bio-logical and geo-logical elements have become a ‘new’ re-folded organism. Processes such as synthesis, growth, and adaptation can combine these elements into a mash-up creature, a biogeoartifact. The reader may see this as happening now, everywhere, where everything is in a state of play. why ] The work is provoked by science, scientific thinking, and the manifestation of data, and is itself a provocation. The work does not have resolution nor conclusion, but might have some truth as a representation of how we connect with and imagine earthly forms. Questions are asked and answered with visual experiments of connectedness. How are we a part of the Anthropocene, actors in change and permanence? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694616025-8AJ8SR7B2IMT0AR13DMK/mcba-prize-2022-Heidrun-Mumper-Drumm-ongoing-ness-i-will-fold-into-other-5.jpeg Entries & Jurors - 2022 Entries - Heidrun Mumper-Drumm Pasadena, California ongoing ness I will fold into other. 2021–2022 paper, letterpress, found objects 6.25″ x 8.5″ book / 2.375″ x 1.375″ x .5″ matchbox artist statement project description ] ongoing ness I will fold into other. Soft-bound book, sewn binding [butterfly stitch] measures 6.25” x 8.5” folded letterpress printed / wood type / vandercook proof press / edition of 10 by untying and removing binding stitch, cover opens and pages unfold to reveal reverse colors multi-fold cover / unfolds to 12.5” x 17” by removing binding stitch hand-set with wood and metal type, and the reverse of wood type Strathmore laid paper, 5 copies blue-green, 5 copies pale orange French fold, fore-edge hand painted 24 text pages / French fold hand set with wood type, and the reverse of wood type hand made paper, Nepal, semi transparent, printed 2-sides, show through matchboxz bio-geo-art-ifact. 50 matchboxes accompany the folded book, each containing a variety of items from biological and geological sources to be assembled into biogeoartifacts, matchbox measures 2.375” x 1.375” x 0.5” Rives BFK, letterpress printed, metal & wood type, & various cuts, cut and folded into matchboxes, and filled with nature- and man-made objects, remnants, and scraps. what ] The paradigm shift has been slow. Accelerating climate change, continuing resource depletion and biodiversity loss, and geological scale human impact challenges the viability of the ‘sustainable’ plan. My art practice explores a re-vision of sustainability as resilience, adaptation, regeneration. These broad ideas inspire my experiments with language, data, and their meaning and promise. I find fragments everywhere and compose type and visual structures and narratives that bring them together to suggest a possible meaning and that anticipate a possible future. ongoing ness I will fold into other is a sequential and artifactual exploration of how we live. I am inspired by Donna Haraway, Bruno Latour and others who examine how we inhabit this Earth. The work is an aesthetic synthesis of their observations that I have reflected on and express as a book. Using letters and words, that echo each other, semi-organized as a sequential folding and unfolding book, ongoing ness simulates a future existence of humans [the mark makers]. Seen behind each letter is its dimensional counterpart in color and form. It’s a messy, un-explained, yet optimistic view of the Earth and terrestrial’s that inhabit it. Ultimately, by removing the binding stitch in the center-fold, the pages open, un-folding, to be reimagined and re-folded endlessly. matchboxz bio-geo-art-ifact invites the reader to imagine a future in which bio-logical and geo-logical elements have become a ‘new’ re-folded organism. Processes such as synthesis, growth, and adaptation can combine these elements into a mash-up creature, a biogeoartifact. The reader may see this as happening now, everywhere, where everything is in a state of play. why ] The work is provoked by science, scientific thinking, and the manifestation of data, and is itself a provocation. The work does not have resolution nor conclusion, but might have some truth as a representation of how we connect with and imagine earthly forms. Questions are asked and answered with visual experiments of connectedness. How are we a part of the Anthropocene, actors in change and permanence? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773696035513-TLO3QKJKC0NVSL09WAF7/mcba-prize-2022-Sarah-Bodman-Read-With-Me-1.jpg Entries & Jurors - 2022 Entries - Sarah Bodman Bristol, United Kingdom https://www.bookarts.uwe.ac.uk/sarah-bodman/ Read With Me 2022 Risograph and relief print 7.08 x 0.19 x 9.84 Artist Statement Read With Me. Extending from the experimental book project ‘Read to Me’, this book is the result of: a performative drawing event, readings by a psychometric reader, collages made during lockdown and words assembled from the dissected readings. It was made in tribute to Susan Hiller’s Sisters of Menon (Coracle Press for Gimpel Fils, 1983), and references the size and cover of the original book. Produced via a remote residency at the London Centre for Book Arts, UK, 2022. Edition of 60, 48 pages, 250 x 180 mm, interior four-colour risograph printed by Esther McManus on Redeem 130gsm recycled paper, relief printed (photopolymer plate) silver ink endpapers and cover, letterpress printed title plate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773696035515-5PFAWBXECI8HEKHG0VM2/mcba-prize-2022-Sarah-Bodman-Read-With-Me-2.jpg Entries & Jurors - 2022 Entries - Sarah Bodman Bristol, United Kingdom https://www.bookarts.uwe.ac.uk/sarah-bodman/ Read With Me 2022 Risograph and relief print 7.08 x 0.19 x 9.84 Artist Statement Read With Me. Extending from the experimental book project ‘Read to Me’, this book is the result of: a performative drawing event, readings by a psychometric reader, collages made during lockdown and words assembled from the dissected readings. It was made in tribute to Susan Hiller’s Sisters of Menon (Coracle Press for Gimpel Fils, 1983), and references the size and cover of the original book. Produced via a remote residency at the London Centre for Book Arts, UK, 2022. Edition of 60, 48 pages, 250 x 180 mm, interior four-colour risograph printed by Esther McManus on Redeem 130gsm recycled paper, relief printed (photopolymer plate) silver ink endpapers and cover, letterpress printed title plate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773696036837-F16PQV90APRC6ODHJ5FD/mcba-prize-2022-Sarah-Bodman-Read-With-Me-3.jpg Entries & Jurors - 2022 Entries - Sarah Bodman Bristol, United Kingdom https://www.bookarts.uwe.ac.uk/sarah-bodman/ Read With Me 2022 Risograph and relief print 7.08 x 0.19 x 9.84 Artist Statement Read With Me. Extending from the experimental book project ‘Read to Me’, this book is the result of: a performative drawing event, readings by a psychometric reader, collages made during lockdown and words assembled from the dissected readings. It was made in tribute to Susan Hiller’s Sisters of Menon (Coracle Press for Gimpel Fils, 1983), and references the size and cover of the original book. Produced via a remote residency at the London Centre for Book Arts, UK, 2022. Edition of 60, 48 pages, 250 x 180 mm, interior four-colour risograph printed by Esther McManus on Redeem 130gsm recycled paper, relief printed (photopolymer plate) silver ink endpapers and cover, letterpress printed title plate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773696037124-4BS822DAZU3WJLMVKJS0/mcba-prize-2022-Sarah-Bodman-Read-With-Me-4.jpg Entries & Jurors - 2022 Entries - Sarah Bodman Bristol, United Kingdom https://www.bookarts.uwe.ac.uk/sarah-bodman/ Read With Me 2022 Risograph and relief print 7.08 x 0.19 x 9.84 Artist Statement Read With Me. Extending from the experimental book project ‘Read to Me’, this book is the result of: a performative drawing event, readings by a psychometric reader, collages made during lockdown and words assembled from the dissected readings. It was made in tribute to Susan Hiller’s Sisters of Menon (Coracle Press for Gimpel Fils, 1983), and references the size and cover of the original book. Produced via a remote residency at the London Centre for Book Arts, UK, 2022. Edition of 60, 48 pages, 250 x 180 mm, interior four-colour risograph printed by Esther McManus on Redeem 130gsm recycled paper, relief printed (photopolymer plate) silver ink endpapers and cover, letterpress printed title plate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773696038115-51U46R47HO330ZHNV2GL/mcba-prize-2022-Sarah-Bodman-Read-With-Me-5.jpg Entries & Jurors - 2022 Entries - Sarah Bodman Bristol, United Kingdom https://www.bookarts.uwe.ac.uk/sarah-bodman/ Read With Me 2022 Risograph and relief print 7.08 x 0.19 x 9.84 Artist Statement Read With Me. Extending from the experimental book project ‘Read to Me’, this book is the result of: a performative drawing event, readings by a psychometric reader, collages made during lockdown and words assembled from the dissected readings. It was made in tribute to Susan Hiller’s Sisters of Menon (Coracle Press for Gimpel Fils, 1983), and references the size and cover of the original book. Produced via a remote residency at the London Centre for Book Arts, UK, 2022. Edition of 60, 48 pages, 250 x 180 mm, interior four-colour risograph printed by Esther McManus on Redeem 130gsm recycled paper, relief printed (photopolymer plate) silver ink endpapers and cover, letterpress printed title plate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773696825494-91IKHXL743EID3ZDLK5S/mcba-prize-2022-Clifton-Meador-Acheiropoieta-1.jpg Entries & Jurors - 2022 Entries - Clifton Meador Vilas, North Carolina clifton-meador.com Acheiropoieta 2020 Offset lithography from cloth positives 12 x 19 x .5 Acheiropoieta and Concerning Acheiropoieta A book in two volumes Clifton Meador Offset lithography 36 pages 12 x 19 inches Hand-sewn binding Laid in cloth-bound portfolio with titles in black on front cover 2020 Concerning Acheiropoieta Offset lithography on chartreuse paper 36 pages 5 x 8 inches Stiff wraps with black die-cut dust jacket Hand sewn 2020 Project Statement Acheiropoieta is a book of experimentally printed offset-lithographed images that offers a visual discursion on themes of miraculous images, chattel slavery, cotton cloth production, the invention of photography, and the political nature of all images. A satellite book, Concerning Acheiropoieta, is a small book that textually reflects on the images in Acheiropoieta. Acheiropoieta (which means “not made by hands” in Greek) are a class of Christian icons that are supposed to have come into being miraculously. Many acheiropoieta are textiles that purport to show the trace left when divinity comes into contact with cloth. In the Orthodox Christian tradition, their authority is unquestioned. The Shroud of Turin, the Veil of Veronica, and the Mandylion are all examples of images formed through physical contact with Jesus. The portraits in Acheiropoieta are created from images of daguereotypes from the Matthew Brady collection in the Library of Congress. Brady—and others in his time— thought that looking at the likenesses of famous, accomplished people was uplifting, and conveyed moral virtue. Brady’s photographic studio contained a salon where dozens of his portraits were displayed, and the public flocked to see the faces of “the famous and historic” as he put it. I have selected multiple faces and recombined them to produce composite images where the sitter’s identity is replaced by a chimeric representation. Religious claims aside, the idea that acheiropoieta are examples of unmediated images—images that are formed without any human intervention—is intriguing. Photographs and mirrors used to offer images that were assumed to be unmediated, images that had authority, but photography began to lose its role as trusted reporter very early in its history, and today’s digital editing techniques have made it clearly subject to authorial intervention. For a while, daguerreotypes did retain a certain veracity. Each one was unique, a particular record of a precise moment, a chemical rendering of an optical condition. The fact that they were made on highly polished silver plates—mirrorlike—made them seem as truthful as a mirror. But even as they were seen as authoritative, mirrors have always been suspect— tools of the devil, windows into evil—and daguerrotypes are just another kind of mirror that is subject to the vision and intention of a maker. The loss of meaning and trust in images has been a gradual descent into a world of immersive media, where meaning is a process rather than a destination. As artifacts of human contrivance, photographs now lack all authority, semblance of truthfulness, or unquestioned meaning; they seem contingent, lacking any center or substance. In fact, most photographs today have no physical existence at all. I am interested in how images might be made to seem unmediated, how they might be made to revert to a kind of solidity. Woven cloth forms a raster, a grid of threads that forms a fabric. When seen by transmitted light, the warp and weft of the cloth form a variable density grid—which calls to mind a halftone contact screen, a predigital technology that translated continuous tone images into fields of halftone dots in order to simulate tonality. In this project, I created color separations of images, printed them through dye sublimation technology onto cotton cloth, and used those pieces of cloth to directly expose offset lithographic printing plates, which were then used to print three-color images. The weave of the cloth itself broke down the continuous tone images into dots of varying size. In a very literal way, I wanted to create a material metaphor to elaborate the idea of an acheiropoieton—where the lithographic shadows of the cloth images were multiplied into a book. Acheiropoieta is a large book, 12 by 19 inches. Big books are public experiences— looking can be shared by several people at once. Concerning Acheiropoieta is a small book, 5 by 8 inches, barely hand sized; it is thus a private reading experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773696824302-PBAQP1L7K6MCM8EO4TZX/mcba-prize-2022-Clifton-Meador-Acheiropoieta-2.jpg Entries & Jurors - 2022 Entries - Clifton Meador Vilas, North Carolina clifton-meador.com Acheiropoieta 2020 Offset lithography from cloth positives 12 x 19 x .5 Acheiropoieta and Concerning Acheiropoieta A book in two volumes Clifton Meador Offset lithography 36 pages 12 x 19 inches Hand-sewn binding Laid in cloth-bound portfolio with titles in black on front cover 2020 Concerning Acheiropoieta Offset lithography on chartreuse paper 36 pages 5 x 8 inches Stiff wraps with black die-cut dust jacket Hand sewn 2020 Project Statement Acheiropoieta is a book of experimentally printed offset-lithographed images that offers a visual discursion on themes of miraculous images, chattel slavery, cotton cloth production, the invention of photography, and the political nature of all images. A satellite book, Concerning Acheiropoieta, is a small book that textually reflects on the images in Acheiropoieta. Acheiropoieta (which means “not made by hands” in Greek) are a class of Christian icons that are supposed to have come into being miraculously. Many acheiropoieta are textiles that purport to show the trace left when divinity comes into contact with cloth. In the Orthodox Christian tradition, their authority is unquestioned. The Shroud of Turin, the Veil of Veronica, and the Mandylion are all examples of images formed through physical contact with Jesus. The portraits in Acheiropoieta are created from images of daguereotypes from the Matthew Brady collection in the Library of Congress. Brady—and others in his time— thought that looking at the likenesses of famous, accomplished people was uplifting, and conveyed moral virtue. Brady’s photographic studio contained a salon where dozens of his portraits were displayed, and the public flocked to see the faces of “the famous and historic” as he put it. I have selected multiple faces and recombined them to produce composite images where the sitter’s identity is replaced by a chimeric representation. Religious claims aside, the idea that acheiropoieta are examples of unmediated images—images that are formed without any human intervention—is intriguing. Photographs and mirrors used to offer images that were assumed to be unmediated, images that had authority, but photography began to lose its role as trusted reporter very early in its history, and today’s digital editing techniques have made it clearly subject to authorial intervention. For a while, daguerreotypes did retain a certain veracity. Each one was unique, a particular record of a precise moment, a chemical rendering of an optical condition. The fact that they were made on highly polished silver plates—mirrorlike—made them seem as truthful as a mirror. But even as they were seen as authoritative, mirrors have always been suspect— tools of the devil, windows into evil—and daguerrotypes are just another kind of mirror that is subject to the vision and intention of a maker. The loss of meaning and trust in images has been a gradual descent into a world of immersive media, where meaning is a process rather than a destination. As artifacts of human contrivance, photographs now lack all authority, semblance of truthfulness, or unquestioned meaning; they seem contingent, lacking any center or substance. In fact, most photographs today have no physical existence at all. I am interested in how images might be made to seem unmediated, how they might be made to revert to a kind of solidity. Woven cloth forms a raster, a grid of threads that forms a fabric. When seen by transmitted light, the warp and weft of the cloth form a variable density grid—which calls to mind a halftone contact screen, a predigital technology that translated continuous tone images into fields of halftone dots in order to simulate tonality. In this project, I created color separations of images, printed them through dye sublimation technology onto cotton cloth, and used those pieces of cloth to directly expose offset lithographic printing plates, which were then used to print three-color images. The weave of the cloth itself broke down the continuous tone images into dots of varying size. In a very literal way, I wanted to create a material metaphor to elaborate the idea of an acheiropoieton—where the lithographic shadows of the cloth images were multiplied into a book. Acheiropoieta is a large book, 12 by 19 inches. Big books are public experiences— looking can be shared by several people at once. Concerning Acheiropoieta is a small book, 5 by 8 inches, barely hand sized; it is thus a private reading experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773696823993-0V42OQYSZDTRT1DV8WJK/mcba-prize-2022-Clifton-Meador-Acheiropoieta-3.jpg Entries & Jurors - 2022 Entries - Clifton Meador Vilas, North Carolina clifton-meador.com Acheiropoieta 2020 Offset lithography from cloth positives 12 x 19 x .5 Acheiropoieta and Concerning Acheiropoieta A book in two volumes Clifton Meador Offset lithography 36 pages 12 x 19 inches Hand-sewn binding Laid in cloth-bound portfolio with titles in black on front cover 2020 Concerning Acheiropoieta Offset lithography on chartreuse paper 36 pages 5 x 8 inches Stiff wraps with black die-cut dust jacket Hand sewn 2020 Project Statement Acheiropoieta is a book of experimentally printed offset-lithographed images that offers a visual discursion on themes of miraculous images, chattel slavery, cotton cloth production, the invention of photography, and the political nature of all images. A satellite book, Concerning Acheiropoieta, is a small book that textually reflects on the images in Acheiropoieta. Acheiropoieta (which means “not made by hands” in Greek) are a class of Christian icons that are supposed to have come into being miraculously. Many acheiropoieta are textiles that purport to show the trace left when divinity comes into contact with cloth. In the Orthodox Christian tradition, their authority is unquestioned. The Shroud of Turin, the Veil of Veronica, and the Mandylion are all examples of images formed through physical contact with Jesus. The portraits in Acheiropoieta are created from images of daguereotypes from the Matthew Brady collection in the Library of Congress. Brady—and others in his time— thought that looking at the likenesses of famous, accomplished people was uplifting, and conveyed moral virtue. Brady’s photographic studio contained a salon where dozens of his portraits were displayed, and the public flocked to see the faces of “the famous and historic” as he put it. I have selected multiple faces and recombined them to produce composite images where the sitter’s identity is replaced by a chimeric representation. Religious claims aside, the idea that acheiropoieta are examples of unmediated images—images that are formed without any human intervention—is intriguing. Photographs and mirrors used to offer images that were assumed to be unmediated, images that had authority, but photography began to lose its role as trusted reporter very early in its history, and today’s digital editing techniques have made it clearly subject to authorial intervention. For a while, daguerreotypes did retain a certain veracity. Each one was unique, a particular record of a precise moment, a chemical rendering of an optical condition. The fact that they were made on highly polished silver plates—mirrorlike—made them seem as truthful as a mirror. But even as they were seen as authoritative, mirrors have always been suspect— tools of the devil, windows into evil—and daguerrotypes are just another kind of mirror that is subject to the vision and intention of a maker. The loss of meaning and trust in images has been a gradual descent into a world of immersive media, where meaning is a process rather than a destination. As artifacts of human contrivance, photographs now lack all authority, semblance of truthfulness, or unquestioned meaning; they seem contingent, lacking any center or substance. In fact, most photographs today have no physical existence at all. I am interested in how images might be made to seem unmediated, how they might be made to revert to a kind of solidity. Woven cloth forms a raster, a grid of threads that forms a fabric. When seen by transmitted light, the warp and weft of the cloth form a variable density grid—which calls to mind a halftone contact screen, a predigital technology that translated continuous tone images into fields of halftone dots in order to simulate tonality. In this project, I created color separations of images, printed them through dye sublimation technology onto cotton cloth, and used those pieces of cloth to directly expose offset lithographic printing plates, which were then used to print three-color images. The weave of the cloth itself broke down the continuous tone images into dots of varying size. In a very literal way, I wanted to create a material metaphor to elaborate the idea of an acheiropoieton—where the lithographic shadows of the cloth images were multiplied into a book. Acheiropoieta is a large book, 12 by 19 inches. Big books are public experiences— looking can be shared by several people at once. Concerning Acheiropoieta is a small book, 5 by 8 inches, barely hand sized; it is thus a private reading experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773696822690-TQCYVG069SSRB4N5J0K8/mcba-prize-2022-Clifton-Meador-Acheiropoieta-4.jpg Entries & Jurors - 2022 Entries - Clifton Meador Vilas, North Carolina clifton-meador.com Acheiropoieta 2020 Offset lithography from cloth positives 12 x 19 x .5 Acheiropoieta and Concerning Acheiropoieta A book in two volumes Clifton Meador Offset lithography 36 pages 12 x 19 inches Hand-sewn binding Laid in cloth-bound portfolio with titles in black on front cover 2020 Concerning Acheiropoieta Offset lithography on chartreuse paper 36 pages 5 x 8 inches Stiff wraps with black die-cut dust jacket Hand sewn 2020 Project Statement Acheiropoieta is a book of experimentally printed offset-lithographed images that offers a visual discursion on themes of miraculous images, chattel slavery, cotton cloth production, the invention of photography, and the political nature of all images. A satellite book, Concerning Acheiropoieta, is a small book that textually reflects on the images in Acheiropoieta. Acheiropoieta (which means “not made by hands” in Greek) are a class of Christian icons that are supposed to have come into being miraculously. Many acheiropoieta are textiles that purport to show the trace left when divinity comes into contact with cloth. In the Orthodox Christian tradition, their authority is unquestioned. The Shroud of Turin, the Veil of Veronica, and the Mandylion are all examples of images formed through physical contact with Jesus. The portraits in Acheiropoieta are created from images of daguereotypes from the Matthew Brady collection in the Library of Congress. Brady—and others in his time— thought that looking at the likenesses of famous, accomplished people was uplifting, and conveyed moral virtue. Brady’s photographic studio contained a salon where dozens of his portraits were displayed, and the public flocked to see the faces of “the famous and historic” as he put it. I have selected multiple faces and recombined them to produce composite images where the sitter’s identity is replaced by a chimeric representation. Religious claims aside, the idea that acheiropoieta are examples of unmediated images—images that are formed without any human intervention—is intriguing. Photographs and mirrors used to offer images that were assumed to be unmediated, images that had authority, but photography began to lose its role as trusted reporter very early in its history, and today’s digital editing techniques have made it clearly subject to authorial intervention. For a while, daguerreotypes did retain a certain veracity. Each one was unique, a particular record of a precise moment, a chemical rendering of an optical condition. The fact that they were made on highly polished silver plates—mirrorlike—made them seem as truthful as a mirror. But even as they were seen as authoritative, mirrors have always been suspect— tools of the devil, windows into evil—and daguerrotypes are just another kind of mirror that is subject to the vision and intention of a maker. The loss of meaning and trust in images has been a gradual descent into a world of immersive media, where meaning is a process rather than a destination. As artifacts of human contrivance, photographs now lack all authority, semblance of truthfulness, or unquestioned meaning; they seem contingent, lacking any center or substance. In fact, most photographs today have no physical existence at all. I am interested in how images might be made to seem unmediated, how they might be made to revert to a kind of solidity. Woven cloth forms a raster, a grid of threads that forms a fabric. When seen by transmitted light, the warp and weft of the cloth form a variable density grid—which calls to mind a halftone contact screen, a predigital technology that translated continuous tone images into fields of halftone dots in order to simulate tonality. In this project, I created color separations of images, printed them through dye sublimation technology onto cotton cloth, and used those pieces of cloth to directly expose offset lithographic printing plates, which were then used to print three-color images. The weave of the cloth itself broke down the continuous tone images into dots of varying size. In a very literal way, I wanted to create a material metaphor to elaborate the idea of an acheiropoieton—where the lithographic shadows of the cloth images were multiplied into a book. Acheiropoieta is a large book, 12 by 19 inches. Big books are public experiences— looking can be shared by several people at once. Concerning Acheiropoieta is a small book, 5 by 8 inches, barely hand sized; it is thus a private reading experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773696822484-Q1R74Z9ELZWCN9G7WW58/mcba-prize-2022-Clifton-Meador-Acheiropoieta-5.jpg Entries & Jurors - 2022 Entries - Clifton Meador Vilas, North Carolina clifton-meador.com Acheiropoieta 2020 Offset lithography from cloth positives 12 x 19 x .5 Acheiropoieta and Concerning Acheiropoieta A book in two volumes Clifton Meador Offset lithography 36 pages 12 x 19 inches Hand-sewn binding Laid in cloth-bound portfolio with titles in black on front cover 2020 Concerning Acheiropoieta Offset lithography on chartreuse paper 36 pages 5 x 8 inches Stiff wraps with black die-cut dust jacket Hand sewn 2020 Project Statement Acheiropoieta is a book of experimentally printed offset-lithographed images that offers a visual discursion on themes of miraculous images, chattel slavery, cotton cloth production, the invention of photography, and the political nature of all images. A satellite book, Concerning Acheiropoieta, is a small book that textually reflects on the images in Acheiropoieta. Acheiropoieta (which means “not made by hands” in Greek) are a class of Christian icons that are supposed to have come into being miraculously. Many acheiropoieta are textiles that purport to show the trace left when divinity comes into contact with cloth. In the Orthodox Christian tradition, their authority is unquestioned. The Shroud of Turin, the Veil of Veronica, and the Mandylion are all examples of images formed through physical contact with Jesus. The portraits in Acheiropoieta are created from images of daguereotypes from the Matthew Brady collection in the Library of Congress. Brady—and others in his time— thought that looking at the likenesses of famous, accomplished people was uplifting, and conveyed moral virtue. Brady’s photographic studio contained a salon where dozens of his portraits were displayed, and the public flocked to see the faces of “the famous and historic” as he put it. I have selected multiple faces and recombined them to produce composite images where the sitter’s identity is replaced by a chimeric representation. Religious claims aside, the idea that acheiropoieta are examples of unmediated images—images that are formed without any human intervention—is intriguing. Photographs and mirrors used to offer images that were assumed to be unmediated, images that had authority, but photography began to lose its role as trusted reporter very early in its history, and today’s digital editing techniques have made it clearly subject to authorial intervention. For a while, daguerreotypes did retain a certain veracity. Each one was unique, a particular record of a precise moment, a chemical rendering of an optical condition. The fact that they were made on highly polished silver plates—mirrorlike—made them seem as truthful as a mirror. But even as they were seen as authoritative, mirrors have always been suspect— tools of the devil, windows into evil—and daguerrotypes are just another kind of mirror that is subject to the vision and intention of a maker. The loss of meaning and trust in images has been a gradual descent into a world of immersive media, where meaning is a process rather than a destination. As artifacts of human contrivance, photographs now lack all authority, semblance of truthfulness, or unquestioned meaning; they seem contingent, lacking any center or substance. In fact, most photographs today have no physical existence at all. I am interested in how images might be made to seem unmediated, how they might be made to revert to a kind of solidity. Woven cloth forms a raster, a grid of threads that forms a fabric. When seen by transmitted light, the warp and weft of the cloth form a variable density grid—which calls to mind a halftone contact screen, a predigital technology that translated continuous tone images into fields of halftone dots in order to simulate tonality. In this project, I created color separations of images, printed them through dye sublimation technology onto cotton cloth, and used those pieces of cloth to directly expose offset lithographic printing plates, which were then used to print three-color images. The weave of the cloth itself broke down the continuous tone images into dots of varying size. In a very literal way, I wanted to create a material metaphor to elaborate the idea of an acheiropoieton—where the lithographic shadows of the cloth images were multiplied into a book. Acheiropoieta is a large book, 12 by 19 inches. Big books are public experiences— looking can be shared by several people at once. Concerning Acheiropoieta is a small book, 5 by 8 inches, barely hand sized; it is thus a private reading experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773697135763-XKG96T8796CTVPKLUVJJ/mcba-prize-2022-Tatjana-Bergelt-Pas-de-Deux-1.jpg Entries & Jurors - 2022 Entries - Tatjana Bergelt Helsinki, Finland www.tatjanabergelt.com Pas de Deux 2022 Japanese papers: 70g and 42g Kozo, 21g Mitsunata and 12g Tengujo, slipcase cardboard covers with paper, hot foil embossing, photography, digital collage, ink jet Dimensions open: 11.02 x 28,32 in / 28 x 72 x 0,7 cm
, 2 leporelli with each 7 pages / 49,6 in / 126 cm, Dimensions closed: 11.02 x 14.16 in / 28 x 36 x 0.7 cm Artist Statement A term describing a dance, an intricate relationship involving two parties seemed to fit perfectly my intent to showcase the relation between the writer Vladimir Nabokov and the Polyommatus blue butterflies. In 2011 Roger Vila and the research group under Prof. N.Pierce published in the “Proceedings of the Royal Society” an article stating: “By integrating molecular phylogeny, historical biogeography and palaeo-ecology, we test a bold hypothesis proposed by Vladimir Nabokov regarding the origin of Neotropical Polyommatus blue butterflies, and show that Beringia has served as a biological corridor for the dispersal of these insects from Asia into the New World. Phylogenetic results support Vladimir Nabokov’s hypothesis that the New World Polyommatus are the product of at least five colonisation events through Beringia that occurred successively from ca 11 Ma* until 1 Ma.” * Million years Fascinated by this publication, I wanted to visualise the varies parallel levels in Nabokov’s life. I began to collect material in spring 2018. Visits to Lausanne, Montreux, Wellesley and New York followed. This artists’ book is about driving forces of passion, meaningful coincidence, migration, loss of homeland, attention to irrepressible detail in science and arts and finally the ability to wonder at trifles. Not knowing anything about butterflies I visited Prof. Naomi Pierce in autumn 2019 and discussed with her my project idea. She mentioned that Nabokov had an encyclopaedic knowledge and a trained eye to observe, to see, which is manifested in his drawings of buttefly wing patterns as well as butterflies’ genitals. Therefore I accessed the NYPL’s Berg collection vast collection of V.N.’s drawings and manuscripts. At Harvard’s University’s MCZ, I saw a butterfly wing through a microscope, and felt this childish happy amazement of the visual landscape in front of my eyes. It was at this moment when I decided, “I want to transmit this amazement!”. The colour scheme was set and the paper had to evoke the fragility of a butterfly’s wing. Conceptual Organization The structure is based upon the duality of V.Nabokov’s life, his passions for butterflies and the writing. Two books facing each other, open in opposite directions simultaneously, giving the viewer 2 double spreads at the time. The possibility to view and acknowledge the parallelism or to recognise and interchange patterns, is provided by the multitude of pairing. Incisions at the bottom of each facing page, gives the opportunity to register those pages belonging together, aligning tor viewing them outside the given frame.V.N.’s wife Vera was jewish, the butterfly book opening from left to right acknowledges her culture. Three main categories, Development, parallel Time Lines, and Migration, are used, to organise all entries. The narrative is woven of images overlaid with writings in two languages English and Russian, and drawings by Nabokov, a genetic entry about the Polyommatus Blue butterflies by contemporary entomologists, texts and photo collages by me. All entries are divided by association to either Nabokov the writer or the butterfly species, Polyommatus Blue, he studied and published in 1945 his evolutionary theory about. The elements of play, self-quotation, synesthesia, mimicry, parody, irony and bilinguality on Nabokov’s side and phylogenetics, circle of life, metamorphosis, microscopical structure and appearance on the butterfly’s side face each other. Nabokov was admiring the possibility to conceive a painting with one organ at one – the eye. Therefore he wanted to brake the linear structure on reading habits by provoking to re-read to discover hidden trifles. I do share V.N.’s point of view. This possibility is given by handling two books at the same time.The narrative is multilayered as are the facts and reality in general. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773697134834-43S9HTBUD4NET4567A8G/mcba-prize-2022-Tatjana-Bergelt-Pas-de-Deux-2.jpg Entries & Jurors - 2022 Entries - Tatjana Bergelt Helsinki, Finland www.tatjanabergelt.com Pas de Deux 2022 Japanese papers: 70g and 42g Kozo, 21g Mitsunata and 12g Tengujo, slipcase cardboard covers with paper, hot foil embossing, photography, digital collage, ink jet Dimensions open: 11.02 x 28,32 in / 28 x 72 x 0,7 cm
, 2 leporelli with each 7 pages / 49,6 in / 126 cm, Dimensions closed: 11.02 x 14.16 in / 28 x 36 x 0.7 cm Artist Statement A term describing a dance, an intricate relationship involving two parties seemed to fit perfectly my intent to showcase the relation between the writer Vladimir Nabokov and the Polyommatus blue butterflies. In 2011 Roger Vila and the research group under Prof. N.Pierce published in the “Proceedings of the Royal Society” an article stating: “By integrating molecular phylogeny, historical biogeography and palaeo-ecology, we test a bold hypothesis proposed by Vladimir Nabokov regarding the origin of Neotropical Polyommatus blue butterflies, and show that Beringia has served as a biological corridor for the dispersal of these insects from Asia into the New World. Phylogenetic results support Vladimir Nabokov’s hypothesis that the New World Polyommatus are the product of at least five colonisation events through Beringia that occurred successively from ca 11 Ma* until 1 Ma.” * Million years Fascinated by this publication, I wanted to visualise the varies parallel levels in Nabokov’s life. I began to collect material in spring 2018. Visits to Lausanne, Montreux, Wellesley and New York followed. This artists’ book is about driving forces of passion, meaningful coincidence, migration, loss of homeland, attention to irrepressible detail in science and arts and finally the ability to wonder at trifles. Not knowing anything about butterflies I visited Prof. Naomi Pierce in autumn 2019 and discussed with her my project idea. She mentioned that Nabokov had an encyclopaedic knowledge and a trained eye to observe, to see, which is manifested in his drawings of buttefly wing patterns as well as butterflies’ genitals. Therefore I accessed the NYPL’s Berg collection vast collection of V.N.’s drawings and manuscripts. At Harvard’s University’s MCZ, I saw a butterfly wing through a microscope, and felt this childish happy amazement of the visual landscape in front of my eyes. It was at this moment when I decided, “I want to transmit this amazement!”. The colour scheme was set and the paper had to evoke the fragility of a butterfly’s wing. Conceptual Organization The structure is based upon the duality of V.Nabokov’s life, his passions for butterflies and the writing. Two books facing each other, open in opposite directions simultaneously, giving the viewer 2 double spreads at the time. The possibility to view and acknowledge the parallelism or to recognise and interchange patterns, is provided by the multitude of pairing. Incisions at the bottom of each facing page, gives the opportunity to register those pages belonging together, aligning tor viewing them outside the given frame.V.N.’s wife Vera was jewish, the butterfly book opening from left to right acknowledges her culture. Three main categories, Development, parallel Time Lines, and Migration, are used, to organise all entries. The narrative is woven of images overlaid with writings in two languages English and Russian, and drawings by Nabokov, a genetic entry about the Polyommatus Blue butterflies by contemporary entomologists, texts and photo collages by me. All entries are divided by association to either Nabokov the writer or the butterfly species, Polyommatus Blue, he studied and published in 1945 his evolutionary theory about. The elements of play, self-quotation, synesthesia, mimicry, parody, irony and bilinguality on Nabokov’s side and phylogenetics, circle of life, metamorphosis, microscopical structure and appearance on the butterfly’s side face each other. Nabokov was admiring the possibility to conceive a painting with one organ at one – the eye. Therefore he wanted to brake the linear structure on reading habits by provoking to re-read to discover hidden trifles. I do share V.N.’s point of view. This possibility is given by handling two books at the same time.The narrative is multilayered as are the facts and reality in general. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773697134674-PJOO36EQF0M1WZ52TO1T/mcba-prize-2022-Tatjana-Bergelt-Pas-de-Deux-3.jpg Entries & Jurors - 2022 Entries - Tatjana Bergelt Helsinki, Finland www.tatjanabergelt.com Pas de Deux 2022 Japanese papers: 70g and 42g Kozo, 21g Mitsunata and 12g Tengujo, slipcase cardboard covers with paper, hot foil embossing, photography, digital collage, ink jet Dimensions open: 11.02 x 28,32 in / 28 x 72 x 0,7 cm
, 2 leporelli with each 7 pages / 49,6 in / 126 cm, Dimensions closed: 11.02 x 14.16 in / 28 x 36 x 0.7 cm Artist Statement A term describing a dance, an intricate relationship involving two parties seemed to fit perfectly my intent to showcase the relation between the writer Vladimir Nabokov and the Polyommatus blue butterflies. In 2011 Roger Vila and the research group under Prof. N.Pierce published in the “Proceedings of the Royal Society” an article stating: “By integrating molecular phylogeny, historical biogeography and palaeo-ecology, we test a bold hypothesis proposed by Vladimir Nabokov regarding the origin of Neotropical Polyommatus blue butterflies, and show that Beringia has served as a biological corridor for the dispersal of these insects from Asia into the New World. Phylogenetic results support Vladimir Nabokov’s hypothesis that the New World Polyommatus are the product of at least five colonisation events through Beringia that occurred successively from ca 11 Ma* until 1 Ma.” * Million years Fascinated by this publication, I wanted to visualise the varies parallel levels in Nabokov’s life. I began to collect material in spring 2018. Visits to Lausanne, Montreux, Wellesley and New York followed. This artists’ book is about driving forces of passion, meaningful coincidence, migration, loss of homeland, attention to irrepressible detail in science and arts and finally the ability to wonder at trifles. Not knowing anything about butterflies I visited Prof. Naomi Pierce in autumn 2019 and discussed with her my project idea. She mentioned that Nabokov had an encyclopaedic knowledge and a trained eye to observe, to see, which is manifested in his drawings of buttefly wing patterns as well as butterflies’ genitals. Therefore I accessed the NYPL’s Berg collection vast collection of V.N.’s drawings and manuscripts. At Harvard’s University’s MCZ, I saw a butterfly wing through a microscope, and felt this childish happy amazement of the visual landscape in front of my eyes. It was at this moment when I decided, “I want to transmit this amazement!”. The colour scheme was set and the paper had to evoke the fragility of a butterfly’s wing. Conceptual Organization The structure is based upon the duality of V.Nabokov’s life, his passions for butterflies and the writing. Two books facing each other, open in opposite directions simultaneously, giving the viewer 2 double spreads at the time. The possibility to view and acknowledge the parallelism or to recognise and interchange patterns, is provided by the multitude of pairing. Incisions at the bottom of each facing page, gives the opportunity to register those pages belonging together, aligning tor viewing them outside the given frame.V.N.’s wife Vera was jewish, the butterfly book opening from left to right acknowledges her culture. Three main categories, Development, parallel Time Lines, and Migration, are used, to organise all entries. The narrative is woven of images overlaid with writings in two languages English and Russian, and drawings by Nabokov, a genetic entry about the Polyommatus Blue butterflies by contemporary entomologists, texts and photo collages by me. All entries are divided by association to either Nabokov the writer or the butterfly species, Polyommatus Blue, he studied and published in 1945 his evolutionary theory about. The elements of play, self-quotation, synesthesia, mimicry, parody, irony and bilinguality on Nabokov’s side and phylogenetics, circle of life, metamorphosis, microscopical structure and appearance on the butterfly’s side face each other. Nabokov was admiring the possibility to conceive a painting with one organ at one – the eye. Therefore he wanted to brake the linear structure on reading habits by provoking to re-read to discover hidden trifles. I do share V.N.’s point of view. This possibility is given by handling two books at the same time.The narrative is multilayered as are the facts and reality in general. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773697133533-8YIGW6ZU3IXO4OKJE54K/mcba-prize-2022-Tatjana-Bergelt-Pas-de-Deux-4.jpg Entries & Jurors - 2022 Entries - Tatjana Bergelt Helsinki, Finland www.tatjanabergelt.com Pas de Deux 2022 Japanese papers: 70g and 42g Kozo, 21g Mitsunata and 12g Tengujo, slipcase cardboard covers with paper, hot foil embossing, photography, digital collage, ink jet Dimensions open: 11.02 x 28,32 in / 28 x 72 x 0,7 cm
, 2 leporelli with each 7 pages / 49,6 in / 126 cm, Dimensions closed: 11.02 x 14.16 in / 28 x 36 x 0.7 cm Artist Statement A term describing a dance, an intricate relationship involving two parties seemed to fit perfectly my intent to showcase the relation between the writer Vladimir Nabokov and the Polyommatus blue butterflies. In 2011 Roger Vila and the research group under Prof. N.Pierce published in the “Proceedings of the Royal Society” an article stating: “By integrating molecular phylogeny, historical biogeography and palaeo-ecology, we test a bold hypothesis proposed by Vladimir Nabokov regarding the origin of Neotropical Polyommatus blue butterflies, and show that Beringia has served as a biological corridor for the dispersal of these insects from Asia into the New World. Phylogenetic results support Vladimir Nabokov’s hypothesis that the New World Polyommatus are the product of at least five colonisation events through Beringia that occurred successively from ca 11 Ma* until 1 Ma.” * Million years Fascinated by this publication, I wanted to visualise the varies parallel levels in Nabokov’s life. I began to collect material in spring 2018. Visits to Lausanne, Montreux, Wellesley and New York followed. This artists’ book is about driving forces of passion, meaningful coincidence, migration, loss of homeland, attention to irrepressible detail in science and arts and finally the ability to wonder at trifles. Not knowing anything about butterflies I visited Prof. Naomi Pierce in autumn 2019 and discussed with her my project idea. She mentioned that Nabokov had an encyclopaedic knowledge and a trained eye to observe, to see, which is manifested in his drawings of buttefly wing patterns as well as butterflies’ genitals. Therefore I accessed the NYPL’s Berg collection vast collection of V.N.’s drawings and manuscripts. At Harvard’s University’s MCZ, I saw a butterfly wing through a microscope, and felt this childish happy amazement of the visual landscape in front of my eyes. It was at this moment when I decided, “I want to transmit this amazement!”. The colour scheme was set and the paper had to evoke the fragility of a butterfly’s wing. Conceptual Organization The structure is based upon the duality of V.Nabokov’s life, his passions for butterflies and the writing. Two books facing each other, open in opposite directions simultaneously, giving the viewer 2 double spreads at the time. The possibility to view and acknowledge the parallelism or to recognise and interchange patterns, is provided by the multitude of pairing. Incisions at the bottom of each facing page, gives the opportunity to register those pages belonging together, aligning tor viewing them outside the given frame.V.N.’s wife Vera was jewish, the butterfly book opening from left to right acknowledges her culture. Three main categories, Development, parallel Time Lines, and Migration, are used, to organise all entries. The narrative is woven of images overlaid with writings in two languages English and Russian, and drawings by Nabokov, a genetic entry about the Polyommatus Blue butterflies by contemporary entomologists, texts and photo collages by me. All entries are divided by association to either Nabokov the writer or the butterfly species, Polyommatus Blue, he studied and published in 1945 his evolutionary theory about. The elements of play, self-quotation, synesthesia, mimicry, parody, irony and bilinguality on Nabokov’s side and phylogenetics, circle of life, metamorphosis, microscopical structure and appearance on the butterfly’s side face each other. Nabokov was admiring the possibility to conceive a painting with one organ at one – the eye. Therefore he wanted to brake the linear structure on reading habits by provoking to re-read to discover hidden trifles. I do share V.N.’s point of view. This possibility is given by handling two books at the same time.The narrative is multilayered as are the facts and reality in general. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773697133659-ULZFZVKCMRPSA04EX86L/mcba-prize-2022-Tatjana-Bergelt-Pas-de-Deux-5.jpg Entries & Jurors - 2022 Entries - Tatjana Bergelt Helsinki, Finland www.tatjanabergelt.com Pas de Deux 2022 Japanese papers: 70g and 42g Kozo, 21g Mitsunata and 12g Tengujo, slipcase cardboard covers with paper, hot foil embossing, photography, digital collage, ink jet Dimensions open: 11.02 x 28,32 in / 28 x 72 x 0,7 cm
, 2 leporelli with each 7 pages / 49,6 in / 126 cm, Dimensions closed: 11.02 x 14.16 in / 28 x 36 x 0.7 cm Artist Statement A term describing a dance, an intricate relationship involving two parties seemed to fit perfectly my intent to showcase the relation between the writer Vladimir Nabokov and the Polyommatus blue butterflies. In 2011 Roger Vila and the research group under Prof. N.Pierce published in the “Proceedings of the Royal Society” an article stating: “By integrating molecular phylogeny, historical biogeography and palaeo-ecology, we test a bold hypothesis proposed by Vladimir Nabokov regarding the origin of Neotropical Polyommatus blue butterflies, and show that Beringia has served as a biological corridor for the dispersal of these insects from Asia into the New World. Phylogenetic results support Vladimir Nabokov’s hypothesis that the New World Polyommatus are the product of at least five colonisation events through Beringia that occurred successively from ca 11 Ma* until 1 Ma.” * Million years Fascinated by this publication, I wanted to visualise the varies parallel levels in Nabokov’s life. I began to collect material in spring 2018. Visits to Lausanne, Montreux, Wellesley and New York followed. This artists’ book is about driving forces of passion, meaningful coincidence, migration, loss of homeland, attention to irrepressible detail in science and arts and finally the ability to wonder at trifles. Not knowing anything about butterflies I visited Prof. Naomi Pierce in autumn 2019 and discussed with her my project idea. She mentioned that Nabokov had an encyclopaedic knowledge and a trained eye to observe, to see, which is manifested in his drawings of buttefly wing patterns as well as butterflies’ genitals. Therefore I accessed the NYPL’s Berg collection vast collection of V.N.’s drawings and manuscripts. At Harvard’s University’s MCZ, I saw a butterfly wing through a microscope, and felt this childish happy amazement of the visual landscape in front of my eyes. It was at this moment when I decided, “I want to transmit this amazement!”. The colour scheme was set and the paper had to evoke the fragility of a butterfly’s wing. Conceptual Organization The structure is based upon the duality of V.Nabokov’s life, his passions for butterflies and the writing. Two books facing each other, open in opposite directions simultaneously, giving the viewer 2 double spreads at the time. The possibility to view and acknowledge the parallelism or to recognise and interchange patterns, is provided by the multitude of pairing. Incisions at the bottom of each facing page, gives the opportunity to register those pages belonging together, aligning tor viewing them outside the given frame.V.N.’s wife Vera was jewish, the butterfly book opening from left to right acknowledges her culture. Three main categories, Development, parallel Time Lines, and Migration, are used, to organise all entries. The narrative is woven of images overlaid with writings in two languages English and Russian, and drawings by Nabokov, a genetic entry about the Polyommatus Blue butterflies by contemporary entomologists, texts and photo collages by me. All entries are divided by association to either Nabokov the writer or the butterfly species, Polyommatus Blue, he studied and published in 1945 his evolutionary theory about. The elements of play, self-quotation, synesthesia, mimicry, parody, irony and bilinguality on Nabokov’s side and phylogenetics, circle of life, metamorphosis, microscopical structure and appearance on the butterfly’s side face each other. Nabokov was admiring the possibility to conceive a painting with one organ at one – the eye. Therefore he wanted to brake the linear structure on reading habits by provoking to re-read to discover hidden trifles. I do share V.N.’s point of view. This possibility is given by handling two books at the same time.The narrative is multilayered as are the facts and reality in general. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773697505177-E09TCAVG7UGX2NLAFEOF/mcba-prize-2022-Francesca-Talenti-Puzz-n-Lina-1.jpg Entries & Jurors - 2022 Entries - Francesca Talenti Hillsborough, North Carolina www.FrancescaTalenti.com Puzz-n-Lina 2021 Wood 8″ x 5″ x 3.5″ Artist Statement Puzz & Lina is a story-book puzzle: go through the story by peeling the puzzle pieces away, then re-assemble the puzzle by using the story-book pages as cues. Each page is etched (in a smaller version) on the front and back covers, which are the only two panels that do not disassemble. The covers remain intact, and are easily consulted to solve the puzzle. There are two stories. Depending on whether you start at the front or the back of the story-book puzzle, you’ll find out what happens to Lina the girl or Puzz the cat on the night of this particular full moon. The circle and the rectangle are the graphic bases for the book’s aesthetic. Using a laser cutter I was able to use the precision of computer-generated geometric forms to etch and cut an organic and tactile material, wood. This duality (computer-generated versus organic) is reflected throughout the piece. Just as there are two stories, two characters, and two sides to each puzzle piece, there are two ways of approaching and thinking of Puzz & Lina: one is spatial, the other narrative. The circles, rectangles, and puzzle pieces are in the spatial realm, while the story is in the narrative one. Both are rarely combined, often divided by gender norms, as boys are encouraged to think spatially and girls narratively. Puzz & Lina bridges this gap. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773697502579-DOX2DUNB2Z1B5T1BFFBY/mcba-prize-2022-Francesca-Talenti-Puzz-n-Lina-2.jpg Entries & Jurors - 2022 Entries - Francesca Talenti Hillsborough, North Carolina www.FrancescaTalenti.com Puzz-n-Lina 2021 Wood 8″ x 5″ x 3.5″ Artist Statement Puzz & Lina is a story-book puzzle: go through the story by peeling the puzzle pieces away, then re-assemble the puzzle by using the story-book pages as cues. Each page is etched (in a smaller version) on the front and back covers, which are the only two panels that do not disassemble. The covers remain intact, and are easily consulted to solve the puzzle. There are two stories. Depending on whether you start at the front or the back of the story-book puzzle, you’ll find out what happens to Lina the girl or Puzz the cat on the night of this particular full moon. The circle and the rectangle are the graphic bases for the book’s aesthetic. Using a laser cutter I was able to use the precision of computer-generated geometric forms to etch and cut an organic and tactile material, wood. This duality (computer-generated versus organic) is reflected throughout the piece. Just as there are two stories, two characters, and two sides to each puzzle piece, there are two ways of approaching and thinking of Puzz & Lina: one is spatial, the other narrative. The circles, rectangles, and puzzle pieces are in the spatial realm, while the story is in the narrative one. Both are rarely combined, often divided by gender norms, as boys are encouraged to think spatially and girls narratively. Puzz & Lina bridges this gap. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773697502787-HXLCF1FVCCHZIN1C9EEE/mcba-prize-2022-Francesca-Talenti-Puzz-n-Lina-3.jpg Entries & Jurors - 2022 Entries - Francesca Talenti Hillsborough, North Carolina www.FrancescaTalenti.com Puzz-n-Lina 2021 Wood 8″ x 5″ x 3.5″ Artist Statement Puzz & Lina is a story-book puzzle: go through the story by peeling the puzzle pieces away, then re-assemble the puzzle by using the story-book pages as cues. Each page is etched (in a smaller version) on the front and back covers, which are the only two panels that do not disassemble. The covers remain intact, and are easily consulted to solve the puzzle. There are two stories. Depending on whether you start at the front or the back of the story-book puzzle, you’ll find out what happens to Lina the girl or Puzz the cat on the night of this particular full moon. The circle and the rectangle are the graphic bases for the book’s aesthetic. Using a laser cutter I was able to use the precision of computer-generated geometric forms to etch and cut an organic and tactile material, wood. This duality (computer-generated versus organic) is reflected throughout the piece. Just as there are two stories, two characters, and two sides to each puzzle piece, there are two ways of approaching and thinking of Puzz & Lina: one is spatial, the other narrative. The circles, rectangles, and puzzle pieces are in the spatial realm, while the story is in the narrative one. Both are rarely combined, often divided by gender norms, as boys are encouraged to think spatially and girls narratively. Puzz & Lina bridges this gap. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773697503965-VQ2L2ELX9QDO7TTYZ7S2/mcba-prize-2022-Francesca-Talenti-Puzz-n-Lina-4.jpg Entries & Jurors - 2022 Entries - Francesca Talenti Hillsborough, North Carolina www.FrancescaTalenti.com Puzz-n-Lina 2021 Wood 8″ x 5″ x 3.5″ Artist Statement Puzz & Lina is a story-book puzzle: go through the story by peeling the puzzle pieces away, then re-assemble the puzzle by using the story-book pages as cues. Each page is etched (in a smaller version) on the front and back covers, which are the only two panels that do not disassemble. The covers remain intact, and are easily consulted to solve the puzzle. There are two stories. Depending on whether you start at the front or the back of the story-book puzzle, you’ll find out what happens to Lina the girl or Puzz the cat on the night of this particular full moon. The circle and the rectangle are the graphic bases for the book’s aesthetic. Using a laser cutter I was able to use the precision of computer-generated geometric forms to etch and cut an organic and tactile material, wood. This duality (computer-generated versus organic) is reflected throughout the piece. Just as there are two stories, two characters, and two sides to each puzzle piece, there are two ways of approaching and thinking of Puzz & Lina: one is spatial, the other narrative. The circles, rectangles, and puzzle pieces are in the spatial realm, while the story is in the narrative one. Both are rarely combined, often divided by gender norms, as boys are encouraged to think spatially and girls narratively. Puzz & Lina bridges this gap. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773697504489-44HXL8ORQBLJGG1BJT39/mcba-prize-2022-Francesca-Talenti-Puzz-n-Lina-5.jpg Entries & Jurors - 2022 Entries - Francesca Talenti Hillsborough, North Carolina www.FrancescaTalenti.com Puzz-n-Lina 2021 Wood 8″ x 5″ x 3.5″ Artist Statement Puzz & Lina is a story-book puzzle: go through the story by peeling the puzzle pieces away, then re-assemble the puzzle by using the story-book pages as cues. Each page is etched (in a smaller version) on the front and back covers, which are the only two panels that do not disassemble. The covers remain intact, and are easily consulted to solve the puzzle. There are two stories. Depending on whether you start at the front or the back of the story-book puzzle, you’ll find out what happens to Lina the girl or Puzz the cat on the night of this particular full moon. The circle and the rectangle are the graphic bases for the book’s aesthetic. Using a laser cutter I was able to use the precision of computer-generated geometric forms to etch and cut an organic and tactile material, wood. This duality (computer-generated versus organic) is reflected throughout the piece. Just as there are two stories, two characters, and two sides to each puzzle piece, there are two ways of approaching and thinking of Puzz & Lina: one is spatial, the other narrative. The circles, rectangles, and puzzle pieces are in the spatial realm, while the story is in the narrative one. Both are rarely combined, often divided by gender norms, as boys are encouraged to think spatially and girls narratively. Puzz & Lina bridges this gap. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773697842861-V0K5GAOOIQ0KQPH9RX0S/mcba-prize-2022-Emily-Martin-Madness-Reading-Hamlet-1.jpg Entries & Jurors - 2022 Entries - Emily Martin IOWA CITY, Iowa http://emilymartin.com/ Madness: Reading Hamlet in the Time of Covid-19 and Other Plagues 2022 letterpress 1 x 8 x 11 closed, 96 x 8 x 11 opened flat Artist Statement Madness was created during the pandemic and went through many forms before it became what you see here. It’s appearance and content are very much shaped by my time in isolation. Initially, I copied out the play Hamlet by hand starting in March 2020 because I was too anxious to sit and read. I also was making paper puppets for companionship. The project kept changing as events swirled around me. I struggled to make sense of the project in a world gone crazy. One part of the play I kept coming back to, was the way Hamlet’s father was killed before the play had even begun. The Hamlet’s father was killed by his brother dripping poison in his ear as he slept. The American people had a steady drip of poison into our collective ear before the pandemic began. That poison set in motion all that followed in the five acts of the play. In our time, that poison has affected all that has come since. The text is a crazy quilt arrangement of lines from Hamlet and my writing on repeating themes of fear, disease, Black Lives Matter, Asian hate crimes, the insurrection, so much death and isolation, and more. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773697840365-7QBTJ4J9OM8C0S6ABT6G/mcba-prize-2022-Emily-Martin-Madness-Reading-Hamlet-2.jpg Entries & Jurors - 2022 Entries - Emily Martin IOWA CITY, Iowa http://emilymartin.com/ Madness: Reading Hamlet in the Time of Covid-19 and Other Plagues 2022 letterpress 1 x 8 x 11 closed, 96 x 8 x 11 opened flat Artist Statement Madness was created during the pandemic and went through many forms before it became what you see here. It’s appearance and content are very much shaped by my time in isolation. Initially, I copied out the play Hamlet by hand starting in March 2020 because I was too anxious to sit and read. I also was making paper puppets for companionship. The project kept changing as events swirled around me. I struggled to make sense of the project in a world gone crazy. One part of the play I kept coming back to, was the way Hamlet’s father was killed before the play had even begun. The Hamlet’s father was killed by his brother dripping poison in his ear as he slept. The American people had a steady drip of poison into our collective ear before the pandemic began. That poison set in motion all that followed in the five acts of the play. In our time, that poison has affected all that has come since. The text is a crazy quilt arrangement of lines from Hamlet and my writing on repeating themes of fear, disease, Black Lives Matter, Asian hate crimes, the insurrection, so much death and isolation, and more. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773697840372-WPDZC1WQ429AH1OLKJSU/mcba-prize-2022-Emily-Martin-Madness-Reading-Hamlet-3.jpg Entries & Jurors - 2022 Entries - Emily Martin IOWA CITY, Iowa http://emilymartin.com/ Madness: Reading Hamlet in the Time of Covid-19 and Other Plagues 2022 letterpress 1 x 8 x 11 closed, 96 x 8 x 11 opened flat Artist Statement Madness was created during the pandemic and went through many forms before it became what you see here. It’s appearance and content are very much shaped by my time in isolation. Initially, I copied out the play Hamlet by hand starting in March 2020 because I was too anxious to sit and read. I also was making paper puppets for companionship. The project kept changing as events swirled around me. I struggled to make sense of the project in a world gone crazy. One part of the play I kept coming back to, was the way Hamlet’s father was killed before the play had even begun. The Hamlet’s father was killed by his brother dripping poison in his ear as he slept. The American people had a steady drip of poison into our collective ear before the pandemic began. That poison set in motion all that followed in the five acts of the play. In our time, that poison has affected all that has come since. The text is a crazy quilt arrangement of lines from Hamlet and my writing on repeating themes of fear, disease, Black Lives Matter, Asian hate crimes, the insurrection, so much death and isolation, and more. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773697834782-PDKVJRQPXPNPYG34A0GD/mcba-prize-2022-Emily-Martin-Madness-Reading-Hamlet-5.jpg Entries & Jurors - 2022 Entries - Emily Martin IOWA CITY, Iowa http://emilymartin.com/ Madness: Reading Hamlet in the Time of Covid-19 and Other Plagues 2022 letterpress 1 x 8 x 11 closed, 96 x 8 x 11 opened flat Artist Statement Madness was created during the pandemic and went through many forms before it became what you see here. It’s appearance and content are very much shaped by my time in isolation. Initially, I copied out the play Hamlet by hand starting in March 2020 because I was too anxious to sit and read. I also was making paper puppets for companionship. The project kept changing as events swirled around me. I struggled to make sense of the project in a world gone crazy. One part of the play I kept coming back to, was the way Hamlet’s father was killed before the play had even begun. The Hamlet’s father was killed by his brother dripping poison in his ear as he slept. The American people had a steady drip of poison into our collective ear before the pandemic began. That poison set in motion all that followed in the five acts of the play. In our time, that poison has affected all that has come since. The text is a crazy quilt arrangement of lines from Hamlet and my writing on repeating themes of fear, disease, Black Lives Matter, Asian hate crimes, the insurrection, so much death and isolation, and more. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773697834878-CK3MYPPOI9E535K2KASX/mcba-prize-2022-Emily-Martin-Madness-Reading-Hamlet-4.jpg Entries & Jurors - 2022 Entries - Emily Martin IOWA CITY, Iowa http://emilymartin.com/ Madness: Reading Hamlet in the Time of Covid-19 and Other Plagues 2022 letterpress 1 x 8 x 11 closed, 96 x 8 x 11 opened flat Artist Statement Madness was created during the pandemic and went through many forms before it became what you see here. It’s appearance and content are very much shaped by my time in isolation. Initially, I copied out the play Hamlet by hand starting in March 2020 because I was too anxious to sit and read. I also was making paper puppets for companionship. The project kept changing as events swirled around me. I struggled to make sense of the project in a world gone crazy. One part of the play I kept coming back to, was the way Hamlet’s father was killed before the play had even begun. The Hamlet’s father was killed by his brother dripping poison in his ear as he slept. The American people had a steady drip of poison into our collective ear before the pandemic began. That poison set in motion all that followed in the five acts of the play. In our time, that poison has affected all that has come since. The text is a crazy quilt arrangement of lines from Hamlet and my writing on repeating themes of fear, disease, Black Lives Matter, Asian hate crimes, the insurrection, so much death and isolation, and more. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773698046065-4K6JPZOZMO7C93MMYLVO/mcba-prize-2022-CB-Sherlock-A-Day-Elsewhere-1.jpg Entries & Jurors - 2022 Entries - CB Sherlock Minneapolis, Minnesota www.cbsherlock.org A Day elsewhere: Chateau Laréole 2021 Letterpress and relief printed collage in leather tooled clamshell 12″ x 9.25” x 1.25” …. 22″ open length Artist Statement CB Sherlock is a book artist and printmaker. Her work originated in themes of nature, community , belonging, and identity by combining lettered images, nature and unique book structures. CB creates work that refects the world around her, capturing the brilliant or harsh moments of nature, visually layering with text and image. She uses a recipe: add nature and lettered imagery with a fexible structure of the book, changing size, shape, and color. As a letterpress printer, paper engineer and book artist, CB creates small edition books, prints and one of a kind works of art. In book making she is able to use the intimacy, fexibility, movement through time and inter-active qualities of the book. Multiple techniques are engaged in the image making: hand painting, paper collaged, painterly printed. It all comes into formation from the inside out, frst the text block, then covers, slipcase or box. Some projects retain the familiarity of the book, other depart. Each one is to be touched, interactive, hand held, viewed and read. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773698045792-DDRS28MRV2RI4ZSQ9ACA/mcba-prize-2022-CB-Sherlock-A-Day-Elsewhere-2.jpg Entries & Jurors - 2022 Entries - CB Sherlock Minneapolis, Minnesota www.cbsherlock.org A Day elsewhere: Chateau Laréole 2021 Letterpress and relief printed collage in leather tooled clamshell 12″ x 9.25” x 1.25” …. 22″ open length Artist Statement CB Sherlock is a book artist and printmaker. Her work originated in themes of nature, community , belonging, and identity by combining lettered images, nature and unique book structures. CB creates work that refects the world around her, capturing the brilliant or harsh moments of nature, visually layering with text and image. She uses a recipe: add nature and lettered imagery with a fexible structure of the book, changing size, shape, and color. As a letterpress printer, paper engineer and book artist, CB creates small edition books, prints and one of a kind works of art. In book making she is able to use the intimacy, fexibility, movement through time and inter-active qualities of the book. Multiple techniques are engaged in the image making: hand painting, paper collaged, painterly printed. It all comes into formation from the inside out, frst the text block, then covers, slipcase or box. Some projects retain the familiarity of the book, other depart. Each one is to be touched, interactive, hand held, viewed and read. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773698047158-2HO4RLS67331K0I98DST/mcba-prize-2022-CB-Sherlock-A-Day-Elsewhere-3.jpg Entries & Jurors - 2022 Entries - CB Sherlock Minneapolis, Minnesota www.cbsherlock.org A Day elsewhere: Chateau Laréole 2021 Letterpress and relief printed collage in leather tooled clamshell 12″ x 9.25” x 1.25” …. 22″ open length Artist Statement CB Sherlock is a book artist and printmaker. Her work originated in themes of nature, community , belonging, and identity by combining lettered images, nature and unique book structures. CB creates work that refects the world around her, capturing the brilliant or harsh moments of nature, visually layering with text and image. She uses a recipe: add nature and lettered imagery with a fexible structure of the book, changing size, shape, and color. As a letterpress printer, paper engineer and book artist, CB creates small edition books, prints and one of a kind works of art. In book making she is able to use the intimacy, fexibility, movement through time and inter-active qualities of the book. Multiple techniques are engaged in the image making: hand painting, paper collaged, painterly printed. It all comes into formation from the inside out, frst the text block, then covers, slipcase or box. Some projects retain the familiarity of the book, other depart. Each one is to be touched, interactive, hand held, viewed and read. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773698047595-FVINMMI6IFMEDIKLUMLI/mcba-prize-2022-CB-Sherlock-A-Day-Elsewhere-4.jpg Entries & Jurors - 2022 Entries - CB Sherlock Minneapolis, Minnesota www.cbsherlock.org A Day elsewhere: Chateau Laréole 2021 Letterpress and relief printed collage in leather tooled clamshell 12″ x 9.25” x 1.25” …. 22″ open length Artist Statement CB Sherlock is a book artist and printmaker. Her work originated in themes of nature, community , belonging, and identity by combining lettered images, nature and unique book structures. CB creates work that refects the world around her, capturing the brilliant or harsh moments of nature, visually layering with text and image. She uses a recipe: add nature and lettered imagery with a fexible structure of the book, changing size, shape, and color. As a letterpress printer, paper engineer and book artist, CB creates small edition books, prints and one of a kind works of art. In book making she is able to use the intimacy, fexibility, movement through time and inter-active qualities of the book. Multiple techniques are engaged in the image making: hand painting, paper collaged, painterly printed. It all comes into formation from the inside out, frst the text block, then covers, slipcase or box. Some projects retain the familiarity of the book, other depart. Each one is to be touched, interactive, hand held, viewed and read. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773698048574-VFTLHEDKRZYO7993M3LJ/mcba-prize-2022-CB-Sherlock-A-Day-Elsewhere-5.jpg Entries & Jurors - 2022 Entries - CB Sherlock Minneapolis, Minnesota www.cbsherlock.org A Day elsewhere: Chateau Laréole 2021 Letterpress and relief printed collage in leather tooled clamshell 12″ x 9.25” x 1.25” …. 22″ open length Artist Statement CB Sherlock is a book artist and printmaker. Her work originated in themes of nature, community , belonging, and identity by combining lettered images, nature and unique book structures. CB creates work that refects the world around her, capturing the brilliant or harsh moments of nature, visually layering with text and image. She uses a recipe: add nature and lettered imagery with a fexible structure of the book, changing size, shape, and color. As a letterpress printer, paper engineer and book artist, CB creates small edition books, prints and one of a kind works of art. In book making she is able to use the intimacy, fexibility, movement through time and inter-active qualities of the book. Multiple techniques are engaged in the image making: hand painting, paper collaged, painterly printed. It all comes into formation from the inside out, frst the text block, then covers, slipcase or box. Some projects retain the familiarity of the book, other depart. Each one is to be touched, interactive, hand held, viewed and read. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773698170203-JIJLNZ9ZPIHQPWNCJKYZ/mcba-prize-2022-Kathryn-Blommel-The-Head-And-The-Heart-1.jpg Entries & Jurors - 2022 Entries - Kathryn Blommel Saint Cloud , Minnesota The Head and The Heart 2021 charcoal and acrylic paint 8.5 x 0.5 x 14 Artist Statement The Head and The Heart investigates the effects of mental illness on the victim as well the people around us. The book is concealed with ties that bind its stories together, almost like a diary that you want no one to read. Untying the book makes the reader hesitant and prone to feeling invasive on someone else’s story and trauma. Almost like they are reading something they shouldn’t be. The book explores the invisible side effects of mental illness that our society seems to leave unexpressed all too well. The book takes us on two different journeys. First, we see images that reference restaine and confinement joined with words and phrases of expression and admirable vulnerability. Throughout the reader’s journey they are interrupted with sections of the phrase “I wish you could see the world through my lens. For then you might come to understand.” This phrase enforces the reader to understand the intention of the writer and understand their pain and suffering further than before. When finished with the book the reader will wrap the ties around the pages concealing it once again, slightly different from when they found it. However, they will walk away with the intention of understanding what they will not come to know https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773698312393-03HUZ2KA1S9O0PYSO0I0/mcba-prize-2022-Christopher-Kardambikis-Terra-Nullius-1.jpg Entries & Jurors - 2022 Entries - Christopher Kardambikis Washington, District of Columbia https://www.kardambikis.com/terra-nullius-1 Terra Nullius 2020 artist’s book 10 inches x 7.5 inches x .05 inches Artist Statement Terra Nullius presents a drive through multiple, specific spaces. The first is the Rust Belt. The place of a small town, worn thin but cut with well-worn grooves by daily rituals. Grooves that carry a flow of memory and people that, in turn, carry a weight. The second space is speculative. A site in which one can rearrange and examine the component parts to conjure, if however briefly, possibilities. Rituals are re-enacted beyond the specific locations they were initially bound to. The relationship between Myth and Ritual forms a narrative link between what has happened and what is. We develop myths of spaces and how they are supposed to function. Myth as a story we drape over a place to overwrite a series of prescribed ideas and functions. To program a location and define systems within which people can move. Terra Nullius attempts to open up speculative spaces within an established architecture and a rusted out story. This is an act of curiosity, questioning how to rewrite places to perform new functions through the introduction of visual language and symbols. An attempt to make space for reinterpreting familiar lines and developing new Myths to carry forward. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773698310927-V1ODEK41LQ8MVSIIMPKN/mcba-prize-2022-Christopher-Kardambikis-Terra-Nullius-2.jpg Entries & Jurors - 2022 Entries - Christopher Kardambikis Washington, District of Columbia https://www.kardambikis.com/terra-nullius-1 Terra Nullius 2020 artist’s book 10 inches x 7.5 inches x .05 inches Artist Statement Terra Nullius presents a drive through multiple, specific spaces. The first is the Rust Belt. The place of a small town, worn thin but cut with well-worn grooves by daily rituals. Grooves that carry a flow of memory and people that, in turn, carry a weight. The second space is speculative. A site in which one can rearrange and examine the component parts to conjure, if however briefly, possibilities. Rituals are re-enacted beyond the specific locations they were initially bound to. The relationship between Myth and Ritual forms a narrative link between what has happened and what is. We develop myths of spaces and how they are supposed to function. Myth as a story we drape over a place to overwrite a series of prescribed ideas and functions. To program a location and define systems within which people can move. Terra Nullius attempts to open up speculative spaces within an established architecture and a rusted out story. This is an act of curiosity, questioning how to rewrite places to perform new functions through the introduction of visual language and symbols. An attempt to make space for reinterpreting familiar lines and developing new Myths to carry forward. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773698310885-X2EQTBA64USTV2EEO8B8/mcba-prize-2022-Christopher-Kardambikis-Terra-Nullius-3.jpg Entries & Jurors - 2022 Entries - Christopher Kardambikis Washington, District of Columbia https://www.kardambikis.com/terra-nullius-1 Terra Nullius 2020 artist’s book 10 inches x 7.5 inches x .05 inches Artist Statement Terra Nullius presents a drive through multiple, specific spaces. The first is the Rust Belt. The place of a small town, worn thin but cut with well-worn grooves by daily rituals. Grooves that carry a flow of memory and people that, in turn, carry a weight. The second space is speculative. A site in which one can rearrange and examine the component parts to conjure, if however briefly, possibilities. Rituals are re-enacted beyond the specific locations they were initially bound to. The relationship between Myth and Ritual forms a narrative link between what has happened and what is. We develop myths of spaces and how they are supposed to function. Myth as a story we drape over a place to overwrite a series of prescribed ideas and functions. To program a location and define systems within which people can move. Terra Nullius attempts to open up speculative spaces within an established architecture and a rusted out story. This is an act of curiosity, questioning how to rewrite places to perform new functions through the introduction of visual language and symbols. An attempt to make space for reinterpreting familiar lines and developing new Myths to carry forward. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773698308770-PZPQ72QN48BXM5O1CWJR/mcba-prize-2022-Christopher-Kardambikis-Terra-Nullius-4.jpg Entries & Jurors - 2022 Entries - Christopher Kardambikis Washington, District of Columbia https://www.kardambikis.com/terra-nullius-1 Terra Nullius 2020 artist’s book 10 inches x 7.5 inches x .05 inches Artist Statement Terra Nullius presents a drive through multiple, specific spaces. The first is the Rust Belt. The place of a small town, worn thin but cut with well-worn grooves by daily rituals. Grooves that carry a flow of memory and people that, in turn, carry a weight. The second space is speculative. A site in which one can rearrange and examine the component parts to conjure, if however briefly, possibilities. Rituals are re-enacted beyond the specific locations they were initially bound to. The relationship between Myth and Ritual forms a narrative link between what has happened and what is. We develop myths of spaces and how they are supposed to function. Myth as a story we drape over a place to overwrite a series of prescribed ideas and functions. To program a location and define systems within which people can move. Terra Nullius attempts to open up speculative spaces within an established architecture and a rusted out story. This is an act of curiosity, questioning how to rewrite places to perform new functions through the introduction of visual language and symbols. An attempt to make space for reinterpreting familiar lines and developing new Myths to carry forward. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773698308752-CX2R5WX1MGZ6D5FF7KP5/mcba-prize-2022-Christopher-Kardambikis-Terra-Nullius-5.jpg Entries & Jurors - 2022 Entries - Christopher Kardambikis Washington, District of Columbia https://www.kardambikis.com/terra-nullius-1 Terra Nullius 2020 artist’s book 10 inches x 7.5 inches x .05 inches Artist Statement Terra Nullius presents a drive through multiple, specific spaces. The first is the Rust Belt. The place of a small town, worn thin but cut with well-worn grooves by daily rituals. Grooves that carry a flow of memory and people that, in turn, carry a weight. The second space is speculative. A site in which one can rearrange and examine the component parts to conjure, if however briefly, possibilities. Rituals are re-enacted beyond the specific locations they were initially bound to. The relationship between Myth and Ritual forms a narrative link between what has happened and what is. We develop myths of spaces and how they are supposed to function. Myth as a story we drape over a place to overwrite a series of prescribed ideas and functions. To program a location and define systems within which people can move. Terra Nullius attempts to open up speculative spaces within an established architecture and a rusted out story. This is an act of curiosity, questioning how to rewrite places to perform new functions through the introduction of visual language and symbols. An attempt to make space for reinterpreting familiar lines and developing new Myths to carry forward. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773762830237-10RNGOVX19SIRJEYCAMS/mcba-prize-2022-Ellen-Knudson-Rule-Of-Thumb-2.jpg Entries & Jurors - 2022 Entries - Ellen Knudson Gainesville, Florida https://crookedletterpress.com/ Rule of Thumb 2020–2021 Letterpress printed artist’s book 11.5”H x 6.5”W x 2”D Artist Statement Rule of Thumb is a moveable artist’s book about social media (via the thumb!) The text of the book is a documentation of the historical human obsession with thumbs, with ourselves, with control, and with approval. In the last 10 years, we have become consumed with living online instead of actual living. We seem to only care about how many “thumbs up”, likes, or hearts we can accumulate on social media platforms. We practice a psychological social separation. We live virtual lives. Now, with the proliferation of the COVID-19 virus, we are living with the physical reality of “social-distancing”. How will we make it back? Can we make it back? Rule of Thumb considers the ways in which humans have used our thumbs to, at best, twist reality, and at worst, ruin ourselves. Rule of Thumb was written, designed, and produced by Ellen Knudson in Gainesville, Florida, 2020/2021. Printed on and constructed from Colorplan paper (350gsm, Natural). Letterpress printed from linoleum blocks, photopolymer plates, and metal types. The binding is a storage book structure with a concertina Tyvek spine hand-tinted with acrylic inks. The enclosure is a portfolio with soft flaps (made using directions by Peter D. Verheyen). Enclosure spine and book cover are foil stamped in matte black. 11.5”H x 6.5”W x 2”D Edition of 40 books https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773762828807-L03V0EQFMMT33NOFXJ4N/mcba-prize-2022-Ellen-Knudson-Rule-Of-Thumb-1.jpg Entries & Jurors - 2022 Entries - Ellen Knudson Gainesville, Florida https://crookedletterpress.com/ Rule of Thumb 2020–2021 Letterpress printed artist’s book 11.5”H x 6.5”W x 2”D Artist Statement Rule of Thumb is a moveable artist’s book about social media (via the thumb!) The text of the book is a documentation of the historical human obsession with thumbs, with ourselves, with control, and with approval. In the last 10 years, we have become consumed with living online instead of actual living. We seem to only care about how many “thumbs up”, likes, or hearts we can accumulate on social media platforms. We practice a psychological social separation. We live virtual lives. Now, with the proliferation of the COVID-19 virus, we are living with the physical reality of “social-distancing”. How will we make it back? Can we make it back? Rule of Thumb considers the ways in which humans have used our thumbs to, at best, twist reality, and at worst, ruin ourselves. Rule of Thumb was written, designed, and produced by Ellen Knudson in Gainesville, Florida, 2020/2021. Printed on and constructed from Colorplan paper (350gsm, Natural). Letterpress printed from linoleum blocks, photopolymer plates, and metal types. The binding is a storage book structure with a concertina Tyvek spine hand-tinted with acrylic inks. The enclosure is a portfolio with soft flaps (made using directions by Peter D. Verheyen). Enclosure spine and book cover are foil stamped in matte black. 11.5”H x 6.5”W x 2”D Edition of 40 books https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773762828142-E22JFSTAM7C8YWLM756S/mcba-prize-2022-Ellen-Knudson-Rule-Of-Thumb-5.jpg Entries & Jurors - 2022 Entries - Ellen Knudson Gainesville, Florida https://crookedletterpress.com/ Rule of Thumb 2020–2021 Letterpress printed artist’s book 11.5”H x 6.5”W x 2”D Artist Statement Rule of Thumb is a moveable artist’s book about social media (via the thumb!) The text of the book is a documentation of the historical human obsession with thumbs, with ourselves, with control, and with approval. In the last 10 years, we have become consumed with living online instead of actual living. We seem to only care about how many “thumbs up”, likes, or hearts we can accumulate on social media platforms. We practice a psychological social separation. We live virtual lives. Now, with the proliferation of the COVID-19 virus, we are living with the physical reality of “social-distancing”. How will we make it back? Can we make it back? Rule of Thumb considers the ways in which humans have used our thumbs to, at best, twist reality, and at worst, ruin ourselves. Rule of Thumb was written, designed, and produced by Ellen Knudson in Gainesville, Florida, 2020/2021. Printed on and constructed from Colorplan paper (350gsm, Natural). Letterpress printed from linoleum blocks, photopolymer plates, and metal types. The binding is a storage book structure with a concertina Tyvek spine hand-tinted with acrylic inks. The enclosure is a portfolio with soft flaps (made using directions by Peter D. Verheyen). Enclosure spine and book cover are foil stamped in matte black. 11.5”H x 6.5”W x 2”D Edition of 40 books https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773762826209-0WS1GQC0TSIL2KRV6XB7/mcba-prize-2022-Ellen-Knudson-Rule-Of-Thumb-4.jpg Entries & Jurors - 2022 Entries - Ellen Knudson Gainesville, Florida https://crookedletterpress.com/ Rule of Thumb 2020–2021 Letterpress printed artist’s book 11.5”H x 6.5”W x 2”D Artist Statement Rule of Thumb is a moveable artist’s book about social media (via the thumb!) The text of the book is a documentation of the historical human obsession with thumbs, with ourselves, with control, and with approval. In the last 10 years, we have become consumed with living online instead of actual living. We seem to only care about how many “thumbs up”, likes, or hearts we can accumulate on social media platforms. We practice a psychological social separation. We live virtual lives. Now, with the proliferation of the COVID-19 virus, we are living with the physical reality of “social-distancing”. How will we make it back? Can we make it back? Rule of Thumb considers the ways in which humans have used our thumbs to, at best, twist reality, and at worst, ruin ourselves. Rule of Thumb was written, designed, and produced by Ellen Knudson in Gainesville, Florida, 2020/2021. Printed on and constructed from Colorplan paper (350gsm, Natural). Letterpress printed from linoleum blocks, photopolymer plates, and metal types. The binding is a storage book structure with a concertina Tyvek spine hand-tinted with acrylic inks. The enclosure is a portfolio with soft flaps (made using directions by Peter D. Verheyen). Enclosure spine and book cover are foil stamped in matte black. 11.5”H x 6.5”W x 2”D Edition of 40 books https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773762826439-KKF2EUV9SC052AM7J8FS/mcba-prize-2022-Ellen-Knudson-Rule-Of-Thumb-3.jpg Entries & Jurors - 2022 Entries - Ellen Knudson Gainesville, Florida https://crookedletterpress.com/ Rule of Thumb 2020–2021 Letterpress printed artist’s book 11.5”H x 6.5”W x 2”D Artist Statement Rule of Thumb is a moveable artist’s book about social media (via the thumb!) The text of the book is a documentation of the historical human obsession with thumbs, with ourselves, with control, and with approval. In the last 10 years, we have become consumed with living online instead of actual living. We seem to only care about how many “thumbs up”, likes, or hearts we can accumulate on social media platforms. We practice a psychological social separation. We live virtual lives. Now, with the proliferation of the COVID-19 virus, we are living with the physical reality of “social-distancing”. How will we make it back? Can we make it back? Rule of Thumb considers the ways in which humans have used our thumbs to, at best, twist reality, and at worst, ruin ourselves. Rule of Thumb was written, designed, and produced by Ellen Knudson in Gainesville, Florida, 2020/2021. Printed on and constructed from Colorplan paper (350gsm, Natural). Letterpress printed from linoleum blocks, photopolymer plates, and metal types. The binding is a storage book structure with a concertina Tyvek spine hand-tinted with acrylic inks. The enclosure is a portfolio with soft flaps (made using directions by Peter D. Verheyen). Enclosure spine and book cover are foil stamped in matte black. 11.5”H x 6.5”W x 2”D Edition of 40 books https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763004537-EWW4SFBVPVUHJPFNLNJO/mcba-prize-2022-Gallizzi-Eva-Around-the-world-5.jpg Entries & Jurors - 2022 Entries - Gallizzi Eva Zuerich, Switzerland https://www.evagallizzi.com around the world 2022 handmade narrow, light book with folding spine. Various unique papers printed with woodcuts. The motifs are self cut and printed from my sketches 74.8 x 9.8 x 118 inches Artist Statement This book is very modestly designed. It is a pure paper book. I worked only with special papers. The folding spine is made of French Canson paper. The book cover is a rarity. It is one of the first tiger papers made by the women of Nagpur, in the heart of India the present tiger reserve. The real recycled paper has inspired me to this work. The actual book pages are made of a special Lamali paper, which I was able to buy in France as a single sheet. As well, the short texts, were printed by me with wooden letters, on a thin Lamali paper. The woodcuts are results of sketches from my travels to America, France, Germany and to the Unesco World Heritage Schattenhalb in Switzerland. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763003585-EUC5E69TS8SJG25W1MLU/mcba-prize-2022-Gallizzi-Eva-Around-the-world-4.jpg Entries & Jurors - 2022 Entries - Gallizzi Eva Zuerich, Switzerland https://www.evagallizzi.com around the world 2022 handmade narrow, light book with folding spine. Various unique papers printed with woodcuts. The motifs are self cut and printed from my sketches 74.8 x 9.8 x 118 inches Artist Statement This book is very modestly designed. It is a pure paper book. I worked only with special papers. The folding spine is made of French Canson paper. The book cover is a rarity. It is one of the first tiger papers made by the women of Nagpur, in the heart of India the present tiger reserve. The real recycled paper has inspired me to this work. The actual book pages are made of a special Lamali paper, which I was able to buy in France as a single sheet. As well, the short texts, were printed by me with wooden letters, on a thin Lamali paper. The woodcuts are results of sketches from my travels to America, France, Germany and to the Unesco World Heritage Schattenhalb in Switzerland. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763003269-GDWCE8472RESX0KPI05P/mcba-prize-2022-Gallizzi-Eva-Around-the-world-3.jpg Entries & Jurors - 2022 Entries - Gallizzi Eva Zuerich, Switzerland https://www.evagallizzi.com around the world 2022 handmade narrow, light book with folding spine. Various unique papers printed with woodcuts. The motifs are self cut and printed from my sketches 74.8 x 9.8 x 118 inches Artist Statement This book is very modestly designed. It is a pure paper book. I worked only with special papers. The folding spine is made of French Canson paper. The book cover is a rarity. It is one of the first tiger papers made by the women of Nagpur, in the heart of India the present tiger reserve. The real recycled paper has inspired me to this work. The actual book pages are made of a special Lamali paper, which I was able to buy in France as a single sheet. As well, the short texts, were printed by me with wooden letters, on a thin Lamali paper. The woodcuts are results of sketches from my travels to America, France, Germany and to the Unesco World Heritage Schattenhalb in Switzerland. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763001942-3DRRLVVODGOTV82Q29RX/mcba-prize-2022-Gallizzi-Eva-Around-the-world-2.jpg Entries & Jurors - 2022 Entries - Gallizzi Eva Zuerich, Switzerland https://www.evagallizzi.com around the world 2022 handmade narrow, light book with folding spine. Various unique papers printed with woodcuts. The motifs are self cut and printed from my sketches 74.8 x 9.8 x 118 inches Artist Statement This book is very modestly designed. It is a pure paper book. I worked only with special papers. The folding spine is made of French Canson paper. The book cover is a rarity. It is one of the first tiger papers made by the women of Nagpur, in the heart of India the present tiger reserve. The real recycled paper has inspired me to this work. The actual book pages are made of a special Lamali paper, which I was able to buy in France as a single sheet. As well, the short texts, were printed by me with wooden letters, on a thin Lamali paper. The woodcuts are results of sketches from my travels to America, France, Germany and to the Unesco World Heritage Schattenhalb in Switzerland. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763001862-AKIBVTOLQFS4MFIPCFTP/mcba-prize-2022-Gallizzi-Eva-Around-the-world-1.jpg Entries & Jurors - 2022 Entries - Gallizzi Eva Zuerich, Switzerland https://www.evagallizzi.com around the world 2022 handmade narrow, light book with folding spine. Various unique papers printed with woodcuts. The motifs are self cut and printed from my sketches 74.8 x 9.8 x 118 inches Artist Statement This book is very modestly designed. It is a pure paper book. I worked only with special papers. The folding spine is made of French Canson paper. The book cover is a rarity. It is one of the first tiger papers made by the women of Nagpur, in the heart of India the present tiger reserve. The real recycled paper has inspired me to this work. The actual book pages are made of a special Lamali paper, which I was able to buy in France as a single sheet. As well, the short texts, were printed by me with wooden letters, on a thin Lamali paper. The woodcuts are results of sketches from my travels to America, France, Germany and to the Unesco World Heritage Schattenhalb in Switzerland. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763166215-RT9Z9AVKX0SUM9O5OYEW/mcba-prize-2022-Sarah-Hulsey-Speech-Patterns-5.jpg Entries & Jurors - 2022 Entries - Sarah Hulsey Somerville, MA, Massachusetts www.sarahhulsey.com Speech Patterns 2022 letterpress from polymer plates, die cutting, etching 5″ x 6″ x ⅜” (closed), 5″ x 48″ (open) Artist Statement My work draws on my background in linguistics to explore the structure of language in a visual domain. I am interested in ways to draw the viewer’s attention to the patterns and rules underlying language which we use effortlessly (and entirely unconsciously) when we speak. Speech Patterns employs schematic shapes to represent tacitly known rules of language. Printed background patterns hint at our large reservoir of lexical knowledge, while die cut and printed shapes suggest patterns within all languages. Openings mask and reveal excerpts of the text or patterns below, giving a tangible analogy to the rules that generate everyday speech patterns. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763166273-S0RMRB42CHF8VA6T0Q1K/mcba-prize-2022-Sarah-Hulsey-Speech-Patterns-4.jpg Entries & Jurors - 2022 Entries - Sarah Hulsey Somerville, MA, Massachusetts www.sarahhulsey.com Speech Patterns 2022 letterpress from polymer plates, die cutting, etching 5″ x 6″ x ⅜” (closed), 5″ x 48″ (open) Artist Statement My work draws on my background in linguistics to explore the structure of language in a visual domain. I am interested in ways to draw the viewer’s attention to the patterns and rules underlying language which we use effortlessly (and entirely unconsciously) when we speak. Speech Patterns employs schematic shapes to represent tacitly known rules of language. Printed background patterns hint at our large reservoir of lexical knowledge, while die cut and printed shapes suggest patterns within all languages. Openings mask and reveal excerpts of the text or patterns below, giving a tangible analogy to the rules that generate everyday speech patterns. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763167720-OXENHRSYQ54HQYVIUHO7/mcba-prize-2022-Sarah-Hulsey-Speech-Patterns-3.jpg Entries & Jurors - 2022 Entries - Sarah Hulsey Somerville, MA, Massachusetts www.sarahhulsey.com Speech Patterns 2022 letterpress from polymer plates, die cutting, etching 5″ x 6″ x ⅜” (closed), 5″ x 48″ (open) Artist Statement My work draws on my background in linguistics to explore the structure of language in a visual domain. I am interested in ways to draw the viewer’s attention to the patterns and rules underlying language which we use effortlessly (and entirely unconsciously) when we speak. Speech Patterns employs schematic shapes to represent tacitly known rules of language. Printed background patterns hint at our large reservoir of lexical knowledge, while die cut and printed shapes suggest patterns within all languages. Openings mask and reveal excerpts of the text or patterns below, giving a tangible analogy to the rules that generate everyday speech patterns. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763168130-6U5RJDG8XEJ3M1RL1BRO/mcba-prize-2022-Sarah-Hulsey-Speech-Patterns-2.jpg Entries & Jurors - 2022 Entries - Sarah Hulsey Somerville, MA, Massachusetts www.sarahhulsey.com Speech Patterns 2022 letterpress from polymer plates, die cutting, etching 5″ x 6″ x ⅜” (closed), 5″ x 48″ (open) Artist Statement My work draws on my background in linguistics to explore the structure of language in a visual domain. I am interested in ways to draw the viewer’s attention to the patterns and rules underlying language which we use effortlessly (and entirely unconsciously) when we speak. Speech Patterns employs schematic shapes to represent tacitly known rules of language. Printed background patterns hint at our large reservoir of lexical knowledge, while die cut and printed shapes suggest patterns within all languages. Openings mask and reveal excerpts of the text or patterns below, giving a tangible analogy to the rules that generate everyday speech patterns. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763169315-GAS9PVU8FRUW23WVW5AQ/mcba-prize-2022-Sarah-Hulsey-Speech-Patterns-1.jpg Entries & Jurors - 2022 Entries - Sarah Hulsey Somerville, MA, Massachusetts www.sarahhulsey.com Speech Patterns 2022 letterpress from polymer plates, die cutting, etching 5″ x 6″ x ⅜” (closed), 5″ x 48″ (open) Artist Statement My work draws on my background in linguistics to explore the structure of language in a visual domain. I am interested in ways to draw the viewer’s attention to the patterns and rules underlying language which we use effortlessly (and entirely unconsciously) when we speak. Speech Patterns employs schematic shapes to represent tacitly known rules of language. Printed background patterns hint at our large reservoir of lexical knowledge, while die cut and printed shapes suggest patterns within all languages. Openings mask and reveal excerpts of the text or patterns below, giving a tangible analogy to the rules that generate everyday speech patterns. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763413094-8CP6FUK634O6L9S6VK11/mcba-prize-2022-Santiago-Robles-Codice-Starbucksian-5.jpg Entries & Jurors - 2022 Entries - Santiago Robles Mexico City, https://www.santiagorobles.info/ Códice Starbuckstlán 2018 Grana cochineal dye and acrylic paint on handmade paper made by Arte Papel Vista Hermosa, Oaxaca. 22 sheets of 9 x 15 in each. Total size: 9 x 330 in. Artist Statement As an artist what motivates my work is the search for spaces in which relationships are established as horizontally as possible between the individuals who collaborate in the projects and those who will coexist daily with the pieces in the public environment. In the words of Claire Bishop, art should emerge from common interests that do not mask a conflict of individualization instead of confronting and exposing it, but open us to the critical experience of being together, even if this is sometimes strange, elusive or even annoying. To achieve this, one alternative is to take up again some characteristic elements of the sense of communality – described by Floriberto Díaz Gómez – such as consensus in assembly for decision-making, free service as an exercise of authority, collective work as an act of recreation and artistic practices as an expression of the communal gift. This contributes to blur the hermeticism that sometimes separates contemporary art from the public and, at the same time, experiences can be developed that allow us to move in the opposite direction to the dehumanization, fragmentation and individualization that are so characteristic of our times. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763413782-RSQCHFW3EO3Y6X9KXLRQ/mcba-prize-2022-Santiago-Robles-Codice-Starbucksian-4.jpg Entries & Jurors - 2022 Entries - Santiago Robles Mexico City, https://www.santiagorobles.info/ Códice Starbuckstlán 2018 Grana cochineal dye and acrylic paint on handmade paper made by Arte Papel Vista Hermosa, Oaxaca. 22 sheets of 9 x 15 in each. Total size: 9 x 330 in. Artist Statement As an artist what motivates my work is the search for spaces in which relationships are established as horizontally as possible between the individuals who collaborate in the projects and those who will coexist daily with the pieces in the public environment. In the words of Claire Bishop, art should emerge from common interests that do not mask a conflict of individualization instead of confronting and exposing it, but open us to the critical experience of being together, even if this is sometimes strange, elusive or even annoying. To achieve this, one alternative is to take up again some characteristic elements of the sense of communality – described by Floriberto Díaz Gómez – such as consensus in assembly for decision-making, free service as an exercise of authority, collective work as an act of recreation and artistic practices as an expression of the communal gift. This contributes to blur the hermeticism that sometimes separates contemporary art from the public and, at the same time, experiences can be developed that allow us to move in the opposite direction to the dehumanization, fragmentation and individualization that are so characteristic of our times. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763415955-Z604WATC58JOOKURBSQ8/mcba-prize-2022-Santiago-Robles-Codice-Starbucksian-3.jpg Entries & Jurors - 2022 Entries - Santiago Robles Mexico City, https://www.santiagorobles.info/ Códice Starbuckstlán 2018 Grana cochineal dye and acrylic paint on handmade paper made by Arte Papel Vista Hermosa, Oaxaca. 22 sheets of 9 x 15 in each. Total size: 9 x 330 in. Artist Statement As an artist what motivates my work is the search for spaces in which relationships are established as horizontally as possible between the individuals who collaborate in the projects and those who will coexist daily with the pieces in the public environment. In the words of Claire Bishop, art should emerge from common interests that do not mask a conflict of individualization instead of confronting and exposing it, but open us to the critical experience of being together, even if this is sometimes strange, elusive or even annoying. To achieve this, one alternative is to take up again some characteristic elements of the sense of communality – described by Floriberto Díaz Gómez – such as consensus in assembly for decision-making, free service as an exercise of authority, collective work as an act of recreation and artistic practices as an expression of the communal gift. This contributes to blur the hermeticism that sometimes separates contemporary art from the public and, at the same time, experiences can be developed that allow us to move in the opposite direction to the dehumanization, fragmentation and individualization that are so characteristic of our times. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763416714-TMMW8TONLIV0VPAYKDGX/mcba-prize-2022-Santiago-Robles-Codice-Starbucksian-2.jpg Entries & Jurors - 2022 Entries - Santiago Robles Mexico City, https://www.santiagorobles.info/ Códice Starbuckstlán 2018 Grana cochineal dye and acrylic paint on handmade paper made by Arte Papel Vista Hermosa, Oaxaca. 22 sheets of 9 x 15 in each. Total size: 9 x 330 in. Artist Statement As an artist what motivates my work is the search for spaces in which relationships are established as horizontally as possible between the individuals who collaborate in the projects and those who will coexist daily with the pieces in the public environment. In the words of Claire Bishop, art should emerge from common interests that do not mask a conflict of individualization instead of confronting and exposing it, but open us to the critical experience of being together, even if this is sometimes strange, elusive or even annoying. To achieve this, one alternative is to take up again some characteristic elements of the sense of communality – described by Floriberto Díaz Gómez – such as consensus in assembly for decision-making, free service as an exercise of authority, collective work as an act of recreation and artistic practices as an expression of the communal gift. This contributes to blur the hermeticism that sometimes separates contemporary art from the public and, at the same time, experiences can be developed that allow us to move in the opposite direction to the dehumanization, fragmentation and individualization that are so characteristic of our times. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763418085-YMN6PVH3YW06W0TU53MU/mcba-prize-2022-Santiago-Robles-Codice-Starbucksian-1.jpeg Entries & Jurors - 2022 Entries - Santiago Robles Mexico City, https://www.santiagorobles.info/ Códice Starbuckstlán 2018 Grana cochineal dye and acrylic paint on handmade paper made by Arte Papel Vista Hermosa, Oaxaca. 22 sheets of 9 x 15 in each. Total size: 9 x 330 in. Artist Statement As an artist what motivates my work is the search for spaces in which relationships are established as horizontally as possible between the individuals who collaborate in the projects and those who will coexist daily with the pieces in the public environment. In the words of Claire Bishop, art should emerge from common interests that do not mask a conflict of individualization instead of confronting and exposing it, but open us to the critical experience of being together, even if this is sometimes strange, elusive or even annoying. To achieve this, one alternative is to take up again some characteristic elements of the sense of communality – described by Floriberto Díaz Gómez – such as consensus in assembly for decision-making, free service as an exercise of authority, collective work as an act of recreation and artistic practices as an expression of the communal gift. This contributes to blur the hermeticism that sometimes separates contemporary art from the public and, at the same time, experiences can be developed that allow us to move in the opposite direction to the dehumanization, fragmentation and individualization that are so characteristic of our times. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763562512-TMT01G1UACFXJEQWCCIC/mcba-prize-2022-Ann-Mansolino-Glacial-Time-Glacial-Stillness5.jpg Entries & Jurors - 2022 Entries - Ann Mansolino Blairmore, Alberta www.annmansolino.com Glacial Time, Glacial Stillness 2021 Archival inkjet prints, drum leaf binding, perfect binding, drop spine clamshell box Each book: 3.5 x 6 x 0.5” Box: 7 x 4.25 x 2” Artist Statement Glacial Time, Glacial Stillness was created in response to an artist residency in Glacier National Park in Montana. It provides a visual representation of glacial recession due to global warming, and also explores the loss of the park’s glaciers as a metaphor for understanding time, change, and loss in our own lives. Glacial Time, Glacial Stillness consists of a drop spine clamshell box containing three small books. The two perfect bound flipbooks illustrate the process of glacial recession for two of the park’s main glaciers (Grinnell Glacier and Sperry Glacier) between 1850 and the present. Each book contains 40 sequential glacial perimeters of increasingly diminished area, allowing for a clear depiction (through flipbook animation) of the substantial loss of the park’s glacial ice during the past 160 years. These glacial perimeter maps are derived from US Geological Survey scientific datasets. The additional drum leaf bound book, carries forward both the work’s title, Glacial Time, Glacial Stillness, and the metaphorical content of the work. It contains photographs of melting glaciers (with an emphasis on close up and abstract views of ice) within the park that I visited during my residency, accompanied by text that metaphorically explores ideas of how time is understood differently when represented as still images or as a continuous flow, both in our own lives and in relation to the loss of glacial ice. The book’s text provides a way of understanding change, possibility, and loss within our own lives, and suggests that by taking the time to closely observe, record, and reflect upon the glaciated features of the natural world, we can learn to see ourselves and the land as components of a larger whole, and to respect and preserve the world we are a part of. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763562509-7HZO1JRGFM8DSH4BOY2Q/mcba-prize-2022-Ann-Mansolino-Glacial-Time-Glacial-Stillness4.jpg Entries & Jurors - 2022 Entries - Ann Mansolino Blairmore, Alberta www.annmansolino.com Glacial Time, Glacial Stillness 2021 Archival inkjet prints, drum leaf binding, perfect binding, drop spine clamshell box Each book: 3.5 x 6 x 0.5” Box: 7 x 4.25 x 2” Artist Statement Glacial Time, Glacial Stillness was created in response to an artist residency in Glacier National Park in Montana. It provides a visual representation of glacial recession due to global warming, and also explores the loss of the park’s glaciers as a metaphor for understanding time, change, and loss in our own lives. Glacial Time, Glacial Stillness consists of a drop spine clamshell box containing three small books. The two perfect bound flipbooks illustrate the process of glacial recession for two of the park’s main glaciers (Grinnell Glacier and Sperry Glacier) between 1850 and the present. Each book contains 40 sequential glacial perimeters of increasingly diminished area, allowing for a clear depiction (through flipbook animation) of the substantial loss of the park’s glacial ice during the past 160 years. These glacial perimeter maps are derived from US Geological Survey scientific datasets. The additional drum leaf bound book, carries forward both the work’s title, Glacial Time, Glacial Stillness, and the metaphorical content of the work. It contains photographs of melting glaciers (with an emphasis on close up and abstract views of ice) within the park that I visited during my residency, accompanied by text that metaphorically explores ideas of how time is understood differently when represented as still images or as a continuous flow, both in our own lives and in relation to the loss of glacial ice. The book’s text provides a way of understanding change, possibility, and loss within our own lives, and suggests that by taking the time to closely observe, record, and reflect upon the glaciated features of the natural world, we can learn to see ourselves and the land as components of a larger whole, and to respect and preserve the world we are a part of. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763564878-2IDXM0KU677HHFXGB3LY/mcba-prize-2022-Ann-Mansolino-Glacial-Time-Glacial-Stillness3.jpg Entries & Jurors - 2022 Entries - Ann Mansolino Blairmore, Alberta www.annmansolino.com Glacial Time, Glacial Stillness 2021 Archival inkjet prints, drum leaf binding, perfect binding, drop spine clamshell box Each book: 3.5 x 6 x 0.5” Box: 7 x 4.25 x 2” Artist Statement Glacial Time, Glacial Stillness was created in response to an artist residency in Glacier National Park in Montana. It provides a visual representation of glacial recession due to global warming, and also explores the loss of the park’s glaciers as a metaphor for understanding time, change, and loss in our own lives. Glacial Time, Glacial Stillness consists of a drop spine clamshell box containing three small books. The two perfect bound flipbooks illustrate the process of glacial recession for two of the park’s main glaciers (Grinnell Glacier and Sperry Glacier) between 1850 and the present. Each book contains 40 sequential glacial perimeters of increasingly diminished area, allowing for a clear depiction (through flipbook animation) of the substantial loss of the park’s glacial ice during the past 160 years. These glacial perimeter maps are derived from US Geological Survey scientific datasets. The additional drum leaf bound book, carries forward both the work’s title, Glacial Time, Glacial Stillness, and the metaphorical content of the work. It contains photographs of melting glaciers (with an emphasis on close up and abstract views of ice) within the park that I visited during my residency, accompanied by text that metaphorically explores ideas of how time is understood differently when represented as still images or as a continuous flow, both in our own lives and in relation to the loss of glacial ice. The book’s text provides a way of understanding change, possibility, and loss within our own lives, and suggests that by taking the time to closely observe, record, and reflect upon the glaciated features of the natural world, we can learn to see ourselves and the land as components of a larger whole, and to respect and preserve the world we are a part of. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763564867-HC85ZP14EFQRJCCY36JS/mcba-prize-2022-Ann-Mansolino-Glacial-Time-Glacial-Stillness2.jpg Entries & Jurors - 2022 Entries - Ann Mansolino Blairmore, Alberta www.annmansolino.com Glacial Time, Glacial Stillness 2021 Archival inkjet prints, drum leaf binding, perfect binding, drop spine clamshell box Each book: 3.5 x 6 x 0.5” Box: 7 x 4.25 x 2” Artist Statement Glacial Time, Glacial Stillness was created in response to an artist residency in Glacier National Park in Montana. It provides a visual representation of glacial recession due to global warming, and also explores the loss of the park’s glaciers as a metaphor for understanding time, change, and loss in our own lives. Glacial Time, Glacial Stillness consists of a drop spine clamshell box containing three small books. The two perfect bound flipbooks illustrate the process of glacial recession for two of the park’s main glaciers (Grinnell Glacier and Sperry Glacier) between 1850 and the present. Each book contains 40 sequential glacial perimeters of increasingly diminished area, allowing for a clear depiction (through flipbook animation) of the substantial loss of the park’s glacial ice during the past 160 years. These glacial perimeter maps are derived from US Geological Survey scientific datasets. The additional drum leaf bound book, carries forward both the work’s title, Glacial Time, Glacial Stillness, and the metaphorical content of the work. It contains photographs of melting glaciers (with an emphasis on close up and abstract views of ice) within the park that I visited during my residency, accompanied by text that metaphorically explores ideas of how time is understood differently when represented as still images or as a continuous flow, both in our own lives and in relation to the loss of glacial ice. The book’s text provides a way of understanding change, possibility, and loss within our own lives, and suggests that by taking the time to closely observe, record, and reflect upon the glaciated features of the natural world, we can learn to see ourselves and the land as components of a larger whole, and to respect and preserve the world we are a part of. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763566162-7NR0U8EI2P6YOYXG11V3/mcba-prize-2022-Ann-Mansolino-Glacial-Time-Glacial-Stillness1.jpg Entries & Jurors - 2022 Entries - Ann Mansolino Blairmore, Alberta www.annmansolino.com Glacial Time, Glacial Stillness 2021 Archival inkjet prints, drum leaf binding, perfect binding, drop spine clamshell box Each book: 3.5 x 6 x 0.5” Box: 7 x 4.25 x 2” Artist Statement Glacial Time, Glacial Stillness was created in response to an artist residency in Glacier National Park in Montana. It provides a visual representation of glacial recession due to global warming, and also explores the loss of the park’s glaciers as a metaphor for understanding time, change, and loss in our own lives. Glacial Time, Glacial Stillness consists of a drop spine clamshell box containing three small books. The two perfect bound flipbooks illustrate the process of glacial recession for two of the park’s main glaciers (Grinnell Glacier and Sperry Glacier) between 1850 and the present. Each book contains 40 sequential glacial perimeters of increasingly diminished area, allowing for a clear depiction (through flipbook animation) of the substantial loss of the park’s glacial ice during the past 160 years. These glacial perimeter maps are derived from US Geological Survey scientific datasets. The additional drum leaf bound book, carries forward both the work’s title, Glacial Time, Glacial Stillness, and the metaphorical content of the work. It contains photographs of melting glaciers (with an emphasis on close up and abstract views of ice) within the park that I visited during my residency, accompanied by text that metaphorically explores ideas of how time is understood differently when represented as still images or as a continuous flow, both in our own lives and in relation to the loss of glacial ice. The book’s text provides a way of understanding change, possibility, and loss within our own lives, and suggests that by taking the time to closely observe, record, and reflect upon the glaciated features of the natural world, we can learn to see ourselves and the land as components of a larger whole, and to respect and preserve the world we are a part of. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763789907-S7TWIMMD3BIGNYK75AUS/mcba-prize-2022-Bela-Limenes-Geisha-5.jpg Entries & Jurors - 2022 Entries - Bela Limenes Cuernavaca, Mexico belalimenes.blogspot.com Geisha 2018 photography 10.43 x 6.88 x .39 Artist Statement My work deals with the image and representation of women in different cultures, to analyze beauty stereotypes. This book has original geisha photographs from the early 20th century, manipulated, to show the preparation ritual and the women seen as object of desire. The book is made with a piece of silk from a real kimono and I have shaped it as if it were a kimono. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763789787-MPCYY9XDITXUHZVHG6IL/mcba-prize-2022-Bela-Limenes-Geisha-4.jpg Entries & Jurors - 2022 Entries - Bela Limenes Cuernavaca, Mexico belalimenes.blogspot.com Geisha 2018 photography 10.43 x 6.88 x .39 Artist Statement My work deals with the image and representation of women in different cultures, to analyze beauty stereotypes. This book has original geisha photographs from the early 20th century, manipulated, to show the preparation ritual and the women seen as object of desire. The book is made with a piece of silk from a real kimono and I have shaped it as if it were a kimono. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763791006-5HBS5LPFCBQY9TVD0ZVW/mcba-prize-2022-Bela-Limenes-Geisha-3.jpg Entries & Jurors - 2022 Entries - Bela Limenes Cuernavaca, Mexico belalimenes.blogspot.com Geisha 2018 photography 10.43 x 6.88 x .39 Artist Statement My work deals with the image and representation of women in different cultures, to analyze beauty stereotypes. This book has original geisha photographs from the early 20th century, manipulated, to show the preparation ritual and the women seen as object of desire. The book is made with a piece of silk from a real kimono and I have shaped it as if it were a kimono. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763791425-KNY8YTRR3TTFU3C4HTY9/mcba-prize-2022-Bela-Limenes-Geisha-2.jpg Entries & Jurors - 2022 Entries - Bela Limenes Cuernavaca, Mexico belalimenes.blogspot.com Geisha 2018 photography 10.43 x 6.88 x .39 Artist Statement My work deals with the image and representation of women in different cultures, to analyze beauty stereotypes. This book has original geisha photographs from the early 20th century, manipulated, to show the preparation ritual and the women seen as object of desire. The book is made with a piece of silk from a real kimono and I have shaped it as if it were a kimono. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763792253-4L7A2SEELJ5W1LWNN9U6/mcba-prize-2022-Bela-Limenes-Geisha-1.jpg Entries & Jurors - 2022 Entries - Bela Limenes Cuernavaca, Mexico belalimenes.blogspot.com Geisha 2018 photography 10.43 x 6.88 x .39 Artist Statement My work deals with the image and representation of women in different cultures, to analyze beauty stereotypes. This book has original geisha photographs from the early 20th century, manipulated, to show the preparation ritual and the women seen as object of desire. The book is made with a piece of silk from a real kimono and I have shaped it as if it were a kimono. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763977514-457JAPMFMWGJP49RI6RS/mcba-prize-2022-Magdalena-Cordero-Memento-Mori-1.jpg Entries & Jurors - 2022 Entries - Magdalena Cordero Santiago, Chile www.codapress.cl Memento Mori 2021 Embroidery on paper 4 5/8x 7 2/8 x 1 3/16 in. Artist Statement Magdalena´s themes for her artwork are concepts such as memory, landscapes, and travels, but literature is also an inspiration. Her artwork is based principally on painting, drawing and printmaking. Her art combines these three techniques in order to produce innovated new outcomes. But she also likes to learn and try other medias as well, such as collage, hand paper cutting, embroidery, etc. Mixing them and creating a new image is what keep her inspire. There are always some elements of chance that lead her to discoveries and gives a different point of view to her work –she likes to take advantage of them. Her first studies were in painting; melding that to other media such as printmaking, and book arts gives her the chance to create interesting results, and a better method on what she wants to produce in a final work or image. Memento Mori is a book based in Greek mythology, the Moirai. Three sisters who manage the life and destiny of humans with a thread of life. The artist creates the images with the concept of the thread going around the book and the binding, so the book is completely made with embroidery on paper. The text is handwritten. The idea of this work appeared in the middle of the pandemic, while studying diverse ideas for different projects, the concept of death and it forms was frequently explored. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763972639-NYUV9PP6Z4Z4JQ9P5HLX/mcba-prize-2022-Magdalena-Cordero-Memento-Mori-5.jpg Entries & Jurors - 2022 Entries - Magdalena Cordero Santiago, Chile www.codapress.cl Memento Mori 2021 Embroidery on paper 4 5/8x 7 2/8 x 1 3/16 in. Artist Statement Magdalena´s themes for her artwork are concepts such as memory, landscapes, and travels, but literature is also an inspiration. Her artwork is based principally on painting, drawing and printmaking. Her art combines these three techniques in order to produce innovated new outcomes. But she also likes to learn and try other medias as well, such as collage, hand paper cutting, embroidery, etc. Mixing them and creating a new image is what keep her inspire. There are always some elements of chance that lead her to discoveries and gives a different point of view to her work –she likes to take advantage of them. Her first studies were in painting; melding that to other media such as printmaking, and book arts gives her the chance to create interesting results, and a better method on what she wants to produce in a final work or image. Memento Mori is a book based in Greek mythology, the Moirai. Three sisters who manage the life and destiny of humans with a thread of life. The artist creates the images with the concept of the thread going around the book and the binding, so the book is completely made with embroidery on paper. The text is handwritten. The idea of this work appeared in the middle of the pandemic, while studying diverse ideas for different projects, the concept of death and it forms was frequently explored. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763972541-4O4C4LSHH5A1ZEXO9PC8/mcba-prize-2022-Magdalena-Cordero-Memento-Mori-4.jpg Entries & Jurors - 2022 Entries - Magdalena Cordero Santiago, Chile www.codapress.cl Memento Mori 2021 Embroidery on paper 4 5/8x 7 2/8 x 1 3/16 in. Artist Statement Magdalena´s themes for her artwork are concepts such as memory, landscapes, and travels, but literature is also an inspiration. Her artwork is based principally on painting, drawing and printmaking. Her art combines these three techniques in order to produce innovated new outcomes. But she also likes to learn and try other medias as well, such as collage, hand paper cutting, embroidery, etc. Mixing them and creating a new image is what keep her inspire. There are always some elements of chance that lead her to discoveries and gives a different point of view to her work –she likes to take advantage of them. Her first studies were in painting; melding that to other media such as printmaking, and book arts gives her the chance to create interesting results, and a better method on what she wants to produce in a final work or image. Memento Mori is a book based in Greek mythology, the Moirai. Three sisters who manage the life and destiny of humans with a thread of life. The artist creates the images with the concept of the thread going around the book and the binding, so the book is completely made with embroidery on paper. The text is handwritten. The idea of this work appeared in the middle of the pandemic, while studying diverse ideas for different projects, the concept of death and it forms was frequently explored. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763975086-GZCY4J0EVRAEH2P3L0LS/mcba-prize-2022-Magdalena-Cordero-Memento-Mori-3.jpg Entries & Jurors - 2022 Entries - Magdalena Cordero Santiago, Chile www.codapress.cl Memento Mori 2021 Embroidery on paper 4 5/8x 7 2/8 x 1 3/16 in. Artist Statement Magdalena´s themes for her artwork are concepts such as memory, landscapes, and travels, but literature is also an inspiration. Her artwork is based principally on painting, drawing and printmaking. Her art combines these three techniques in order to produce innovated new outcomes. But she also likes to learn and try other medias as well, such as collage, hand paper cutting, embroidery, etc. Mixing them and creating a new image is what keep her inspire. There are always some elements of chance that lead her to discoveries and gives a different point of view to her work –she likes to take advantage of them. Her first studies were in painting; melding that to other media such as printmaking, and book arts gives her the chance to create interesting results, and a better method on what she wants to produce in a final work or image. Memento Mori is a book based in Greek mythology, the Moirai. Three sisters who manage the life and destiny of humans with a thread of life. The artist creates the images with the concept of the thread going around the book and the binding, so the book is completely made with embroidery on paper. The text is handwritten. The idea of this work appeared in the middle of the pandemic, while studying diverse ideas for different projects, the concept of death and it forms was frequently explored. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773763975181-PHOXVF9QXA262H173AM9/mcba-prize-2022-Magdalena-Cordero-Memento-Mori-2.jpg Entries & Jurors - 2022 Entries - Magdalena Cordero Santiago, Chile www.codapress.cl Memento Mori 2021 Embroidery on paper 4 5/8x 7 2/8 x 1 3/16 in. Artist Statement Magdalena´s themes for her artwork are concepts such as memory, landscapes, and travels, but literature is also an inspiration. Her artwork is based principally on painting, drawing and printmaking. Her art combines these three techniques in order to produce innovated new outcomes. But she also likes to learn and try other medias as well, such as collage, hand paper cutting, embroidery, etc. Mixing them and creating a new image is what keep her inspire. There are always some elements of chance that lead her to discoveries and gives a different point of view to her work –she likes to take advantage of them. Her first studies were in painting; melding that to other media such as printmaking, and book arts gives her the chance to create interesting results, and a better method on what she wants to produce in a final work or image. Memento Mori is a book based in Greek mythology, the Moirai. Three sisters who manage the life and destiny of humans with a thread of life. The artist creates the images with the concept of the thread going around the book and the binding, so the book is completely made with embroidery on paper. The text is handwritten. The idea of this work appeared in the middle of the pandemic, while studying diverse ideas for different projects, the concept of death and it forms was frequently explored. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773764196028-S4P2FTDBKVZZ29V8MM70/mcba-prize-2022-Sarah-Nguyen-How-Does-Your-Garden-Grow-5.jpg Entries & Jurors - 2022 Entries - Sarah Nguyen Columbia, Missouri www.sarahnguyenart.com How Does Your Garden Grow? 2020 Paper, prints, glue, ribbon Each Book-4 x 2 x 1 Artist Statement My work starts with a story, a traditional folktale or fable, or a contemporary poem or memorable phrase. The work itself is driven by the images that these stories evoke, and is propelled further by every brush-stroke, mark making, blade cut, and gesture laid down in the aftermath. The stories and myths of a culture convey a sense of place, and a sense of the people who inhabit that place. In this way, visual art that interacts with story enters a narrative sphere where it must encounter the local. My recent work has focused on family lore, stories about women named in the Old Testament, and stories from Missouri, USA. As a stranger to the Midwest, and specifically to rural Missouri in the United States, I have sought to understand my host culture and environment for the fourteen years I have lived here through exploring the folklore, music, and stories of the Ozarks. The work you see here is specifically about my experiences in Columbia, Missouri. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773764195979-ME4YI3I8Z2BQ3C9FZGBL/mcba-prize-2022-Sarah-Nguyen-How-Does-Your-Garden-Grow-4.jpg Entries & Jurors - 2022 Entries - Sarah Nguyen Columbia, Missouri www.sarahnguyenart.com How Does Your Garden Grow? 2020 Paper, prints, glue, ribbon Each Book-4 x 2 x 1 Artist Statement My work starts with a story, a traditional folktale or fable, or a contemporary poem or memorable phrase. The work itself is driven by the images that these stories evoke, and is propelled further by every brush-stroke, mark making, blade cut, and gesture laid down in the aftermath. The stories and myths of a culture convey a sense of place, and a sense of the people who inhabit that place. In this way, visual art that interacts with story enters a narrative sphere where it must encounter the local. My recent work has focused on family lore, stories about women named in the Old Testament, and stories from Missouri, USA. As a stranger to the Midwest, and specifically to rural Missouri in the United States, I have sought to understand my host culture and environment for the fourteen years I have lived here through exploring the folklore, music, and stories of the Ozarks. The work you see here is specifically about my experiences in Columbia, Missouri. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773764198170-MP7L4X3HM82LXDLUJEJJ/mcba-prize-2022-Sarah-Nguyen-How-Does-Your-Garden-Grow-3.jpg Entries & Jurors - 2022 Entries - Sarah Nguyen Columbia, Missouri www.sarahnguyenart.com How Does Your Garden Grow? 2020 Paper, prints, glue, ribbon Each Book-4 x 2 x 1 Artist Statement My work starts with a story, a traditional folktale or fable, or a contemporary poem or memorable phrase. The work itself is driven by the images that these stories evoke, and is propelled further by every brush-stroke, mark making, blade cut, and gesture laid down in the aftermath. The stories and myths of a culture convey a sense of place, and a sense of the people who inhabit that place. In this way, visual art that interacts with story enters a narrative sphere where it must encounter the local. My recent work has focused on family lore, stories about women named in the Old Testament, and stories from Missouri, USA. As a stranger to the Midwest, and specifically to rural Missouri in the United States, I have sought to understand my host culture and environment for the fourteen years I have lived here through exploring the folklore, music, and stories of the Ozarks. The work you see here is specifically about my experiences in Columbia, Missouri. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773764198539-X626WTW5F9WKXQQ7Z6HB/mcba-prize-2022-Sarah-Nguyen-How-Does-Your-Garden-Grow-2.jpg Entries & Jurors - 2022 Entries - Sarah Nguyen Columbia, Missouri www.sarahnguyenart.com How Does Your Garden Grow? 2020 Paper, prints, glue, ribbon Each Book-4 x 2 x 1 Artist Statement My work starts with a story, a traditional folktale or fable, or a contemporary poem or memorable phrase. The work itself is driven by the images that these stories evoke, and is propelled further by every brush-stroke, mark making, blade cut, and gesture laid down in the aftermath. The stories and myths of a culture convey a sense of place, and a sense of the people who inhabit that place. In this way, visual art that interacts with story enters a narrative sphere where it must encounter the local. My recent work has focused on family lore, stories about women named in the Old Testament, and stories from Missouri, USA. As a stranger to the Midwest, and specifically to rural Missouri in the United States, I have sought to understand my host culture and environment for the fourteen years I have lived here through exploring the folklore, music, and stories of the Ozarks. The work you see here is specifically about my experiences in Columbia, Missouri. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773764199569-1IGZFYHYTUKKK1PNA863/mcba-prize-2022-Sarah-Nguyen-How-Does-Your-Garden-Grow-1.jpg Entries & Jurors - 2022 Entries - Sarah Nguyen Columbia, Missouri www.sarahnguyenart.com How Does Your Garden Grow? 2020 Paper, prints, glue, ribbon Each Book-4 x 2 x 1 Artist Statement My work starts with a story, a traditional folktale or fable, or a contemporary poem or memorable phrase. The work itself is driven by the images that these stories evoke, and is propelled further by every brush-stroke, mark making, blade cut, and gesture laid down in the aftermath. The stories and myths of a culture convey a sense of place, and a sense of the people who inhabit that place. In this way, visual art that interacts with story enters a narrative sphere where it must encounter the local. My recent work has focused on family lore, stories about women named in the Old Testament, and stories from Missouri, USA. As a stranger to the Midwest, and specifically to rural Missouri in the United States, I have sought to understand my host culture and environment for the fourteen years I have lived here through exploring the folklore, music, and stories of the Ozarks. The work you see here is specifically about my experiences in Columbia, Missouri. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773764373598-ROXHIEMGLN43ZC38DJMY/mcba-prize-2022-Maro-Vandorou-Sappho-5.jpg Entries & Jurors - 2022 Entries - Maro Vandorou Bay Area, California https://www.ateliervandorou.com ΨΑΠΦΟΙ [SAPPHO] 2022 Hand drawn abstract marks on Gampi paper using a ruling pen and white ink. Loose Usujo Gampi folios within chemises of handmade Abaca, Japanese style book enclosures with Indo Islamic indigo and Gampi papers. Folios: Height 16″, Width 5″; Enclosure: Height 17 5/8″ , Width 6″ , Depth 1/2″ Artist Statement ΨΑΠΦ ΟΙ [SAPPHO] is an artist book that conceptualizes the poetry of Sappho in a visual form, by “interpreting” the remaining 192 fragments of her oeuvre using abstract, minimalistic marks. The language of abstract marks captures the structure and preserves the flow of each fragment; it is a language that documents the presence or haunting absence of individual letters or words, a language that yields a unique visual representation for each fragment. Sappho was a was a seventh-century B.C. lyric poet from the island of Les[1]bos. Very little is left of Sappho’s poems and that in fragments of papyrus or parchment. The Library of Alexandria catalogued nine “books” scrolls of Sappho’s poems organized primarily by meter. it is assumed that all nine volumes might have contained 10000 lines of verse. However, only 650 lines of verse, 192 fragments remain. There is one complete poem, Frag[1]ment 1, and the newly discovered “Brother’s poem”; 124 fragments consist of less than ten words, twenty-one fragments are only one word long. The book explores conceptual, scholarly, and visual design issues: what constitutes the best unit for translating Sappho’s fragments into abstract marks? Letters, syllables, words? how can we best capture and represent the internal rhythm and flow of each fragment? And how do we link the unique visual signature of each fragment back to the original text in ancient Greek, in the esoteric Aeolic dialect? In a variable edition of three formats, white ink and a vintage ruling pen are used for mark-making on precious Gampi paper (Sekishu Torinoko Gampi folded in eight like a map, or the barely there Usujo Gampi, an extinct trea[1]sure, no longer handmade.) Numbers and sequencing of fragments follow the 1971 classical edition by Eva Maria Voigt, and the 2003 translation by Ann Carson, “If not Winter: Fragments of Sappho.” The numbers provide the link between the visual representation and the original text. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773764373663-SOZV0GLYC6V0RV0P9K5H/mcba-prize-2022-Maro-Vandorou-Sappho-4.jpg Entries & Jurors - 2022 Entries - Maro Vandorou Bay Area, California https://www.ateliervandorou.com ΨΑΠΦΟΙ [SAPPHO] 2022 Hand drawn abstract marks on Gampi paper using a ruling pen and white ink. Loose Usujo Gampi folios within chemises of handmade Abaca, Japanese style book enclosures with Indo Islamic indigo and Gampi papers. Folios: Height 16″, Width 5″; Enclosure: Height 17 5/8″ , Width 6″ , Depth 1/2″ Artist Statement ΨΑΠΦ ΟΙ [SAPPHO] is an artist book that conceptualizes the poetry of Sappho in a visual form, by “interpreting” the remaining 192 fragments of her oeuvre using abstract, minimalistic marks. The language of abstract marks captures the structure and preserves the flow of each fragment; it is a language that documents the presence or haunting absence of individual letters or words, a language that yields a unique visual representation for each fragment. Sappho was a was a seventh-century B.C. lyric poet from the island of Les[1]bos. Very little is left of Sappho’s poems and that in fragments of papyrus or parchment. The Library of Alexandria catalogued nine “books” scrolls of Sappho’s poems organized primarily by meter. it is assumed that all nine volumes might have contained 10000 lines of verse. However, only 650 lines of verse, 192 fragments remain. There is one complete poem, Frag[1]ment 1, and the newly discovered “Brother’s poem”; 124 fragments consist of less than ten words, twenty-one fragments are only one word long. The book explores conceptual, scholarly, and visual design issues: what constitutes the best unit for translating Sappho’s fragments into abstract marks? Letters, syllables, words? how can we best capture and represent the internal rhythm and flow of each fragment? And how do we link the unique visual signature of each fragment back to the original text in ancient Greek, in the esoteric Aeolic dialect? In a variable edition of three formats, white ink and a vintage ruling pen are used for mark-making on precious Gampi paper (Sekishu Torinoko Gampi folded in eight like a map, or the barely there Usujo Gampi, an extinct trea[1]sure, no longer handmade.) Numbers and sequencing of fragments follow the 1971 classical edition by Eva Maria Voigt, and the 2003 translation by Ann Carson, “If not Winter: Fragments of Sappho.” The numbers provide the link between the visual representation and the original text. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773764375728-WDALQH4ONAR6KNP0JMZ4/mcba-prize-2022-Maro-Vandorou-Sappho-3.jpg Entries & Jurors - 2022 Entries - Maro Vandorou Bay Area, California https://www.ateliervandorou.com ΨΑΠΦΟΙ [SAPPHO] 2022 Hand drawn abstract marks on Gampi paper using a ruling pen and white ink. Loose Usujo Gampi folios within chemises of handmade Abaca, Japanese style book enclosures with Indo Islamic indigo and Gampi papers. Folios: Height 16″, Width 5″; Enclosure: Height 17 5/8″ , Width 6″ , Depth 1/2″ Artist Statement ΨΑΠΦ ΟΙ [SAPPHO] is an artist book that conceptualizes the poetry of Sappho in a visual form, by “interpreting” the remaining 192 fragments of her oeuvre using abstract, minimalistic marks. The language of abstract marks captures the structure and preserves the flow of each fragment; it is a language that documents the presence or haunting absence of individual letters or words, a language that yields a unique visual representation for each fragment. Sappho was a was a seventh-century B.C. lyric poet from the island of Les[1]bos. Very little is left of Sappho’s poems and that in fragments of papyrus or parchment. The Library of Alexandria catalogued nine “books” scrolls of Sappho’s poems organized primarily by meter. it is assumed that all nine volumes might have contained 10000 lines of verse. However, only 650 lines of verse, 192 fragments remain. There is one complete poem, Frag[1]ment 1, and the newly discovered “Brother’s poem”; 124 fragments consist of less than ten words, twenty-one fragments are only one word long. The book explores conceptual, scholarly, and visual design issues: what constitutes the best unit for translating Sappho’s fragments into abstract marks? Letters, syllables, words? how can we best capture and represent the internal rhythm and flow of each fragment? And how do we link the unique visual signature of each fragment back to the original text in ancient Greek, in the esoteric Aeolic dialect? In a variable edition of three formats, white ink and a vintage ruling pen are used for mark-making on precious Gampi paper (Sekishu Torinoko Gampi folded in eight like a map, or the barely there Usujo Gampi, an extinct trea[1]sure, no longer handmade.) Numbers and sequencing of fragments follow the 1971 classical edition by Eva Maria Voigt, and the 2003 translation by Ann Carson, “If not Winter: Fragments of Sappho.” The numbers provide the link between the visual representation and the original text. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773764376193-JYEAE9X1C8X1535ZTVVZ/mcba-prize-2022-Maro-Vandorou-Sappho-2.jpg Entries & Jurors - 2022 Entries - Maro Vandorou Bay Area, California https://www.ateliervandorou.com ΨΑΠΦΟΙ [SAPPHO] 2022 Hand drawn abstract marks on Gampi paper using a ruling pen and white ink. Loose Usujo Gampi folios within chemises of handmade Abaca, Japanese style book enclosures with Indo Islamic indigo and Gampi papers. Folios: Height 16″, Width 5″; Enclosure: Height 17 5/8″ , Width 6″ , Depth 1/2″ Artist Statement ΨΑΠΦ ΟΙ [SAPPHO] is an artist book that conceptualizes the poetry of Sappho in a visual form, by “interpreting” the remaining 192 fragments of her oeuvre using abstract, minimalistic marks. The language of abstract marks captures the structure and preserves the flow of each fragment; it is a language that documents the presence or haunting absence of individual letters or words, a language that yields a unique visual representation for each fragment. Sappho was a was a seventh-century B.C. lyric poet from the island of Les[1]bos. Very little is left of Sappho’s poems and that in fragments of papyrus or parchment. The Library of Alexandria catalogued nine “books” scrolls of Sappho’s poems organized primarily by meter. it is assumed that all nine volumes might have contained 10000 lines of verse. However, only 650 lines of verse, 192 fragments remain. There is one complete poem, Frag[1]ment 1, and the newly discovered “Brother’s poem”; 124 fragments consist of less than ten words, twenty-one fragments are only one word long. The book explores conceptual, scholarly, and visual design issues: what constitutes the best unit for translating Sappho’s fragments into abstract marks? Letters, syllables, words? how can we best capture and represent the internal rhythm and flow of each fragment? And how do we link the unique visual signature of each fragment back to the original text in ancient Greek, in the esoteric Aeolic dialect? In a variable edition of three formats, white ink and a vintage ruling pen are used for mark-making on precious Gampi paper (Sekishu Torinoko Gampi folded in eight like a map, or the barely there Usujo Gampi, an extinct trea[1]sure, no longer handmade.) Numbers and sequencing of fragments follow the 1971 classical edition by Eva Maria Voigt, and the 2003 translation by Ann Carson, “If not Winter: Fragments of Sappho.” The numbers provide the link between the visual representation and the original text. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773764378129-3NYY9DEQQT3PIMTDDBFJ/mcba-prize-2022-Maro-Vandorou-Sappho-1.jpg Entries & Jurors - 2022 Entries - Maro Vandorou Bay Area, California https://www.ateliervandorou.com ΨΑΠΦΟΙ [SAPPHO] 2022 Hand drawn abstract marks on Gampi paper using a ruling pen and white ink. Loose Usujo Gampi folios within chemises of handmade Abaca, Japanese style book enclosures with Indo Islamic indigo and Gampi papers. Folios: Height 16″, Width 5″; Enclosure: Height 17 5/8″ , Width 6″ , Depth 1/2″ Artist Statement ΨΑΠΦ ΟΙ [SAPPHO] is an artist book that conceptualizes the poetry of Sappho in a visual form, by “interpreting” the remaining 192 fragments of her oeuvre using abstract, minimalistic marks. The language of abstract marks captures the structure and preserves the flow of each fragment; it is a language that documents the presence or haunting absence of individual letters or words, a language that yields a unique visual representation for each fragment. Sappho was a was a seventh-century B.C. lyric poet from the island of Les[1]bos. Very little is left of Sappho’s poems and that in fragments of papyrus or parchment. The Library of Alexandria catalogued nine “books” scrolls of Sappho’s poems organized primarily by meter. it is assumed that all nine volumes might have contained 10000 lines of verse. However, only 650 lines of verse, 192 fragments remain. There is one complete poem, Frag[1]ment 1, and the newly discovered “Brother’s poem”; 124 fragments consist of less than ten words, twenty-one fragments are only one word long. The book explores conceptual, scholarly, and visual design issues: what constitutes the best unit for translating Sappho’s fragments into abstract marks? Letters, syllables, words? how can we best capture and represent the internal rhythm and flow of each fragment? And how do we link the unique visual signature of each fragment back to the original text in ancient Greek, in the esoteric Aeolic dialect? In a variable edition of three formats, white ink and a vintage ruling pen are used for mark-making on precious Gampi paper (Sekishu Torinoko Gampi folded in eight like a map, or the barely there Usujo Gampi, an extinct trea[1]sure, no longer handmade.) Numbers and sequencing of fragments follow the 1971 classical edition by Eva Maria Voigt, and the 2003 translation by Ann Carson, “If not Winter: Fragments of Sappho.” The numbers provide the link between the visual representation and the original text. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773768557218-F2XZ18RDENLYTI5VDQO3/mcba-prize-2022-Tyler-Starr-Bank-Tellers-of-America-5.jpg Entries & Jurors - 2022 Entries - Tyler Starr Davidson, North Carolina www.tylerstarr.com Bank Tellers of America versus The Aryan Republican Army (1992-1996) 2021 Pigment prints on Moab Entrada Rag Bright 190 gm . Custom hardcover case binding with hinged foldout front and back covers using inlaid magnets. Custom slipcase with inlaid label. 8.75″ x 10.25″ x 1.25″ Artist Statement Combining research and direct observation, Tyler Starr’s publications from Wobble Press visualize political and social conundrums from declassified FBI documents. Poetic associations are coupled with meticulous investigation of material from primary materials to shed light on unresolved civil rights issues, fringe political movements and bureaucratic infrastructure created in response to amorphous problems. Starr engages with the ways printed information is used to map human endeavors, and the forms of his visualizations are influenced by printed ephemera such as tourist brochures that present digestible history of sites with troublesome associations, souvenir postcards, and used car classifieds found at truck stops. His artist’s book Bank Tellers of America versus The Aryan Republican Army (1992-1996) transforms text from FBI documents into images to visualize connections between white supremacist ideology, access to armaments, and violent intent. The Aryan Republican Army (ARA) committed 22 armed bank robberies in the Midwest from November 11, 1992 to December 19, 1995. The objectives of its leaders were to raise funds for the white supremacist movement and overthrow the U.S. government. The ARA was part of the broader movement of white supremacist terrorism that weaves its presence through American history to the present. Since 2019, the Department of Homeland Security and FBI began to officially acknowledge that white supremacists are the top domestic terrorist threat. Visualizations of the case against the ARA are accurately based on items accumulated by the FBI as evidence. Bank tellers terrorized by the ARA were instrumental in breaking the case. Ultimately it was the bank tellers who identified the gunmen, and their brave testimonies against them in court resulted in successful convictions and destruction of the organization. Bio Tyler Starr received a Bachelor of Fine Arts from the University of Connecticut, Storrs, CT, and a Master of Fine Arts from the University of Minnesota, Minneapolis. In 1998, Starr was awarded a Fulbright Scholarship to study at the Academy of Fine Arts, Krakow, Poland. In 2011, he graduated with a PhD in Studio Arts from the Tokyo University of Fine Arts, where he was a recipient of the Japanese Ministry of Education Scholarship. Tyler was a 2011 Grant Wood Fellow at the University of Iowa, a 2013 Christiania Researcher in Residence, a 2014 OMI International Arts Center Resident, and a 2018 Fellowship Artist at the Kala Art Institute in Berkeley, CA. His work has been featured in exhibitions at Yale University’s Haas Arts Library, the Museum of Modern and Contemporary Art of Liège, Belgium, and the Museum of Contemporary Art, Japan. Starr’s artist’s books are in permanent collections such as the Getty Research Institute, the Millard Sheets Library of Otis College of Art and Design, The Fleet Library of the Rhode Island School of Design and the Special Collections of the University of Chicago. He is currently an Associate Professor of Studio Art at Davidson College. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773768556789-LWJ3CZ1YLDOQQLKESGQQ/mcba-prize-2022-Tyler-Starr-Bank-Tellers-of-America-4.jpg Entries & Jurors - 2022 Entries - Tyler Starr Davidson, North Carolina www.tylerstarr.com Bank Tellers of America versus The Aryan Republican Army (1992-1996) 2021 Pigment prints on Moab Entrada Rag Bright 190 gm . Custom hardcover case binding with hinged foldout front and back covers using inlaid magnets. Custom slipcase with inlaid label. 8.75″ x 10.25″ x 1.25″ Artist Statement Combining research and direct observation, Tyler Starr’s publications from Wobble Press visualize political and social conundrums from declassified FBI documents. Poetic associations are coupled with meticulous investigation of material from primary materials to shed light on unresolved civil rights issues, fringe political movements and bureaucratic infrastructure created in response to amorphous problems. Starr engages with the ways printed information is used to map human endeavors, and the forms of his visualizations are influenced by printed ephemera such as tourist brochures that present digestible history of sites with troublesome associations, souvenir postcards, and used car classifieds found at truck stops. His artist’s book Bank Tellers of America versus The Aryan Republican Army (1992-1996) transforms text from FBI documents into images to visualize connections between white supremacist ideology, access to armaments, and violent intent. The Aryan Republican Army (ARA) committed 22 armed bank robberies in the Midwest from November 11, 1992 to December 19, 1995. The objectives of its leaders were to raise funds for the white supremacist movement and overthrow the U.S. government. The ARA was part of the broader movement of white supremacist terrorism that weaves its presence through American history to the present. Since 2019, the Department of Homeland Security and FBI began to officially acknowledge that white supremacists are the top domestic terrorist threat. Visualizations of the case against the ARA are accurately based on items accumulated by the FBI as evidence. Bank tellers terrorized by the ARA were instrumental in breaking the case. Ultimately it was the bank tellers who identified the gunmen, and their brave testimonies against them in court resulted in successful convictions and destruction of the organization. Bio Tyler Starr received a Bachelor of Fine Arts from the University of Connecticut, Storrs, CT, and a Master of Fine Arts from the University of Minnesota, Minneapolis. In 1998, Starr was awarded a Fulbright Scholarship to study at the Academy of Fine Arts, Krakow, Poland. In 2011, he graduated with a PhD in Studio Arts from the Tokyo University of Fine Arts, where he was a recipient of the Japanese Ministry of Education Scholarship. Tyler was a 2011 Grant Wood Fellow at the University of Iowa, a 2013 Christiania Researcher in Residence, a 2014 OMI International Arts Center Resident, and a 2018 Fellowship Artist at the Kala Art Institute in Berkeley, CA. His work has been featured in exhibitions at Yale University’s Haas Arts Library, the Museum of Modern and Contemporary Art of Liège, Belgium, and the Museum of Contemporary Art, Japan. Starr’s artist’s books are in permanent collections such as the Getty Research Institute, the Millard Sheets Library of Otis College of Art and Design, The Fleet Library of the Rhode Island School of Design and the Special Collections of the University of Chicago. He is currently an Associate Professor of Studio Art at Davidson College. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773768558487-JCAALX2WHAJHUW33V3KV/mcba-prize-2022-Tyler-Starr-Bank-Tellers-of-America-3.jpg Entries & Jurors - 2022 Entries - Tyler Starr Davidson, North Carolina www.tylerstarr.com Bank Tellers of America versus The Aryan Republican Army (1992-1996) 2021 Pigment prints on Moab Entrada Rag Bright 190 gm . Custom hardcover case binding with hinged foldout front and back covers using inlaid magnets. Custom slipcase with inlaid label. 8.75″ x 10.25″ x 1.25″ Artist Statement Combining research and direct observation, Tyler Starr’s publications from Wobble Press visualize political and social conundrums from declassified FBI documents. Poetic associations are coupled with meticulous investigation of material from primary materials to shed light on unresolved civil rights issues, fringe political movements and bureaucratic infrastructure created in response to amorphous problems. Starr engages with the ways printed information is used to map human endeavors, and the forms of his visualizations are influenced by printed ephemera such as tourist brochures that present digestible history of sites with troublesome associations, souvenir postcards, and used car classifieds found at truck stops. His artist’s book Bank Tellers of America versus The Aryan Republican Army (1992-1996) transforms text from FBI documents into images to visualize connections between white supremacist ideology, access to armaments, and violent intent. The Aryan Republican Army (ARA) committed 22 armed bank robberies in the Midwest from November 11, 1992 to December 19, 1995. The objectives of its leaders were to raise funds for the white supremacist movement and overthrow the U.S. government. The ARA was part of the broader movement of white supremacist terrorism that weaves its presence through American history to the present. Since 2019, the Department of Homeland Security and FBI began to officially acknowledge that white supremacists are the top domestic terrorist threat. Visualizations of the case against the ARA are accurately based on items accumulated by the FBI as evidence. Bank tellers terrorized by the ARA were instrumental in breaking the case. Ultimately it was the bank tellers who identified the gunmen, and their brave testimonies against them in court resulted in successful convictions and destruction of the organization. Bio Tyler Starr received a Bachelor of Fine Arts from the University of Connecticut, Storrs, CT, and a Master of Fine Arts from the University of Minnesota, Minneapolis. In 1998, Starr was awarded a Fulbright Scholarship to study at the Academy of Fine Arts, Krakow, Poland. In 2011, he graduated with a PhD in Studio Arts from the Tokyo University of Fine Arts, where he was a recipient of the Japanese Ministry of Education Scholarship. Tyler was a 2011 Grant Wood Fellow at the University of Iowa, a 2013 Christiania Researcher in Residence, a 2014 OMI International Arts Center Resident, and a 2018 Fellowship Artist at the Kala Art Institute in Berkeley, CA. His work has been featured in exhibitions at Yale University’s Haas Arts Library, the Museum of Modern and Contemporary Art of Liège, Belgium, and the Museum of Contemporary Art, Japan. Starr’s artist’s books are in permanent collections such as the Getty Research Institute, the Millard Sheets Library of Otis College of Art and Design, The Fleet Library of the Rhode Island School of Design and the Special Collections of the University of Chicago. He is currently an Associate Professor of Studio Art at Davidson College. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773768558872-XZ9QPW29UY4HB5G7K1L3/mcba-prize-2022-Tyler-Starr-Bank-Tellers-of-America-2.jpg Entries & Jurors - 2022 Entries - Tyler Starr Davidson, North Carolina www.tylerstarr.com Bank Tellers of America versus The Aryan Republican Army (1992-1996) 2021 Pigment prints on Moab Entrada Rag Bright 190 gm . Custom hardcover case binding with hinged foldout front and back covers using inlaid magnets. Custom slipcase with inlaid label. 8.75″ x 10.25″ x 1.25″ Artist Statement Combining research and direct observation, Tyler Starr’s publications from Wobble Press visualize political and social conundrums from declassified FBI documents. Poetic associations are coupled with meticulous investigation of material from primary materials to shed light on unresolved civil rights issues, fringe political movements and bureaucratic infrastructure created in response to amorphous problems. Starr engages with the ways printed information is used to map human endeavors, and the forms of his visualizations are influenced by printed ephemera such as tourist brochures that present digestible history of sites with troublesome associations, souvenir postcards, and used car classifieds found at truck stops. His artist’s book Bank Tellers of America versus The Aryan Republican Army (1992-1996) transforms text from FBI documents into images to visualize connections between white supremacist ideology, access to armaments, and violent intent. The Aryan Republican Army (ARA) committed 22 armed bank robberies in the Midwest from November 11, 1992 to December 19, 1995. The objectives of its leaders were to raise funds for the white supremacist movement and overthrow the U.S. government. The ARA was part of the broader movement of white supremacist terrorism that weaves its presence through American history to the present. Since 2019, the Department of Homeland Security and FBI began to officially acknowledge that white supremacists are the top domestic terrorist threat. Visualizations of the case against the ARA are accurately based on items accumulated by the FBI as evidence. Bank tellers terrorized by the ARA were instrumental in breaking the case. Ultimately it was the bank tellers who identified the gunmen, and their brave testimonies against them in court resulted in successful convictions and destruction of the organization. Bio Tyler Starr received a Bachelor of Fine Arts from the University of Connecticut, Storrs, CT, and a Master of Fine Arts from the University of Minnesota, Minneapolis. In 1998, Starr was awarded a Fulbright Scholarship to study at the Academy of Fine Arts, Krakow, Poland. In 2011, he graduated with a PhD in Studio Arts from the Tokyo University of Fine Arts, where he was a recipient of the Japanese Ministry of Education Scholarship. Tyler was a 2011 Grant Wood Fellow at the University of Iowa, a 2013 Christiania Researcher in Residence, a 2014 OMI International Arts Center Resident, and a 2018 Fellowship Artist at the Kala Art Institute in Berkeley, CA. His work has been featured in exhibitions at Yale University’s Haas Arts Library, the Museum of Modern and Contemporary Art of Liège, Belgium, and the Museum of Contemporary Art, Japan. Starr’s artist’s books are in permanent collections such as the Getty Research Institute, the Millard Sheets Library of Otis College of Art and Design, The Fleet Library of the Rhode Island School of Design and the Special Collections of the University of Chicago. He is currently an Associate Professor of Studio Art at Davidson College. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773768559903-KRMBWTNMBREHTVXJANVB/mcba-prize-2022-Tyler-Starr-Bank-Tellers-of-America-1.jpg Entries & Jurors - 2022 Entries - Tyler Starr Davidson, North Carolina www.tylerstarr.com Bank Tellers of America versus The Aryan Republican Army (1992-1996) 2021 Pigment prints on Moab Entrada Rag Bright 190 gm . Custom hardcover case binding with hinged foldout front and back covers using inlaid magnets. Custom slipcase with inlaid label. 8.75″ x 10.25″ x 1.25″ Artist Statement Combining research and direct observation, Tyler Starr’s publications from Wobble Press visualize political and social conundrums from declassified FBI documents. Poetic associations are coupled with meticulous investigation of material from primary materials to shed light on unresolved civil rights issues, fringe political movements and bureaucratic infrastructure created in response to amorphous problems. Starr engages with the ways printed information is used to map human endeavors, and the forms of his visualizations are influenced by printed ephemera such as tourist brochures that present digestible history of sites with troublesome associations, souvenir postcards, and used car classifieds found at truck stops. His artist’s book Bank Tellers of America versus The Aryan Republican Army (1992-1996) transforms text from FBI documents into images to visualize connections between white supremacist ideology, access to armaments, and violent intent. The Aryan Republican Army (ARA) committed 22 armed bank robberies in the Midwest from November 11, 1992 to December 19, 1995. The objectives of its leaders were to raise funds for the white supremacist movement and overthrow the U.S. government. The ARA was part of the broader movement of white supremacist terrorism that weaves its presence through American history to the present. Since 2019, the Department of Homeland Security and FBI began to officially acknowledge that white supremacists are the top domestic terrorist threat. Visualizations of the case against the ARA are accurately based on items accumulated by the FBI as evidence. Bank tellers terrorized by the ARA were instrumental in breaking the case. Ultimately it was the bank tellers who identified the gunmen, and their brave testimonies against them in court resulted in successful convictions and destruction of the organization. Bio Tyler Starr received a Bachelor of Fine Arts from the University of Connecticut, Storrs, CT, and a Master of Fine Arts from the University of Minnesota, Minneapolis. In 1998, Starr was awarded a Fulbright Scholarship to study at the Academy of Fine Arts, Krakow, Poland. In 2011, he graduated with a PhD in Studio Arts from the Tokyo University of Fine Arts, where he was a recipient of the Japanese Ministry of Education Scholarship. Tyler was a 2011 Grant Wood Fellow at the University of Iowa, a 2013 Christiania Researcher in Residence, a 2014 OMI International Arts Center Resident, and a 2018 Fellowship Artist at the Kala Art Institute in Berkeley, CA. His work has been featured in exhibitions at Yale University’s Haas Arts Library, the Museum of Modern and Contemporary Art of Liège, Belgium, and the Museum of Contemporary Art, Japan. Starr’s artist’s books are in permanent collections such as the Getty Research Institute, the Millard Sheets Library of Otis College of Art and Design, The Fleet Library of the Rhode Island School of Design and the Special Collections of the University of Chicago. He is currently an Associate Professor of Studio Art at Davidson College. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773768696672-3VE4WI2YSRU466JN419E/mcba-prize-2022-Jenny-Cole-News-From-Answering-Mountain-5.jpg Entries & Jurors - 2022 Entries - Jennie Cole London https://jenniecole.org News from Answering Mountain 2021 Digital printing, lino printing, hand-painted collage in acrylic paint and metallic ink. Edition of 30. 4.33 x 0.79 x 4.33 Artist Statement News from Answering Mountain is a poem of text and image in the form of a hand-painted flag book. It is the second artist’s book in a small series about the Covid-19 pandemic, loosely based on ancient Chinese Mountain poems of the T’ang period. News from Answering Mountain was written in London, where there are no mountains, during the transition from autumn to winter in 2021. The book that preceded it was written between summer and autumn of 2020, and focused on the early experience of the pandemic as a health crisis, while News from Answering Mountain is more concerned with the political turmoil and socioeconomic problems developing in the UK as the pandemic continued. The pamphlet-stitched pages at the front and back of the book describe how these issues unfolded during this period. Between them is a poem of image and text that responds to these events, spread across the flags and facing pages. The mountain featured across the covers, inner pages and flags of this book is the active stratovolcano Mount St. Helens, shown erupting on 22 July 1980, following its major explosive eruption on 18 May of the same year, often viewed as the most disastrous volcanic event in US history. The repetition and fragmentation in this sequence of images echoes the experience of living through the pandemic, traces of which are also represented by the collaged newsprint on the covers of the book, largely subsumed by painting into the image of the erupting mountain. This sequence of images becomes dramatically fragmented and spatialised across the flags that span the peaks of the concertina spine, creating the impression of an expanding ash cloud at the centre of News from Answering Mountain, with text from the centre of the poem dispersed throughout it. This conveys a sense of particulate matter spreading through air, as the book structure enables a spatial treatment of the mountain image along with the poetic text, supplementing its articulation of the struggle to breathe and survive. I started making this series of artist’s books in 2020, with an accordion book of concrete poetry and newsprint[1]collaged images of Greater Ararat, titled Views from Absent Mountain, working from my home in London during the first national lockdown in the UK. I felt an unusually strong sense of placement at this time, living in isolated conditions in a usually busy city, while reading stories about developments in the pandemic across local, national, and international news. This odd feeling combined a sense of extreme disconnection with a contradictory experience of the pandemic as a collective crisis, as I remained aware of its profound and continually unfolding effects across the world. When I learned that many people who lived in or near the countryside were coping with lockdowns and social distancing by spending more time in their natural surroundings, this seemed like a perfect way of reconciling these feelings. However, there wasn’t an opportunity to do this in the city. One of the ways I found myself responding to this situation was by rereading some of my favourite rivers-and[1]mountains poems of ancient China, and particularly poets of the T’ang Dynasty, such as Meng Chiao and Liu Tsung-yüan. This period of Chinese history (618-907 CE) is remembered as an age in which great reforms and cultural advancements gave way to political corruption, crisis, and an uprising known as the An Lushan Rebellion (755-763 CE), which devastated the country. However, this period was also characterised by artistic richness, as seen in the work of poets such as Meng and Liu, and the transformative approaches that their changing circumstances prompted them to embrace. In his book Mountain Home, David Hinton describes the archetypal scenario in the rivers-and-mountains tradition of Chinese poetry as “giving up the empty pursuit of professional ambition and returning home to the more spiritually fulfilling life of a recluse in the mountains.” In the cultural context of ancient China, this was not an act of escapism or sentimentality, but the spiritual cultivation of wilderness according to traditional Taoist cosmology, which “recognises earth to be a boundless generative organism, and this vision gives rise to a very different experience of the world.” Hinton accordingly characterises such a departure as a return “to a life in which the perpetual unfolding of Lao Tzu’s organic cosmology is the very texture of daily experience”, and in which poetry “articulates a profound and spiritual sense of belonging to a wilderness of truly awesome dimensions”. My initial books in this series have particularly been based on the poetry of Meng Chiao, due to his transformative approach to poetry as a means of generating new experiences. His poems convey scenes of transcendent beauty, punctuated by the presence of spirits, strange natural forms, and poignant images of decay. Their tone of mournful introspection is typically marked by a sense of vastness and peril, and intimations of order unraveling. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773768696671-HMN9Z0YOU8U1MHI1S8X3/mcba-prize-2022-Jenny-Cole-News-From-Answering-Mountain-4.jpg Entries & Jurors - 2022 Entries - Jennie Cole London https://jenniecole.org News from Answering Mountain 2021 Digital printing, lino printing, hand-painted collage in acrylic paint and metallic ink. Edition of 30. 4.33 x 0.79 x 4.33 Artist Statement News from Answering Mountain is a poem of text and image in the form of a hand-painted flag book. It is the second artist’s book in a small series about the Covid-19 pandemic, loosely based on ancient Chinese Mountain poems of the T’ang period. News from Answering Mountain was written in London, where there are no mountains, during the transition from autumn to winter in 2021. The book that preceded it was written between summer and autumn of 2020, and focused on the early experience of the pandemic as a health crisis, while News from Answering Mountain is more concerned with the political turmoil and socioeconomic problems developing in the UK as the pandemic continued. The pamphlet-stitched pages at the front and back of the book describe how these issues unfolded during this period. Between them is a poem of image and text that responds to these events, spread across the flags and facing pages. The mountain featured across the covers, inner pages and flags of this book is the active stratovolcano Mount St. Helens, shown erupting on 22 July 1980, following its major explosive eruption on 18 May of the same year, often viewed as the most disastrous volcanic event in US history. The repetition and fragmentation in this sequence of images echoes the experience of living through the pandemic, traces of which are also represented by the collaged newsprint on the covers of the book, largely subsumed by painting into the image of the erupting mountain. This sequence of images becomes dramatically fragmented and spatialised across the flags that span the peaks of the concertina spine, creating the impression of an expanding ash cloud at the centre of News from Answering Mountain, with text from the centre of the poem dispersed throughout it. This conveys a sense of particulate matter spreading through air, as the book structure enables a spatial treatment of the mountain image along with the poetic text, supplementing its articulation of the struggle to breathe and survive. I started making this series of artist’s books in 2020, with an accordion book of concrete poetry and newsprint[1]collaged images of Greater Ararat, titled Views from Absent Mountain, working from my home in London during the first national lockdown in the UK. I felt an unusually strong sense of placement at this time, living in isolated conditions in a usually busy city, while reading stories about developments in the pandemic across local, national, and international news. This odd feeling combined a sense of extreme disconnection with a contradictory experience of the pandemic as a collective crisis, as I remained aware of its profound and continually unfolding effects across the world. When I learned that many people who lived in or near the countryside were coping with lockdowns and social distancing by spending more time in their natural surroundings, this seemed like a perfect way of reconciling these feelings. However, there wasn’t an opportunity to do this in the city. One of the ways I found myself responding to this situation was by rereading some of my favourite rivers-and[1]mountains poems of ancient China, and particularly poets of the T’ang Dynasty, such as Meng Chiao and Liu Tsung-yüan. This period of Chinese history (618-907 CE) is remembered as an age in which great reforms and cultural advancements gave way to political corruption, crisis, and an uprising known as the An Lushan Rebellion (755-763 CE), which devastated the country. However, this period was also characterised by artistic richness, as seen in the work of poets such as Meng and Liu, and the transformative approaches that their changing circumstances prompted them to embrace. In his book Mountain Home, David Hinton describes the archetypal scenario in the rivers-and-mountains tradition of Chinese poetry as “giving up the empty pursuit of professional ambition and returning home to the more spiritually fulfilling life of a recluse in the mountains.” In the cultural context of ancient China, this was not an act of escapism or sentimentality, but the spiritual cultivation of wilderness according to traditional Taoist cosmology, which “recognises earth to be a boundless generative organism, and this vision gives rise to a very different experience of the world.” Hinton accordingly characterises such a departure as a return “to a life in which the perpetual unfolding of Lao Tzu’s organic cosmology is the very texture of daily experience”, and in which poetry “articulates a profound and spiritual sense of belonging to a wilderness of truly awesome dimensions”. My initial books in this series have particularly been based on the poetry of Meng Chiao, due to his transformative approach to poetry as a means of generating new experiences. His poems convey scenes of transcendent beauty, punctuated by the presence of spirits, strange natural forms, and poignant images of decay. Their tone of mournful introspection is typically marked by a sense of vastness and peril, and intimations of order unraveling. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773768699434-YSJM0KVZA2LK3SVJLVZM/mcba-prize-2022-Jenny-Cole-News-From-Answering-Mountain-3.jpg Entries & Jurors - 2022 Entries - Jennie Cole London https://jenniecole.org News from Answering Mountain 2021 Digital printing, lino printing, hand-painted collage in acrylic paint and metallic ink. Edition of 30. 4.33 x 0.79 x 4.33 Artist Statement News from Answering Mountain is a poem of text and image in the form of a hand-painted flag book. It is the second artist’s book in a small series about the Covid-19 pandemic, loosely based on ancient Chinese Mountain poems of the T’ang period. News from Answering Mountain was written in London, where there are no mountains, during the transition from autumn to winter in 2021. The book that preceded it was written between summer and autumn of 2020, and focused on the early experience of the pandemic as a health crisis, while News from Answering Mountain is more concerned with the political turmoil and socioeconomic problems developing in the UK as the pandemic continued. The pamphlet-stitched pages at the front and back of the book describe how these issues unfolded during this period. Between them is a poem of image and text that responds to these events, spread across the flags and facing pages. The mountain featured across the covers, inner pages and flags of this book is the active stratovolcano Mount St. Helens, shown erupting on 22 July 1980, following its major explosive eruption on 18 May of the same year, often viewed as the most disastrous volcanic event in US history. The repetition and fragmentation in this sequence of images echoes the experience of living through the pandemic, traces of which are also represented by the collaged newsprint on the covers of the book, largely subsumed by painting into the image of the erupting mountain. This sequence of images becomes dramatically fragmented and spatialised across the flags that span the peaks of the concertina spine, creating the impression of an expanding ash cloud at the centre of News from Answering Mountain, with text from the centre of the poem dispersed throughout it. This conveys a sense of particulate matter spreading through air, as the book structure enables a spatial treatment of the mountain image along with the poetic text, supplementing its articulation of the struggle to breathe and survive. I started making this series of artist’s books in 2020, with an accordion book of concrete poetry and newsprint[1]collaged images of Greater Ararat, titled Views from Absent Mountain, working from my home in London during the first national lockdown in the UK. I felt an unusually strong sense of placement at this time, living in isolated conditions in a usually busy city, while reading stories about developments in the pandemic across local, national, and international news. This odd feeling combined a sense of extreme disconnection with a contradictory experience of the pandemic as a collective crisis, as I remained aware of its profound and continually unfolding effects across the world. When I learned that many people who lived in or near the countryside were coping with lockdowns and social distancing by spending more time in their natural surroundings, this seemed like a perfect way of reconciling these feelings. However, there wasn’t an opportunity to do this in the city. One of the ways I found myself responding to this situation was by rereading some of my favourite rivers-and[1]mountains poems of ancient China, and particularly poets of the T’ang Dynasty, such as Meng Chiao and Liu Tsung-yüan. This period of Chinese history (618-907 CE) is remembered as an age in which great reforms and cultural advancements gave way to political corruption, crisis, and an uprising known as the An Lushan Rebellion (755-763 CE), which devastated the country. However, this period was also characterised by artistic richness, as seen in the work of poets such as Meng and Liu, and the transformative approaches that their changing circumstances prompted them to embrace. In his book Mountain Home, David Hinton describes the archetypal scenario in the rivers-and-mountains tradition of Chinese poetry as “giving up the empty pursuit of professional ambition and returning home to the more spiritually fulfilling life of a recluse in the mountains.” In the cultural context of ancient China, this was not an act of escapism or sentimentality, but the spiritual cultivation of wilderness according to traditional Taoist cosmology, which “recognises earth to be a boundless generative organism, and this vision gives rise to a very different experience of the world.” Hinton accordingly characterises such a departure as a return “to a life in which the perpetual unfolding of Lao Tzu’s organic cosmology is the very texture of daily experience”, and in which poetry “articulates a profound and spiritual sense of belonging to a wilderness of truly awesome dimensions”. My initial books in this series have particularly been based on the poetry of Meng Chiao, due to his transformative approach to poetry as a means of generating new experiences. His poems convey scenes of transcendent beauty, punctuated by the presence of spirits, strange natural forms, and poignant images of decay. Their tone of mournful introspection is typically marked by a sense of vastness and peril, and intimations of order unraveling. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773768699433-5IZ7MLOC2QZBBD97NPLM/mcba-prize-2022-Jenny-Cole-News-From-Answering-Mountain-2.jpg Entries & Jurors - 2022 Entries - Jennie Cole London https://jenniecole.org News from Answering Mountain 2021 Digital printing, lino printing, hand-painted collage in acrylic paint and metallic ink. Edition of 30. 4.33 x 0.79 x 4.33 Artist Statement News from Answering Mountain is a poem of text and image in the form of a hand-painted flag book. It is the second artist’s book in a small series about the Covid-19 pandemic, loosely based on ancient Chinese Mountain poems of the T’ang period. News from Answering Mountain was written in London, where there are no mountains, during the transition from autumn to winter in 2021. The book that preceded it was written between summer and autumn of 2020, and focused on the early experience of the pandemic as a health crisis, while News from Answering Mountain is more concerned with the political turmoil and socioeconomic problems developing in the UK as the pandemic continued. The pamphlet-stitched pages at the front and back of the book describe how these issues unfolded during this period. Between them is a poem of image and text that responds to these events, spread across the flags and facing pages. The mountain featured across the covers, inner pages and flags of this book is the active stratovolcano Mount St. Helens, shown erupting on 22 July 1980, following its major explosive eruption on 18 May of the same year, often viewed as the most disastrous volcanic event in US history. The repetition and fragmentation in this sequence of images echoes the experience of living through the pandemic, traces of which are also represented by the collaged newsprint on the covers of the book, largely subsumed by painting into the image of the erupting mountain. This sequence of images becomes dramatically fragmented and spatialised across the flags that span the peaks of the concertina spine, creating the impression of an expanding ash cloud at the centre of News from Answering Mountain, with text from the centre of the poem dispersed throughout it. This conveys a sense of particulate matter spreading through air, as the book structure enables a spatial treatment of the mountain image along with the poetic text, supplementing its articulation of the struggle to breathe and survive. I started making this series of artist’s books in 2020, with an accordion book of concrete poetry and newsprint[1]collaged images of Greater Ararat, titled Views from Absent Mountain, working from my home in London during the first national lockdown in the UK. I felt an unusually strong sense of placement at this time, living in isolated conditions in a usually busy city, while reading stories about developments in the pandemic across local, national, and international news. This odd feeling combined a sense of extreme disconnection with a contradictory experience of the pandemic as a collective crisis, as I remained aware of its profound and continually unfolding effects across the world. When I learned that many people who lived in or near the countryside were coping with lockdowns and social distancing by spending more time in their natural surroundings, this seemed like a perfect way of reconciling these feelings. However, there wasn’t an opportunity to do this in the city. One of the ways I found myself responding to this situation was by rereading some of my favourite rivers-and[1]mountains poems of ancient China, and particularly poets of the T’ang Dynasty, such as Meng Chiao and Liu Tsung-yüan. This period of Chinese history (618-907 CE) is remembered as an age in which great reforms and cultural advancements gave way to political corruption, crisis, and an uprising known as the An Lushan Rebellion (755-763 CE), which devastated the country. However, this period was also characterised by artistic richness, as seen in the work of poets such as Meng and Liu, and the transformative approaches that their changing circumstances prompted them to embrace. In his book Mountain Home, David Hinton describes the archetypal scenario in the rivers-and-mountains tradition of Chinese poetry as “giving up the empty pursuit of professional ambition and returning home to the more spiritually fulfilling life of a recluse in the mountains.” In the cultural context of ancient China, this was not an act of escapism or sentimentality, but the spiritual cultivation of wilderness according to traditional Taoist cosmology, which “recognises earth to be a boundless generative organism, and this vision gives rise to a very different experience of the world.” Hinton accordingly characterises such a departure as a return “to a life in which the perpetual unfolding of Lao Tzu’s organic cosmology is the very texture of daily experience”, and in which poetry “articulates a profound and spiritual sense of belonging to a wilderness of truly awesome dimensions”. My initial books in this series have particularly been based on the poetry of Meng Chiao, due to his transformative approach to poetry as a means of generating new experiences. His poems convey scenes of transcendent beauty, punctuated by the presence of spirits, strange natural forms, and poignant images of decay. Their tone of mournful introspection is typically marked by a sense of vastness and peril, and intimations of order unraveling. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773768701155-DH4IJE4QFPUW35565VDW/mcba-prize-2022-Jenny-Cole-News-From-Answering-Mountain-1.jpg Entries & Jurors - 2022 Entries - Jennie Cole London https://jenniecole.org News from Answering Mountain 2021 Digital printing, lino printing, hand-painted collage in acrylic paint and metallic ink. Edition of 30. 4.33 x 0.79 x 4.33 Artist Statement News from Answering Mountain is a poem of text and image in the form of a hand-painted flag book. It is the second artist’s book in a small series about the Covid-19 pandemic, loosely based on ancient Chinese Mountain poems of the T’ang period. News from Answering Mountain was written in London, where there are no mountains, during the transition from autumn to winter in 2021. The book that preceded it was written between summer and autumn of 2020, and focused on the early experience of the pandemic as a health crisis, while News from Answering Mountain is more concerned with the political turmoil and socioeconomic problems developing in the UK as the pandemic continued. The pamphlet-stitched pages at the front and back of the book describe how these issues unfolded during this period. Between them is a poem of image and text that responds to these events, spread across the flags and facing pages. The mountain featured across the covers, inner pages and flags of this book is the active stratovolcano Mount St. Helens, shown erupting on 22 July 1980, following its major explosive eruption on 18 May of the same year, often viewed as the most disastrous volcanic event in US history. The repetition and fragmentation in this sequence of images echoes the experience of living through the pandemic, traces of which are also represented by the collaged newsprint on the covers of the book, largely subsumed by painting into the image of the erupting mountain. This sequence of images becomes dramatically fragmented and spatialised across the flags that span the peaks of the concertina spine, creating the impression of an expanding ash cloud at the centre of News from Answering Mountain, with text from the centre of the poem dispersed throughout it. This conveys a sense of particulate matter spreading through air, as the book structure enables a spatial treatment of the mountain image along with the poetic text, supplementing its articulation of the struggle to breathe and survive. I started making this series of artist’s books in 2020, with an accordion book of concrete poetry and newsprint[1]collaged images of Greater Ararat, titled Views from Absent Mountain, working from my home in London during the first national lockdown in the UK. I felt an unusually strong sense of placement at this time, living in isolated conditions in a usually busy city, while reading stories about developments in the pandemic across local, national, and international news. This odd feeling combined a sense of extreme disconnection with a contradictory experience of the pandemic as a collective crisis, as I remained aware of its profound and continually unfolding effects across the world. When I learned that many people who lived in or near the countryside were coping with lockdowns and social distancing by spending more time in their natural surroundings, this seemed like a perfect way of reconciling these feelings. However, there wasn’t an opportunity to do this in the city. One of the ways I found myself responding to this situation was by rereading some of my favourite rivers-and[1]mountains poems of ancient China, and particularly poets of the T’ang Dynasty, such as Meng Chiao and Liu Tsung-yüan. This period of Chinese history (618-907 CE) is remembered as an age in which great reforms and cultural advancements gave way to political corruption, crisis, and an uprising known as the An Lushan Rebellion (755-763 CE), which devastated the country. However, this period was also characterised by artistic richness, as seen in the work of poets such as Meng and Liu, and the transformative approaches that their changing circumstances prompted them to embrace. In his book Mountain Home, David Hinton describes the archetypal scenario in the rivers-and-mountains tradition of Chinese poetry as “giving up the empty pursuit of professional ambition and returning home to the more spiritually fulfilling life of a recluse in the mountains.” In the cultural context of ancient China, this was not an act of escapism or sentimentality, but the spiritual cultivation of wilderness according to traditional Taoist cosmology, which “recognises earth to be a boundless generative organism, and this vision gives rise to a very different experience of the world.” Hinton accordingly characterises such a departure as a return “to a life in which the perpetual unfolding of Lao Tzu’s organic cosmology is the very texture of daily experience”, and in which poetry “articulates a profound and spiritual sense of belonging to a wilderness of truly awesome dimensions”. My initial books in this series have particularly been based on the poetry of Meng Chiao, due to his transformative approach to poetry as a means of generating new experiences. His poems convey scenes of transcendent beauty, punctuated by the presence of spirits, strange natural forms, and poignant images of decay. Their tone of mournful introspection is typically marked by a sense of vastness and peril, and intimations of order unraveling. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773769166455-1L9EV2OQ6VDRF8J62JUK/mcba-prize-2022-Islam-Aly-Transpose-Tahawool-5.jpg Entries & Jurors - 2022 Entries - Islam Aly Nasr City, Egypt islamaly.com Transpose, Tahawool 2021 Cloth-covered box with magnet closure and cloth pull. Hand stenciled images and inkjet printed text on the interior of the box. Wooden dowels, linen thread, book board, museum board, acrylic colors, laser-cut handmade and Fabriano paper, seven pamphlets sewn on wooden dowels Box size: 9.5 x 2.7 x 8.7 closed, 9.5 x 2.7 x 18.25 x opened. Pamphlet size: 7.5x 6.5. Artist Statement 2021, Edition of 40, and five proofs. “Transpose” is a bilingual book in English and Arabic that investigates talismanic shirts. A worn textile that was believed to offer protection and guidance to the carrier. Historically there were various uses for the talismanic shirts; they could be worn as a shield in battles, during illness, used as protective amulets, and produced for ceremonial purposes. They would have a distinctive vocabulary, a mixture of religious texts, sacred invocations, symbols, magic squares, and seal markings. In Transpose, seven pamphlets taking the shapes of shirts are designed and enclosed in the box. Each invokes a different wish: Power, Celebration, Magic, Prosperity, Affection, Peace, and Health. Transpose reveals how garments embed our backgrounds, experiences, decisions, and memories allowing us to live through each garment. The book challenges the notion of power and privilege. Traditionally, these shirts were dedicated to the elite and kept protected in drawers and boxes. Transpose makes these wishes unrestricted for viewers to be rearranged and reordered in various ways according to their preference. After taking away all the pamphlets, the viewer can read a quote on the inner side of the box, emphasizing a greater meaning to each shirt. “there is much to support the view that it is clothes that wear us and not we them; we may make them take the mold of arm or breast, but they mold our hearts, our brains, our tongues to their liking.”- Virginia Woolf, Orlando. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773769166086-AHJ6I5Z71GZUO7X2L8N3/mcba-prize-2022-Islam-Aly-Transpose-Tahawool-4.jpg Entries & Jurors - 2022 Entries - Islam Aly Nasr City, Egypt islamaly.com Transpose, Tahawool 2021 Cloth-covered box with magnet closure and cloth pull. Hand stenciled images and inkjet printed text on the interior of the box. Wooden dowels, linen thread, book board, museum board, acrylic colors, laser-cut handmade and Fabriano paper, seven pamphlets sewn on wooden dowels Box size: 9.5 x 2.7 x 8.7 closed, 9.5 x 2.7 x 18.25 x opened. Pamphlet size: 7.5x 6.5. Artist Statement 2021, Edition of 40, and five proofs. “Transpose” is a bilingual book in English and Arabic that investigates talismanic shirts. A worn textile that was believed to offer protection and guidance to the carrier. Historically there were various uses for the talismanic shirts; they could be worn as a shield in battles, during illness, used as protective amulets, and produced for ceremonial purposes. They would have a distinctive vocabulary, a mixture of religious texts, sacred invocations, symbols, magic squares, and seal markings. In Transpose, seven pamphlets taking the shapes of shirts are designed and enclosed in the box. Each invokes a different wish: Power, Celebration, Magic, Prosperity, Affection, Peace, and Health. Transpose reveals how garments embed our backgrounds, experiences, decisions, and memories allowing us to live through each garment. The book challenges the notion of power and privilege. Traditionally, these shirts were dedicated to the elite and kept protected in drawers and boxes. Transpose makes these wishes unrestricted for viewers to be rearranged and reordered in various ways according to their preference. After taking away all the pamphlets, the viewer can read a quote on the inner side of the box, emphasizing a greater meaning to each shirt. “there is much to support the view that it is clothes that wear us and not we them; we may make them take the mold of arm or breast, but they mold our hearts, our brains, our tongues to their liking.”- Virginia Woolf, Orlando. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773769167509-KW2UEM7D9GOO8NCBL30E/mcba-prize-2022-Islam-Aly-Transpose-Tahawool-3.jpg Entries & Jurors - 2022 Entries - Islam Aly Nasr City, Egypt islamaly.com Transpose, Tahawool 2021 Cloth-covered box with magnet closure and cloth pull. Hand stenciled images and inkjet printed text on the interior of the box. Wooden dowels, linen thread, book board, museum board, acrylic colors, laser-cut handmade and Fabriano paper, seven pamphlets sewn on wooden dowels Box size: 9.5 x 2.7 x 8.7 closed, 9.5 x 2.7 x 18.25 x opened. Pamphlet size: 7.5x 6.5. Artist Statement 2021, Edition of 40, and five proofs. “Transpose” is a bilingual book in English and Arabic that investigates talismanic shirts. A worn textile that was believed to offer protection and guidance to the carrier. Historically there were various uses for the talismanic shirts; they could be worn as a shield in battles, during illness, used as protective amulets, and produced for ceremonial purposes. They would have a distinctive vocabulary, a mixture of religious texts, sacred invocations, symbols, magic squares, and seal markings. In Transpose, seven pamphlets taking the shapes of shirts are designed and enclosed in the box. Each invokes a different wish: Power, Celebration, Magic, Prosperity, Affection, Peace, and Health. Transpose reveals how garments embed our backgrounds, experiences, decisions, and memories allowing us to live through each garment. The book challenges the notion of power and privilege. Traditionally, these shirts were dedicated to the elite and kept protected in drawers and boxes. Transpose makes these wishes unrestricted for viewers to be rearranged and reordered in various ways according to their preference. After taking away all the pamphlets, the viewer can read a quote on the inner side of the box, emphasizing a greater meaning to each shirt. “there is much to support the view that it is clothes that wear us and not we them; we may make them take the mold of arm or breast, but they mold our hearts, our brains, our tongues to their liking.”- Virginia Woolf, Orlando. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773769168374-N5LSA2MIKVV14YO56G0B/mcba-prize-2022-Islam-Aly-Transpose-Tahawool-2.jpg Entries & Jurors - 2022 Entries - Islam Aly Nasr City, Egypt islamaly.com Transpose, Tahawool 2021 Cloth-covered box with magnet closure and cloth pull. Hand stenciled images and inkjet printed text on the interior of the box. Wooden dowels, linen thread, book board, museum board, acrylic colors, laser-cut handmade and Fabriano paper, seven pamphlets sewn on wooden dowels Box size: 9.5 x 2.7 x 8.7 closed, 9.5 x 2.7 x 18.25 x opened. Pamphlet size: 7.5x 6.5. Artist Statement 2021, Edition of 40, and five proofs. “Transpose” is a bilingual book in English and Arabic that investigates talismanic shirts. A worn textile that was believed to offer protection and guidance to the carrier. Historically there were various uses for the talismanic shirts; they could be worn as a shield in battles, during illness, used as protective amulets, and produced for ceremonial purposes. They would have a distinctive vocabulary, a mixture of religious texts, sacred invocations, symbols, magic squares, and seal markings. In Transpose, seven pamphlets taking the shapes of shirts are designed and enclosed in the box. Each invokes a different wish: Power, Celebration, Magic, Prosperity, Affection, Peace, and Health. Transpose reveals how garments embed our backgrounds, experiences, decisions, and memories allowing us to live through each garment. The book challenges the notion of power and privilege. Traditionally, these shirts were dedicated to the elite and kept protected in drawers and boxes. Transpose makes these wishes unrestricted for viewers to be rearranged and reordered in various ways according to their preference. After taking away all the pamphlets, the viewer can read a quote on the inner side of the box, emphasizing a greater meaning to each shirt. “there is much to support the view that it is clothes that wear us and not we them; we may make them take the mold of arm or breast, but they mold our hearts, our brains, our tongues to their liking.”- Virginia Woolf, Orlando. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773769169083-FGJNROI3C2299F6TIRDF/mcba-prize-2022-Islam-Aly-Transpose-Tahawool-1.jpg Entries & Jurors - 2022 Entries - Islam Aly Nasr City, Egypt islamaly.com Transpose, Tahawool 2021 Cloth-covered box with magnet closure and cloth pull. Hand stenciled images and inkjet printed text on the interior of the box. Wooden dowels, linen thread, book board, museum board, acrylic colors, laser-cut handmade and Fabriano paper, seven pamphlets sewn on wooden dowels Box size: 9.5 x 2.7 x 8.7 closed, 9.5 x 2.7 x 18.25 x opened. Pamphlet size: 7.5x 6.5. Artist Statement 2021, Edition of 40, and five proofs. “Transpose” is a bilingual book in English and Arabic that investigates talismanic shirts. A worn textile that was believed to offer protection and guidance to the carrier. Historically there were various uses for the talismanic shirts; they could be worn as a shield in battles, during illness, used as protective amulets, and produced for ceremonial purposes. They would have a distinctive vocabulary, a mixture of religious texts, sacred invocations, symbols, magic squares, and seal markings. In Transpose, seven pamphlets taking the shapes of shirts are designed and enclosed in the box. Each invokes a different wish: Power, Celebration, Magic, Prosperity, Affection, Peace, and Health. Transpose reveals how garments embed our backgrounds, experiences, decisions, and memories allowing us to live through each garment. The book challenges the notion of power and privilege. Traditionally, these shirts were dedicated to the elite and kept protected in drawers and boxes. Transpose makes these wishes unrestricted for viewers to be rearranged and reordered in various ways according to their preference. After taking away all the pamphlets, the viewer can read a quote on the inner side of the box, emphasizing a greater meaning to each shirt. “there is much to support the view that it is clothes that wear us and not we them; we may make them take the mold of arm or breast, but they mold our hearts, our brains, our tongues to their liking.”- Virginia Woolf, Orlando. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773769711385-BF3VY6PP23S608KHTM6N/mcba-prize-2022-Marianne-Nagel-Trockenstress-5.jpg Entries & Jurors - 2022 Entries - Marianne Nagel Leipzig, Germany www.mariannenagel.de Trockenstress und ein Funke (Drought stress and a spark) 2022 Artbook made of: one-of a kind machine drawing, touch sensor, transducer, cardboard, paper, sound, screenprint, graphite box: 11 x 3,9 x 3,9 inches, paper: 55 x 9,8 inches Artist Statement Artist Statement and description of the book: Mind and intuition, the before and after, the haptics of the material and the fleetingness of a touch form the basis of my artist books. In them, I search for processes that usually run under our radar – be they too mundane or apart from our senses – and try to find images, forms or sounds for them. Meandering between science and my imagination, translated into words, graphics, embossing or folding techniques, I give form to the scratching of fingernails on wood or show how sound waves waft through the body. My newest work „Trockenstress und ein Funke“ occupys itself with the dying of trees because of climate change and espacially having drought stress. I try to approach the topic via 3 ways. During the last 3 years it got very obvious to see how much big old threes and whole forests suffer from climate change in Germany. Like many people, I am very attached and moved by this fact. Thats why, I wanted to do an artwork about it. I have a forester in my family who took me out to the forest last summer and told me a lot about the situation of the trees, who suffers of what, how it is connected to the soil and water. I recorded it all – especially because I didn’t want to write it down. While thinking about how to incorporate all these facts – I did not want to do a non-fiction book, I had the idea to let it be drawn by the „Tonschreiber“. This drawing machine is made by the artist and friend of mine Alex Rex. It combines a loudspeaker with a pen. As I let audios play, the pen moves very fast, like a seismograph. But it doesn’t draw all on its own. Like a sewing machine I have to move the paper and can manipulate the lines while moving fast or slow or doing shapes. I am very interested in converting sounds into something visible with the help of funny machines. So I wanted to work with this machine for a long time – but hadn’t found the right topic yet. Using the „Tonschreiber“ for the recorded speaking of my relative, I was surprised that it looked like a landscape or a forest! Digesting all my new knowledge, I also reseached on my own, I got to the point that the book also needed my own access, my own personal view – so I wrote a poem (I send it as a pdf). And let it be screenprinted on the back of the machine-drawing. The third layer is the acoustic path. For a long time I wanted to work with conductive paint. During my researches about the forests I found a swiss sound artist and researcher Marcus Maeder. I does great enviromental sound installations and to get the right sounds, he works together with different climate chance research stations in Switzerland. With their help he could record the sounds that pine trees make, while sucking water. It is in the ultra sound spectrum, but he converted it into for humans hearable sounds. And I was allowed to use one small audio for my book. But I did not want it to be an enviromental record but something connected to humans – something artistic. My partner Alexander Müller is a electronic musician and I asked him do the sound – and he did. The most complicated part is the electronic and codeing part of the book. As I have nearly no idea of electronic work, but in my partner I found a big help. In the tube is a extra smaller tube with a printed circuit board, connected with an mp3 player, batterie, transducer and lots of cabels. My vision was to express the intimate connection that the recipient can have to an artist book, when he/she touches it. And also the intimate relation humans can/should have towards plants and trees. So know, when you touch the tube the graphite electronically conducts towards the circuit board and you can hear the musical approach to the sound that pine trees make – when you lift your hand, it stops. And goes on, when you touch it again. If you are interested, I can also send you a movie and a sound file of the book! For this book I receaved a lot of help: sound recordings by Marcus Mäder, music by Alexander Müller, drawing machine by Alex Rex and content support by Dr. Michael Schwarz. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773769711424-GOFJ90QSPKJPLDW43T96/mcba-prize-2022-Marianne-Nagel-Trockenstress-4.jpg Entries & Jurors - 2022 Entries - Marianne Nagel Leipzig, Germany www.mariannenagel.de Trockenstress und ein Funke (Drought stress and a spark) 2022 Artbook made of: one-of a kind machine drawing, touch sensor, transducer, cardboard, paper, sound, screenprint, graphite box: 11 x 3,9 x 3,9 inches, paper: 55 x 9,8 inches Artist Statement Artist Statement and description of the book: Mind and intuition, the before and after, the haptics of the material and the fleetingness of a touch form the basis of my artist books. In them, I search for processes that usually run under our radar – be they too mundane or apart from our senses – and try to find images, forms or sounds for them. Meandering between science and my imagination, translated into words, graphics, embossing or folding techniques, I give form to the scratching of fingernails on wood or show how sound waves waft through the body. My newest work „Trockenstress und ein Funke“ occupys itself with the dying of trees because of climate change and espacially having drought stress. I try to approach the topic via 3 ways. During the last 3 years it got very obvious to see how much big old threes and whole forests suffer from climate change in Germany. Like many people, I am very attached and moved by this fact. Thats why, I wanted to do an artwork about it. I have a forester in my family who took me out to the forest last summer and told me a lot about the situation of the trees, who suffers of what, how it is connected to the soil and water. I recorded it all – especially because I didn’t want to write it down. While thinking about how to incorporate all these facts – I did not want to do a non-fiction book, I had the idea to let it be drawn by the „Tonschreiber“. This drawing machine is made by the artist and friend of mine Alex Rex. It combines a loudspeaker with a pen. As I let audios play, the pen moves very fast, like a seismograph. But it doesn’t draw all on its own. Like a sewing machine I have to move the paper and can manipulate the lines while moving fast or slow or doing shapes. I am very interested in converting sounds into something visible with the help of funny machines. So I wanted to work with this machine for a long time – but hadn’t found the right topic yet. Using the „Tonschreiber“ for the recorded speaking of my relative, I was surprised that it looked like a landscape or a forest! Digesting all my new knowledge, I also reseached on my own, I got to the point that the book also needed my own access, my own personal view – so I wrote a poem (I send it as a pdf). And let it be screenprinted on the back of the machine-drawing. The third layer is the acoustic path. For a long time I wanted to work with conductive paint. During my researches about the forests I found a swiss sound artist and researcher Marcus Maeder. I does great enviromental sound installations and to get the right sounds, he works together with different climate chance research stations in Switzerland. With their help he could record the sounds that pine trees make, while sucking water. It is in the ultra sound spectrum, but he converted it into for humans hearable sounds. And I was allowed to use one small audio for my book. But I did not want it to be an enviromental record but something connected to humans – something artistic. My partner Alexander Müller is a electronic musician and I asked him do the sound – and he did. The most complicated part is the electronic and codeing part of the book. As I have nearly no idea of electronic work, but in my partner I found a big help. In the tube is a extra smaller tube with a printed circuit board, connected with an mp3 player, batterie, transducer and lots of cabels. My vision was to express the intimate connection that the recipient can have to an artist book, when he/she touches it. And also the intimate relation humans can/should have towards plants and trees. So know, when you touch the tube the graphite electronically conducts towards the circuit board and you can hear the musical approach to the sound that pine trees make – when you lift your hand, it stops. And goes on, when you touch it again. If you are interested, I can also send you a movie and a sound file of the book! For this book I receaved a lot of help: sound recordings by Marcus Mäder, music by Alexander Müller, drawing machine by Alex Rex and content support by Dr. Michael Schwarz. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773769718468-BITRRGV1FOBC75JAR11O/mcba-prize-2022-Marianne-Nagel-Trockenstress-3.jpg Entries & Jurors - 2022 Entries - Marianne Nagel Leipzig, Germany www.mariannenagel.de Trockenstress und ein Funke (Drought stress and a spark) 2022 Artbook made of: one-of a kind machine drawing, touch sensor, transducer, cardboard, paper, sound, screenprint, graphite box: 11 x 3,9 x 3,9 inches, paper: 55 x 9,8 inches Artist Statement Artist Statement and description of the book: Mind and intuition, the before and after, the haptics of the material and the fleetingness of a touch form the basis of my artist books. In them, I search for processes that usually run under our radar – be they too mundane or apart from our senses – and try to find images, forms or sounds for them. Meandering between science and my imagination, translated into words, graphics, embossing or folding techniques, I give form to the scratching of fingernails on wood or show how sound waves waft through the body. My newest work „Trockenstress und ein Funke“ occupys itself with the dying of trees because of climate change and espacially having drought stress. I try to approach the topic via 3 ways. During the last 3 years it got very obvious to see how much big old threes and whole forests suffer from climate change in Germany. Like many people, I am very attached and moved by this fact. Thats why, I wanted to do an artwork about it. I have a forester in my family who took me out to the forest last summer and told me a lot about the situation of the trees, who suffers of what, how it is connected to the soil and water. I recorded it all – especially because I didn’t want to write it down. While thinking about how to incorporate all these facts – I did not want to do a non-fiction book, I had the idea to let it be drawn by the „Tonschreiber“. This drawing machine is made by the artist and friend of mine Alex Rex. It combines a loudspeaker with a pen. As I let audios play, the pen moves very fast, like a seismograph. But it doesn’t draw all on its own. Like a sewing machine I have to move the paper and can manipulate the lines while moving fast or slow or doing shapes. I am very interested in converting sounds into something visible with the help of funny machines. So I wanted to work with this machine for a long time – but hadn’t found the right topic yet. Using the „Tonschreiber“ for the recorded speaking of my relative, I was surprised that it looked like a landscape or a forest! Digesting all my new knowledge, I also reseached on my own, I got to the point that the book also needed my own access, my own personal view – so I wrote a poem (I send it as a pdf). And let it be screenprinted on the back of the machine-drawing. The third layer is the acoustic path. For a long time I wanted to work with conductive paint. During my researches about the forests I found a swiss sound artist and researcher Marcus Maeder. I does great enviromental sound installations and to get the right sounds, he works together with different climate chance research stations in Switzerland. With their help he could record the sounds that pine trees make, while sucking water. It is in the ultra sound spectrum, but he converted it into for humans hearable sounds. And I was allowed to use one small audio for my book. But I did not want it to be an enviromental record but something connected to humans – something artistic. My partner Alexander Müller is a electronic musician and I asked him do the sound – and he did. The most complicated part is the electronic and codeing part of the book. As I have nearly no idea of electronic work, but in my partner I found a big help. In the tube is a extra smaller tube with a printed circuit board, connected with an mp3 player, batterie, transducer and lots of cabels. My vision was to express the intimate connection that the recipient can have to an artist book, when he/she touches it. And also the intimate relation humans can/should have towards plants and trees. So know, when you touch the tube the graphite electronically conducts towards the circuit board and you can hear the musical approach to the sound that pine trees make – when you lift your hand, it stops. And goes on, when you touch it again. If you are interested, I can also send you a movie and a sound file of the book! For this book I receaved a lot of help: sound recordings by Marcus Mäder, music by Alexander Müller, drawing machine by Alex Rex and content support by Dr. Michael Schwarz. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773769719961-B5M4793LPYR4K05YYGN3/mcba-prize-2022-Marianne-Nagel-Trockenstress-2.jpg Entries & Jurors - 2022 Entries - Marianne Nagel Leipzig, Germany www.mariannenagel.de Trockenstress und ein Funke (Drought stress and a spark) 2022 Artbook made of: one-of a kind machine drawing, touch sensor, transducer, cardboard, paper, sound, screenprint, graphite box: 11 x 3,9 x 3,9 inches, paper: 55 x 9,8 inches Artist Statement Artist Statement and description of the book: Mind and intuition, the before and after, the haptics of the material and the fleetingness of a touch form the basis of my artist books. In them, I search for processes that usually run under our radar – be they too mundane or apart from our senses – and try to find images, forms or sounds for them. Meandering between science and my imagination, translated into words, graphics, embossing or folding techniques, I give form to the scratching of fingernails on wood or show how sound waves waft through the body. My newest work „Trockenstress und ein Funke“ occupys itself with the dying of trees because of climate change and espacially having drought stress. I try to approach the topic via 3 ways. During the last 3 years it got very obvious to see how much big old threes and whole forests suffer from climate change in Germany. Like many people, I am very attached and moved by this fact. Thats why, I wanted to do an artwork about it. I have a forester in my family who took me out to the forest last summer and told me a lot about the situation of the trees, who suffers of what, how it is connected to the soil and water. I recorded it all – especially because I didn’t want to write it down. While thinking about how to incorporate all these facts – I did not want to do a non-fiction book, I had the idea to let it be drawn by the „Tonschreiber“. This drawing machine is made by the artist and friend of mine Alex Rex. It combines a loudspeaker with a pen. As I let audios play, the pen moves very fast, like a seismograph. But it doesn’t draw all on its own. Like a sewing machine I have to move the paper and can manipulate the lines while moving fast or slow or doing shapes. I am very interested in converting sounds into something visible with the help of funny machines. So I wanted to work with this machine for a long time – but hadn’t found the right topic yet. Using the „Tonschreiber“ for the recorded speaking of my relative, I was surprised that it looked like a landscape or a forest! Digesting all my new knowledge, I also reseached on my own, I got to the point that the book also needed my own access, my own personal view – so I wrote a poem (I send it as a pdf). And let it be screenprinted on the back of the machine-drawing. The third layer is the acoustic path. For a long time I wanted to work with conductive paint. During my researches about the forests I found a swiss sound artist and researcher Marcus Maeder. I does great enviromental sound installations and to get the right sounds, he works together with different climate chance research stations in Switzerland. With their help he could record the sounds that pine trees make, while sucking water. It is in the ultra sound spectrum, but he converted it into for humans hearable sounds. And I was allowed to use one small audio for my book. But I did not want it to be an enviromental record but something connected to humans – something artistic. My partner Alexander Müller is a electronic musician and I asked him do the sound – and he did. The most complicated part is the electronic and codeing part of the book. As I have nearly no idea of electronic work, but in my partner I found a big help. In the tube is a extra smaller tube with a printed circuit board, connected with an mp3 player, batterie, transducer and lots of cabels. My vision was to express the intimate connection that the recipient can have to an artist book, when he/she touches it. And also the intimate relation humans can/should have towards plants and trees. So know, when you touch the tube the graphite electronically conducts towards the circuit board and you can hear the musical approach to the sound that pine trees make – when you lift your hand, it stops. And goes on, when you touch it again. If you are interested, I can also send you a movie and a sound file of the book! For this book I receaved a lot of help: sound recordings by Marcus Mäder, music by Alexander Müller, drawing machine by Alex Rex and content support by Dr. Michael Schwarz. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773769724378-PRPA9IYDZ02YCBWNT7OY/mcba-prize-2022-Marianne-Nagel-Trockenstress-1.jpg Entries & Jurors - 2022 Entries - Marianne Nagel Leipzig, Germany www.mariannenagel.de Trockenstress und ein Funke (Drought stress and a spark) 2022 Artbook made of: one-of a kind machine drawing, touch sensor, transducer, cardboard, paper, sound, screenprint, graphite box: 11 x 3,9 x 3,9 inches, paper: 55 x 9,8 inches Artist Statement Artist Statement and description of the book: Mind and intuition, the before and after, the haptics of the material and the fleetingness of a touch form the basis of my artist books. In them, I search for processes that usually run under our radar – be they too mundane or apart from our senses – and try to find images, forms or sounds for them. Meandering between science and my imagination, translated into words, graphics, embossing or folding techniques, I give form to the scratching of fingernails on wood or show how sound waves waft through the body. My newest work „Trockenstress und ein Funke“ occupys itself with the dying of trees because of climate change and espacially having drought stress. I try to approach the topic via 3 ways. During the last 3 years it got very obvious to see how much big old threes and whole forests suffer from climate change in Germany. Like many people, I am very attached and moved by this fact. Thats why, I wanted to do an artwork about it. I have a forester in my family who took me out to the forest last summer and told me a lot about the situation of the trees, who suffers of what, how it is connected to the soil and water. I recorded it all – especially because I didn’t want to write it down. While thinking about how to incorporate all these facts – I did not want to do a non-fiction book, I had the idea to let it be drawn by the „Tonschreiber“. This drawing machine is made by the artist and friend of mine Alex Rex. It combines a loudspeaker with a pen. As I let audios play, the pen moves very fast, like a seismograph. But it doesn’t draw all on its own. Like a sewing machine I have to move the paper and can manipulate the lines while moving fast or slow or doing shapes. I am very interested in converting sounds into something visible with the help of funny machines. So I wanted to work with this machine for a long time – but hadn’t found the right topic yet. Using the „Tonschreiber“ for the recorded speaking of my relative, I was surprised that it looked like a landscape or a forest! Digesting all my new knowledge, I also reseached on my own, I got to the point that the book also needed my own access, my own personal view – so I wrote a poem (I send it as a pdf). And let it be screenprinted on the back of the machine-drawing. The third layer is the acoustic path. For a long time I wanted to work with conductive paint. During my researches about the forests I found a swiss sound artist and researcher Marcus Maeder. I does great enviromental sound installations and to get the right sounds, he works together with different climate chance research stations in Switzerland. With their help he could record the sounds that pine trees make, while sucking water. It is in the ultra sound spectrum, but he converted it into for humans hearable sounds. And I was allowed to use one small audio for my book. But I did not want it to be an enviromental record but something connected to humans – something artistic. My partner Alexander Müller is a electronic musician and I asked him do the sound – and he did. The most complicated part is the electronic and codeing part of the book. As I have nearly no idea of electronic work, but in my partner I found a big help. In the tube is a extra smaller tube with a printed circuit board, connected with an mp3 player, batterie, transducer and lots of cabels. My vision was to express the intimate connection that the recipient can have to an artist book, when he/she touches it. And also the intimate relation humans can/should have towards plants and trees. So know, when you touch the tube the graphite electronically conducts towards the circuit board and you can hear the musical approach to the sound that pine trees make – when you lift your hand, it stops. And goes on, when you touch it again. If you are interested, I can also send you a movie and a sound file of the book! For this book I receaved a lot of help: sound recordings by Marcus Mäder, music by Alexander Müller, drawing machine by Alex Rex and content support by Dr. Michael Schwarz. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773769841785-6WHM42C25KLFUYWRYI4N/mcba-prize-2022-George-Bandy-burnished-skies-4.jpg Entries & Jurors - 2022 Entries - George Bandy Alexandria, Virginia burnished skies 2021 sculptural paper & wood Compound sculpture 11″ x 11″ x 20 3/4″: Mobius 3″ x 16 1/2″; Base 11″ x 11″ x 5 1/4″ Artist’s Statement I want to impress upon the Viewer/Reader a sense of movement through space and time. The sculptural book, burnished skies, makes use of the Möbius form to visually suggest infinity by referencing the shape of the mathematical symbol ∞ ; in addition, because the Möbius has one continuous side*, it mimics infinity by having no true beginning or ending. This allows the Reader to enter the poetic flight, at any part of an unending sequence of poems. From a distance the sculpture demands the active imagination of the Viewer to engage. For the poems to be read, the Möbius must be grasped by the Reader and physically held close enough to be read and turned to follow the sequence, which mirrors for the Viewer the role of the active Reader. A powerful metaphor for the cyclical nature of life, death & creation, and how, in this universe, from wherever we stand, we are all participants. I hope my work does what I expect of all good writing and art: Provide transport for those ready to travel, whether they know it or not. Thank you for your consideration. George Bandy * After noting a starting point upon the Möbius, the Viewer can demonstrate one-sidedness by running her finger along the surface in an attempt to circumnavigate: She will traverse apparent surfaces (inside/outside) and find herself returned to her starting point. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773769841819-0YYEFM6YHY5RSOVP95UV/mcba-prize-2022-George-Bandy-burnished-skies-3.jpg Entries & Jurors - 2022 Entries - George Bandy Alexandria, Virginia burnished skies 2021 sculptural paper & wood Compound sculpture 11″ x 11″ x 20 3/4″: Mobius 3″ x 16 1/2″; Base 11″ x 11″ x 5 1/4″ Artist’s Statement I want to impress upon the Viewer/Reader a sense of movement through space and time. The sculptural book, burnished skies, makes use of the Möbius form to visually suggest infinity by referencing the shape of the mathematical symbol ∞ ; in addition, because the Möbius has one continuous side*, it mimics infinity by having no true beginning or ending. This allows the Reader to enter the poetic flight, at any part of an unending sequence of poems. From a distance the sculpture demands the active imagination of the Viewer to engage. For the poems to be read, the Möbius must be grasped by the Reader and physically held close enough to be read and turned to follow the sequence, which mirrors for the Viewer the role of the active Reader. A powerful metaphor for the cyclical nature of life, death & creation, and how, in this universe, from wherever we stand, we are all participants. I hope my work does what I expect of all good writing and art: Provide transport for those ready to travel, whether they know it or not. Thank you for your consideration. George Bandy * After noting a starting point upon the Möbius, the Viewer can demonstrate one-sidedness by running her finger along the surface in an attempt to circumnavigate: She will traverse apparent surfaces (inside/outside) and find herself returned to her starting point. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773770134806-B4PXQSF0T4RJDOP9I8KP/mcba-prize-2022-George-Bandy-burnished-skies-2.jpg Entries & Jurors - 2022 Entries - George Bandy Alexandria, Virginia burnished skies 2021 sculptural paper & wood Compound sculpture 11″ x 11″ x 20 3/4″: Mobius 3″ x 16 1/2″; Base 11″ x 11″ x 5 1/4″ Artist’s Statement I want to impress upon the Viewer/Reader a sense of movement through space and time. The sculptural book, burnished skies, makes use of the Möbius form to visually suggest infinity by referencing the shape of the mathematical symbol ∞ ; in addition, because the Möbius has one continuous side*, it mimics infinity by having no true beginning or ending. This allows the Reader to enter the poetic flight, at any part of an unending sequence of poems. From a distance the sculpture demands the active imagination of the Viewer to engage. For the poems to be read, the Möbius must be grasped by the Reader and physically held close enough to be read and turned to follow the sequence, which mirrors for the Viewer the role of the active Reader. A powerful metaphor for the cyclical nature of life, death & creation, and how, in this universe, from wherever we stand, we are all participants. I hope my work does what I expect of all good writing and art: Provide transport for those ready to travel, whether they know it or not. Thank you for your consideration. George Bandy * After noting a starting point upon the Möbius, the Viewer can demonstrate one-sidedness by running her finger along the surface in an attempt to circumnavigate: She will traverse apparent surfaces (inside/outside) and find herself returned to her starting point. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773769843092-FZQ89UJL5BFX6QC35NYO/mcba-prize-2022-George-Bandy-burnished-skies-1.jpg Entries & Jurors - 2022 Entries - George Bandy Alexandria, Virginia burnished skies 2021 sculptural paper & wood Compound sculpture 11″ x 11″ x 20 3/4″: Mobius 3″ x 16 1/2″; Base 11″ x 11″ x 5 1/4″ Artist’s Statement I want to impress upon the Viewer/Reader a sense of movement through space and time. The sculptural book, burnished skies, makes use of the Möbius form to visually suggest infinity by referencing the shape of the mathematical symbol ∞ ; in addition, because the Möbius has one continuous side*, it mimics infinity by having no true beginning or ending. This allows the Reader to enter the poetic flight, at any part of an unending sequence of poems. From a distance the sculpture demands the active imagination of the Viewer to engage. For the poems to be read, the Möbius must be grasped by the Reader and physically held close enough to be read and turned to follow the sequence, which mirrors for the Viewer the role of the active Reader. A powerful metaphor for the cyclical nature of life, death & creation, and how, in this universe, from wherever we stand, we are all participants. I hope my work does what I expect of all good writing and art: Provide transport for those ready to travel, whether they know it or not. Thank you for your consideration. George Bandy * After noting a starting point upon the Möbius, the Viewer can demonstrate one-sidedness by running her finger along the surface in an attempt to circumnavigate: She will traverse apparent surfaces (inside/outside) and find herself returned to her starting point. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773774516476-FC7UGT5C434BC4GF9DAT/mcba-prize-2022-Ellen-Sheffield-Geography-of-Lost-4.jpg Entries & Jurors - 2022 Entries - Ellen Sheffield Gambier, Ohio ellensheffield.com Geography of Lost 2021 Unryu paper & Strathmore tracing paper pages with Haijiro cover paper. Digital images & letterpress text on two overlapping pamphlet stitched signatures in a trifold cover 5.75″w x 8.5″h (closed) Artist Statement The text in Geography of Lost is a poem written after reading an article on Lost Person Behavior, the science of knowing where to search for someone based on which of forty[1]one profiles applies. The profiles were developed from a huge database of statistics gathered by search and rescue teams engaged in more than two million hours of searching. Implicit in my poem are hard things, feeling forlorn when contemplating a family history of depression, substance abuse, dementia, suicide and other mostly unseen manifestations of hopelessness. There are so many ways to be lost – the thesaurus entry lists over sixty words including disoriented and gone astray. Pulling apart and fracturing the lines of my poem set them adrift amid my images of aerial snow-covered landscapes photographed on a winter flight and overlaid with askew grids. The book’s structure of two overlapping signatures provides multiple reading paths as the viewer turns the pages left then right rearranging the triptychs always leading to the same concluding stanza, “the path now anywhere yet nowhere to be seen”. This artist’s book attempts to visualize experiences of being lost both in the world and to the world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773774516518-CQLFXK9LS3BYQBXW3ODN/mcba-prize-2022-Ellen-Sheffield-Geography-of-Lost-3.jpg Entries & Jurors - 2022 Entries - Ellen Sheffield Gambier, Ohio ellensheffield.com Geography of Lost 2021 Unryu paper & Strathmore tracing paper pages with Haijiro cover paper. Digital images & letterpress text on two overlapping pamphlet stitched signatures in a trifold cover 5.75″w x 8.5″h (closed) Artist Statement The text in Geography of Lost is a poem written after reading an article on Lost Person Behavior, the science of knowing where to search for someone based on which of forty[1]one profiles applies. The profiles were developed from a huge database of statistics gathered by search and rescue teams engaged in more than two million hours of searching. Implicit in my poem are hard things, feeling forlorn when contemplating a family history of depression, substance abuse, dementia, suicide and other mostly unseen manifestations of hopelessness. There are so many ways to be lost – the thesaurus entry lists over sixty words including disoriented and gone astray. Pulling apart and fracturing the lines of my poem set them adrift amid my images of aerial snow-covered landscapes photographed on a winter flight and overlaid with askew grids. The book’s structure of two overlapping signatures provides multiple reading paths as the viewer turns the pages left then right rearranging the triptychs always leading to the same concluding stanza, “the path now anywhere yet nowhere to be seen”. This artist’s book attempts to visualize experiences of being lost both in the world and to the world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773774519295-Y4URCFU6DOHH1X975C79/mcba-prize-2022-Ellen-Sheffield-Geography-of-Lost-2.jpg Entries & Jurors - 2022 Entries - Ellen Sheffield Gambier, Ohio ellensheffield.com Geography of Lost 2021 Unryu paper & Strathmore tracing paper pages with Haijiro cover paper. Digital images & letterpress text on two overlapping pamphlet stitched signatures in a trifold cover 5.75″w x 8.5″h (closed) Artist Statement The text in Geography of Lost is a poem written after reading an article on Lost Person Behavior, the science of knowing where to search for someone based on which of forty[1]one profiles applies. The profiles were developed from a huge database of statistics gathered by search and rescue teams engaged in more than two million hours of searching. Implicit in my poem are hard things, feeling forlorn when contemplating a family history of depression, substance abuse, dementia, suicide and other mostly unseen manifestations of hopelessness. There are so many ways to be lost – the thesaurus entry lists over sixty words including disoriented and gone astray. Pulling apart and fracturing the lines of my poem set them adrift amid my images of aerial snow-covered landscapes photographed on a winter flight and overlaid with askew grids. The book’s structure of two overlapping signatures provides multiple reading paths as the viewer turns the pages left then right rearranging the triptychs always leading to the same concluding stanza, “the path now anywhere yet nowhere to be seen”. This artist’s book attempts to visualize experiences of being lost both in the world and to the world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773774519747-O87092TFX1EHS6656ESB/mcba-prize-2022-Ellen-Sheffield-Geography-of-Lost-1.jpg Entries & Jurors - 2022 Entries - Ellen Sheffield Gambier, Ohio ellensheffield.com Geography of Lost 2021 Unryu paper & Strathmore tracing paper pages with Haijiro cover paper. Digital images & letterpress text on two overlapping pamphlet stitched signatures in a trifold cover 5.75″w x 8.5″h (closed) Artist Statement The text in Geography of Lost is a poem written after reading an article on Lost Person Behavior, the science of knowing where to search for someone based on which of forty[1]one profiles applies. The profiles were developed from a huge database of statistics gathered by search and rescue teams engaged in more than two million hours of searching. Implicit in my poem are hard things, feeling forlorn when contemplating a family history of depression, substance abuse, dementia, suicide and other mostly unseen manifestations of hopelessness. There are so many ways to be lost – the thesaurus entry lists over sixty words including disoriented and gone astray. Pulling apart and fracturing the lines of my poem set them adrift amid my images of aerial snow-covered landscapes photographed on a winter flight and overlaid with askew grids. The book’s structure of two overlapping signatures provides multiple reading paths as the viewer turns the pages left then right rearranging the triptychs always leading to the same concluding stanza, “the path now anywhere yet nowhere to be seen”. This artist’s book attempts to visualize experiences of being lost both in the world and to the world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773774641892-95B7673ZJ47F5PZFSLDI/mcba-prize-2022-Barbara-Justice-Volume-of-Eight-4.jpg Entries & Jurors - 2022 Entries - Barbara Justice Madison, Wisconsin www.barbarajusticephoto.com Volume of Eight 2022 Library Card Catalogue Cards, Library Card Catalogue Drawers, Found Slide Photographs, Used Books, Short Narratives Each book is 17″ length x 5.5″ wide x 4.5″ depth (length can expand to 16 feet) Artist Statement Who are we without systems of organization, record keeping, historical references, and chronicles of time past? How do we hold onto events, experiences and narratives that have shaped our lives? I’ve chosen artifacts, for this exhibit, that heed clues to the past such as photographs, library cards, books, and dated short stories to amplify the significance of objects of memory through handmade artist books. Though technology has shifted how memories are nurtured and kept, these tactile artifacts continue to inform the future. The names I’ve chosen for each volume are many of my great grandmothers up to twelve generations before me. I’ve assembled eight volumes that present short stories of both fictitious and real librarians as a vehicle to commemorate narratives and events that I have carried throughout my lifetime. The accordion books are memorial pieces. Though I am not a librarian, my work and time spent at Memorial Library on the UW Campus has inspired my research because it is a place that holds objects such as rare books, diaries, historical photographs and documents, maps, printed ephemera, record of personal histories, sheets of music, and much more-all of which are historical, physical archives that illuminate time and history. *There are eight books in this body of work, paired with eight photographs and short stories. The books can be displayed as individual pieces, or as a complete installation. They can be displayed with their accompanying photographs as a set or individually as singular books. They can be fully extended or collapsed into the drawers. Displaying options are endless! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773774641875-OZLB19LZQ216JTW0DEJA/mcba-prize-2022-Barbara-Justice-Volume-of-Eight-3.jpg Entries & Jurors - 2022 Entries - Barbara Justice Madison, Wisconsin www.barbarajusticephoto.com Volume of Eight 2022 Library Card Catalogue Cards, Library Card Catalogue Drawers, Found Slide Photographs, Used Books, Short Narratives Each book is 17″ length x 5.5″ wide x 4.5″ depth (length can expand to 16 feet) Artist Statement Who are we without systems of organization, record keeping, historical references, and chronicles of time past? How do we hold onto events, experiences and narratives that have shaped our lives? I’ve chosen artifacts, for this exhibit, that heed clues to the past such as photographs, library cards, books, and dated short stories to amplify the significance of objects of memory through handmade artist books. Though technology has shifted how memories are nurtured and kept, these tactile artifacts continue to inform the future. The names I’ve chosen for each volume are many of my great grandmothers up to twelve generations before me. I’ve assembled eight volumes that present short stories of both fictitious and real librarians as a vehicle to commemorate narratives and events that I have carried throughout my lifetime. The accordion books are memorial pieces. Though I am not a librarian, my work and time spent at Memorial Library on the UW Campus has inspired my research because it is a place that holds objects such as rare books, diaries, historical photographs and documents, maps, printed ephemera, record of personal histories, sheets of music, and much more-all of which are historical, physical archives that illuminate time and history. *There are eight books in this body of work, paired with eight photographs and short stories. The books can be displayed as individual pieces, or as a complete installation. They can be displayed with their accompanying photographs as a set or individually as singular books. They can be fully extended or collapsed into the drawers. Displaying options are endless! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773774643740-GF2NMVJLVHM7SFQEQL25/mcba-prize-2022-Barbara-Justice-Volume-of-Eight-2.jpg Entries & Jurors - 2022 Entries - Barbara Justice Madison, Wisconsin www.barbarajusticephoto.com Volume of Eight 2022 Library Card Catalogue Cards, Library Card Catalogue Drawers, Found Slide Photographs, Used Books, Short Narratives Each book is 17″ length x 5.5″ wide x 4.5″ depth (length can expand to 16 feet) Artist Statement Who are we without systems of organization, record keeping, historical references, and chronicles of time past? How do we hold onto events, experiences and narratives that have shaped our lives? I’ve chosen artifacts, for this exhibit, that heed clues to the past such as photographs, library cards, books, and dated short stories to amplify the significance of objects of memory through handmade artist books. Though technology has shifted how memories are nurtured and kept, these tactile artifacts continue to inform the future. The names I’ve chosen for each volume are many of my great grandmothers up to twelve generations before me. I’ve assembled eight volumes that present short stories of both fictitious and real librarians as a vehicle to commemorate narratives and events that I have carried throughout my lifetime. The accordion books are memorial pieces. Though I am not a librarian, my work and time spent at Memorial Library on the UW Campus has inspired my research because it is a place that holds objects such as rare books, diaries, historical photographs and documents, maps, printed ephemera, record of personal histories, sheets of music, and much more-all of which are historical, physical archives that illuminate time and history. *There are eight books in this body of work, paired with eight photographs and short stories. The books can be displayed as individual pieces, or as a complete installation. They can be displayed with their accompanying photographs as a set or individually as singular books. They can be fully extended or collapsed into the drawers. Displaying options are endless! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773774644248-LVA4T8NESBVIK10AVSYH/mcba-prize-2022-Barbara-Justice-Volume-of-Eight-1.jpg Entries & Jurors - 2022 Entries - Barbara Justice Madison, Wisconsin www.barbarajusticephoto.com Volume of Eight 2022 Library Card Catalogue Cards, Library Card Catalogue Drawers, Found Slide Photographs, Used Books, Short Narratives Each book is 17″ length x 5.5″ wide x 4.5″ depth (length can expand to 16 feet) Artist Statement Who are we without systems of organization, record keeping, historical references, and chronicles of time past? How do we hold onto events, experiences and narratives that have shaped our lives? I’ve chosen artifacts, for this exhibit, that heed clues to the past such as photographs, library cards, books, and dated short stories to amplify the significance of objects of memory through handmade artist books. Though technology has shifted how memories are nurtured and kept, these tactile artifacts continue to inform the future. The names I’ve chosen for each volume are many of my great grandmothers up to twelve generations before me. I’ve assembled eight volumes that present short stories of both fictitious and real librarians as a vehicle to commemorate narratives and events that I have carried throughout my lifetime. The accordion books are memorial pieces. Though I am not a librarian, my work and time spent at Memorial Library on the UW Campus has inspired my research because it is a place that holds objects such as rare books, diaries, historical photographs and documents, maps, printed ephemera, record of personal histories, sheets of music, and much more-all of which are historical, physical archives that illuminate time and history. *There are eight books in this body of work, paired with eight photographs and short stories. The books can be displayed as individual pieces, or as a complete installation. They can be displayed with their accompanying photographs as a set or individually as singular books. They can be fully extended or collapsed into the drawers. Displaying options are endless! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773774774319-1Z1LKKOPWZYNHDB0KOZY/mcba-prize-2022-Ryoko-Adachi-Language-of-Shapes-5.jpg Entries & Jurors - 2022 Entries - RYOKO ADACHI Setagaya-ku, Japan https://ada-library.com/ Language of shape 2020 Printed in photoplate lithography, photopolymer letterpress, inkjet print on Japanese paper and Bahun paper H 12.25″ x w 7″ x D .75″ Artist Statement Language of shape – Artist Statement I created Language of shape as a gesture of appreciation – and reminder – of the delicate and exquisite natural world that we all embrace and share. It consists of two hand-bound books and one folded lithograph encased in a flat box (approximately 31 x 18 x 2 cm). All the original Japanese texts and their English translations are laid out together as part of the design. The first book printed on black Japanese paper, Language of shape – N.U. read the snow, is a poem interlaced with the words of Japanese scientists, Nakaya Ukichiro and Terada Torahiko. “Snowflakes are letters sent from the sky”, said Nakaya, who dedicated his research to the relationship between mid[1]air weather conditions and the shape of snow crystals. On the back pages of the poem are lithographs of sodium sulfate crystals that I grew myself, photographed, arranged as “type”, and then printed in silver ink. While they are reminiscent of Nakaya’s “letters from the sky”, they may also suggest the existence of numerous undiscovered languages and their precious messages in the world. Each reed[1]shaped page folded in three measures 90 cm long and unfolds vertically. The pages are fixed to an accordion pleat (as in concertina binding), with thinly cut japanese-paper. As different folded edges are bound to the pleat, each spread opens with a different number of pages towards the top and bottom, changing the format of the book as the reader goes through it. (Lithography on Ise Iroshibu paper; Dimension: 30 x 17.5 cm, 36 pages) The second book, White landscape, incorporates a close-up of yoghurt I photographed in the kitchen, to complement Nakaya Ukichiro’s descriptions of Alaskan and Arctic landscapes I quoted from his essay. While studying snow, Nakaya also conducted research on ice in the polar regions. A teacher of Nakaya, Terada Torahiko once explained the mechanism of such meteorological phenomena as rainbows, fog, and heat haze with just a bowl of hot water, in his essay A bowl of hot water.* It helped me conceive all phenomena on the earth as part of one continuous connection, from the palm of one’s hand to the end of the universe. It is my hope that readers might visualize the majestic polar vista while looking at my “yoghurt landscape”, and that it evokes a sense of the connectedness of all things as Terada’s passage did for me. (Resin letterpress and inkjet on Bafun paper; Dimension: 30 x 17.5 cm, 16 pages) The third element is a folded lithograph printed on thin Japanese paper. The image is one of the photographs of the sodium sulfate crystals, before they became “type” to be composed and printed on black Japanese paper in the first book. (Lithography on Bicchu Torinoko ganpi paper; Dimension: 40 x 60 cm) Part of the poem in the first black book reads: Being is words If words touch the heart their meaning is shared with others If nature could talk to us in words, what would it be saying now? With no boundaries between living and non-living things, I hope my idea of “shapes as letters” inspires readers to imagine the respective messages of diverse beings on the planet. * Terada Torahiko, Chawan no Yu [A bowl of hot water] (1922) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773774774213-97US4Q1IJET3UH4ZTCR8/mcba-prize-2022-Ryoko-Adachi-Language-of-Shapes-4.jpg Entries & Jurors - 2022 Entries - RYOKO ADACHI Setagaya-ku, Japan https://ada-library.com/ Language of shape 2020 Printed in photoplate lithography, photopolymer letterpress, inkjet print on Japanese paper and Bahun paper H 12.25″ x w 7″ x D .75″ Artist Statement Language of shape – Artist Statement I created Language of shape as a gesture of appreciation – and reminder – of the delicate and exquisite natural world that we all embrace and share. It consists of two hand-bound books and one folded lithograph encased in a flat box (approximately 31 x 18 x 2 cm). All the original Japanese texts and their English translations are laid out together as part of the design. The first book printed on black Japanese paper, Language of shape – N.U. read the snow, is a poem interlaced with the words of Japanese scientists, Nakaya Ukichiro and Terada Torahiko. “Snowflakes are letters sent from the sky”, said Nakaya, who dedicated his research to the relationship between mid[1]air weather conditions and the shape of snow crystals. On the back pages of the poem are lithographs of sodium sulfate crystals that I grew myself, photographed, arranged as “type”, and then printed in silver ink. While they are reminiscent of Nakaya’s “letters from the sky”, they may also suggest the existence of numerous undiscovered languages and their precious messages in the world. Each reed[1]shaped page folded in three measures 90 cm long and unfolds vertically. The pages are fixed to an accordion pleat (as in concertina binding), with thinly cut japanese-paper. As different folded edges are bound to the pleat, each spread opens with a different number of pages towards the top and bottom, changing the format of the book as the reader goes through it. (Lithography on Ise Iroshibu paper; Dimension: 30 x 17.5 cm, 36 pages) The second book, White landscape, incorporates a close-up of yoghurt I photographed in the kitchen, to complement Nakaya Ukichiro’s descriptions of Alaskan and Arctic landscapes I quoted from his essay. While studying snow, Nakaya also conducted research on ice in the polar regions. A teacher of Nakaya, Terada Torahiko once explained the mechanism of such meteorological phenomena as rainbows, fog, and heat haze with just a bowl of hot water, in his essay A bowl of hot water.* It helped me conceive all phenomena on the earth as part of one continuous connection, from the palm of one’s hand to the end of the universe. It is my hope that readers might visualize the majestic polar vista while looking at my “yoghurt landscape”, and that it evokes a sense of the connectedness of all things as Terada’s passage did for me. (Resin letterpress and inkjet on Bafun paper; Dimension: 30 x 17.5 cm, 16 pages) The third element is a folded lithograph printed on thin Japanese paper. The image is one of the photographs of the sodium sulfate crystals, before they became “type” to be composed and printed on black Japanese paper in the first book. (Lithography on Bicchu Torinoko ganpi paper; Dimension: 40 x 60 cm) Part of the poem in the first black book reads: Being is words If words touch the heart their meaning is shared with others If nature could talk to us in words, what would it be saying now? With no boundaries between living and non-living things, I hope my idea of “shapes as letters” inspires readers to imagine the respective messages of diverse beings on the planet. * Terada Torahiko, Chawan no Yu [A bowl of hot water] (1922) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773774777037-A29RSRMTOQCDIMQ4SMHJ/mcba-prize-2022-Ryoko-Adachi-Language-of-Shapes-3.jpg Entries & Jurors - 2022 Entries - RYOKO ADACHI Setagaya-ku, Japan https://ada-library.com/ Language of shape 2020 Printed in photoplate lithography, photopolymer letterpress, inkjet print on Japanese paper and Bahun paper H 12.25″ x w 7″ x D .75″ Artist Statement Language of shape – Artist Statement I created Language of shape as a gesture of appreciation – and reminder – of the delicate and exquisite natural world that we all embrace and share. It consists of two hand-bound books and one folded lithograph encased in a flat box (approximately 31 x 18 x 2 cm). All the original Japanese texts and their English translations are laid out together as part of the design. The first book printed on black Japanese paper, Language of shape – N.U. read the snow, is a poem interlaced with the words of Japanese scientists, Nakaya Ukichiro and Terada Torahiko. “Snowflakes are letters sent from the sky”, said Nakaya, who dedicated his research to the relationship between mid[1]air weather conditions and the shape of snow crystals. On the back pages of the poem are lithographs of sodium sulfate crystals that I grew myself, photographed, arranged as “type”, and then printed in silver ink. While they are reminiscent of Nakaya’s “letters from the sky”, they may also suggest the existence of numerous undiscovered languages and their precious messages in the world. Each reed[1]shaped page folded in three measures 90 cm long and unfolds vertically. The pages are fixed to an accordion pleat (as in concertina binding), with thinly cut japanese-paper. As different folded edges are bound to the pleat, each spread opens with a different number of pages towards the top and bottom, changing the format of the book as the reader goes through it. (Lithography on Ise Iroshibu paper; Dimension: 30 x 17.5 cm, 36 pages) The second book, White landscape, incorporates a close-up of yoghurt I photographed in the kitchen, to complement Nakaya Ukichiro’s descriptions of Alaskan and Arctic landscapes I quoted from his essay. While studying snow, Nakaya also conducted research on ice in the polar regions. A teacher of Nakaya, Terada Torahiko once explained the mechanism of such meteorological phenomena as rainbows, fog, and heat haze with just a bowl of hot water, in his essay A bowl of hot water.* It helped me conceive all phenomena on the earth as part of one continuous connection, from the palm of one’s hand to the end of the universe. It is my hope that readers might visualize the majestic polar vista while looking at my “yoghurt landscape”, and that it evokes a sense of the connectedness of all things as Terada’s passage did for me. (Resin letterpress and inkjet on Bafun paper; Dimension: 30 x 17.5 cm, 16 pages) The third element is a folded lithograph printed on thin Japanese paper. The image is one of the photographs of the sodium sulfate crystals, before they became “type” to be composed and printed on black Japanese paper in the first book. (Lithography on Bicchu Torinoko ganpi paper; Dimension: 40 x 60 cm) Part of the poem in the first black book reads: Being is words If words touch the heart their meaning is shared with others If nature could talk to us in words, what would it be saying now? With no boundaries between living and non-living things, I hope my idea of “shapes as letters” inspires readers to imagine the respective messages of diverse beings on the planet. * Terada Torahiko, Chawan no Yu [A bowl of hot water] (1922) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773774777518-NYYDYYKRAZLFNNLCDUDK/mcba-prize-2022-Ryoko-Adachi-Language-of-Shapes-2.jpg Entries & Jurors - 2022 Entries - RYOKO ADACHI Setagaya-ku, Japan https://ada-library.com/ Language of shape 2020 Printed in photoplate lithography, photopolymer letterpress, inkjet print on Japanese paper and Bahun paper H 12.25″ x w 7″ x D .75″ Artist Statement Language of shape – Artist Statement I created Language of shape as a gesture of appreciation – and reminder – of the delicate and exquisite natural world that we all embrace and share. It consists of two hand-bound books and one folded lithograph encased in a flat box (approximately 31 x 18 x 2 cm). All the original Japanese texts and their English translations are laid out together as part of the design. The first book printed on black Japanese paper, Language of shape – N.U. read the snow, is a poem interlaced with the words of Japanese scientists, Nakaya Ukichiro and Terada Torahiko. “Snowflakes are letters sent from the sky”, said Nakaya, who dedicated his research to the relationship between mid[1]air weather conditions and the shape of snow crystals. On the back pages of the poem are lithographs of sodium sulfate crystals that I grew myself, photographed, arranged as “type”, and then printed in silver ink. While they are reminiscent of Nakaya’s “letters from the sky”, they may also suggest the existence of numerous undiscovered languages and their precious messages in the world. Each reed[1]shaped page folded in three measures 90 cm long and unfolds vertically. The pages are fixed to an accordion pleat (as in concertina binding), with thinly cut japanese-paper. As different folded edges are bound to the pleat, each spread opens with a different number of pages towards the top and bottom, changing the format of the book as the reader goes through it. (Lithography on Ise Iroshibu paper; Dimension: 30 x 17.5 cm, 36 pages) The second book, White landscape, incorporates a close-up of yoghurt I photographed in the kitchen, to complement Nakaya Ukichiro’s descriptions of Alaskan and Arctic landscapes I quoted from his essay. While studying snow, Nakaya also conducted research on ice in the polar regions. A teacher of Nakaya, Terada Torahiko once explained the mechanism of such meteorological phenomena as rainbows, fog, and heat haze with just a bowl of hot water, in his essay A bowl of hot water.* It helped me conceive all phenomena on the earth as part of one continuous connection, from the palm of one’s hand to the end of the universe. It is my hope that readers might visualize the majestic polar vista while looking at my “yoghurt landscape”, and that it evokes a sense of the connectedness of all things as Terada’s passage did for me. (Resin letterpress and inkjet on Bafun paper; Dimension: 30 x 17.5 cm, 16 pages) The third element is a folded lithograph printed on thin Japanese paper. The image is one of the photographs of the sodium sulfate crystals, before they became “type” to be composed and printed on black Japanese paper in the first book. (Lithography on Bicchu Torinoko ganpi paper; Dimension: 40 x 60 cm) Part of the poem in the first black book reads: Being is words If words touch the heart their meaning is shared with others If nature could talk to us in words, what would it be saying now? With no boundaries between living and non-living things, I hope my idea of “shapes as letters” inspires readers to imagine the respective messages of diverse beings on the planet. * Terada Torahiko, Chawan no Yu [A bowl of hot water] (1922) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773774778598-TJQXCHNGZL7436GAXWM0/mcba-prize-2022-Ryoko-Adachi-Language-of-Shapes-1.jpg Entries & Jurors - 2022 Entries - RYOKO ADACHI Setagaya-ku, Japan https://ada-library.com/ Language of shape 2020 Printed in photoplate lithography, photopolymer letterpress, inkjet print on Japanese paper and Bahun paper H 12.25″ x w 7″ x D .75″ Artist Statement Language of shape – Artist Statement I created Language of shape as a gesture of appreciation – and reminder – of the delicate and exquisite natural world that we all embrace and share. It consists of two hand-bound books and one folded lithograph encased in a flat box (approximately 31 x 18 x 2 cm). All the original Japanese texts and their English translations are laid out together as part of the design. The first book printed on black Japanese paper, Language of shape – N.U. read the snow, is a poem interlaced with the words of Japanese scientists, Nakaya Ukichiro and Terada Torahiko. “Snowflakes are letters sent from the sky”, said Nakaya, who dedicated his research to the relationship between mid[1]air weather conditions and the shape of snow crystals. On the back pages of the poem are lithographs of sodium sulfate crystals that I grew myself, photographed, arranged as “type”, and then printed in silver ink. While they are reminiscent of Nakaya’s “letters from the sky”, they may also suggest the existence of numerous undiscovered languages and their precious messages in the world. Each reed[1]shaped page folded in three measures 90 cm long and unfolds vertically. The pages are fixed to an accordion pleat (as in concertina binding), with thinly cut japanese-paper. As different folded edges are bound to the pleat, each spread opens with a different number of pages towards the top and bottom, changing the format of the book as the reader goes through it. (Lithography on Ise Iroshibu paper; Dimension: 30 x 17.5 cm, 36 pages) The second book, White landscape, incorporates a close-up of yoghurt I photographed in the kitchen, to complement Nakaya Ukichiro’s descriptions of Alaskan and Arctic landscapes I quoted from his essay. While studying snow, Nakaya also conducted research on ice in the polar regions. A teacher of Nakaya, Terada Torahiko once explained the mechanism of such meteorological phenomena as rainbows, fog, and heat haze with just a bowl of hot water, in his essay A bowl of hot water.* It helped me conceive all phenomena on the earth as part of one continuous connection, from the palm of one’s hand to the end of the universe. It is my hope that readers might visualize the majestic polar vista while looking at my “yoghurt landscape”, and that it evokes a sense of the connectedness of all things as Terada’s passage did for me. (Resin letterpress and inkjet on Bafun paper; Dimension: 30 x 17.5 cm, 16 pages) The third element is a folded lithograph printed on thin Japanese paper. The image is one of the photographs of the sodium sulfate crystals, before they became “type” to be composed and printed on black Japanese paper in the first book. (Lithography on Bicchu Torinoko ganpi paper; Dimension: 40 x 60 cm) Part of the poem in the first black book reads: Being is words If words touch the heart their meaning is shared with others If nature could talk to us in words, what would it be saying now? With no boundaries between living and non-living things, I hope my idea of “shapes as letters” inspires readers to imagine the respective messages of diverse beings on the planet. * Terada Torahiko, Chawan no Yu [A bowl of hot water] (1922) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773774955684-CK93Z04S9CHYLZE7Q8QF/mcba-prize-2022-Erin-Moore-The-Tree-Inside-3.jpeg Entries & Jurors - 2022 Entries - Erin Moore Minneapolis, Minnesota The Tree Inside 2022 Book board, muslin, wire, paper, beeswax, flax, watercolor 30″L x 12″W x 18″H Artist Statement What is a book to a tree? At best, nothing, and—at worst? Was a thank you even offered to the trees before—cut, cleaned, and chipped to pulp—they became the paper and board that made this piece? I suppose this piece is a stab at belated thanks. A traditional book form felt insulting under the circumstances. Instead, I looked to the form of trees themselves, and to the chasm we create when we fail to nurture our relationships with the wider, natural world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773774957945-OONE2GLF09T92QVCAQ91/mcba-prize-2022-Erin-Moore-The-Tree-Inside-2.jpeg Entries & Jurors - 2022 Entries - Erin Moore Minneapolis, Minnesota The Tree Inside 2022 Book board, muslin, wire, paper, beeswax, flax, watercolor 30″L x 12″W x 18″H Artist Statement What is a book to a tree? At best, nothing, and—at worst? Was a thank you even offered to the trees before—cut, cleaned, and chipped to pulp—they became the paper and board that made this piece? I suppose this piece is a stab at belated thanks. A traditional book form felt insulting under the circumstances. Instead, I looked to the form of trees themselves, and to the chasm we create when we fail to nurture our relationships with the wider, natural world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773774958212-H7ZB1352UEKECM748ZSY/mcba-prize-2022-Erin-Moore-The-Tree-Inside-1.jpeg Entries & Jurors - 2022 Entries - Erin Moore Minneapolis, Minnesota The Tree Inside 2022 Book board, muslin, wire, paper, beeswax, flax, watercolor 30″L x 12″W x 18″H Artist Statement What is a book to a tree? At best, nothing, and—at worst? Was a thank you even offered to the trees before—cut, cleaned, and chipped to pulp—they became the paper and board that made this piece? I suppose this piece is a stab at belated thanks. A traditional book form felt insulting under the circumstances. Instead, I looked to the form of trees themselves, and to the chasm we create when we fail to nurture our relationships with the wider, natural world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773774955646-OSCIT8SV5YRRRFUSRG7Y/mcba-prize-2022-Erin-Moore-The-Tree-Inside-4.jpeg Entries & Jurors - 2022 Entries - Erin Moore Minneapolis, Minnesota The Tree Inside 2022 Book board, muslin, wire, paper, beeswax, flax, watercolor 30″L x 12″W x 18″H Artist Statement What is a book to a tree? At best, nothing, and—at worst? Was a thank you even offered to the trees before—cut, cleaned, and chipped to pulp—they became the paper and board that made this piece? I suppose this piece is a stab at belated thanks. A traditional book form felt insulting under the circumstances. Instead, I looked to the form of trees themselves, and to the chasm we create when we fail to nurture our relationships with the wider, natural world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773775135127-P3G1DVD0B1YYH4R8S035/mcba-prize-2022-Guy-Bigland-Square-photographs-of-white-circle-paintings-5.jpg Entries & Jurors - 2022 Entries - Guy Bigland Corsham, United Kingdom http://www.guybigland.com Square Photographs of White Circle Paintings 2022 Digitally Printed book 5.9″ x 8.7″ x 0.25″ Artist Statement I have been photographing mini-roundabouts for a number of years. The book features thirty-eight of these photographs. Mini-roundabouts are circles painted directly onto the road surface but are always seen by drivers and pedestrians from the road as ellipses. I digitally stretch the ellipses to fill a square and thus making them as circular as possible, as they would appear if we could view them from above. The circles instruct motorists to observe a rule – intended to be seen rather than looked at. Although created ‘uncreatively’ by road painters, they can be read as outdoor public art. They present a surface patina which is the product both of the makers’ techniques and the physical rigours that have been placed upon them over time. The book features a short text on the rules and history of the mini-roundabout. This work also exists in a moving image version where each image dissolves slowly into the next over a 38 minute period https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773775134469-6DPLR26YXGRYBXVNOMS1/mcba-prize-2022-Guy-Bigland-Square-photographs-of-white-circle-paintings-4.jpg Entries & Jurors - 2022 Entries - Guy Bigland Corsham, United Kingdom http://www.guybigland.com Square Photographs of White Circle Paintings 2022 Digitally Printed book 5.9″ x 8.7″ x 0.25″ Artist Statement I have been photographing mini-roundabouts for a number of years. The book features thirty-eight of these photographs. Mini-roundabouts are circles painted directly onto the road surface but are always seen by drivers and pedestrians from the road as ellipses. I digitally stretch the ellipses to fill a square and thus making them as circular as possible, as they would appear if we could view them from above. The circles instruct motorists to observe a rule – intended to be seen rather than looked at. Although created ‘uncreatively’ by road painters, they can be read as outdoor public art. They present a surface patina which is the product both of the makers’ techniques and the physical rigours that have been placed upon them over time. The book features a short text on the rules and history of the mini-roundabout. This work also exists in a moving image version where each image dissolves slowly into the next over a 38 minute period https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773775137319-IK3DDW1FWBDQO0IGBTJG/mcba-prize-2022-Guy-Bigland-Square-photographs-of-white-circle-paintings-3.jpg Entries & Jurors - 2022 Entries - Guy Bigland Corsham, United Kingdom http://www.guybigland.com Square Photographs of White Circle Paintings 2022 Digitally Printed book 5.9″ x 8.7″ x 0.25″ Artist Statement I have been photographing mini-roundabouts for a number of years. The book features thirty-eight of these photographs. Mini-roundabouts are circles painted directly onto the road surface but are always seen by drivers and pedestrians from the road as ellipses. I digitally stretch the ellipses to fill a square and thus making them as circular as possible, as they would appear if we could view them from above. The circles instruct motorists to observe a rule – intended to be seen rather than looked at. Although created ‘uncreatively’ by road painters, they can be read as outdoor public art. They present a surface patina which is the product both of the makers’ techniques and the physical rigours that have been placed upon them over time. The book features a short text on the rules and history of the mini-roundabout. This work also exists in a moving image version where each image dissolves slowly into the next over a 38 minute period https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773775137776-675VQBG7FIXYKPIU4FGZ/mcba-prize-2022-Guy-Bigland-Square-photographs-of-white-circle-paintings-2.jpg Entries & Jurors - 2022 Entries - Guy Bigland Corsham, United Kingdom http://www.guybigland.com Square Photographs of White Circle Paintings 2022 Digitally Printed book 5.9″ x 8.7″ x 0.25″ Artist Statement I have been photographing mini-roundabouts for a number of years. The book features thirty-eight of these photographs. Mini-roundabouts are circles painted directly onto the road surface but are always seen by drivers and pedestrians from the road as ellipses. I digitally stretch the ellipses to fill a square and thus making them as circular as possible, as they would appear if we could view them from above. The circles instruct motorists to observe a rule – intended to be seen rather than looked at. Although created ‘uncreatively’ by road painters, they can be read as outdoor public art. They present a surface patina which is the product both of the makers’ techniques and the physical rigours that have been placed upon them over time. The book features a short text on the rules and history of the mini-roundabout. This work also exists in a moving image version where each image dissolves slowly into the next over a 38 minute period https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773775139429-416Z50IH44ZPWE12T11S/mcba-prize-2022-Guy-Bigland-Square-photographs-of-white-circle-paintings-1.jpg Entries & Jurors - 2022 Entries - Guy Bigland Corsham, United Kingdom http://www.guybigland.com Square Photographs of White Circle Paintings 2022 Digitally Printed book 5.9″ x 8.7″ x 0.25″ Artist Statement I have been photographing mini-roundabouts for a number of years. The book features thirty-eight of these photographs. Mini-roundabouts are circles painted directly onto the road surface but are always seen by drivers and pedestrians from the road as ellipses. I digitally stretch the ellipses to fill a square and thus making them as circular as possible, as they would appear if we could view them from above. The circles instruct motorists to observe a rule – intended to be seen rather than looked at. Although created ‘uncreatively’ by road painters, they can be read as outdoor public art. They present a surface patina which is the product both of the makers’ techniques and the physical rigours that have been placed upon them over time. The book features a short text on the rules and history of the mini-roundabout. This work also exists in a moving image version where each image dissolves slowly into the next over a 38 minute period https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773775740569-L80PFJ5TBHXCB2W43PPC/mcba-prize-2022-Linda-Gammell-Mississippi-Book-of-Hours-5.jpg Entries & Jurors - 2022 Entries - Linda Gammell Saint Paul, Minnesota lindagammell.com Mississippi Book of Hours 2022 photography, digital media 13″ x 10.5″ x .5″ Artist Statement My artist’s book Mississppi Book of Hours braids together photographs, literary writing and a personal essay about place and memory. For over a decade I have photographed the Mississiippi River, which flows within a half mile of my house. I have lived on its banks since my family moved to a river town in southern Minnesota when I was in grade school. The photographic diptychs, scanned from film images and printed on two-sided Hannemuhle paper are paired with a quote by Rebecca Solnit on how walking and memory are linked, and a poem about the river by Lucille Clifton. In the book a personal essay follows the images as a way for me to trace this deep relationship to place: a body of water which is a character in my life. The book’s title references the medieval book of prayer that called Europe’s common people, many of whom could not read, to pause in their daily life for a ritual of devotion and reflection on the sacred. My treks to the river serve a similar purpose. The Mississippi River is not necessarily a literal place, but an internal place where deep time, rhythms, and stillness happens. It is where I feel the effect of the turning of the earth, the position of the sun and moon, the seasons, the changing currents that make their way to the Gulf and to the oceans, the response of the cottonwoods and other trees growing on its banks to light, the gathering of birds to rest or fish, the shifting, melting ice where an image like cave drawings appears. This is psychically restorative in a time on the planet when all are suffering. While I am very conscious of the global crisis of climate change, I accept the dailiness of the river’s gifts. I say to it, “my art will not restore or protect you, but I will share your beauty and power by paying close attention.” Many writers, including Rebecca Solnit, Wendell Berry, and others insist that such an act of solitude is a “counterforce of resistance…” that to embrace delight and beauty is essential to humanity’s well being. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773775739378-GLW0DQXUVD1HPYHVS6R8/mcba-prize-2022-Linda-Gammell-Mississippi-Book-of-Hours-4.jpg Entries & Jurors - 2022 Entries - Linda Gammell Saint Paul, Minnesota lindagammell.com Mississippi Book of Hours 2022 photography, digital media 13″ x 10.5″ x .5″ Artist Statement My artist’s book Mississppi Book of Hours braids together photographs, literary writing and a personal essay about place and memory. For over a decade I have photographed the Mississiippi River, which flows within a half mile of my house. I have lived on its banks since my family moved to a river town in southern Minnesota when I was in grade school. The photographic diptychs, scanned from film images and printed on two-sided Hannemuhle paper are paired with a quote by Rebecca Solnit on how walking and memory are linked, and a poem about the river by Lucille Clifton. In the book a personal essay follows the images as a way for me to trace this deep relationship to place: a body of water which is a character in my life. The book’s title references the medieval book of prayer that called Europe’s common people, many of whom could not read, to pause in their daily life for a ritual of devotion and reflection on the sacred. My treks to the river serve a similar purpose. The Mississippi River is not necessarily a literal place, but an internal place where deep time, rhythms, and stillness happens. It is where I feel the effect of the turning of the earth, the position of the sun and moon, the seasons, the changing currents that make their way to the Gulf and to the oceans, the response of the cottonwoods and other trees growing on its banks to light, the gathering of birds to rest or fish, the shifting, melting ice where an image like cave drawings appears. This is psychically restorative in a time on the planet when all are suffering. While I am very conscious of the global crisis of climate change, I accept the dailiness of the river’s gifts. I say to it, “my art will not restore or protect you, but I will share your beauty and power by paying close attention.” Many writers, including Rebecca Solnit, Wendell Berry, and others insist that such an act of solitude is a “counterforce of resistance…” that to embrace delight and beauty is essential to humanity’s well being. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773775741211-GAO5G8N7ATVTC2SQRA09/mcba-prize-2022-Linda-Gammell-Mississippi-Book-of-Hours-3.jpg Entries & Jurors - 2022 Entries - Linda Gammell Saint Paul, Minnesota lindagammell.com Mississippi Book of Hours 2022 photography, digital media 13″ x 10.5″ x .5″ Artist Statement My artist’s book Mississppi Book of Hours braids together photographs, literary writing and a personal essay about place and memory. For over a decade I have photographed the Mississiippi River, which flows within a half mile of my house. I have lived on its banks since my family moved to a river town in southern Minnesota when I was in grade school. The photographic diptychs, scanned from film images and printed on two-sided Hannemuhle paper are paired with a quote by Rebecca Solnit on how walking and memory are linked, and a poem about the river by Lucille Clifton. In the book a personal essay follows the images as a way for me to trace this deep relationship to place: a body of water which is a character in my life. The book’s title references the medieval book of prayer that called Europe’s common people, many of whom could not read, to pause in their daily life for a ritual of devotion and reflection on the sacred. My treks to the river serve a similar purpose. The Mississippi River is not necessarily a literal place, but an internal place where deep time, rhythms, and stillness happens. It is where I feel the effect of the turning of the earth, the position of the sun and moon, the seasons, the changing currents that make their way to the Gulf and to the oceans, the response of the cottonwoods and other trees growing on its banks to light, the gathering of birds to rest or fish, the shifting, melting ice where an image like cave drawings appears. This is psychically restorative in a time on the planet when all are suffering. While I am very conscious of the global crisis of climate change, I accept the dailiness of the river’s gifts. I say to it, “my art will not restore or protect you, but I will share your beauty and power by paying close attention.” Many writers, including Rebecca Solnit, Wendell Berry, and others insist that such an act of solitude is a “counterforce of resistance…” that to embrace delight and beauty is essential to humanity’s well being. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773775741929-HQARTEZ6RWXQW4LJCFHJ/mcba-prize-2022-Linda-Gammell-Mississippi-Book-of-Hours-2.jpg Entries & Jurors - 2022 Entries - Linda Gammell Saint Paul, Minnesota lindagammell.com Mississippi Book of Hours 2022 photography, digital media 13″ x 10.5″ x .5″ Artist Statement My artist’s book Mississppi Book of Hours braids together photographs, literary writing and a personal essay about place and memory. For over a decade I have photographed the Mississiippi River, which flows within a half mile of my house. I have lived on its banks since my family moved to a river town in southern Minnesota when I was in grade school. The photographic diptychs, scanned from film images and printed on two-sided Hannemuhle paper are paired with a quote by Rebecca Solnit on how walking and memory are linked, and a poem about the river by Lucille Clifton. In the book a personal essay follows the images as a way for me to trace this deep relationship to place: a body of water which is a character in my life. The book’s title references the medieval book of prayer that called Europe’s common people, many of whom could not read, to pause in their daily life for a ritual of devotion and reflection on the sacred. My treks to the river serve a similar purpose. The Mississippi River is not necessarily a literal place, but an internal place where deep time, rhythms, and stillness happens. It is where I feel the effect of the turning of the earth, the position of the sun and moon, the seasons, the changing currents that make their way to the Gulf and to the oceans, the response of the cottonwoods and other trees growing on its banks to light, the gathering of birds to rest or fish, the shifting, melting ice where an image like cave drawings appears. This is psychically restorative in a time on the planet when all are suffering. While I am very conscious of the global crisis of climate change, I accept the dailiness of the river’s gifts. I say to it, “my art will not restore or protect you, but I will share your beauty and power by paying close attention.” Many writers, including Rebecca Solnit, Wendell Berry, and others insist that such an act of solitude is a “counterforce of resistance…” that to embrace delight and beauty is essential to humanity’s well being. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773775742998-YEDKJUBE2C99E49V5DRS/mcba-prize-2022-Linda-Gammell-Mississippi-Book-of-Hours-1.jpg Entries & Jurors - 2022 Entries - Linda Gammell Saint Paul, Minnesota lindagammell.com Mississippi Book of Hours 2022 photography, digital media 13″ x 10.5″ x .5″ Artist Statement My artist’s book Mississppi Book of Hours braids together photographs, literary writing and a personal essay about place and memory. For over a decade I have photographed the Mississiippi River, which flows within a half mile of my house. I have lived on its banks since my family moved to a river town in southern Minnesota when I was in grade school. The photographic diptychs, scanned from film images and printed on two-sided Hannemuhle paper are paired with a quote by Rebecca Solnit on how walking and memory are linked, and a poem about the river by Lucille Clifton. In the book a personal essay follows the images as a way for me to trace this deep relationship to place: a body of water which is a character in my life. The book’s title references the medieval book of prayer that called Europe’s common people, many of whom could not read, to pause in their daily life for a ritual of devotion and reflection on the sacred. My treks to the river serve a similar purpose. The Mississippi River is not necessarily a literal place, but an internal place where deep time, rhythms, and stillness happens. It is where I feel the effect of the turning of the earth, the position of the sun and moon, the seasons, the changing currents that make their way to the Gulf and to the oceans, the response of the cottonwoods and other trees growing on its banks to light, the gathering of birds to rest or fish, the shifting, melting ice where an image like cave drawings appears. This is psychically restorative in a time on the planet when all are suffering. While I am very conscious of the global crisis of climate change, I accept the dailiness of the river’s gifts. I say to it, “my art will not restore or protect you, but I will share your beauty and power by paying close attention.” Many writers, including Rebecca Solnit, Wendell Berry, and others insist that such an act of solitude is a “counterforce of resistance…” that to embrace delight and beauty is essential to humanity’s well being. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773775868890-MV9U7YGMTPU7I3X1T0P5/mcba-prize-2022-thorsten-dennerline-New-Danish-Poetry-5.jpg Entries & Jurors - 2022 Entries - Thorsten Dennerline Bennington, Vermont www.birdpress.com Ny dansk poesi/New Danish Poetry 2019-2022 Book: Stone, plate and offset lithography, metal and polymer letterpress, woodcuts, handmade and machine made papers, hand bound in handmade paper and in a slip case. 18×12.5×0.75″ Artist Statement The two main areas of my work are publishing books and creating unique objects. The most common thread between them is my interest in poetry. This has resulted in collaboration, and has also fostered my interest in the relationship between text and image. I am comfortable with things that have multiple meanings, or the unexplainable. My work uses a combination of intentional disruption, the unexpected, spontaneity and improvisation as well as a desire to pursue the sublime through the use of materials. This perpetual pursuit—and its inevitable impossibility—is an ever-present element of the content and process in my projects. My books are equally informed by the history of books and design as by contemporary art and culture. This book was a major undertaking. It involved 18 collaborators, multi languages, a five month residency in Copenhagen, a translator, a catalog essay by a literary scholar, five print shops, many kinds of paper, and trouble shooting of the highest order. The idea was to use the idea of “anthology” as a point of departure by inviting someone to either curate or gather elements that I could respond to visually and/or collaboratively. I invited the recent Danish Drachmanns Legatet Literature Prize winner, Susanne Jorn to do this. She also happens to be a family member, so there is an added a personal aspect to the project that responds to the fact that our we are an artist family. One example that influences us all, is that my grandfather was the painter and master collaborator, Asger Jorn. She responded to the prompt by inviting six young Danish poets to work with me. They all agreed and I then chose to work with each poet separately on a four page section of the book. The idea was that each collaboration would be different and demonstrate how the process of working together can allow for an emergence of an unplanned third element that goes beyond the input of the individuals involved. Each section is quite different as a result. The book was planned to be in a solo exhibition at Galleri Tom Christoffersen in June 2020, but this has been postponed four times due to covid. The exhibition is now scheduled to open on June 17, 2022 with a reading the next day. The first prototypes of this book were exhibited at the Editions and Artist Books Fair in New York City in 2019, and the edition was just finished in 2021. The book was printed in five different print shops both in the US and Denmark, using lithographic plates, lithographic stones, large polymer letterpress plates, woodcut, and metal type. Paper ranged from Twinrocker handmade covers, to Saint Armand handmade sheets to machine made printing papers. See the colophon supplement for more information. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773775869049-24QP1I1JQ6MVZFRMBJC0/mcba-prize-2022-thorsten-dennerline-New-Danish-Poetry-4.jpg Entries & Jurors - 2022 Entries - Thorsten Dennerline Bennington, Vermont www.birdpress.com Ny dansk poesi/New Danish Poetry 2019-2022 Book: Stone, plate and offset lithography, metal and polymer letterpress, woodcuts, handmade and machine made papers, hand bound in handmade paper and in a slip case. 18×12.5×0.75″ Artist Statement The two main areas of my work are publishing books and creating unique objects. The most common thread between them is my interest in poetry. This has resulted in collaboration, and has also fostered my interest in the relationship between text and image. I am comfortable with things that have multiple meanings, or the unexplainable. My work uses a combination of intentional disruption, the unexpected, spontaneity and improvisation as well as a desire to pursue the sublime through the use of materials. This perpetual pursuit—and its inevitable impossibility—is an ever-present element of the content and process in my projects. My books are equally informed by the history of books and design as by contemporary art and culture. This book was a major undertaking. It involved 18 collaborators, multi languages, a five month residency in Copenhagen, a translator, a catalog essay by a literary scholar, five print shops, many kinds of paper, and trouble shooting of the highest order. The idea was to use the idea of “anthology” as a point of departure by inviting someone to either curate or gather elements that I could respond to visually and/or collaboratively. I invited the recent Danish Drachmanns Legatet Literature Prize winner, Susanne Jorn to do this. She also happens to be a family member, so there is an added a personal aspect to the project that responds to the fact that our we are an artist family. One example that influences us all, is that my grandfather was the painter and master collaborator, Asger Jorn. She responded to the prompt by inviting six young Danish poets to work with me. They all agreed and I then chose to work with each poet separately on a four page section of the book. The idea was that each collaboration would be different and demonstrate how the process of working together can allow for an emergence of an unplanned third element that goes beyond the input of the individuals involved. Each section is quite different as a result. The book was planned to be in a solo exhibition at Galleri Tom Christoffersen in June 2020, but this has been postponed four times due to covid. The exhibition is now scheduled to open on June 17, 2022 with a reading the next day. The first prototypes of this book were exhibited at the Editions and Artist Books Fair in New York City in 2019, and the edition was just finished in 2021. The book was printed in five different print shops both in the US and Denmark, using lithographic plates, lithographic stones, large polymer letterpress plates, woodcut, and metal type. Paper ranged from Twinrocker handmade covers, to Saint Armand handmade sheets to machine made printing papers. See the colophon supplement for more information. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773775870496-L72XLNJB55CO8MS1ITDO/mcba-prize-2022-thorsten-dennerline-New-Danish-Poetry-3.jpg Entries & Jurors - 2022 Entries - Thorsten Dennerline Bennington, Vermont www.birdpress.com Ny dansk poesi/New Danish Poetry 2019-2022 Book: Stone, plate and offset lithography, metal and polymer letterpress, woodcuts, handmade and machine made papers, hand bound in handmade paper and in a slip case. 18×12.5×0.75″ Artist Statement The two main areas of my work are publishing books and creating unique objects. The most common thread between them is my interest in poetry. This has resulted in collaboration, and has also fostered my interest in the relationship between text and image. I am comfortable with things that have multiple meanings, or the unexplainable. My work uses a combination of intentional disruption, the unexpected, spontaneity and improvisation as well as a desire to pursue the sublime through the use of materials. This perpetual pursuit—and its inevitable impossibility—is an ever-present element of the content and process in my projects. My books are equally informed by the history of books and design as by contemporary art and culture. This book was a major undertaking. It involved 18 collaborators, multi languages, a five month residency in Copenhagen, a translator, a catalog essay by a literary scholar, five print shops, many kinds of paper, and trouble shooting of the highest order. The idea was to use the idea of “anthology” as a point of departure by inviting someone to either curate or gather elements that I could respond to visually and/or collaboratively. I invited the recent Danish Drachmanns Legatet Literature Prize winner, Susanne Jorn to do this. She also happens to be a family member, so there is an added a personal aspect to the project that responds to the fact that our we are an artist family. One example that influences us all, is that my grandfather was the painter and master collaborator, Asger Jorn. She responded to the prompt by inviting six young Danish poets to work with me. They all agreed and I then chose to work with each poet separately on a four page section of the book. The idea was that each collaboration would be different and demonstrate how the process of working together can allow for an emergence of an unplanned third element that goes beyond the input of the individuals involved. Each section is quite different as a result. The book was planned to be in a solo exhibition at Galleri Tom Christoffersen in June 2020, but this has been postponed four times due to covid. The exhibition is now scheduled to open on June 17, 2022 with a reading the next day. The first prototypes of this book were exhibited at the Editions and Artist Books Fair in New York City in 2019, and the edition was just finished in 2021. The book was printed in five different print shops both in the US and Denmark, using lithographic plates, lithographic stones, large polymer letterpress plates, woodcut, and metal type. Paper ranged from Twinrocker handmade covers, to Saint Armand handmade sheets to machine made printing papers. See the colophon supplement for more information. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773775871088-OGEK0RH6D6MM993H5Z4W/mcba-prize-2022-thorsten-dennerline-New-Danish-Poetry-2.jpg Entries & Jurors - 2022 Entries - Thorsten Dennerline Bennington, Vermont www.birdpress.com Ny dansk poesi/New Danish Poetry 2019-2022 Book: Stone, plate and offset lithography, metal and polymer letterpress, woodcuts, handmade and machine made papers, hand bound in handmade paper and in a slip case. 18×12.5×0.75″ Artist Statement The two main areas of my work are publishing books and creating unique objects. The most common thread between them is my interest in poetry. This has resulted in collaboration, and has also fostered my interest in the relationship between text and image. I am comfortable with things that have multiple meanings, or the unexplainable. My work uses a combination of intentional disruption, the unexpected, spontaneity and improvisation as well as a desire to pursue the sublime through the use of materials. This perpetual pursuit—and its inevitable impossibility—is an ever-present element of the content and process in my projects. My books are equally informed by the history of books and design as by contemporary art and culture. This book was a major undertaking. It involved 18 collaborators, multi languages, a five month residency in Copenhagen, a translator, a catalog essay by a literary scholar, five print shops, many kinds of paper, and trouble shooting of the highest order. The idea was to use the idea of “anthology” as a point of departure by inviting someone to either curate or gather elements that I could respond to visually and/or collaboratively. I invited the recent Danish Drachmanns Legatet Literature Prize winner, Susanne Jorn to do this. She also happens to be a family member, so there is an added a personal aspect to the project that responds to the fact that our we are an artist family. One example that influences us all, is that my grandfather was the painter and master collaborator, Asger Jorn. She responded to the prompt by inviting six young Danish poets to work with me. They all agreed and I then chose to work with each poet separately on a four page section of the book. The idea was that each collaboration would be different and demonstrate how the process of working together can allow for an emergence of an unplanned third element that goes beyond the input of the individuals involved. Each section is quite different as a result. The book was planned to be in a solo exhibition at Galleri Tom Christoffersen in June 2020, but this has been postponed four times due to covid. The exhibition is now scheduled to open on June 17, 2022 with a reading the next day. The first prototypes of this book were exhibited at the Editions and Artist Books Fair in New York City in 2019, and the edition was just finished in 2021. The book was printed in five different print shops both in the US and Denmark, using lithographic plates, lithographic stones, large polymer letterpress plates, woodcut, and metal type. Paper ranged from Twinrocker handmade covers, to Saint Armand handmade sheets to machine made printing papers. See the colophon supplement for more information. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773775872263-08UH55A41N0A9ZZULUY7/mcba-prize-2022-thorsten-dennerline-New-Danish-Poetry-1.jpg Entries & Jurors - 2022 Entries - Thorsten Dennerline Bennington, Vermont www.birdpress.com Ny dansk poesi/New Danish Poetry 2019-2022 Book: Stone, plate and offset lithography, metal and polymer letterpress, woodcuts, handmade and machine made papers, hand bound in handmade paper and in a slip case. 18×12.5×0.75″ Artist Statement The two main areas of my work are publishing books and creating unique objects. The most common thread between them is my interest in poetry. This has resulted in collaboration, and has also fostered my interest in the relationship between text and image. I am comfortable with things that have multiple meanings, or the unexplainable. My work uses a combination of intentional disruption, the unexpected, spontaneity and improvisation as well as a desire to pursue the sublime through the use of materials. This perpetual pursuit—and its inevitable impossibility—is an ever-present element of the content and process in my projects. My books are equally informed by the history of books and design as by contemporary art and culture. This book was a major undertaking. It involved 18 collaborators, multi languages, a five month residency in Copenhagen, a translator, a catalog essay by a literary scholar, five print shops, many kinds of paper, and trouble shooting of the highest order. The idea was to use the idea of “anthology” as a point of departure by inviting someone to either curate or gather elements that I could respond to visually and/or collaboratively. I invited the recent Danish Drachmanns Legatet Literature Prize winner, Susanne Jorn to do this. She also happens to be a family member, so there is an added a personal aspect to the project that responds to the fact that our we are an artist family. One example that influences us all, is that my grandfather was the painter and master collaborator, Asger Jorn. She responded to the prompt by inviting six young Danish poets to work with me. They all agreed and I then chose to work with each poet separately on a four page section of the book. The idea was that each collaboration would be different and demonstrate how the process of working together can allow for an emergence of an unplanned third element that goes beyond the input of the individuals involved. Each section is quite different as a result. The book was planned to be in a solo exhibition at Galleri Tom Christoffersen in June 2020, but this has been postponed four times due to covid. The exhibition is now scheduled to open on June 17, 2022 with a reading the next day. The first prototypes of this book were exhibited at the Editions and Artist Books Fair in New York City in 2019, and the edition was just finished in 2021. The book was printed in five different print shops both in the US and Denmark, using lithographic plates, lithographic stones, large polymer letterpress plates, woodcut, and metal type. Paper ranged from Twinrocker handmade covers, to Saint Armand handmade sheets to machine made printing papers. See the colophon supplement for more information. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776005230-57ORUHYK402NV6QWL4FH/mcba-prize-2022-Susan-Kimmel-Spring-Blossoms-1.jpeg Entries & Jurors - 2022 Entries - Susan Kimmel Washington,United States kimmelfinearts.com Spring Blossoms 2021 unique artist book 15.25″ x 6″ x 5.75 Artist Statement My small one-of-a-kind books are finely crafted statements exploring nature, seasons and poetry. Infusion of calligraphy and image, the artist’s book evolves from idea to form. The creative process for these books involves meticulous planning and intuitive meshing of words and shapes. The intimate scale of the books requires the viewer to come close and engage themselves in the creative process. I speak a visual language that has been woven with threads of experience and colored with seasons of my life. The meaning of my art comes not from intellectual discourse, but from articulation of feelings. I want my art to affirm life and be a reminder that there is a positive aspect of humankind worth celebrating. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776118292-C623918A7MJEPMLSO695/mcba-prize-2022-Marianne-Nagel-Song-of-the-surfers-4.jpg Entries & Jurors - 2022 Entries - Marianne Nagel Leipzig, Germany www.mariannenagel.de Das Lied der Wellenreiter (The song of the surfers) 2020 blind embossing, one of a kind linocut and material print, hot embossing on paper that turns transparent, recycled, leather, 15 copies. 7,8″ x 3,9″ Artist Statement Mind and intuition, the before and after, the haptics of the material and the fleetingness of a touch form the basis of my artist books. In them, I search for processes that usually run under our radar – be they too mundane or apart from our senses – and try to find images, forms or sounds for them. Meandering between science and my imagination, translated into words, graphics, embossing or folding techniques, I give form to the scratching of fingernails on wood or show how sound waves waft through the body. „Song of the surfers“ is a poem and a haptic expierience about my imagination how spoken words in their pysicall form of soundwaves overwelm our bodies. I carry this picture for a long time and I wonder how efectfull it may be – as a conclusion it is a demand to pick words carefully. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776118614-XMEK4NIJ2VGVTNY574UC/mcba-prize-2022-Marianne-Nagel-Song-of-the-surfers-3.jpg Entries & Jurors - 2022 Entries - Marianne Nagel Leipzig, Germany www.mariannenagel.de Das Lied der Wellenreiter (The song of the surfers) 2020 blind embossing, one of a kind linocut and material print, hot embossing on paper that turns transparent, recycled, leather, 15 copies. 7,8″ x 3,9″ Artist Statement Mind and intuition, the before and after, the haptics of the material and the fleetingness of a touch form the basis of my artist books. In them, I search for processes that usually run under our radar – be they too mundane or apart from our senses – and try to find images, forms or sounds for them. Meandering between science and my imagination, translated into words, graphics, embossing or folding techniques, I give form to the scratching of fingernails on wood or show how sound waves waft through the body. „Song of the surfers“ is a poem and a haptic expierience about my imagination how spoken words in their pysicall form of soundwaves overwelm our bodies. I carry this picture for a long time and I wonder how efectfull it may be – as a conclusion it is a demand to pick words carefully. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776120620-0VGQ67JV68A8YB4MBJVC/mcba-prize-2022-Marianne-Nagel-Song-of-the-surfers-2.jpg Entries & Jurors - 2022 Entries - Marianne Nagel Leipzig, Germany www.mariannenagel.de Das Lied der Wellenreiter (The song of the surfers) 2020 blind embossing, one of a kind linocut and material print, hot embossing on paper that turns transparent, recycled, leather, 15 copies. 7,8″ x 3,9″ Artist Statement Mind and intuition, the before and after, the haptics of the material and the fleetingness of a touch form the basis of my artist books. In them, I search for processes that usually run under our radar – be they too mundane or apart from our senses – and try to find images, forms or sounds for them. Meandering between science and my imagination, translated into words, graphics, embossing or folding techniques, I give form to the scratching of fingernails on wood or show how sound waves waft through the body. „Song of the surfers“ is a poem and a haptic expierience about my imagination how spoken words in their pysicall form of soundwaves overwelm our bodies. I carry this picture for a long time and I wonder how efectfull it may be – as a conclusion it is a demand to pick words carefully. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776121312-T9LU4J2LBY4CU1ELPZ5R/mcba-prize-2022-Marianne-Nagel-Song-of-the-surfers-1.jpg Entries & Jurors - 2022 Entries - Marianne Nagel Leipzig, Germany www.mariannenagel.de Das Lied der Wellenreiter (The song of the surfers) 2020 blind embossing, one of a kind linocut and material print, hot embossing on paper that turns transparent, recycled, leather, 15 copies. 7,8″ x 3,9″ Artist Statement Mind and intuition, the before and after, the haptics of the material and the fleetingness of a touch form the basis of my artist books. In them, I search for processes that usually run under our radar – be they too mundane or apart from our senses – and try to find images, forms or sounds for them. Meandering between science and my imagination, translated into words, graphics, embossing or folding techniques, I give form to the scratching of fingernails on wood or show how sound waves waft through the body. „Song of the surfers“ is a poem and a haptic expierience about my imagination how spoken words in their pysicall form of soundwaves overwelm our bodies. I carry this picture for a long time and I wonder how efectfull it may be – as a conclusion it is a demand to pick words carefully. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776225666-AP6TT5NF8TDCE2XCA0TP/mcba-prize-2022-Shana-Agid-Park-Factors-4.jpg Entries & Jurors - 2022 Entries - Shana Agid New York, New York www.shanaagid.com Ground Rules 2020 Letterpress, pressure prints, accordion fold with reversible spine 5 1/2″ x 7″ closed, variable length open Artist Statement Park Factors investigates the fine line between being in and out of control in the face of illness and death by retelling a moment after my mom’s death from lung cancer through a strangely relational statistic, the park factor, which measures the relative likelihood that a specific kind of hit will happen more or less in a particular ballpark as compared to all others in the league. The inability of this statistic to stand on its own – the way in which it can only be made sense of through an understanding of the same kind of action taking place elsewhere – becomes a metaphor for the effect of loss on spaces once occupied and overseen by loved ones now missing. Park Factors uses baseball, a game she loved, itself celebrated for being simultaneously perfectly routine and totally unpredictable, to create a context for the unknowable. Images and text in Park Factors were printed on a Vandercook Proof Press. The images are pressure prints. The text is letterpress printed from hand-set type. The binding is an accordion with image / image and text on both sides of the book. The spine can be removed and placed on either side of the book, effectively producing two reading / viewing possibilities. In my artist’s books and prints, I investigate relationships of history, desire, and power and the shapes they take in everyday living. Combining writing, images, and book forms, I create works that weave together personal stories and narratives derived from archival research and interviews with practitioners in fields from medicine to baseball. My books and prints draw out unlikely metaphors and the questions that emerge from them to imagine means for making provisional, partial sense of regular but confounding experiences – desire, love, grief, nostalgia, violence – by envisioning a multitude of relations to them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776225805-5FS2H3EP4LQXSAALPK9V/mcba-prize-2022-Shana-Agid-Park-Factors-3.jpg Entries & Jurors - 2022 Entries - Shana Agid New York, New York www.shanaagid.com Ground Rules 2020 Letterpress, pressure prints, accordion fold with reversible spine 5 1/2″ x 7″ closed, variable length open Artist Statement Park Factors investigates the fine line between being in and out of control in the face of illness and death by retelling a moment after my mom’s death from lung cancer through a strangely relational statistic, the park factor, which measures the relative likelihood that a specific kind of hit will happen more or less in a particular ballpark as compared to all others in the league. The inability of this statistic to stand on its own – the way in which it can only be made sense of through an understanding of the same kind of action taking place elsewhere – becomes a metaphor for the effect of loss on spaces once occupied and overseen by loved ones now missing. Park Factors uses baseball, a game she loved, itself celebrated for being simultaneously perfectly routine and totally unpredictable, to create a context for the unknowable. Images and text in Park Factors were printed on a Vandercook Proof Press. The images are pressure prints. The text is letterpress printed from hand-set type. The binding is an accordion with image / image and text on both sides of the book. The spine can be removed and placed on either side of the book, effectively producing two reading / viewing possibilities. In my artist’s books and prints, I investigate relationships of history, desire, and power and the shapes they take in everyday living. Combining writing, images, and book forms, I create works that weave together personal stories and narratives derived from archival research and interviews with practitioners in fields from medicine to baseball. My books and prints draw out unlikely metaphors and the questions that emerge from them to imagine means for making provisional, partial sense of regular but confounding experiences – desire, love, grief, nostalgia, violence – by envisioning a multitude of relations to them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776227044-FKHGEU1YY8EDNTQ51K6S/mcba-prize-2022-Shana-Agid-Park-Factors-2.jpg Entries & Jurors - 2022 Entries - Shana Agid New York, New York www.shanaagid.com Ground Rules 2020 Letterpress, pressure prints, accordion fold with reversible spine 5 1/2″ x 7″ closed, variable length open Artist Statement Park Factors investigates the fine line between being in and out of control in the face of illness and death by retelling a moment after my mom’s death from lung cancer through a strangely relational statistic, the park factor, which measures the relative likelihood that a specific kind of hit will happen more or less in a particular ballpark as compared to all others in the league. The inability of this statistic to stand on its own – the way in which it can only be made sense of through an understanding of the same kind of action taking place elsewhere – becomes a metaphor for the effect of loss on spaces once occupied and overseen by loved ones now missing. Park Factors uses baseball, a game she loved, itself celebrated for being simultaneously perfectly routine and totally unpredictable, to create a context for the unknowable. Images and text in Park Factors were printed on a Vandercook Proof Press. The images are pressure prints. The text is letterpress printed from hand-set type. The binding is an accordion with image / image and text on both sides of the book. The spine can be removed and placed on either side of the book, effectively producing two reading / viewing possibilities. In my artist’s books and prints, I investigate relationships of history, desire, and power and the shapes they take in everyday living. Combining writing, images, and book forms, I create works that weave together personal stories and narratives derived from archival research and interviews with practitioners in fields from medicine to baseball. My books and prints draw out unlikely metaphors and the questions that emerge from them to imagine means for making provisional, partial sense of regular but confounding experiences – desire, love, grief, nostalgia, violence – by envisioning a multitude of relations to them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776227242-G4Y300WJEAPPHDT2EBVW/mcba-prize-2022-Shana-Agid-Park-Factors-1.jpg Entries & Jurors - 2022 Entries - Shana Agid New York, New York www.shanaagid.com Ground Rules 2020 Letterpress, pressure prints, accordion fold with reversible spine 5 1/2″ x 7″ closed, variable length open Artist Statement Park Factors investigates the fine line between being in and out of control in the face of illness and death by retelling a moment after my mom’s death from lung cancer through a strangely relational statistic, the park factor, which measures the relative likelihood that a specific kind of hit will happen more or less in a particular ballpark as compared to all others in the league. The inability of this statistic to stand on its own – the way in which it can only be made sense of through an understanding of the same kind of action taking place elsewhere – becomes a metaphor for the effect of loss on spaces once occupied and overseen by loved ones now missing. Park Factors uses baseball, a game she loved, itself celebrated for being simultaneously perfectly routine and totally unpredictable, to create a context for the unknowable. Images and text in Park Factors were printed on a Vandercook Proof Press. The images are pressure prints. The text is letterpress printed from hand-set type. The binding is an accordion with image / image and text on both sides of the book. The spine can be removed and placed on either side of the book, effectively producing two reading / viewing possibilities. In my artist’s books and prints, I investigate relationships of history, desire, and power and the shapes they take in everyday living. Combining writing, images, and book forms, I create works that weave together personal stories and narratives derived from archival research and interviews with practitioners in fields from medicine to baseball. My books and prints draw out unlikely metaphors and the questions that emerge from them to imagine means for making provisional, partial sense of regular but confounding experiences – desire, love, grief, nostalgia, violence – by envisioning a multitude of relations to them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776340777-HHDA5ZM127PSPRWZED1C/mcba-prize-2022-Shana-Agid-Ground-Rules-5.jpg Entries & Jurors - 2022 Entries - Shana Agid New York, New York www.shanaagid.com Ground Rules 2022 handmade paper with watermark, letterpress printing, handsewn; cover is folded paper with sewn pattern 12″ x 12″ closed, sections are (1) 11″ x 85″, (2) 11″ x 51″, (3) 11″ x 85″ open Artist Statement Ground Rules investigates the fine line between being in and out of control in the face of illness and death. The book combines writing about caring for my mom as she was living with and dying of lung cancer with writing shaped through my archival research of umpires’, owners’, and players’ efforts to control playing conditions in baseball through a structure that engages the precariousness of the body and of individual and social bodies to one another. Through investigation into histories and the language of a game that was our common focus during my mom’s illness, baseball becomes a metaphor think through treatment, end-of-life decision[1]making, and being left behind. The text takes up the complexity of desires for control, coming to a focus on the intertwining histories of militarism, cancer treatment, and baseball, and a fundamental inquiry into the idea of “battle” as a preferred, habitual framework in the United States. Ground Rules is letterpress printed on a Vandercook Proof Press from polymer plates. The paper is cotton, handmade by the artist with a watermark in each section representing the outfield wall of a baseball park. Additionally, each section is bound with a single sewn line through the center three pages, representing another ballpark, and connecting each page at just the point where it meets the next. The binding is a paper envelope with decorative stitching. When each section is fully opened, the three watermarks and sewn lines representing six of the parks featured in the text are visible. In my artist’s books and prints, I investigate relationships of history, desire, and power and the shapes they take in everyday living. Combining writing, images, and book forms, I create works that weave together personal stories and narratives derived from archival research and interviews with practitioners in fields from medicine to baseball. My books and prints draw out unlikely metaphors and the questions that emerge from them to imagine means for making provisional, partial sense of regular but confounding experiences – desire, love, grief, nostalgia, violence – by envisioning a multitude of relations to them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776340529-TEGFP44XS1VET929FCWV/mcba-prize-2022-Shana-Agid-Ground-Rules-4.jpg Entries & Jurors - 2022 Entries - Shana Agid New York, New York www.shanaagid.com Ground Rules 2022 handmade paper with watermark, letterpress printing, handsewn; cover is folded paper with sewn pattern 12″ x 12″ closed, sections are (1) 11″ x 85″, (2) 11″ x 51″, (3) 11″ x 85″ open Artist Statement Ground Rules investigates the fine line between being in and out of control in the face of illness and death. The book combines writing about caring for my mom as she was living with and dying of lung cancer with writing shaped through my archival research of umpires’, owners’, and players’ efforts to control playing conditions in baseball through a structure that engages the precariousness of the body and of individual and social bodies to one another. Through investigation into histories and the language of a game that was our common focus during my mom’s illness, baseball becomes a metaphor think through treatment, end-of-life decision[1]making, and being left behind. The text takes up the complexity of desires for control, coming to a focus on the intertwining histories of militarism, cancer treatment, and baseball, and a fundamental inquiry into the idea of “battle” as a preferred, habitual framework in the United States. Ground Rules is letterpress printed on a Vandercook Proof Press from polymer plates. The paper is cotton, handmade by the artist with a watermark in each section representing the outfield wall of a baseball park. Additionally, each section is bound with a single sewn line through the center three pages, representing another ballpark, and connecting each page at just the point where it meets the next. The binding is a paper envelope with decorative stitching. When each section is fully opened, the three watermarks and sewn lines representing six of the parks featured in the text are visible. In my artist’s books and prints, I investigate relationships of history, desire, and power and the shapes they take in everyday living. Combining writing, images, and book forms, I create works that weave together personal stories and narratives derived from archival research and interviews with practitioners in fields from medicine to baseball. My books and prints draw out unlikely metaphors and the questions that emerge from them to imagine means for making provisional, partial sense of regular but confounding experiences – desire, love, grief, nostalgia, violence – by envisioning a multitude of relations to them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776342877-UYD2HTVGYRFC6Z1IXBHN/mcba-prize-2022-Shana-Agid-Ground-Rules-3.jpg Entries & Jurors - 2022 Entries - Shana Agid New York, New York www.shanaagid.com Ground Rules 2022 handmade paper with watermark, letterpress printing, handsewn; cover is folded paper with sewn pattern 12″ x 12″ closed, sections are (1) 11″ x 85″, (2) 11″ x 51″, (3) 11″ x 85″ open Artist Statement Ground Rules investigates the fine line between being in and out of control in the face of illness and death. The book combines writing about caring for my mom as she was living with and dying of lung cancer with writing shaped through my archival research of umpires’, owners’, and players’ efforts to control playing conditions in baseball through a structure that engages the precariousness of the body and of individual and social bodies to one another. Through investigation into histories and the language of a game that was our common focus during my mom’s illness, baseball becomes a metaphor think through treatment, end-of-life decision[1]making, and being left behind. The text takes up the complexity of desires for control, coming to a focus on the intertwining histories of militarism, cancer treatment, and baseball, and a fundamental inquiry into the idea of “battle” as a preferred, habitual framework in the United States. Ground Rules is letterpress printed on a Vandercook Proof Press from polymer plates. The paper is cotton, handmade by the artist with a watermark in each section representing the outfield wall of a baseball park. Additionally, each section is bound with a single sewn line through the center three pages, representing another ballpark, and connecting each page at just the point where it meets the next. The binding is a paper envelope with decorative stitching. When each section is fully opened, the three watermarks and sewn lines representing six of the parks featured in the text are visible. In my artist’s books and prints, I investigate relationships of history, desire, and power and the shapes they take in everyday living. Combining writing, images, and book forms, I create works that weave together personal stories and narratives derived from archival research and interviews with practitioners in fields from medicine to baseball. My books and prints draw out unlikely metaphors and the questions that emerge from them to imagine means for making provisional, partial sense of regular but confounding experiences – desire, love, grief, nostalgia, violence – by envisioning a multitude of relations to them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776343113-OR5URFUWKI6S5FBA9LY0/mcba-prize-2022-Shana-Agid-Ground-Rules-2.jpg Entries & Jurors - 2022 Entries - Shana Agid New York, New York www.shanaagid.com Ground Rules 2022 handmade paper with watermark, letterpress printing, handsewn; cover is folded paper with sewn pattern 12″ x 12″ closed, sections are (1) 11″ x 85″, (2) 11″ x 51″, (3) 11″ x 85″ open Artist Statement Ground Rules investigates the fine line between being in and out of control in the face of illness and death. The book combines writing about caring for my mom as she was living with and dying of lung cancer with writing shaped through my archival research of umpires’, owners’, and players’ efforts to control playing conditions in baseball through a structure that engages the precariousness of the body and of individual and social bodies to one another. Through investigation into histories and the language of a game that was our common focus during my mom’s illness, baseball becomes a metaphor think through treatment, end-of-life decision[1]making, and being left behind. The text takes up the complexity of desires for control, coming to a focus on the intertwining histories of militarism, cancer treatment, and baseball, and a fundamental inquiry into the idea of “battle” as a preferred, habitual framework in the United States. Ground Rules is letterpress printed on a Vandercook Proof Press from polymer plates. The paper is cotton, handmade by the artist with a watermark in each section representing the outfield wall of a baseball park. Additionally, each section is bound with a single sewn line through the center three pages, representing another ballpark, and connecting each page at just the point where it meets the next. The binding is a paper envelope with decorative stitching. When each section is fully opened, the three watermarks and sewn lines representing six of the parks featured in the text are visible. In my artist’s books and prints, I investigate relationships of history, desire, and power and the shapes they take in everyday living. Combining writing, images, and book forms, I create works that weave together personal stories and narratives derived from archival research and interviews with practitioners in fields from medicine to baseball. My books and prints draw out unlikely metaphors and the questions that emerge from them to imagine means for making provisional, partial sense of regular but confounding experiences – desire, love, grief, nostalgia, violence – by envisioning a multitude of relations to them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776344343-MIA22E5MEW1C3LEN3JJ1/mcba-prize-2022-Shana-Agid-Ground-Rules-1.jpg Entries & Jurors - 2022 Entries - Shana Agid New York, New York www.shanaagid.com Ground Rules 2022 handmade paper with watermark, letterpress printing, handsewn; cover is folded paper with sewn pattern 12″ x 12″ closed, sections are (1) 11″ x 85″, (2) 11″ x 51″, (3) 11″ x 85″ open Artist Statement Ground Rules investigates the fine line between being in and out of control in the face of illness and death. The book combines writing about caring for my mom as she was living with and dying of lung cancer with writing shaped through my archival research of umpires’, owners’, and players’ efforts to control playing conditions in baseball through a structure that engages the precariousness of the body and of individual and social bodies to one another. Through investigation into histories and the language of a game that was our common focus during my mom’s illness, baseball becomes a metaphor think through treatment, end-of-life decision[1]making, and being left behind. The text takes up the complexity of desires for control, coming to a focus on the intertwining histories of militarism, cancer treatment, and baseball, and a fundamental inquiry into the idea of “battle” as a preferred, habitual framework in the United States. Ground Rules is letterpress printed on a Vandercook Proof Press from polymer plates. The paper is cotton, handmade by the artist with a watermark in each section representing the outfield wall of a baseball park. Additionally, each section is bound with a single sewn line through the center three pages, representing another ballpark, and connecting each page at just the point where it meets the next. The binding is a paper envelope with decorative stitching. When each section is fully opened, the three watermarks and sewn lines representing six of the parks featured in the text are visible. In my artist’s books and prints, I investigate relationships of history, desire, and power and the shapes they take in everyday living. Combining writing, images, and book forms, I create works that weave together personal stories and narratives derived from archival research and interviews with practitioners in fields from medicine to baseball. My books and prints draw out unlikely metaphors and the questions that emerge from them to imagine means for making provisional, partial sense of regular but confounding experiences – desire, love, grief, nostalgia, violence – by envisioning a multitude of relations to them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776550857-TOB4GBC7UDK4GF1M3LW9/mcba-prize-2022-Anna-Mavromatis-Patterns-on-a-womans-path-5.jpg Entries & Jurors - 2022 Entries - Anna Mavromatis Houston, Texas https://www.annamavromatis.com patterns on a woman’s path… 2022 Unique artist’s book: Cyanotypes, toned cyanotypes, orizomegami on coffee filters, housed between museum board joined with waxed linen stitch. Comes with display board. 0.5 (spine) x 6.625 x 10.25 inches Artist Statement “Patterns on a woman’s path…” hourglass shape unfolds to a blossoming sculptural form that is “read” by manipulating the folded circular pages. The pages are illustrated with my own photographs of patterns and stone reliefs from classic Greek and Byzantine architectural elements and family heirloom textiles. The patterns I chose have been embedded in my identity since childhood. The classic patterns adorning the byzantine churches of my homeland, present a potpourri of ideologies and dogmas: Christian symbols next to pagan ones inherited from the ruins of the ancient greek temples those churches were built upon. These patterns and symbols have coexisted in harmony for thousand of years. Their contrasting meanings taught me early on how moods, beliefs and social tendencies have been manipulated and enforced in peoples minds in the past as there are still today. The kinetic form and ever-changing shape of this book gives emphasis to the subject of thought and belief manipulation inflicted to humans through the ages. The inclusion of the raised fist indicates the stance against mass oppression and at the same time symbolizes the unity in beliefs, thoughts and desires of all citizens walking that same path towards freedom of thought, respect, equality. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776550804-JBY8UN9EMODR1CKXVEHW/mcba-prize-2022-Anna-Mavromatis-Patterns-on-a-womans-path-4.jpeg Entries & Jurors - 2022 Entries - Anna Mavromatis Houston, Texas https://www.annamavromatis.com patterns on a woman’s path… 2022 Unique artist’s book: Cyanotypes, toned cyanotypes, orizomegami on coffee filters, housed between museum board joined with waxed linen stitch. Comes with display board. 0.5 (spine) x 6.625 x 10.25 inches Artist Statement “Patterns on a woman’s path…” hourglass shape unfolds to a blossoming sculptural form that is “read” by manipulating the folded circular pages. The pages are illustrated with my own photographs of patterns and stone reliefs from classic Greek and Byzantine architectural elements and family heirloom textiles. The patterns I chose have been embedded in my identity since childhood. The classic patterns adorning the byzantine churches of my homeland, present a potpourri of ideologies and dogmas: Christian symbols next to pagan ones inherited from the ruins of the ancient greek temples those churches were built upon. These patterns and symbols have coexisted in harmony for thousand of years. Their contrasting meanings taught me early on how moods, beliefs and social tendencies have been manipulated and enforced in peoples minds in the past as there are still today. The kinetic form and ever-changing shape of this book gives emphasis to the subject of thought and belief manipulation inflicted to humans through the ages. The inclusion of the raised fist indicates the stance against mass oppression and at the same time symbolizes the unity in beliefs, thoughts and desires of all citizens walking that same path towards freedom of thought, respect, equality. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776553150-YWID0XBETTKYLKES4WNL/mcba-prize-2022-Anna-Mavromatis-Patterns-on-a-womans-path-3.jpeg Entries & Jurors - 2022 Entries - Anna Mavromatis Houston, Texas https://www.annamavromatis.com patterns on a woman’s path… 2022 Unique artist’s book: Cyanotypes, toned cyanotypes, orizomegami on coffee filters, housed between museum board joined with waxed linen stitch. Comes with display board. 0.5 (spine) x 6.625 x 10.25 inches Artist Statement “Patterns on a woman’s path…” hourglass shape unfolds to a blossoming sculptural form that is “read” by manipulating the folded circular pages. The pages are illustrated with my own photographs of patterns and stone reliefs from classic Greek and Byzantine architectural elements and family heirloom textiles. The patterns I chose have been embedded in my identity since childhood. The classic patterns adorning the byzantine churches of my homeland, present a potpourri of ideologies and dogmas: Christian symbols next to pagan ones inherited from the ruins of the ancient greek temples those churches were built upon. These patterns and symbols have coexisted in harmony for thousand of years. Their contrasting meanings taught me early on how moods, beliefs and social tendencies have been manipulated and enforced in peoples minds in the past as there are still today. The kinetic form and ever-changing shape of this book gives emphasis to the subject of thought and belief manipulation inflicted to humans through the ages. The inclusion of the raised fist indicates the stance against mass oppression and at the same time symbolizes the unity in beliefs, thoughts and desires of all citizens walking that same path towards freedom of thought, respect, equality. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776553534-43XYFMD3U1LPB8SFZ5BO/mcba-prize-2022-Anna-Mavromatis-Patterns-on-a-womans-path-2.jpeg Entries & Jurors - 2022 Entries - Anna Mavromatis Houston, Texas https://www.annamavromatis.com patterns on a woman’s path… 2022 Unique artist’s book: Cyanotypes, toned cyanotypes, orizomegami on coffee filters, housed between museum board joined with waxed linen stitch. Comes with display board. 0.5 (spine) x 6.625 x 10.25 inches Artist Statement “Patterns on a woman’s path…” hourglass shape unfolds to a blossoming sculptural form that is “read” by manipulating the folded circular pages. The pages are illustrated with my own photographs of patterns and stone reliefs from classic Greek and Byzantine architectural elements and family heirloom textiles. The patterns I chose have been embedded in my identity since childhood. The classic patterns adorning the byzantine churches of my homeland, present a potpourri of ideologies and dogmas: Christian symbols next to pagan ones inherited from the ruins of the ancient greek temples those churches were built upon. These patterns and symbols have coexisted in harmony for thousand of years. Their contrasting meanings taught me early on how moods, beliefs and social tendencies have been manipulated and enforced in peoples minds in the past as there are still today. The kinetic form and ever-changing shape of this book gives emphasis to the subject of thought and belief manipulation inflicted to humans through the ages. The inclusion of the raised fist indicates the stance against mass oppression and at the same time symbolizes the unity in beliefs, thoughts and desires of all citizens walking that same path towards freedom of thought, respect, equality. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776554768-Z8RKK3Q6CWKCIHYZU4E1/mcba-prize-2022-Anna-Mavromatis-Patterns-on-a-womans-path-1.jpeg Entries & Jurors - 2022 Entries - Anna Mavromatis Houston, Texas https://www.annamavromatis.com patterns on a woman’s path… 2022 Unique artist’s book: Cyanotypes, toned cyanotypes, orizomegami on coffee filters, housed between museum board joined with waxed linen stitch. Comes with display board. 0.5 (spine) x 6.625 x 10.25 inches Artist Statement “Patterns on a woman’s path…” hourglass shape unfolds to a blossoming sculptural form that is “read” by manipulating the folded circular pages. The pages are illustrated with my own photographs of patterns and stone reliefs from classic Greek and Byzantine architectural elements and family heirloom textiles. The patterns I chose have been embedded in my identity since childhood. The classic patterns adorning the byzantine churches of my homeland, present a potpourri of ideologies and dogmas: Christian symbols next to pagan ones inherited from the ruins of the ancient greek temples those churches were built upon. These patterns and symbols have coexisted in harmony for thousand of years. Their contrasting meanings taught me early on how moods, beliefs and social tendencies have been manipulated and enforced in peoples minds in the past as there are still today. The kinetic form and ever-changing shape of this book gives emphasis to the subject of thought and belief manipulation inflicted to humans through the ages. The inclusion of the raised fist indicates the stance against mass oppression and at the same time symbolizes the unity in beliefs, thoughts and desires of all citizens walking that same path towards freedom of thought, respect, equality. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776680383-SOSV0ZQJSI4MC95W5IPL/mcba-prize-2022-Philip-Gallo-How-little-Pterodactyl-Invented-the-art-of-flying-5.jpg Entries & Jurors - 2022 Entries - Philip Gallo St Paul, Minnesota hermeticpress.blogspot.com How Little Pterodactyl Invented the Art of Flying 2021 letterpress book 0.5 (spine) x 6.625 x 10.25 inches Artist Statement The artist book How Little Pterodactyl Invented the Art of Flying exemplifies the concept of the book artist as writer/artist/printer — where images and words meet craft — and meld to create a unified work — a work of which one might reasonable say proves that the whole can be greater than the sum of its parts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776683697-39JP2DG4F57WTLLGSZ6D/mcba-prize-2022-Philip-Gallo-How-little-Pterodactyl-Invented-the-art-of-flying-4.jpg Entries & Jurors - 2022 Entries - Philip Gallo St Paul, Minnesota hermeticpress.blogspot.com How Little Pterodactyl Invented the Art of Flying 2021 letterpress book 0.5 (spine) x 6.625 x 10.25 inches Artist Statement The artist book How Little Pterodactyl Invented the Art of Flying exemplifies the concept of the book artist as writer/artist/printer — where images and words meet craft — and meld to create a unified work — a work of which one might reasonable say proves that the whole can be greater than the sum of its parts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776682753-TXEZRH5XFYL2HELHCFIF/mcba-prize-2022-Philip-Gallo-How-little-Pterodactyl-Invented-the-art-of-flying-3.jpg Entries & Jurors - 2022 Entries - Philip Gallo St Paul, Minnesota hermeticpress.blogspot.com How Little Pterodactyl Invented the Art of Flying 2021 letterpress book 0.5 (spine) x 6.625 x 10.25 inches Artist Statement The artist book How Little Pterodactyl Invented the Art of Flying exemplifies the concept of the book artist as writer/artist/printer — where images and words meet craft — and meld to create a unified work — a work of which one might reasonable say proves that the whole can be greater than the sum of its parts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776687864-7YHBZ677DCPZU7RK42CK/mcba-prize-2022-Philip-Gallo-How-little-Pterodactyl-Invented-the-art-of-flying-2.jpg Entries & Jurors - 2022 Entries - Philip Gallo St Paul, Minnesota hermeticpress.blogspot.com How Little Pterodactyl Invented the Art of Flying 2021 letterpress book 0.5 (spine) x 6.625 x 10.25 inches Artist Statement The artist book How Little Pterodactyl Invented the Art of Flying exemplifies the concept of the book artist as writer/artist/printer — where images and words meet craft — and meld to create a unified work — a work of which one might reasonable say proves that the whole can be greater than the sum of its parts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776686211-6N4WTS6COG45YN2HHG4E/mcba-prize-2022-Philip-Gallo-How-little-Pterodactyl-Invented-the-art-of-flying-1.jpg Entries & Jurors - 2022 Entries - Philip Gallo St Paul, Minnesota hermeticpress.blogspot.com How Little Pterodactyl Invented the Art of Flying 2021 letterpress book 0.5 (spine) x 6.625 x 10.25 inches Artist Statement The artist book How Little Pterodactyl Invented the Art of Flying exemplifies the concept of the book artist as writer/artist/printer — where images and words meet craft — and meld to create a unified work — a work of which one might reasonable say proves that the whole can be greater than the sum of its parts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776909527-FPDP6N42ZRTEZAW9XM6D/mcba-prize-2022-Scott-Murphy-SL1-and-the-mystery-of-the-babykiller-Airships-5.jpg Entries & Jurors - 2022 Entries - Scott Murphy Saint Joseph, Minnesota www.befuddledpress.com S.L.1 and the Mystery of the “Baby-Killer” Schütte-Lanz Airships 2021 Pigment printing, digital collage, unbound book of postcards, with two wrappers. 5.5 x 3.5 x 1″ (can also be displayed as a single composite image 47.5 x 31.5″) Artist Statement S.L.1 and the Mystery of the “Baby-Killer” Schütte-Lanz Airships is an unbound book in two wrappers. Also known as an “exploded” book, it functions as a hand-held, readable stack of postcard sized prints that may also be exhibited as a large 64 panel single composite image (one side of the book) or as rows of postcards revealing the text from the article by Peter M. Bowers. All photographs come from found imagery depicting Schütte-Lanz airships, including vintage 1918 postcards. The book represents a history of a largely forgotten airship type, as well as my own troubled fascination with these strange & obscure weapons of war. Printed in an edition of six. Multiple handling copies are available in order to display the book in more than one manner https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776911240-GBL64O0WFVI3QGM3Z8LP/mcba-prize-2022-Scott-Murphy-SL1-and-the-mystery-of-the-babykiller-Airships-3.jpg Entries & Jurors - 2022 Entries - Scott Murphy Saint Joseph, Minnesota www.befuddledpress.com S.L.1 and the Mystery of the “Baby-Killer” Schütte-Lanz Airships 2021 Pigment printing, digital collage, unbound book of postcards, with two wrappers. 5.5 x 3.5 x 1″ (can also be displayed as a single composite image 47.5 x 31.5″) Artist Statement S.L.1 and the Mystery of the “Baby-Killer” Schütte-Lanz Airships is an unbound book in two wrappers. Also known as an “exploded” book, it functions as a hand-held, readable stack of postcard sized prints that may also be exhibited as a large 64 panel single composite image (one side of the book) or as rows of postcards revealing the text from the article by Peter M. Bowers. All photographs come from found imagery depicting Schütte-Lanz airships, including vintage 1918 postcards. The book represents a history of a largely forgotten airship type, as well as my own troubled fascination with these strange & obscure weapons of war. Printed in an edition of six. Multiple handling copies are available in order to display the book in more than one manner https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776909473-MSK30QXLZDZPE0P7MUUR/mcba-prize-2022-Scott-Murphy-SL1-and-the-mystery-of-the-babykiller-Airships-4.jpg Entries & Jurors - 2022 Entries - Scott Murphy Saint Joseph, Minnesota www.befuddledpress.com S.L.1 and the Mystery of the “Baby-Killer” Schütte-Lanz Airships 2021 Pigment printing, digital collage, unbound book of postcards, with two wrappers. 5.5 x 3.5 x 1″ (can also be displayed as a single composite image 47.5 x 31.5″) Artist Statement S.L.1 and the Mystery of the “Baby-Killer” Schütte-Lanz Airships is an unbound book in two wrappers. Also known as an “exploded” book, it functions as a hand-held, readable stack of postcard sized prints that may also be exhibited as a large 64 panel single composite image (one side of the book) or as rows of postcards revealing the text from the article by Peter M. Bowers. All photographs come from found imagery depicting Schütte-Lanz airships, including vintage 1918 postcards. The book represents a history of a largely forgotten airship type, as well as my own troubled fascination with these strange & obscure weapons of war. Printed in an edition of six. Multiple handling copies are available in order to display the book in more than one manner https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776911635-NRRNERSRRB01E3U3KAZR/mcba-prize-2022-Scott-Murphy-SL1-and-the-mystery-of-the-babykiller-Airships-2.jpg Entries & Jurors - 2022 Entries - Scott Murphy Saint Joseph, Minnesota www.befuddledpress.com S.L.1 and the Mystery of the “Baby-Killer” Schütte-Lanz Airships 2021 Pigment printing, digital collage, unbound book of postcards, with two wrappers. 5.5 x 3.5 x 1″ (can also be displayed as a single composite image 47.5 x 31.5″) Artist Statement S.L.1 and the Mystery of the “Baby-Killer” Schütte-Lanz Airships is an unbound book in two wrappers. Also known as an “exploded” book, it functions as a hand-held, readable stack of postcard sized prints that may also be exhibited as a large 64 panel single composite image (one side of the book) or as rows of postcards revealing the text from the article by Peter M. Bowers. All photographs come from found imagery depicting Schütte-Lanz airships, including vintage 1918 postcards. The book represents a history of a largely forgotten airship type, as well as my own troubled fascination with these strange & obscure weapons of war. Printed in an edition of six. Multiple handling copies are available in order to display the book in more than one manner https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773776913191-HH340YYEXGM2GGUH2CDF/mcba-prize-2022-Scott-Murphy-SL1-and-the-mystery-of-the-babykiller-Airships-1.jpg Entries & Jurors - 2022 Entries - Scott Murphy Saint Joseph, Minnesota www.befuddledpress.com S.L.1 and the Mystery of the “Baby-Killer” Schütte-Lanz Airships 2021 Pigment printing, digital collage, unbound book of postcards, with two wrappers. 5.5 x 3.5 x 1″ (can also be displayed as a single composite image 47.5 x 31.5″) Artist Statement S.L.1 and the Mystery of the “Baby-Killer” Schütte-Lanz Airships is an unbound book in two wrappers. Also known as an “exploded” book, it functions as a hand-held, readable stack of postcard sized prints that may also be exhibited as a large 64 panel single composite image (one side of the book) or as rows of postcards revealing the text from the article by Peter M. Bowers. All photographs come from found imagery depicting Schütte-Lanz airships, including vintage 1918 postcards. The book represents a history of a largely forgotten airship type, as well as my own troubled fascination with these strange & obscure weapons of war. Printed in an edition of six. Multiple handling copies are available in order to display the book in more than one manner https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773777043783-W7PNPUPUWV1QM4G1OYMU/mcba-prize-2022-H-Jennings-Sheffield-Going-Away-From-Here-5.jpg Entries & Jurors - 2022 Entries - H. Jennings Sheffield McGregor, TX goingawayfromhere.com Going Away from Here 2022 This limited-edition Dos-à-Dos book contains 30 images printed on Canson Edition Etching Rag, and vellum, plus 2 additional free-standing prints on Somerset Velvet encased in a custom die-cut envelope with foil-stamp. The Dos-à-Dos structure includes two chapters – Chapter 1 containing 15-black & white prints, and Chapter 2 containing 15-color prints. All images are archival pigment prints, tipped into the book, and are overlayed with Thai Unruhu paper. The book is letterpress printed on a Vandercook Universal III press. Book: 16 5/8” x 11 3/8” x 1 5/8” Clamshell: 17 3/8” x 12 ½” x 3 1/8” Artist Statement “Going Away from Here” is a collection of images, and a fine-artist book that shed light upon the concern of ongoing land loss; and consequently, the destruction of all the things that make a community unique; and, how will we decide who and what is worth saving? This project is about Tangier Island, which is located off the coast of Virginia in the Chesapeake Bay, and is progressively being claimed by the waters surrounding it an average of nine acres every year. Predicted to be one of America’s first “climate change refugees,” the residents will be forced to evacuate, and we will lose an entire culture of people as unique as their dialect. Today, the island sits only 3 feet above sea level, 1¼ miles wide by 3 miles long. Upon arrival by boat, it is hard to see the island off in the distance. Having few trees left, the only marker from the bay is the water tower of Tangier that has a crab on one side and a cross on the other. This deeply religious island has already been split by the Bay’s waters, which now seeps up through the ground below. The people of Tangier have received attention from Al Gore, Donald Trump, and national media outlets, but the conversation of future implications still needs to be had. These photographs and fine-artist books shed light upon what is at stake when losing a place. Tangier is not alone and sadly tells the tale many low-lying cities around the world are facing in the next 80 years. According to the National Oceanic and Atmospheric Administration (NOAA) Miami, Atlantic City, New Orleans, Galveston, Charleston, and Virginia Beach will all be underwater by 2100. Funding from this grant would allow me to print and complete a traveling exhibition of prints to go along with the fine-artist book, to inform a greater audience of the difficult decisions that stand before us—how will we decide who and what is worth saving? And, who are we willing to let wash away into the water? Project and Medium Information “Going Away from Here” is a limited-edition fine artist book (edition of 15, plus 2 hors commerce) containing a simplified binding using the Dos-à-Dos structure. Each book contains 30 images printed on Canson Edition Etching Rag, plus 2 additional loose prints on Somerset Velvet. The Dos-à-Dos structure offers Chapter 1 on one side, containing 15-Black and White prints tipped in; and, Chapter 2 on the other side, containing 15-Color prints tipped in. The prints and text are both art and an informative representation of Tangier Island’s story. Quotes from Tangier residents also accompany the images giving a voice to the islanders. The quotes were taken through interviews conducted by the artist from 2020–2021. The book is letterpress printed on a Vandercook Universal III letterpress. All photographs were captured and printed by Jennings Sheffield from 2017–2021. The typography, presswork, and edition are bound by Black Hare Studio. The paper was created by Twinrocker Handmade Paper in Brookston, Indiana. The Foreword, “Residual Testimony,” is written by writer and curator Liz Wells. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773777044091-RDP1PG49DEZCWSF0RPJI/mcba-prize-2022-H-Jennings-Sheffield-Going-Away-From-Here-4.jpg Entries & Jurors - 2022 Entries - H. Jennings Sheffield McGregor, TX goingawayfromhere.com Going Away from Here 2022 This limited-edition Dos-à-Dos book contains 30 images printed on Canson Edition Etching Rag, and vellum, plus 2 additional free-standing prints on Somerset Velvet encased in a custom die-cut envelope with foil-stamp. The Dos-à-Dos structure includes two chapters – Chapter 1 containing 15-black & white prints, and Chapter 2 containing 15-color prints. All images are archival pigment prints, tipped into the book, and are overlayed with Thai Unruhu paper. The book is letterpress printed on a Vandercook Universal III press. Book: 16 5/8” x 11 3/8” x 1 5/8” Clamshell: 17 3/8” x 12 ½” x 3 1/8” Artist Statement “Going Away from Here” is a collection of images, and a fine-artist book that shed light upon the concern of ongoing land loss; and consequently, the destruction of all the things that make a community unique; and, how will we decide who and what is worth saving? This project is about Tangier Island, which is located off the coast of Virginia in the Chesapeake Bay, and is progressively being claimed by the waters surrounding it an average of nine acres every year. Predicted to be one of America’s first “climate change refugees,” the residents will be forced to evacuate, and we will lose an entire culture of people as unique as their dialect. Today, the island sits only 3 feet above sea level, 1¼ miles wide by 3 miles long. Upon arrival by boat, it is hard to see the island off in the distance. Having few trees left, the only marker from the bay is the water tower of Tangier that has a crab on one side and a cross on the other. This deeply religious island has already been split by the Bay’s waters, which now seeps up through the ground below. The people of Tangier have received attention from Al Gore, Donald Trump, and national media outlets, but the conversation of future implications still needs to be had. These photographs and fine-artist books shed light upon what is at stake when losing a place. Tangier is not alone and sadly tells the tale many low-lying cities around the world are facing in the next 80 years. According to the National Oceanic and Atmospheric Administration (NOAA) Miami, Atlantic City, New Orleans, Galveston, Charleston, and Virginia Beach will all be underwater by 2100. Funding from this grant would allow me to print and complete a traveling exhibition of prints to go along with the fine-artist book, to inform a greater audience of the difficult decisions that stand before us—how will we decide who and what is worth saving? And, who are we willing to let wash away into the water? Project and Medium Information “Going Away from Here” is a limited-edition fine artist book (edition of 15, plus 2 hors commerce) containing a simplified binding using the Dos-à-Dos structure. Each book contains 30 images printed on Canson Edition Etching Rag, plus 2 additional loose prints on Somerset Velvet. The Dos-à-Dos structure offers Chapter 1 on one side, containing 15-Black and White prints tipped in; and, Chapter 2 on the other side, containing 15-Color prints tipped in. The prints and text are both art and an informative representation of Tangier Island’s story. Quotes from Tangier residents also accompany the images giving a voice to the islanders. The quotes were taken through interviews conducted by the artist from 2020–2021. The book is letterpress printed on a Vandercook Universal III letterpress. All photographs were captured and printed by Jennings Sheffield from 2017–2021. The typography, presswork, and edition are bound by Black Hare Studio. The paper was created by Twinrocker Handmade Paper in Brookston, Indiana. The Foreword, “Residual Testimony,” is written by writer and curator Liz Wells. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773777045218-9HPCN7UF6LU5P9NNI396/mcba-prize-2022-H-Jennings-Sheffield-Going-Away-From-Here-3.jpg Entries & Jurors - 2022 Entries - H. Jennings Sheffield McGregor, TX goingawayfromhere.com Going Away from Here 2022 This limited-edition Dos-à-Dos book contains 30 images printed on Canson Edition Etching Rag, and vellum, plus 2 additional free-standing prints on Somerset Velvet encased in a custom die-cut envelope with foil-stamp. The Dos-à-Dos structure includes two chapters – Chapter 1 containing 15-black & white prints, and Chapter 2 containing 15-color prints. All images are archival pigment prints, tipped into the book, and are overlayed with Thai Unruhu paper. The book is letterpress printed on a Vandercook Universal III press. Book: 16 5/8” x 11 3/8” x 1 5/8” Clamshell: 17 3/8” x 12 ½” x 3 1/8” Artist Statement “Going Away from Here” is a collection of images, and a fine-artist book that shed light upon the concern of ongoing land loss; and consequently, the destruction of all the things that make a community unique; and, how will we decide who and what is worth saving? This project is about Tangier Island, which is located off the coast of Virginia in the Chesapeake Bay, and is progressively being claimed by the waters surrounding it an average of nine acres every year. Predicted to be one of America’s first “climate change refugees,” the residents will be forced to evacuate, and we will lose an entire culture of people as unique as their dialect. Today, the island sits only 3 feet above sea level, 1¼ miles wide by 3 miles long. Upon arrival by boat, it is hard to see the island off in the distance. Having few trees left, the only marker from the bay is the water tower of Tangier that has a crab on one side and a cross on the other. This deeply religious island has already been split by the Bay’s waters, which now seeps up through the ground below. The people of Tangier have received attention from Al Gore, Donald Trump, and national media outlets, but the conversation of future implications still needs to be had. These photographs and fine-artist books shed light upon what is at stake when losing a place. Tangier is not alone and sadly tells the tale many low-lying cities around the world are facing in the next 80 years. According to the National Oceanic and Atmospheric Administration (NOAA) Miami, Atlantic City, New Orleans, Galveston, Charleston, and Virginia Beach will all be underwater by 2100. Funding from this grant would allow me to print and complete a traveling exhibition of prints to go along with the fine-artist book, to inform a greater audience of the difficult decisions that stand before us—how will we decide who and what is worth saving? And, who are we willing to let wash away into the water? Project and Medium Information “Going Away from Here” is a limited-edition fine artist book (edition of 15, plus 2 hors commerce) containing a simplified binding using the Dos-à-Dos structure. Each book contains 30 images printed on Canson Edition Etching Rag, plus 2 additional loose prints on Somerset Velvet. The Dos-à-Dos structure offers Chapter 1 on one side, containing 15-Black and White prints tipped in; and, Chapter 2 on the other side, containing 15-Color prints tipped in. The prints and text are both art and an informative representation of Tangier Island’s story. Quotes from Tangier residents also accompany the images giving a voice to the islanders. The quotes were taken through interviews conducted by the artist from 2020–2021. The book is letterpress printed on a Vandercook Universal III letterpress. All photographs were captured and printed by Jennings Sheffield from 2017–2021. The typography, presswork, and edition are bound by Black Hare Studio. The paper was created by Twinrocker Handmade Paper in Brookston, Indiana. The Foreword, “Residual Testimony,” is written by writer and curator Liz Wells. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773777045931-C0KI2HQQCV8PUJ3FKCU6/mcba-prize-2022-H-Jennings-Sheffield-Going-Away-From-Here-2.jpg Entries & Jurors - 2022 Entries - H. Jennings Sheffield McGregor, TX goingawayfromhere.com Going Away from Here 2022 This limited-edition Dos-à-Dos book contains 30 images printed on Canson Edition Etching Rag, and vellum, plus 2 additional free-standing prints on Somerset Velvet encased in a custom die-cut envelope with foil-stamp. The Dos-à-Dos structure includes two chapters – Chapter 1 containing 15-black & white prints, and Chapter 2 containing 15-color prints. All images are archival pigment prints, tipped into the book, and are overlayed with Thai Unruhu paper. The book is letterpress printed on a Vandercook Universal III press. Book: 16 5/8” x 11 3/8” x 1 5/8” Clamshell: 17 3/8” x 12 ½” x 3 1/8” Artist Statement “Going Away from Here” is a collection of images, and a fine-artist book that shed light upon the concern of ongoing land loss; and consequently, the destruction of all the things that make a community unique; and, how will we decide who and what is worth saving? This project is about Tangier Island, which is located off the coast of Virginia in the Chesapeake Bay, and is progressively being claimed by the waters surrounding it an average of nine acres every year. Predicted to be one of America’s first “climate change refugees,” the residents will be forced to evacuate, and we will lose an entire culture of people as unique as their dialect. Today, the island sits only 3 feet above sea level, 1¼ miles wide by 3 miles long. Upon arrival by boat, it is hard to see the island off in the distance. Having few trees left, the only marker from the bay is the water tower of Tangier that has a crab on one side and a cross on the other. This deeply religious island has already been split by the Bay’s waters, which now seeps up through the ground below. The people of Tangier have received attention from Al Gore, Donald Trump, and national media outlets, but the conversation of future implications still needs to be had. These photographs and fine-artist books shed light upon what is at stake when losing a place. Tangier is not alone and sadly tells the tale many low-lying cities around the world are facing in the next 80 years. According to the National Oceanic and Atmospheric Administration (NOAA) Miami, Atlantic City, New Orleans, Galveston, Charleston, and Virginia Beach will all be underwater by 2100. Funding from this grant would allow me to print and complete a traveling exhibition of prints to go along with the fine-artist book, to inform a greater audience of the difficult decisions that stand before us—how will we decide who and what is worth saving? And, who are we willing to let wash away into the water? Project and Medium Information “Going Away from Here” is a limited-edition fine artist book (edition of 15, plus 2 hors commerce) containing a simplified binding using the Dos-à-Dos structure. Each book contains 30 images printed on Canson Edition Etching Rag, plus 2 additional loose prints on Somerset Velvet. The Dos-à-Dos structure offers Chapter 1 on one side, containing 15-Black and White prints tipped in; and, Chapter 2 on the other side, containing 15-Color prints tipped in. The prints and text are both art and an informative representation of Tangier Island’s story. Quotes from Tangier residents also accompany the images giving a voice to the islanders. The quotes were taken through interviews conducted by the artist from 2020–2021. The book is letterpress printed on a Vandercook Universal III letterpress. All photographs were captured and printed by Jennings Sheffield from 2017–2021. The typography, presswork, and edition are bound by Black Hare Studio. The paper was created by Twinrocker Handmade Paper in Brookston, Indiana. The Foreword, “Residual Testimony,” is written by writer and curator Liz Wells. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773777046876-Q1OLR3UHL6GGU2RG749R/mcba-prize-2022-H-Jennings-Sheffield-Going-Away-From-Here-1.jpg Entries & Jurors - 2022 Entries - H. Jennings Sheffield McGregor, TX goingawayfromhere.com Going Away from Here 2022 This limited-edition Dos-à-Dos book contains 30 images printed on Canson Edition Etching Rag, and vellum, plus 2 additional free-standing prints on Somerset Velvet encased in a custom die-cut envelope with foil-stamp. The Dos-à-Dos structure includes two chapters – Chapter 1 containing 15-black & white prints, and Chapter 2 containing 15-color prints. All images are archival pigment prints, tipped into the book, and are overlayed with Thai Unruhu paper. The book is letterpress printed on a Vandercook Universal III press. Book: 16 5/8” x 11 3/8” x 1 5/8” Clamshell: 17 3/8” x 12 ½” x 3 1/8” Artist Statement “Going Away from Here” is a collection of images, and a fine-artist book that shed light upon the concern of ongoing land loss; and consequently, the destruction of all the things that make a community unique; and, how will we decide who and what is worth saving? This project is about Tangier Island, which is located off the coast of Virginia in the Chesapeake Bay, and is progressively being claimed by the waters surrounding it an average of nine acres every year. Predicted to be one of America’s first “climate change refugees,” the residents will be forced to evacuate, and we will lose an entire culture of people as unique as their dialect. Today, the island sits only 3 feet above sea level, 1¼ miles wide by 3 miles long. Upon arrival by boat, it is hard to see the island off in the distance. Having few trees left, the only marker from the bay is the water tower of Tangier that has a crab on one side and a cross on the other. This deeply religious island has already been split by the Bay’s waters, which now seeps up through the ground below. The people of Tangier have received attention from Al Gore, Donald Trump, and national media outlets, but the conversation of future implications still needs to be had. These photographs and fine-artist books shed light upon what is at stake when losing a place. Tangier is not alone and sadly tells the tale many low-lying cities around the world are facing in the next 80 years. According to the National Oceanic and Atmospheric Administration (NOAA) Miami, Atlantic City, New Orleans, Galveston, Charleston, and Virginia Beach will all be underwater by 2100. Funding from this grant would allow me to print and complete a traveling exhibition of prints to go along with the fine-artist book, to inform a greater audience of the difficult decisions that stand before us—how will we decide who and what is worth saving? And, who are we willing to let wash away into the water? Project and Medium Information “Going Away from Here” is a limited-edition fine artist book (edition of 15, plus 2 hors commerce) containing a simplified binding using the Dos-à-Dos structure. Each book contains 30 images printed on Canson Edition Etching Rag, plus 2 additional loose prints on Somerset Velvet. The Dos-à-Dos structure offers Chapter 1 on one side, containing 15-Black and White prints tipped in; and, Chapter 2 on the other side, containing 15-Color prints tipped in. The prints and text are both art and an informative representation of Tangier Island’s story. Quotes from Tangier residents also accompany the images giving a voice to the islanders. The quotes were taken through interviews conducted by the artist from 2020–2021. The book is letterpress printed on a Vandercook Universal III letterpress. All photographs were captured and printed by Jennings Sheffield from 2017–2021. The typography, presswork, and edition are bound by Black Hare Studio. The paper was created by Twinrocker Handmade Paper in Brookston, Indiana. The Foreword, “Residual Testimony,” is written by writer and curator Liz Wells. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773778403623-ASVTMFCADWXRTX294RSD/mcba-prize-2022-Nicole-Pietrantoni-Still-Life-With-Lemon-4.jpg Entries & Jurors - 2022 Entries - Nicole Pietrantoni Walla Walla, Washington www.nicole-pietrantoni.com Still Life with Lemon 2022 Inkjet on Kozo paper, acrylic paint, bound into 10 accordion books. 44″ x 27″ x 2.5″ ARTIST STATEMENT My book works take an experimental approach to the book form, asking how the book and printed matter can both enable and undercut humans’ active role in constructing and idealizing information, images, and experiences. Rather than a fixed site or single image, the fragmented paper columns, text, and accordion forms distort the temporal experience of the book, dilating time and how we engage with images and information. I make inkjet-printed accordion books on Japanese papers that expand to create wall-based installations. It is this tension of creating works that are both/and that interests me – work that is both print and book, both 2D and 3D, both static and dynamic, constantly in flux, slipping between categories. All of the work is rooted in an interest in an expanded definition of the book and its metaphoric potential at a time of all-things-digital. I see the book (and the subsequent pages, folds, fragments, and surfaces) as sites of inquiry to explore our experience and the construction of knowledge. My work draws upon the traditions of book artists such as Joan Lyons (Coral Reef), Scott McCarney (Memory Loss, Far Horizons), Keith Smith (Book Number 141), and Hedi Kyle, amongst many others, that have experimented with the structure and the form of the book. I’m interested in the expansion and collapse of the image in the book form – of data (text, halftone dots, images, etc.) becoming compressed, illegible, and legible again. While nature has often been the subject matter of my work, I have also explored photography’s inability to document what we see and experience, questioned how we use beauty in times of loss, and developed a deep interest in how we read and process images and information in the book form. In my work I print with CMYK halftone dots and use other interventions like cuts and folds to draw attention to the production of the printed image – to point to how the image is created, framed, and represented. Much of my work is informed by time spent living in beautiful but ecologically fragile landscapes. In each work I take apart and compress photographs of hyper-colored sunsets, weeds I see on walks, and flowers from urban garden beds. I print my photographs on rolls of delicate Japanese paper and then bind them into series of accordion books. I spray the back of each column with a neon red paint that casts a glowing pink color on the gallery wall. All of the folds, fragments, and shadows point to an image and a “reading” of time and place that is at once beautiful but also broken and highly constructed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773778403420-O8OC75B4ZB54PE1S1MD1/mcba-prize-2022-Nicole-Pietrantoni-Still-Life-With-Lemon-3.jpg Entries & Jurors - 2022 Entries - Nicole Pietrantoni Walla Walla, Washington www.nicole-pietrantoni.com Still Life with Lemon 2022 Inkjet on Kozo paper, acrylic paint, bound into 10 accordion books. 44″ x 27″ x 2.5″ ARTIST STATEMENT My book works take an experimental approach to the book form, asking how the book and printed matter can both enable and undercut humans’ active role in constructing and idealizing information, images, and experiences. Rather than a fixed site or single image, the fragmented paper columns, text, and accordion forms distort the temporal experience of the book, dilating time and how we engage with images and information. I make inkjet-printed accordion books on Japanese papers that expand to create wall-based installations. It is this tension of creating works that are both/and that interests me – work that is both print and book, both 2D and 3D, both static and dynamic, constantly in flux, slipping between categories. All of the work is rooted in an interest in an expanded definition of the book and its metaphoric potential at a time of all-things-digital. I see the book (and the subsequent pages, folds, fragments, and surfaces) as sites of inquiry to explore our experience and the construction of knowledge. My work draws upon the traditions of book artists such as Joan Lyons (Coral Reef), Scott McCarney (Memory Loss, Far Horizons), Keith Smith (Book Number 141), and Hedi Kyle, amongst many others, that have experimented with the structure and the form of the book. I’m interested in the expansion and collapse of the image in the book form – of data (text, halftone dots, images, etc.) becoming compressed, illegible, and legible again. While nature has often been the subject matter of my work, I have also explored photography’s inability to document what we see and experience, questioned how we use beauty in times of loss, and developed a deep interest in how we read and process images and information in the book form. In my work I print with CMYK halftone dots and use other interventions like cuts and folds to draw attention to the production of the printed image – to point to how the image is created, framed, and represented. Much of my work is informed by time spent living in beautiful but ecologically fragile landscapes. In each work I take apart and compress photographs of hyper-colored sunsets, weeds I see on walks, and flowers from urban garden beds. I print my photographs on rolls of delicate Japanese paper and then bind them into series of accordion books. I spray the back of each column with a neon red paint that casts a glowing pink color on the gallery wall. All of the folds, fragments, and shadows point to an image and a “reading” of time and place that is at once beautiful but also broken and highly constructed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773778404664-3ZY2GEGB8M3VNDM1FSBB/mcba-prize-2022-Nicole-Pietrantoni-Still-Life-With-Lemon-2.jpg Entries & Jurors - 2022 Entries - Nicole Pietrantoni Walla Walla, Washington www.nicole-pietrantoni.com Still Life with Lemon 2022 Inkjet on Kozo paper, acrylic paint, bound into 10 accordion books. 44″ x 27″ x 2.5″ ARTIST STATEMENT My book works take an experimental approach to the book form, asking how the book and printed matter can both enable and undercut humans’ active role in constructing and idealizing information, images, and experiences. Rather than a fixed site or single image, the fragmented paper columns, text, and accordion forms distort the temporal experience of the book, dilating time and how we engage with images and information. I make inkjet-printed accordion books on Japanese papers that expand to create wall-based installations. It is this tension of creating works that are both/and that interests me – work that is both print and book, both 2D and 3D, both static and dynamic, constantly in flux, slipping between categories. All of the work is rooted in an interest in an expanded definition of the book and its metaphoric potential at a time of all-things-digital. I see the book (and the subsequent pages, folds, fragments, and surfaces) as sites of inquiry to explore our experience and the construction of knowledge. My work draws upon the traditions of book artists such as Joan Lyons (Coral Reef), Scott McCarney (Memory Loss, Far Horizons), Keith Smith (Book Number 141), and Hedi Kyle, amongst many others, that have experimented with the structure and the form of the book. I’m interested in the expansion and collapse of the image in the book form – of data (text, halftone dots, images, etc.) becoming compressed, illegible, and legible again. While nature has often been the subject matter of my work, I have also explored photography’s inability to document what we see and experience, questioned how we use beauty in times of loss, and developed a deep interest in how we read and process images and information in the book form. In my work I print with CMYK halftone dots and use other interventions like cuts and folds to draw attention to the production of the printed image – to point to how the image is created, framed, and represented. Much of my work is informed by time spent living in beautiful but ecologically fragile landscapes. In each work I take apart and compress photographs of hyper-colored sunsets, weeds I see on walks, and flowers from urban garden beds. I print my photographs on rolls of delicate Japanese paper and then bind them into series of accordion books. I spray the back of each column with a neon red paint that casts a glowing pink color on the gallery wall. All of the folds, fragments, and shadows point to an image and a “reading” of time and place that is at once beautiful but also broken and highly constructed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773778523829-J86OPXT73EUD92N0U8AV/mcba-prize-2022-Nicole-Pietrantoni-Still-Life-With-Lemon-1.jpg Entries & Jurors - 2022 Entries - Nicole Pietrantoni Walla Walla, Washington www.nicole-pietrantoni.com Still Life with Lemon 2022 Inkjet on Kozo paper, acrylic paint, bound into 10 accordion books. 44″ x 27″ x 2.5″ ARTIST STATEMENT My book works take an experimental approach to the book form, asking how the book and printed matter can both enable and undercut humans’ active role in constructing and idealizing information, images, and experiences. Rather than a fixed site or single image, the fragmented paper columns, text, and accordion forms distort the temporal experience of the book, dilating time and how we engage with images and information. I make inkjet-printed accordion books on Japanese papers that expand to create wall-based installations. It is this tension of creating works that are both/and that interests me – work that is both print and book, both 2D and 3D, both static and dynamic, constantly in flux, slipping between categories. All of the work is rooted in an interest in an expanded definition of the book and its metaphoric potential at a time of all-things-digital. I see the book (and the subsequent pages, folds, fragments, and surfaces) as sites of inquiry to explore our experience and the construction of knowledge. My work draws upon the traditions of book artists such as Joan Lyons (Coral Reef), Scott McCarney (Memory Loss, Far Horizons), Keith Smith (Book Number 141), and Hedi Kyle, amongst many others, that have experimented with the structure and the form of the book. I’m interested in the expansion and collapse of the image in the book form – of data (text, halftone dots, images, etc.) becoming compressed, illegible, and legible again. While nature has often been the subject matter of my work, I have also explored photography’s inability to document what we see and experience, questioned how we use beauty in times of loss, and developed a deep interest in how we read and process images and information in the book form. In my work I print with CMYK halftone dots and use other interventions like cuts and folds to draw attention to the production of the printed image – to point to how the image is created, framed, and represented. Much of my work is informed by time spent living in beautiful but ecologically fragile landscapes. In each work I take apart and compress photographs of hyper-colored sunsets, weeds I see on walks, and flowers from urban garden beds. I print my photographs on rolls of delicate Japanese paper and then bind them into series of accordion books. I spray the back of each column with a neon red paint that casts a glowing pink color on the gallery wall. All of the folds, fragments, and shadows point to an image and a “reading” of time and place that is at once beautiful but also broken and highly constructed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773778936753-1RKEJ897BG4PXVQS1Y2P/mcba-prize-2022-Janel-Schelzel-MyNameIsWinnie-1.jpg Entries & Jurors - 2022 Entries - Janel Schelzel Minneapolis, Minnesota janelschelzel.com My Name Is Winnie 2021 Paper and ink 5×7″ Artist Statement The work I am submitting is a 8 page zine I made in 2021. It is a true story of a slice of our experience of living in South Minneapolis during all of the upheaval of the Covid pandemic. The story is simple, a baby was born to a white Mama and black Dada in South Minneapolis. We adore him and find everything he does reminds us of a supper hero, but the real hero is his father who wraps him up in love. It is a story seldom told, but in a time of disunity and hate this book is a small reminder that unity, love, and hope remain. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773779059203-OSQZ4BGFRLRQXIK5NG9I/mcba-prize-2022-Candace-Hicks-Commons-Threads-5.jpg Entries & Jurors - 2022 Entries - Candace Hicks Nacogdoches, Texas www.candacehicks.com Common Threads: Volume 140 2022 Embroidery on canvas 6″ x 9″ x 1″ Artist Statement Common Threads is a series of hand-embroidered unique canvas books which copy the form and design of “composition” books. The books themselves, self-consciously hand-made objects, are a record of coincidental occurrences gleaned from reading or mundane events. The use of embroidery thread allows for the production of the text and image with the same mark and material, to make the text, image, and substance of the book inseparable. I’ve collected coincidences for ten years. It started when I read two books in a row that both included the phrase “antique dental instrument.” While that was not the first coincidence I ever noticed in my reading, that singular instance convinced me to keep a record. I began to consider that the phrase might have been the profound masquerading as the mundane. Or not. But I wanted to collect the data. I cataloged my coincidences in composition books that filled rapidly. As it turned out, “antique dental instrument” has not held any special meaning in my life or my art. Neither have any of the coincidental phrases that followed, such as “stuffed mountain lion” or “black currant lozenge,” but the act of noticing them became the lens through which I filter the world and my experiences. As an ardent reader, I naturally gravitate toward creating books and printing. And taking note of coincidences is akin to the kind of observation a landscape or portrait artist practices. Thus, my observations take the form of hand-stitched texts that I call Common Threads. Sewing every line, letter, and illustration in the books enhances their status as objects. By laboring over a composition book, painstakingly recreating it by hand, I have found a way to express the insignificant as potentially philosophical. Just as a landscape or portrait painter’s observations allow them to reproduce a version of reality, my scrutiny of repetition creates a narrative that navigates fictional universes. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773779059007-6UAPSV0UBVG5I9TOBB7A/mcba-prize-2022-Candace-Hicks-Commons-Threads-4.jpeg Entries & Jurors - 2022 Entries - Candace Hicks Nacogdoches, Texas www.candacehicks.com Common Threads: Volume 140 2022 Embroidery on canvas 6″ x 9″ x 1″ Artist Statement Common Threads is a series of hand-embroidered unique canvas books which copy the form and design of “composition” books. The books themselves, self-consciously hand-made objects, are a record of coincidental occurrences gleaned from reading or mundane events. The use of embroidery thread allows for the production of the text and image with the same mark and material, to make the text, image, and substance of the book inseparable. I’ve collected coincidences for ten years. It started when I read two books in a row that both included the phrase “antique dental instrument.” While that was not the first coincidence I ever noticed in my reading, that singular instance convinced me to keep a record. I began to consider that the phrase might have been the profound masquerading as the mundane. Or not. But I wanted to collect the data. I cataloged my coincidences in composition books that filled rapidly. As it turned out, “antique dental instrument” has not held any special meaning in my life or my art. Neither have any of the coincidental phrases that followed, such as “stuffed mountain lion” or “black currant lozenge,” but the act of noticing them became the lens through which I filter the world and my experiences. As an ardent reader, I naturally gravitate toward creating books and printing. And taking note of coincidences is akin to the kind of observation a landscape or portrait artist practices. Thus, my observations take the form of hand-stitched texts that I call Common Threads. Sewing every line, letter, and illustration in the books enhances their status as objects. By laboring over a composition book, painstakingly recreating it by hand, I have found a way to express the insignificant as potentially philosophical. Just as a landscape or portrait painter’s observations allow them to reproduce a version of reality, my scrutiny of repetition creates a narrative that navigates fictional universes. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773779062073-5AP01OIDL12XWEZFYT7K/mcba-prize-2022-Candace-Hicks-Commons-Threads-3.jpg Entries & Jurors - 2022 Entries - Candace Hicks Nacogdoches, Texas www.candacehicks.com Common Threads: Volume 140 2022 Embroidery on canvas 6″ x 9″ x 1″ Artist Statement Common Threads is a series of hand-embroidered unique canvas books which copy the form and design of “composition” books. The books themselves, self-consciously hand-made objects, are a record of coincidental occurrences gleaned from reading or mundane events. The use of embroidery thread allows for the production of the text and image with the same mark and material, to make the text, image, and substance of the book inseparable. I’ve collected coincidences for ten years. It started when I read two books in a row that both included the phrase “antique dental instrument.” While that was not the first coincidence I ever noticed in my reading, that singular instance convinced me to keep a record. I began to consider that the phrase might have been the profound masquerading as the mundane. Or not. But I wanted to collect the data. I cataloged my coincidences in composition books that filled rapidly. As it turned out, “antique dental instrument” has not held any special meaning in my life or my art. Neither have any of the coincidental phrases that followed, such as “stuffed mountain lion” or “black currant lozenge,” but the act of noticing them became the lens through which I filter the world and my experiences. As an ardent reader, I naturally gravitate toward creating books and printing. And taking note of coincidences is akin to the kind of observation a landscape or portrait artist practices. Thus, my observations take the form of hand-stitched texts that I call Common Threads. Sewing every line, letter, and illustration in the books enhances their status as objects. By laboring over a composition book, painstakingly recreating it by hand, I have found a way to express the insignificant as potentially philosophical. Just as a landscape or portrait painter’s observations allow them to reproduce a version of reality, my scrutiny of repetition creates a narrative that navigates fictional universes. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773779062401-Y6UW05G5HM72OG4ISXHI/mcba-prize-2022-Candace-Hicks-Commons-Threads-2.jpg Entries & Jurors - 2022 Entries - Candace Hicks Nacogdoches, Texas www.candacehicks.com Common Threads: Volume 140 2022 Embroidery on canvas 6″ x 9″ x 1″ Artist Statement Common Threads is a series of hand-embroidered unique canvas books which copy the form and design of “composition” books. The books themselves, self-consciously hand-made objects, are a record of coincidental occurrences gleaned from reading or mundane events. The use of embroidery thread allows for the production of the text and image with the same mark and material, to make the text, image, and substance of the book inseparable. I’ve collected coincidences for ten years. It started when I read two books in a row that both included the phrase “antique dental instrument.” While that was not the first coincidence I ever noticed in my reading, that singular instance convinced me to keep a record. I began to consider that the phrase might have been the profound masquerading as the mundane. Or not. But I wanted to collect the data. I cataloged my coincidences in composition books that filled rapidly. As it turned out, “antique dental instrument” has not held any special meaning in my life or my art. Neither have any of the coincidental phrases that followed, such as “stuffed mountain lion” or “black currant lozenge,” but the act of noticing them became the lens through which I filter the world and my experiences. As an ardent reader, I naturally gravitate toward creating books and printing. And taking note of coincidences is akin to the kind of observation a landscape or portrait artist practices. Thus, my observations take the form of hand-stitched texts that I call Common Threads. Sewing every line, letter, and illustration in the books enhances their status as objects. By laboring over a composition book, painstakingly recreating it by hand, I have found a way to express the insignificant as potentially philosophical. Just as a landscape or portrait painter’s observations allow them to reproduce a version of reality, my scrutiny of repetition creates a narrative that navigates fictional universes. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773779064264-7EKKO7OPMRENFWN6NV5D/mcba-prize-2022-Candace-Hicks-Commons-Threads-1.jpg Entries & Jurors - 2022 Entries - Candace Hicks Nacogdoches, Texas www.candacehicks.com Common Threads: Volume 140 2022 Embroidery on canvas 6″ x 9″ x 1″ Artist Statement Common Threads is a series of hand-embroidered unique canvas books which copy the form and design of “composition” books. The books themselves, self-consciously hand-made objects, are a record of coincidental occurrences gleaned from reading or mundane events. The use of embroidery thread allows for the production of the text and image with the same mark and material, to make the text, image, and substance of the book inseparable. I’ve collected coincidences for ten years. It started when I read two books in a row that both included the phrase “antique dental instrument.” While that was not the first coincidence I ever noticed in my reading, that singular instance convinced me to keep a record. I began to consider that the phrase might have been the profound masquerading as the mundane. Or not. But I wanted to collect the data. I cataloged my coincidences in composition books that filled rapidly. As it turned out, “antique dental instrument” has not held any special meaning in my life or my art. Neither have any of the coincidental phrases that followed, such as “stuffed mountain lion” or “black currant lozenge,” but the act of noticing them became the lens through which I filter the world and my experiences. As an ardent reader, I naturally gravitate toward creating books and printing. And taking note of coincidences is akin to the kind of observation a landscape or portrait artist practices. Thus, my observations take the form of hand-stitched texts that I call Common Threads. Sewing every line, letter, and illustration in the books enhances their status as objects. By laboring over a composition book, painstakingly recreating it by hand, I have found a way to express the insignificant as potentially philosophical. Just as a landscape or portrait painter’s observations allow them to reproduce a version of reality, my scrutiny of repetition creates a narrative that navigates fictional universes. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773778797745-TMEUZODO4FB0FBVD4AP4/mcba-prize-2022-Haein-Song-Light-Folds-5.jpg Entries & Jurors - 2022 Entries - Haein Song London, United Kingdom https://www.haeinsong.com/ Light / Folds 2021/2022 Cyanotype, Letterpress Artist Statement Light / Folds contains 16 cyanotype prints of paper foldings, interlaid between 7 text on the theme of memory, time, and light. All the paper foldings (jong-e-jeop-ki in Korean) include the method of interlocking, which requires the act of opening and closing. These 16 paper foldings have been exposed to UV light for different lengths of time—between 3 to 18 minutes—depending on the number of layers (hence thickness). The text reflects on memory, especially distance memory stored in the body, and the passing of time and light. The paper was hand coated with Fotospeed cyanotype solution and the images were printed on Zerkall 145gsm off-white paper using a UV self-contained exposure unit at East London Printmakers. The text was set in Filosofia and letterpress printed from polymer plates on Zerkall 145gsm and Tosa Washi 28gsm using a Vandercook SP15 at London Centre for Book Arts. Hand sewn and bound in the style of bradel binding, and covered in Windsor Morton and Balmoral. The front cover has been blind debossed at two different pressures to show the shape of paper folding. The book is housed in a solander box covered in the same cloth with suede panels in Chamel Royal and Rose. The edition is limited to 26 numbered copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773778799933-B7MXZ3CK7TK4RT4C0FGP/mcba-prize-2022-Haein-Song-Light-Folds-3.jpg Entries & Jurors - 2022 Entries - Haein Song London, United Kingdom https://www.haeinsong.com/ Light / Folds 2021/2022 Cyanotype, Letterpress Artist Statement Light / Folds contains 16 cyanotype prints of paper foldings, interlaid between 7 text on the theme of memory, time, and light. All the paper foldings (jong-e-jeop-ki in Korean) include the method of interlocking, which requires the act of opening and closing. These 16 paper foldings have been exposed to UV light for different lengths of time—between 3 to 18 minutes—depending on the number of layers (hence thickness). The text reflects on memory, especially distance memory stored in the body, and the passing of time and light. The paper was hand coated with Fotospeed cyanotype solution and the images were printed on Zerkall 145gsm off-white paper using a UV self-contained exposure unit at East London Printmakers. The text was set in Filosofia and letterpress printed from polymer plates on Zerkall 145gsm and Tosa Washi 28gsm using a Vandercook SP15 at London Centre for Book Arts. Hand sewn and bound in the style of bradel binding, and covered in Windsor Morton and Balmoral. The front cover has been blind debossed at two different pressures to show the shape of paper folding. The book is housed in a solander box covered in the same cloth with suede panels in Chamel Royal and Rose. The edition is limited to 26 numbered copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773778799979-T69CGHJ5CQCI2PB79R7P/mcba-prize-2022-Haein-Song-Light-Folds-2.jpg Entries & Jurors - 2022 Entries - Haein Song London, United Kingdom https://www.haeinsong.com/ Light / Folds 2021/2022 Cyanotype, Letterpress Artist Statement Light / Folds contains 16 cyanotype prints of paper foldings, interlaid between 7 text on the theme of memory, time, and light. All the paper foldings (jong-e-jeop-ki in Korean) include the method of interlocking, which requires the act of opening and closing. These 16 paper foldings have been exposed to UV light for different lengths of time—between 3 to 18 minutes—depending on the number of layers (hence thickness). The text reflects on memory, especially distance memory stored in the body, and the passing of time and light. The paper was hand coated with Fotospeed cyanotype solution and the images were printed on Zerkall 145gsm off-white paper using a UV self-contained exposure unit at East London Printmakers. The text was set in Filosofia and letterpress printed from polymer plates on Zerkall 145gsm and Tosa Washi 28gsm using a Vandercook SP15 at London Centre for Book Arts. Hand sewn and bound in the style of bradel binding, and covered in Windsor Morton and Balmoral. The front cover has been blind debossed at two different pressures to show the shape of paper folding. The book is housed in a solander box covered in the same cloth with suede panels in Chamel Royal and Rose. The edition is limited to 26 numbered copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773778797721-40OXIZGAOC2EEJ95ID8N/mcba-prize-2022-Haein-Song-Light-Folds-4.jpg Entries & Jurors - 2022 Entries - Haein Song London, United Kingdom https://www.haeinsong.com/ Light / Folds 2021/2022 Cyanotype, Letterpress Artist Statement Light / Folds contains 16 cyanotype prints of paper foldings, interlaid between 7 text on the theme of memory, time, and light. All the paper foldings (jong-e-jeop-ki in Korean) include the method of interlocking, which requires the act of opening and closing. These 16 paper foldings have been exposed to UV light for different lengths of time—between 3 to 18 minutes—depending on the number of layers (hence thickness). The text reflects on memory, especially distance memory stored in the body, and the passing of time and light. The paper was hand coated with Fotospeed cyanotype solution and the images were printed on Zerkall 145gsm off-white paper using a UV self-contained exposure unit at East London Printmakers. The text was set in Filosofia and letterpress printed from polymer plates on Zerkall 145gsm and Tosa Washi 28gsm using a Vandercook SP15 at London Centre for Book Arts. Hand sewn and bound in the style of bradel binding, and covered in Windsor Morton and Balmoral. The front cover has been blind debossed at two different pressures to show the shape of paper folding. The book is housed in a solander box covered in the same cloth with suede panels in Chamel Royal and Rose. The edition is limited to 26 numbered copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773778802054-M642L3H78EEYUFUMJZER/mcba-prize-2022-Haein-Song-Light-Folds-1.jpg Entries & Jurors - 2022 Entries - Haein Song London, United Kingdom https://www.haeinsong.com/ Light / Folds 2021/2022 Cyanotype, Letterpress Artist Statement Light / Folds contains 16 cyanotype prints of paper foldings, interlaid between 7 text on the theme of memory, time, and light. All the paper foldings (jong-e-jeop-ki in Korean) include the method of interlocking, which requires the act of opening and closing. These 16 paper foldings have been exposed to UV light for different lengths of time—between 3 to 18 minutes—depending on the number of layers (hence thickness). The text reflects on memory, especially distance memory stored in the body, and the passing of time and light. The paper was hand coated with Fotospeed cyanotype solution and the images were printed on Zerkall 145gsm off-white paper using a UV self-contained exposure unit at East London Printmakers. The text was set in Filosofia and letterpress printed from polymer plates on Zerkall 145gsm and Tosa Washi 28gsm using a Vandercook SP15 at London Centre for Book Arts. Hand sewn and bound in the style of bradel binding, and covered in Windsor Morton and Balmoral. The front cover has been blind debossed at two different pressures to show the shape of paper folding. The book is housed in a solander box covered in the same cloth with suede panels in Chamel Royal and Rose. The edition is limited to 26 numbered copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773778675982-JQCB9EYTRLO1P3MRRI50/mcba-prize-2022-Jule-Claudia-Mahn-Elude-4.jpg Entries & Jurors - 2022 Entries - Jule Claudia Mahn Leipzig, Germany www.verwandte-objekte.de elude 2021 Archival pigment print on Metapaper Greenwhite. Embossed with foil as well as printed letterpress using photopolymer plates and linocuts on Hollytex nonwoven. Two facing interlacing book blocks with open stitching on both sides. Housed in a paper-covered case. Closed: 8.4 x 12.8“ Open: 23.6 x 12.8“ Artist Statement This book is about forgetting–a forgetting that we face without having any choice or power to change. I encountered it in my demented grandfather. I saw how he gradually lost the familiarity of his everyday life. And at some point, we were speaking of different realities. I sensed his anger. His restlessness made him lose weight. For a long time, he was in a transitory state between presence and absence until one day he fell silent, his gaze turned inward. How might it feel when the connection to thoughts and memories dissolves? In "elude" I wanted to feel my way into this question. Within the narrative, as well as in the handling of the book itself, there will always be a moment of disruption. As a result, familiar actions, such as reading or turning pages, suddenly become unfamiliar and require more attention. The book consists of two facing interlacing book blocks. The binding is airy and flexible with open stitching on both sides. Initially, one must twist and turn the book to discover that it opens in the middle. The reader’s attention first focuses on the text. In it, the reader accompanies a woman named Mona through her day. Imperceptibly, past and present are mixed here. We get to know Mona only to the extent that she is able to hold on to a thought before it begins to disseminate. A cut runs lengthwise through the text. Mona's story is held together by turning the pages in parallel. Only in this way does it become comprehensible. The eye must bridge a gap in each line and find the connection. I chose the typeface Spitzkant by the French type designer Julien Fincker. Besides its good legibility, it caught my eye because of its idiosyncratic ligatures. Some letters are fused together. Other ligatures look as if individual letters are detaching themselves, only to disappear in the next moment. I like this subtle irritation that challenges familiar perception. As the story progresses, Mona will leave the house and walk through the neighbourhood. Here, the text is replaced by an image section. Using letterpress printing from photopolymer plates and linocuts, as well as embossing fine lines in gold and white, I wanted to create surfaces and textures that interplay in order to create the feeling of space. I printed on Hollytex, a nonwoven material used in book preservation. It feels very smooth, and its milky, translucent texture allows coloured elements to gradually disappear, as if in a fog, as you turn the pages. On semi-transparent pages of varying widths, house facades, water, ventilation shafts, fences, and other set pieces of urban space constantly overlap and rearrange themselves in relation to one another. The individual sequence of turning the pages on both sides results in a multitude of possibilities for wandering through the terrain. On the one hand, it awakens the playful impulse to flip back and forth incessantly to create new arrangements. On the other hand, it also creates a feeling of disorientation, because in the end you will have to find your way back. But who remembers the route one came by or the order used to turn the pages? I have tried to imagine what it must be like to be disoriented in familiar surroundings. The individual things are still familiar to you and yet you can no longer bring them together to form a meaningful whole. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773778676915-6QH025OU5LUX7G9QBF4D/mcba-prize-2022-Jule-Claudia-Mahn-Elude-3.jpg Entries & Jurors - 2022 Entries - Jule Claudia Mahn Leipzig, Germany www.verwandte-objekte.de elude 2021 Archival pigment print on Metapaper Greenwhite. Embossed with foil as well as printed letterpress using photopolymer plates and linocuts on Hollytex nonwoven. Two facing interlacing book blocks with open stitching on both sides. Housed in a paper-covered case. Closed: 8.4 x 12.8“ Open: 23.6 x 12.8“ Artist Statement This book is about forgetting–a forgetting that we face without having any choice or power to change. I encountered it in my demented grandfather. I saw how he gradually lost the familiarity of his everyday life. And at some point, we were speaking of different realities. I sensed his anger. His restlessness made him lose weight. For a long time, he was in a transitory state between presence and absence until one day he fell silent, his gaze turned inward. How might it feel when the connection to thoughts and memories dissolves? In "elude" I wanted to feel my way into this question. Within the narrative, as well as in the handling of the book itself, there will always be a moment of disruption. As a result, familiar actions, such as reading or turning pages, suddenly become unfamiliar and require more attention. The book consists of two facing interlacing book blocks. The binding is airy and flexible with open stitching on both sides. Initially, one must twist and turn the book to discover that it opens in the middle. The reader’s attention first focuses on the text. In it, the reader accompanies a woman named Mona through her day. Imperceptibly, past and present are mixed here. We get to know Mona only to the extent that she is able to hold on to a thought before it begins to disseminate. A cut runs lengthwise through the text. Mona's story is held together by turning the pages in parallel. Only in this way does it become comprehensible. The eye must bridge a gap in each line and find the connection. I chose the typeface Spitzkant by the French type designer Julien Fincker. Besides its good legibility, it caught my eye because of its idiosyncratic ligatures. Some letters are fused together. Other ligatures look as if individual letters are detaching themselves, only to disappear in the next moment. I like this subtle irritation that challenges familiar perception. As the story progresses, Mona will leave the house and walk through the neighbourhood. Here, the text is replaced by an image section. Using letterpress printing from photopolymer plates and linocuts, as well as embossing fine lines in gold and white, I wanted to create surfaces and textures that interplay in order to create the feeling of space. I printed on Hollytex, a nonwoven material used in book preservation. It feels very smooth, and its milky, translucent texture allows coloured elements to gradually disappear, as if in a fog, as you turn the pages. On semi-transparent pages of varying widths, house facades, water, ventilation shafts, fences, and other set pieces of urban space constantly overlap and rearrange themselves in relation to one another. The individual sequence of turning the pages on both sides results in a multitude of possibilities for wandering through the terrain. On the one hand, it awakens the playful impulse to flip back and forth incessantly to create new arrangements. On the other hand, it also creates a feeling of disorientation, because in the end you will have to find your way back. But who remembers the route one came by or the order used to turn the pages? I have tried to imagine what it must be like to be disoriented in familiar surroundings. The individual things are still familiar to you and yet you can no longer bring them together to form a meaningful whole. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773778677414-S2AA3D8N6AM7G9MIIERL/mcba-prize-2022-Jule-Claudia-Mahn-Elude-2.jpg Entries & Jurors - 2022 Entries - Jule Claudia Mahn Leipzig, Germany www.verwandte-objekte.de elude 2021 Archival pigment print on Metapaper Greenwhite. Embossed with foil as well as printed letterpress using photopolymer plates and linocuts on Hollytex nonwoven. Two facing interlacing book blocks with open stitching on both sides. Housed in a paper-covered case. Closed: 8.4 x 12.8“ Open: 23.6 x 12.8“ Artist Statement This book is about forgetting–a forgetting that we face without having any choice or power to change. I encountered it in my demented grandfather. I saw how he gradually lost the familiarity of his everyday life. And at some point, we were speaking of different realities. I sensed his anger. His restlessness made him lose weight. For a long time, he was in a transitory state between presence and absence until one day he fell silent, his gaze turned inward. How might it feel when the connection to thoughts and memories dissolves? In "elude" I wanted to feel my way into this question. Within the narrative, as well as in the handling of the book itself, there will always be a moment of disruption. As a result, familiar actions, such as reading or turning pages, suddenly become unfamiliar and require more attention. The book consists of two facing interlacing book blocks. The binding is airy and flexible with open stitching on both sides. Initially, one must twist and turn the book to discover that it opens in the middle. The reader’s attention first focuses on the text. In it, the reader accompanies a woman named Mona through her day. Imperceptibly, past and present are mixed here. We get to know Mona only to the extent that she is able to hold on to a thought before it begins to disseminate. A cut runs lengthwise through the text. Mona's story is held together by turning the pages in parallel. Only in this way does it become comprehensible. The eye must bridge a gap in each line and find the connection. I chose the typeface Spitzkant by the French type designer Julien Fincker. Besides its good legibility, it caught my eye because of its idiosyncratic ligatures. Some letters are fused together. Other ligatures look as if individual letters are detaching themselves, only to disappear in the next moment. I like this subtle irritation that challenges familiar perception. As the story progresses, Mona will leave the house and walk through the neighbourhood. Here, the text is replaced by an image section. Using letterpress printing from photopolymer plates and linocuts, as well as embossing fine lines in gold and white, I wanted to create surfaces and textures that interplay in order to create the feeling of space. I printed on Hollytex, a nonwoven material used in book preservation. It feels very smooth, and its milky, translucent texture allows coloured elements to gradually disappear, as if in a fog, as you turn the pages. On semi-transparent pages of varying widths, house facades, water, ventilation shafts, fences, and other set pieces of urban space constantly overlap and rearrange themselves in relation to one another. The individual sequence of turning the pages on both sides results in a multitude of possibilities for wandering through the terrain. On the one hand, it awakens the playful impulse to flip back and forth incessantly to create new arrangements. On the other hand, it also creates a feeling of disorientation, because in the end you will have to find your way back. But who remembers the route one came by or the order used to turn the pages? I have tried to imagine what it must be like to be disoriented in familiar surroundings. The individual things are still familiar to you and yet you can no longer bring them together to form a meaningful whole. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773778678494-2O2O75IMCCNAVA7R1S5F/mcba-prize-2022-Jule-Claudia-Mahn-Elude-1.jpg Entries & Jurors - 2022 Entries - Jule Claudia Mahn Leipzig, Germany www.verwandte-objekte.de elude 2021 Archival pigment print on Metapaper Greenwhite. Embossed with foil as well as printed letterpress using photopolymer plates and linocuts on Hollytex nonwoven. Two facing interlacing book blocks with open stitching on both sides. Housed in a paper-covered case. Closed: 8.4 x 12.8“ Open: 23.6 x 12.8“ Artist Statement This book is about forgetting–a forgetting that we face without having any choice or power to change. I encountered it in my demented grandfather. I saw how he gradually lost the familiarity of his everyday life. And at some point, we were speaking of different realities. I sensed his anger. His restlessness made him lose weight. For a long time, he was in a transitory state between presence and absence until one day he fell silent, his gaze turned inward. How might it feel when the connection to thoughts and memories dissolves? In "elude" I wanted to feel my way into this question. Within the narrative, as well as in the handling of the book itself, there will always be a moment of disruption. As a result, familiar actions, such as reading or turning pages, suddenly become unfamiliar and require more attention. The book consists of two facing interlacing book blocks. The binding is airy and flexible with open stitching on both sides. Initially, one must twist and turn the book to discover that it opens in the middle. The reader’s attention first focuses on the text. In it, the reader accompanies a woman named Mona through her day. Imperceptibly, past and present are mixed here. We get to know Mona only to the extent that she is able to hold on to a thought before it begins to disseminate. A cut runs lengthwise through the text. Mona's story is held together by turning the pages in parallel. Only in this way does it become comprehensible. The eye must bridge a gap in each line and find the connection. I chose the typeface Spitzkant by the French type designer Julien Fincker. Besides its good legibility, it caught my eye because of its idiosyncratic ligatures. Some letters are fused together. Other ligatures look as if individual letters are detaching themselves, only to disappear in the next moment. I like this subtle irritation that challenges familiar perception. As the story progresses, Mona will leave the house and walk through the neighbourhood. Here, the text is replaced by an image section. Using letterpress printing from photopolymer plates and linocuts, as well as embossing fine lines in gold and white, I wanted to create surfaces and textures that interplay in order to create the feeling of space. I printed on Hollytex, a nonwoven material used in book preservation. It feels very smooth, and its milky, translucent texture allows coloured elements to gradually disappear, as if in a fog, as you turn the pages. On semi-transparent pages of varying widths, house facades, water, ventilation shafts, fences, and other set pieces of urban space constantly overlap and rearrange themselves in relation to one another. The individual sequence of turning the pages on both sides results in a multitude of possibilities for wandering through the terrain. On the one hand, it awakens the playful impulse to flip back and forth incessantly to create new arrangements. On the other hand, it also creates a feeling of disorientation, because in the end you will have to find your way back. But who remembers the route one came by or the order used to turn the pages? I have tried to imagine what it must be like to be disoriented in familiar surroundings. The individual things are still familiar to you and yet you can no longer bring them together to form a meaningful whole. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781126930-681QXGRKROTU4M69WV3K/mcba-prize-2022-Lex-Thompson-Cheiros-Language-of-the-hand-5.jpg Entries & Jurors - 2022 Entries - Lex Thompson Minneapolis, Minnesota www.lexthompson.com Cheiro’s Language of the Hand 2022 Artist Book, hardcover, foil stamped, stab binding, press printed text block with Risograph plates 8x10x.75”, 194 p. Artist Statement Cheiro’s Language of the Hand, reimagines Cheiro’s nineteenth-century palmistry text; an instructional guide to palm reading as science rather than occult art. This dubious application of scientific ideas has the flair of parlor tricks, the language of science with the feel of magic. The hardcover book is hand sewn with a four-hole Japanese stab binding, with foil stamping on the front and back covers. A wrap around endsheet creates a spine for the book on which the title is printed. The text pages are printed on a light gray paper in pink and blue. It is set in Gills Sans, a humanist sans-serif typeface, released near the end of Cheiro’s life, chosen for its suggestion of objectivity with still a touch of the human hand. Pages of celebrity handprints are Risograph printed on thermochromic paper; the pink and blue sheets turn white with the heat of human touch, leaving the reader’s handprint temporarily on the page – a kind of scientific magic. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781126926-ZXPFYGRM2LZMUZ1YBAZT/mcba-prize-2022-Lex-Thompson-Cheiros-Language-of-the-hand-4.jpg Entries & Jurors - 2022 Entries - Lex Thompson Minneapolis, Minnesota www.lexthompson.com Cheiro’s Language of the Hand 2022 Artist Book, hardcover, foil stamped, stab binding, press printed text block with Risograph plates 8x10x.75”, 194 p. Artist Statement Cheiro’s Language of the Hand, reimagines Cheiro’s nineteenth-century palmistry text; an instructional guide to palm reading as science rather than occult art. This dubious application of scientific ideas has the flair of parlor tricks, the language of science with the feel of magic. The hardcover book is hand sewn with a four-hole Japanese stab binding, with foil stamping on the front and back covers. A wrap around endsheet creates a spine for the book on which the title is printed. The text pages are printed on a light gray paper in pink and blue. It is set in Gills Sans, a humanist sans-serif typeface, released near the end of Cheiro’s life, chosen for its suggestion of objectivity with still a touch of the human hand. Pages of celebrity handprints are Risograph printed on thermochromic paper; the pink and blue sheets turn white with the heat of human touch, leaving the reader’s handprint temporarily on the page – a kind of scientific magic. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781128338-E3XBU8V0TZXYS0FSF616/mcba-prize-2022-Lex-Thompson-Cheiros-Language-of-the-hand-3.jpg Entries & Jurors - 2022 Entries - Lex Thompson Minneapolis, Minnesota www.lexthompson.com Cheiro’s Language of the Hand 2022 Artist Book, hardcover, foil stamped, stab binding, press printed text block with Risograph plates 8x10x.75”, 194 p. Artist Statement Cheiro’s Language of the Hand, reimagines Cheiro’s nineteenth-century palmistry text; an instructional guide to palm reading as science rather than occult art. This dubious application of scientific ideas has the flair of parlor tricks, the language of science with the feel of magic. The hardcover book is hand sewn with a four-hole Japanese stab binding, with foil stamping on the front and back covers. A wrap around endsheet creates a spine for the book on which the title is printed. The text pages are printed on a light gray paper in pink and blue. It is set in Gills Sans, a humanist sans-serif typeface, released near the end of Cheiro’s life, chosen for its suggestion of objectivity with still a touch of the human hand. Pages of celebrity handprints are Risograph printed on thermochromic paper; the pink and blue sheets turn white with the heat of human touch, leaving the reader’s handprint temporarily on the page – a kind of scientific magic. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781128981-7O9E4AIE77ANIY9VI0ON/mcba-prize-2022-Lex-Thompson-Cheiros-Language-of-the-hand-2.jpg Entries & Jurors - 2022 Entries - Lex Thompson Minneapolis, Minnesota www.lexthompson.com Cheiro’s Language of the Hand 2022 Artist Book, hardcover, foil stamped, stab binding, press printed text block with Risograph plates 8x10x.75”, 194 p. Artist Statement Cheiro’s Language of the Hand, reimagines Cheiro’s nineteenth-century palmistry text; an instructional guide to palm reading as science rather than occult art. This dubious application of scientific ideas has the flair of parlor tricks, the language of science with the feel of magic. The hardcover book is hand sewn with a four-hole Japanese stab binding, with foil stamping on the front and back covers. A wrap around endsheet creates a spine for the book on which the title is printed. The text pages are printed on a light gray paper in pink and blue. It is set in Gills Sans, a humanist sans-serif typeface, released near the end of Cheiro’s life, chosen for its suggestion of objectivity with still a touch of the human hand. Pages of celebrity handprints are Risograph printed on thermochromic paper; the pink and blue sheets turn white with the heat of human touch, leaving the reader’s handprint temporarily on the page – a kind of scientific magic. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781129733-E8HOOVZKC52S2F4N6HRY/mcba-prize-2022-Lex-Thompson-Cheiros-Language-of-the-hand-1.jpg Entries & Jurors - 2022 Entries - Lex Thompson Minneapolis, Minnesota www.lexthompson.com Cheiro’s Language of the Hand 2022 Artist Book, hardcover, foil stamped, stab binding, press printed text block with Risograph plates 8x10x.75”, 194 p. Artist Statement Cheiro’s Language of the Hand, reimagines Cheiro’s nineteenth-century palmistry text; an instructional guide to palm reading as science rather than occult art. This dubious application of scientific ideas has the flair of parlor tricks, the language of science with the feel of magic. The hardcover book is hand sewn with a four-hole Japanese stab binding, with foil stamping on the front and back covers. A wrap around endsheet creates a spine for the book on which the title is printed. The text pages are printed on a light gray paper in pink and blue. It is set in Gills Sans, a humanist sans-serif typeface, released near the end of Cheiro’s life, chosen for its suggestion of objectivity with still a touch of the human hand. Pages of celebrity handprints are Risograph printed on thermochromic paper; the pink and blue sheets turn white with the heat of human touch, leaving the reader’s handprint temporarily on the page – a kind of scientific magic. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781302192-86MDQW9KREB9MTN8G4PY/mcba-prize-2022-Matthew-Magruder-In-Case-of-Failure-5.jpg Entries & Jurors - 2022 Entries - Matthew Magruder Austin, Texas www.matthewmagruder.com In Case of Failure 2020 Artist’s Book, Polymer Photogravure, digital printing, beach sand. 11.5″ x 10.5″ x 2.5″ Artist Statement The words in folios I, III, V, and VII are from a note that General Eisenhower wrote on June 5th, 1944 on the eve of D-Day in the event that the Allied invasion of Normandy proved a failure during World War II. A reprodcution of the original note from the Library of Congress can be seen in folio IX. This speech was never given but the model of profound leadership remains more relevant than ever. Polymer photogravures on the left side of the 9 folios are from a visit to the Normandy region of France in 2012. The photographs were taken with a Hasselblad medium format camera and an 80mm lens. During this trip my father, a retired career Army Officer, and I traveled throughout the Normandy region following the path taken by my Grandfather who landed on Utah beach at the start of World War II. Each photogravure is captioned with a brief description as well as the MGRS (Military Grid Reference System) Coordinates where each photograph was captured. The MGRS was utilized during World War II. They are paired with graphical abstractions created from the maps shown in the folded map insert for the Air Plan and Overlord Plan for Allied Forces troop landings in the Normandy region of France. Each folio is notched 1-9 at the center-fold/spine to indicated it’s ordering. The dashes on each folio map abstraction indicate a 5 mile scale. The arrow provides north orientation. The small glass vial inset below the folio slipcase is filled with sand from Utah beach. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781302425-LRPB53WQZYT8O4737D3U/mcba-prize-2022-Matthew-Magruder-In-Case-of-Failure-4.jpg Entries & Jurors - 2022 Entries - Matthew Magruder Austin, Texas www.matthewmagruder.com In Case of Failure 2020 Artist’s Book, Polymer Photogravure, digital printing, beach sand. 11.5″ x 10.5″ x 2.5″ Artist Statement The words in folios I, III, V, and VII are from a note that General Eisenhower wrote on June 5th, 1944 on the eve of D-Day in the event that the Allied invasion of Normandy proved a failure during World War II. A reprodcution of the original note from the Library of Congress can be seen in folio IX. This speech was never given but the model of profound leadership remains more relevant than ever. Polymer photogravures on the left side of the 9 folios are from a visit to the Normandy region of France in 2012. The photographs were taken with a Hasselblad medium format camera and an 80mm lens. During this trip my father, a retired career Army Officer, and I traveled throughout the Normandy region following the path taken by my Grandfather who landed on Utah beach at the start of World War II. Each photogravure is captioned with a brief description as well as the MGRS (Military Grid Reference System) Coordinates where each photograph was captured. The MGRS was utilized during World War II. They are paired with graphical abstractions created from the maps shown in the folded map insert for the Air Plan and Overlord Plan for Allied Forces troop landings in the Normandy region of France. Each folio is notched 1-9 at the center-fold/spine to indicated it’s ordering. The dashes on each folio map abstraction indicate a 5 mile scale. The arrow provides north orientation. The small glass vial inset below the folio slipcase is filled with sand from Utah beach. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781304178-490J0SPDOG3B21IW5GMR/mcba-prize-2022-Matthew-Magruder-In-Case-of-Failure-3.jpg Entries & Jurors - 2022 Entries - Matthew Magruder Austin, Texas www.matthewmagruder.com In Case of Failure 2020 Artist’s Book, Polymer Photogravure, digital printing, beach sand. 11.5″ x 10.5″ x 2.5″ Artist Statement The words in folios I, III, V, and VII are from a note that General Eisenhower wrote on June 5th, 1944 on the eve of D-Day in the event that the Allied invasion of Normandy proved a failure during World War II. A reprodcution of the original note from the Library of Congress can be seen in folio IX. This speech was never given but the model of profound leadership remains more relevant than ever. Polymer photogravures on the left side of the 9 folios are from a visit to the Normandy region of France in 2012. The photographs were taken with a Hasselblad medium format camera and an 80mm lens. During this trip my father, a retired career Army Officer, and I traveled throughout the Normandy region following the path taken by my Grandfather who landed on Utah beach at the start of World War II. Each photogravure is captioned with a brief description as well as the MGRS (Military Grid Reference System) Coordinates where each photograph was captured. The MGRS was utilized during World War II. They are paired with graphical abstractions created from the maps shown in the folded map insert for the Air Plan and Overlord Plan for Allied Forces troop landings in the Normandy region of France. Each folio is notched 1-9 at the center-fold/spine to indicated it’s ordering. The dashes on each folio map abstraction indicate a 5 mile scale. The arrow provides north orientation. The small glass vial inset below the folio slipcase is filled with sand from Utah beach. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781304899-T9KAF4UUT0Q0Y6Q60E3J/mcba-prize-2022-Matthew-Magruder-In-Case-of-Failure-2.jpg Entries & Jurors - 2022 Entries - Matthew Magruder Austin, Texas www.matthewmagruder.com In Case of Failure 2020 Artist’s Book, Polymer Photogravure, digital printing, beach sand. 11.5″ x 10.5″ x 2.5″ Artist Statement The words in folios I, III, V, and VII are from a note that General Eisenhower wrote on June 5th, 1944 on the eve of D-Day in the event that the Allied invasion of Normandy proved a failure during World War II. A reprodcution of the original note from the Library of Congress can be seen in folio IX. This speech was never given but the model of profound leadership remains more relevant than ever. Polymer photogravures on the left side of the 9 folios are from a visit to the Normandy region of France in 2012. The photographs were taken with a Hasselblad medium format camera and an 80mm lens. During this trip my father, a retired career Army Officer, and I traveled throughout the Normandy region following the path taken by my Grandfather who landed on Utah beach at the start of World War II. Each photogravure is captioned with a brief description as well as the MGRS (Military Grid Reference System) Coordinates where each photograph was captured. The MGRS was utilized during World War II. They are paired with graphical abstractions created from the maps shown in the folded map insert for the Air Plan and Overlord Plan for Allied Forces troop landings in the Normandy region of France. Each folio is notched 1-9 at the center-fold/spine to indicated it’s ordering. The dashes on each folio map abstraction indicate a 5 mile scale. The arrow provides north orientation. The small glass vial inset below the folio slipcase is filled with sand from Utah beach. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781305586-5S8Z0MDVYLFCDCWEOX8L/mcba-prize-2022-Matthew-Magruder-In-Case-of-Failure-1.jpg Entries & Jurors - 2022 Entries - Matthew Magruder Austin, Texas www.matthewmagruder.com In Case of Failure 2020 Artist’s Book, Polymer Photogravure, digital printing, beach sand. 11.5″ x 10.5″ x 2.5″ Artist Statement The words in folios I, III, V, and VII are from a note that General Eisenhower wrote on June 5th, 1944 on the eve of D-Day in the event that the Allied invasion of Normandy proved a failure during World War II. A reprodcution of the original note from the Library of Congress can be seen in folio IX. This speech was never given but the model of profound leadership remains more relevant than ever. Polymer photogravures on the left side of the 9 folios are from a visit to the Normandy region of France in 2012. The photographs were taken with a Hasselblad medium format camera and an 80mm lens. During this trip my father, a retired career Army Officer, and I traveled throughout the Normandy region following the path taken by my Grandfather who landed on Utah beach at the start of World War II. Each photogravure is captioned with a brief description as well as the MGRS (Military Grid Reference System) Coordinates where each photograph was captured. The MGRS was utilized during World War II. They are paired with graphical abstractions created from the maps shown in the folded map insert for the Air Plan and Overlord Plan for Allied Forces troop landings in the Normandy region of France. Each folio is notched 1-9 at the center-fold/spine to indicated it’s ordering. The dashes on each folio map abstraction indicate a 5 mile scale. The arrow provides north orientation. The small glass vial inset below the folio slipcase is filled with sand from Utah beach. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781413856-8SA0GEJIWFONR5LGFNTV/mcba-prize-2022-Nicole-Soley-Roxanne-Winter-Edition-3.jpg Entries & Jurors - 2022 Entries - Nicole Soley Eagan, Minnesota https://nicolesoley.wixsite.com/nicolesoleyartwork/prints Roxanne: Winter Edition 2021 Screenprint with machine stitching and polyfil. 12″ x 12″ x 15″ Artist Statement “Roxanne: Winter Edition” is a print inspired by my experiences witnessing my mom’s upkeep of our childhood home. My parents were divorced growing up and my mother’s dedication to yard work and housework is very memorable to me. As an adult, I now recognize how hard she worked to maintain a household for her children. I think this print, while playful in nature and possibly even humorous, evokes different emotions in the context of American divorce. I think the responsibility she took on as a single mother navigating the world with and for her children is commendable and worthy of an audience’s attention. I hope the work implicates the viewer to consider the impacts of American divorce while also evoking a sense of relatability to the American duty of homeownership and upkeep as a standard of achievement which perhaps is more questioned in today’s world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781413489-OBX0OXQ7YV44YDMX0C41/mcba-prize-2022-Nicole-Soley-Roxanne-Winter-Edition-2.jpg Entries & Jurors - 2022 Entries - Nicole Soley Eagan, Minnesota https://nicolesoley.wixsite.com/nicolesoleyartwork/prints Roxanne: Winter Edition 2021 Screenprint with machine stitching and polyfil. 12″ x 12″ x 15″ Artist Statement “Roxanne: Winter Edition” is a print inspired by my experiences witnessing my mom’s upkeep of our childhood home. My parents were divorced growing up and my mother’s dedication to yard work and housework is very memorable to me. As an adult, I now recognize how hard she worked to maintain a household for her children. I think this print, while playful in nature and possibly even humorous, evokes different emotions in the context of American divorce. I think the responsibility she took on as a single mother navigating the world with and for her children is commendable and worthy of an audience’s attention. I hope the work implicates the viewer to consider the impacts of American divorce while also evoking a sense of relatability to the American duty of homeownership and upkeep as a standard of achievement which perhaps is more questioned in today’s world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781415180-HTVST3NCA6M5MR33EC1I/mcba-prize-2022-Nicole-Soley-Roxanne-Winter-Edition-1.jpg Entries & Jurors - 2022 Entries - Nicole Soley Eagan, Minnesota https://nicolesoley.wixsite.com/nicolesoleyartwork/prints Roxanne: Winter Edition 2021 Screenprint with machine stitching and polyfil. 12″ x 12″ x 15″ Artist Statement “Roxanne: Winter Edition” is a print inspired by my experiences witnessing my mom’s upkeep of our childhood home. My parents were divorced growing up and my mother’s dedication to yard work and housework is very memorable to me. As an adult, I now recognize how hard she worked to maintain a household for her children. I think this print, while playful in nature and possibly even humorous, evokes different emotions in the context of American divorce. I think the responsibility she took on as a single mother navigating the world with and for her children is commendable and worthy of an audience’s attention. I hope the work implicates the viewer to consider the impacts of American divorce while also evoking a sense of relatability to the American duty of homeownership and upkeep as a standard of achievement which perhaps is more questioned in today’s world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781545208-6PYEJWIJ1JHFOKQ593M7/mcba-prize-2022-Matthew-Magruder-READ-Hate-Crimes-5.jpg Entries & Jurors - 2022 Entries - Matthew Magruder Austin, Texas www.matthewmagruder.com RE(A)D – Hate Crimes committed by White offenders 2009–2019 2021 Artist’s Book, Polymer Photogravure printed chine collé, handset Letterpress. 15.5″ x 7.5″ x 1″ Artist Statement Sample data from FBI.gov of Hate Crimes committed by White offenders from 2009 to 2019. Includes samples of number of incidents by bias motivation for each page/year represented in a 60×60 grid of white dots. Book is in a Japanese stab binding accounting ledger structure and the shape and proportions emulate a police citation book or colloquially (and sadly) often called a “posse box.” This book was created in an effort to connect with the current racial and social climate in the US and to reconcile and become more aware of the role that my segment of the demographic–white and male individuals–plays. A vast majority of all hate crimes committed in the US are perpetrated by white males. The stark nature of white densely packed small dots on red paper combined with clear concise letterpress printed data serves to convey a contrasting small graphical presence to the large traumatic magnitude of these event. Events that are happening on at the least a weekly basis in the US. The choice of book structure, a “ledger” style book, was also intentional and meant to connect with the mechanized, desensitized, and increasingly normalized nature that our culture holds with regards to hate and violence. The book proportions utilized (that of a police citation “Posse Box,” a term that itself has deep racist undertones) also connect with the overlap of the stark contrasting nature of policing white populations and minority populations. Titanium white ink polymer photogravure grid dots printed chine collé on red lokta paper with hatakami prakrtika paper for the pages and hand set letterpress in 24pt Blado Italic and 12pt 20th C. Medium. “Blood drops” done with red India Ink. Edition of 4. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781545639-8T3TNTV0S07K44Z0QPJH/mcba-prize-2022-Matthew-Magruder-READ-Hate-Crimes-4.jpg Entries & Jurors - 2022 Entries - Matthew Magruder Austin, Texas www.matthewmagruder.com RE(A)D – Hate Crimes committed by White offenders 2009–2019 2021 Artist’s Book, Polymer Photogravure printed chine collé, handset Letterpress. 15.5″ x 7.5″ x 1″ Artist Statement Sample data from FBI.gov of Hate Crimes committed by White offenders from 2009 to 2019. Includes samples of number of incidents by bias motivation for each page/year represented in a 60×60 grid of white dots. Book is in a Japanese stab binding accounting ledger structure and the shape and proportions emulate a police citation book or colloquially (and sadly) often called a “posse box.” This book was created in an effort to connect with the current racial and social climate in the US and to reconcile and become more aware of the role that my segment of the demographic–white and male individuals–plays. A vast majority of all hate crimes committed in the US are perpetrated by white males. The stark nature of white densely packed small dots on red paper combined with clear concise letterpress printed data serves to convey a contrasting small graphical presence to the large traumatic magnitude of these event. Events that are happening on at the least a weekly basis in the US. The choice of book structure, a “ledger” style book, was also intentional and meant to connect with the mechanized, desensitized, and increasingly normalized nature that our culture holds with regards to hate and violence. The book proportions utilized (that of a police citation “Posse Box,” a term that itself has deep racist undertones) also connect with the overlap of the stark contrasting nature of policing white populations and minority populations. Titanium white ink polymer photogravure grid dots printed chine collé on red lokta paper with hatakami prakrtika paper for the pages and hand set letterpress in 24pt Blado Italic and 12pt 20th C. Medium. “Blood drops” done with red India Ink. Edition of 4. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781548146-Z3CE6ZQP85NLWU318V0I/mcba-prize-2022-Matthew-Magruder-READ-Hate-Crimes-3.jpg Entries & Jurors - 2022 Entries - Matthew Magruder Austin, Texas www.matthewmagruder.com RE(A)D – Hate Crimes committed by White offenders 2009–2019 2021 Artist’s Book, Polymer Photogravure printed chine collé, handset Letterpress. 15.5″ x 7.5″ x 1″ Artist Statement Sample data from FBI.gov of Hate Crimes committed by White offenders from 2009 to 2019. Includes samples of number of incidents by bias motivation for each page/year represented in a 60×60 grid of white dots. Book is in a Japanese stab binding accounting ledger structure and the shape and proportions emulate a police citation book or colloquially (and sadly) often called a “posse box.” This book was created in an effort to connect with the current racial and social climate in the US and to reconcile and become more aware of the role that my segment of the demographic–white and male individuals–plays. A vast majority of all hate crimes committed in the US are perpetrated by white males. The stark nature of white densely packed small dots on red paper combined with clear concise letterpress printed data serves to convey a contrasting small graphical presence to the large traumatic magnitude of these event. Events that are happening on at the least a weekly basis in the US. The choice of book structure, a “ledger” style book, was also intentional and meant to connect with the mechanized, desensitized, and increasingly normalized nature that our culture holds with regards to hate and violence. The book proportions utilized (that of a police citation “Posse Box,” a term that itself has deep racist undertones) also connect with the overlap of the stark contrasting nature of policing white populations and minority populations. Titanium white ink polymer photogravure grid dots printed chine collé on red lokta paper with hatakami prakrtika paper for the pages and hand set letterpress in 24pt Blado Italic and 12pt 20th C. Medium. “Blood drops” done with red India Ink. Edition of 4. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781548189-DLHOKA01M13AYB025W0Y/mcba-prize-2022-Matthew-Magruder-READ-Hate-Crimes-2.jpg Entries & Jurors - 2022 Entries - Matthew Magruder Austin, Texas www.matthewmagruder.com RE(A)D – Hate Crimes committed by White offenders 2009–2019 2021 Artist’s Book, Polymer Photogravure printed chine collé, handset Letterpress. 15.5″ x 7.5″ x 1″ Artist Statement Sample data from FBI.gov of Hate Crimes committed by White offenders from 2009 to 2019. Includes samples of number of incidents by bias motivation for each page/year represented in a 60×60 grid of white dots. Book is in a Japanese stab binding accounting ledger structure and the shape and proportions emulate a police citation book or colloquially (and sadly) often called a “posse box.” This book was created in an effort to connect with the current racial and social climate in the US and to reconcile and become more aware of the role that my segment of the demographic–white and male individuals–plays. A vast majority of all hate crimes committed in the US are perpetrated by white males. The stark nature of white densely packed small dots on red paper combined with clear concise letterpress printed data serves to convey a contrasting small graphical presence to the large traumatic magnitude of these event. Events that are happening on at the least a weekly basis in the US. The choice of book structure, a “ledger” style book, was also intentional and meant to connect with the mechanized, desensitized, and increasingly normalized nature that our culture holds with regards to hate and violence. The book proportions utilized (that of a police citation “Posse Box,” a term that itself has deep racist undertones) also connect with the overlap of the stark contrasting nature of policing white populations and minority populations. Titanium white ink polymer photogravure grid dots printed chine collé on red lokta paper with hatakami prakrtika paper for the pages and hand set letterpress in 24pt Blado Italic and 12pt 20th C. Medium. “Blood drops” done with red India Ink. Edition of 4. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781549777-25Y1NORI32WIFCCVKIII/mcba-prize-2022-Matthew-Magruder-READ-Hate-Crimes-1.jpg Entries & Jurors - 2022 Entries - Matthew Magruder Austin, Texas www.matthewmagruder.com RE(A)D – Hate Crimes committed by White offenders 2009–2019 2021 Artist’s Book, Polymer Photogravure printed chine collé, handset Letterpress. 15.5″ x 7.5″ x 1″ Artist Statement Sample data from FBI.gov of Hate Crimes committed by White offenders from 2009 to 2019. Includes samples of number of incidents by bias motivation for each page/year represented in a 60×60 grid of white dots. Book is in a Japanese stab binding accounting ledger structure and the shape and proportions emulate a police citation book or colloquially (and sadly) often called a “posse box.” This book was created in an effort to connect with the current racial and social climate in the US and to reconcile and become more aware of the role that my segment of the demographic–white and male individuals–plays. A vast majority of all hate crimes committed in the US are perpetrated by white males. The stark nature of white densely packed small dots on red paper combined with clear concise letterpress printed data serves to convey a contrasting small graphical presence to the large traumatic magnitude of these event. Events that are happening on at the least a weekly basis in the US. The choice of book structure, a “ledger” style book, was also intentional and meant to connect with the mechanized, desensitized, and increasingly normalized nature that our culture holds with regards to hate and violence. The book proportions utilized (that of a police citation “Posse Box,” a term that itself has deep racist undertones) also connect with the overlap of the stark contrasting nature of policing white populations and minority populations. Titanium white ink polymer photogravure grid dots printed chine collé on red lokta paper with hatakami prakrtika paper for the pages and hand set letterpress in 24pt Blado Italic and 12pt 20th C. Medium. “Blood drops” done with red India Ink. Edition of 4. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781673591-EJS70M08AANVN9F1Q488/mcba-prize-2022-Madeline-Buck-When-are-they-coming-back-4.jpg Entries & Jurors - 2022 Entries - Madeline Buck St. Paul, Minnesota www.maddybuck.com When Are They Coming Back? 2021 Paper, string, cut-out watercolor paper, ink. 5.5″ x 4.25″ x .5″ Artist Statement Minnesota pride is both strong and weak. Minnesotans who love their state are very proud, but they can also be a bit lacking in state esteem. Sometimes they move away, in search of something more. But when they do, there’s always something (or someone) pulling them back. “When Are They Coming Back” is a book about being obsessed with a certain place, so much so that the obsession is pushed upon others. The form of the book emphasizes this, forcing the reader to acknowledge Minnesota, its boxy, pointy shape, with every page turn. Minnesota is not fly-over country, it is not a place to just “be from” and never return. It looks like a little hat, and this zine won’t let you forget it. And if it convinces you to move back home to the place that misses you most, this zine will have served its purpose. “When Are They Coming Back” is intentionally rough and simple. Minnesotans want you to love their state for the same reasons they do. It has its downsides, it’s not perfect, but at the core it’s a good place. For me, creating handmade books is a way to tell a story, share a viewpoint. Like comics, the little books allow for a combination of visual and verbal communication. But in the zine/book format, each idea gets its own place, unbothered by the rest of the thoughts. The handmade zine/book is my preferred comic format for this reason. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781673886-NUBC8KF5VTQB0ZH73X97/mcba-prize-2022-Madeline-Buck-When-are-they-coming-back-3.jpg Entries & Jurors - 2022 Entries - Madeline Buck St. Paul, Minnesota www.maddybuck.com When Are They Coming Back? 2021 Paper, string, cut-out watercolor paper, ink. 5.5″ x 4.25″ x .5″ Artist Statement Minnesota pride is both strong and weak. Minnesotans who love their state are very proud, but they can also be a bit lacking in state esteem. Sometimes they move away, in search of something more. But when they do, there’s always something (or someone) pulling them back. “When Are They Coming Back” is a book about being obsessed with a certain place, so much so that the obsession is pushed upon others. The form of the book emphasizes this, forcing the reader to acknowledge Minnesota, its boxy, pointy shape, with every page turn. Minnesota is not fly-over country, it is not a place to just “be from” and never return. It looks like a little hat, and this zine won’t let you forget it. And if it convinces you to move back home to the place that misses you most, this zine will have served its purpose. “When Are They Coming Back” is intentionally rough and simple. Minnesotans want you to love their state for the same reasons they do. It has its downsides, it’s not perfect, but at the core it’s a good place. For me, creating handmade books is a way to tell a story, share a viewpoint. Like comics, the little books allow for a combination of visual and verbal communication. But in the zine/book format, each idea gets its own place, unbothered by the rest of the thoughts. The handmade zine/book is my preferred comic format for this reason. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781674931-TY9MS2M0UOURDJD56B3W/mcba-prize-2022-Madeline-Buck-When-are-they-coming-back-2.jpg Entries & Jurors - 2022 Entries - Madeline Buck St. Paul, Minnesota www.maddybuck.com When Are They Coming Back? 2021 Paper, string, cut-out watercolor paper, ink. 5.5″ x 4.25″ x .5″ Artist Statement Minnesota pride is both strong and weak. Minnesotans who love their state are very proud, but they can also be a bit lacking in state esteem. Sometimes they move away, in search of something more. But when they do, there’s always something (or someone) pulling them back. “When Are They Coming Back” is a book about being obsessed with a certain place, so much so that the obsession is pushed upon others. The form of the book emphasizes this, forcing the reader to acknowledge Minnesota, its boxy, pointy shape, with every page turn. Minnesota is not fly-over country, it is not a place to just “be from” and never return. It looks like a little hat, and this zine won’t let you forget it. And if it convinces you to move back home to the place that misses you most, this zine will have served its purpose. “When Are They Coming Back” is intentionally rough and simple. Minnesotans want you to love their state for the same reasons they do. It has its downsides, it’s not perfect, but at the core it’s a good place. For me, creating handmade books is a way to tell a story, share a viewpoint. Like comics, the little books allow for a combination of visual and verbal communication. But in the zine/book format, each idea gets its own place, unbothered by the rest of the thoughts. The handmade zine/book is my preferred comic format for this reason. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773781675402-BRD8SR3CL3M2CG458I2O/mcba-prize-2022-Madeline-Buck-When-are-they-coming-back-1.jpg Entries & Jurors - 2022 Entries - Madeline Buck St. Paul, Minnesota www.maddybuck.com When Are They Coming Back? 2021 Paper, string, cut-out watercolor paper, ink. 5.5″ x 4.25″ x .5″ Artist Statement Minnesota pride is both strong and weak. Minnesotans who love their state are very proud, but they can also be a bit lacking in state esteem. Sometimes they move away, in search of something more. But when they do, there’s always something (or someone) pulling them back. “When Are They Coming Back” is a book about being obsessed with a certain place, so much so that the obsession is pushed upon others. The form of the book emphasizes this, forcing the reader to acknowledge Minnesota, its boxy, pointy shape, with every page turn. Minnesota is not fly-over country, it is not a place to just “be from” and never return. It looks like a little hat, and this zine won’t let you forget it. And if it convinces you to move back home to the place that misses you most, this zine will have served its purpose. “When Are They Coming Back” is intentionally rough and simple. Minnesotans want you to love their state for the same reasons they do. It has its downsides, it’s not perfect, but at the core it’s a good place. For me, creating handmade books is a way to tell a story, share a viewpoint. Like comics, the little books allow for a combination of visual and verbal communication. But in the zine/book format, each idea gets its own place, unbothered by the rest of the thoughts. The handmade zine/book is my preferred comic format for this reason. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773782597219-JMO00MDXWPI1UD0FX36N/mcba-prize-2022-Ruthann-Godollei-The-Wish-Machine-4.jpg Entries & Jurors - 2022 Entries - Ruthann Godollei St. Paul, Minnesota The Wish Machine 2021 Altered wringer washing device, aluminum wings, letterpress printed paper scrolls populated by community wishes of Edmonton, AB, Canada. 296″ x 85″ x 44″ (dimensions variable) Artist Statement The Wish Machine is a display of collective desires, an aspirational art project people could enjoy in gallery windows during the pandemic. It’s a site-responsive, text-based interactive installation with a giveaway component. It contains a laser engraved wringer washer, screen-printed aluminum wings, and letterpress printed scrolls featuring requests from librarians, cashiers, teachers, bus drivers, artists, custodians, and children. Each wisher got one printed copy of their wish to keep and one was shared with the public in the Wish Machine. This installation became a chronicle, a daybook of the times in which it was made. Reading the wishes of others as the site grew, the words grew wings and flew as they met up and gathered momentum and volume. So many exhibits were cancelled during the pandemic, I wanted to provide an alternative to virtual doom-scrolling and make a tangible, real-world experience, accessible to everyone passing by 24/7. The giveaway struck me as a means to make community based art more equitable, rather than extractive. Twin Cities wishes were collected via Minnesota Center for Books Arts and displayed in the window gallery for safe pandemic viewing, growing the installation over the course of the exhibit. Many desires for social change were submitted along with hopes of a personal, political or community nature. Another Wish Machine iteration interacted with communities in Edmonton, Alberta, Canada. Public wishes were collected (e.g. from Al Rashid Mosque Youth Group) via SNAP, the Society of Northern Alberta Printmakers, and displayed in their window gallery for safe pandemic viewing. Community members each received a free printed copy of their wish at a safe drop site. Canadian wishes differed slightly from those of Minnesotans, but often had parallels. For example, many people expressed the desire for the RCMP to be held accountable for its treatment of First Nations people, while the need for justice for Black American’s killed at the hands of US police was fore fronted by the uprising in the wake of George Floyd’s brutal murder. I printed the texts using antique wooden type on my 1860s Washington cast iron overhead hand press and a midcentury Showcard sign press. The process harkened back to my early career as a job sign printer in Minneapolis. The US and Canadian postal services were essential in delivering the installation materials to Canada and the distribution of wishes. Quite a few wishes came to be realized, while many still have yet to be. The Wish Machine expresses collective dreams- in light of frustrated ambitions, we can envision what needs to change, our hopes and desires and what, if we put our minds and hands to it, we might achieve. Sometimes naming what we want is the first step to making it happen. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773782597262-8776C7VQHEVMKQ2FJVWM/mcba-prize-2022-Ruthann-Godollei-The-Wish-Machine-3.jpg Entries & Jurors - 2022 Entries - Ruthann Godollei St. Paul, Minnesota The Wish Machine 2021 Altered wringer washing device, aluminum wings, letterpress printed paper scrolls populated by community wishes of Edmonton, AB, Canada. 296″ x 85″ x 44″ (dimensions variable) Artist Statement The Wish Machine is a display of collective desires, an aspirational art project people could enjoy in gallery windows during the pandemic. It’s a site-responsive, text-based interactive installation with a giveaway component. It contains a laser engraved wringer washer, screen-printed aluminum wings, and letterpress printed scrolls featuring requests from librarians, cashiers, teachers, bus drivers, artists, custodians, and children. Each wisher got one printed copy of their wish to keep and one was shared with the public in the Wish Machine. This installation became a chronicle, a daybook of the times in which it was made. Reading the wishes of others as the site grew, the words grew wings and flew as they met up and gathered momentum and volume. So many exhibits were cancelled during the pandemic, I wanted to provide an alternative to virtual doom-scrolling and make a tangible, real-world experience, accessible to everyone passing by 24/7. The giveaway struck me as a means to make community based art more equitable, rather than extractive. Twin Cities wishes were collected via Minnesota Center for Books Arts and displayed in the window gallery for safe pandemic viewing, growing the installation over the course of the exhibit. Many desires for social change were submitted along with hopes of a personal, political or community nature. Another Wish Machine iteration interacted with communities in Edmonton, Alberta, Canada. Public wishes were collected (e.g. from Al Rashid Mosque Youth Group) via SNAP, the Society of Northern Alberta Printmakers, and displayed in their window gallery for safe pandemic viewing. Community members each received a free printed copy of their wish at a safe drop site. Canadian wishes differed slightly from those of Minnesotans, but often had parallels. For example, many people expressed the desire for the RCMP to be held accountable for its treatment of First Nations people, while the need for justice for Black American’s killed at the hands of US police was fore fronted by the uprising in the wake of George Floyd’s brutal murder. I printed the texts using antique wooden type on my 1860s Washington cast iron overhead hand press and a midcentury Showcard sign press. The process harkened back to my early career as a job sign printer in Minneapolis. The US and Canadian postal services were essential in delivering the installation materials to Canada and the distribution of wishes. Quite a few wishes came to be realized, while many still have yet to be. The Wish Machine expresses collective dreams- in light of frustrated ambitions, we can envision what needs to change, our hopes and desires and what, if we put our minds and hands to it, we might achieve. Sometimes naming what we want is the first step to making it happen. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773782599714-AWVCKTQR3PW4VH012CF1/mcba-prize-2022-Ruthann-Godollei-The-Wish-Machine-2.jpg Entries & Jurors - 2022 Entries - Ruthann Godollei St. Paul, Minnesota The Wish Machine 2021 Altered wringer washing device, aluminum wings, letterpress printed paper scrolls populated by community wishes of Edmonton, AB, Canada. 296″ x 85″ x 44″ (dimensions variable) Artist Statement The Wish Machine is a display of collective desires, an aspirational art project people could enjoy in gallery windows during the pandemic. It’s a site-responsive, text-based interactive installation with a giveaway component. It contains a laser engraved wringer washer, screen-printed aluminum wings, and letterpress printed scrolls featuring requests from librarians, cashiers, teachers, bus drivers, artists, custodians, and children. Each wisher got one printed copy of their wish to keep and one was shared with the public in the Wish Machine. This installation became a chronicle, a daybook of the times in which it was made. Reading the wishes of others as the site grew, the words grew wings and flew as they met up and gathered momentum and volume. So many exhibits were cancelled during the pandemic, I wanted to provide an alternative to virtual doom-scrolling and make a tangible, real-world experience, accessible to everyone passing by 24/7. The giveaway struck me as a means to make community based art more equitable, rather than extractive. Twin Cities wishes were collected via Minnesota Center for Books Arts and displayed in the window gallery for safe pandemic viewing, growing the installation over the course of the exhibit. Many desires for social change were submitted along with hopes of a personal, political or community nature. Another Wish Machine iteration interacted with communities in Edmonton, Alberta, Canada. Public wishes were collected (e.g. from Al Rashid Mosque Youth Group) via SNAP, the Society of Northern Alberta Printmakers, and displayed in their window gallery for safe pandemic viewing. Community members each received a free printed copy of their wish at a safe drop site. Canadian wishes differed slightly from those of Minnesotans, but often had parallels. For example, many people expressed the desire for the RCMP to be held accountable for its treatment of First Nations people, while the need for justice for Black American’s killed at the hands of US police was fore fronted by the uprising in the wake of George Floyd’s brutal murder. I printed the texts using antique wooden type on my 1860s Washington cast iron overhead hand press and a midcentury Showcard sign press. The process harkened back to my early career as a job sign printer in Minneapolis. The US and Canadian postal services were essential in delivering the installation materials to Canada and the distribution of wishes. Quite a few wishes came to be realized, while many still have yet to be. The Wish Machine expresses collective dreams- in light of frustrated ambitions, we can envision what needs to change, our hopes and desires and what, if we put our minds and hands to it, we might achieve. Sometimes naming what we want is the first step to making it happen. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773782600626-J8HTG1LWQZCGJ9V5BZER/mcba-prize-2022-Ruthann-Godollei-The-Wish-Machine-1.jpg Entries & Jurors - 2022 Entries - Ruthann Godollei St. Paul, Minnesota The Wish Machine 2021 Altered wringer washing device, aluminum wings, letterpress printed paper scrolls populated by community wishes of Edmonton, AB, Canada. 296″ x 85″ x 44″ (dimensions variable) Artist Statement The Wish Machine is a display of collective desires, an aspirational art project people could enjoy in gallery windows during the pandemic. It’s a site-responsive, text-based interactive installation with a giveaway component. It contains a laser engraved wringer washer, screen-printed aluminum wings, and letterpress printed scrolls featuring requests from librarians, cashiers, teachers, bus drivers, artists, custodians, and children. Each wisher got one printed copy of their wish to keep and one was shared with the public in the Wish Machine. This installation became a chronicle, a daybook of the times in which it was made. Reading the wishes of others as the site grew, the words grew wings and flew as they met up and gathered momentum and volume. So many exhibits were cancelled during the pandemic, I wanted to provide an alternative to virtual doom-scrolling and make a tangible, real-world experience, accessible to everyone passing by 24/7. The giveaway struck me as a means to make community based art more equitable, rather than extractive. Twin Cities wishes were collected via Minnesota Center for Books Arts and displayed in the window gallery for safe pandemic viewing, growing the installation over the course of the exhibit. Many desires for social change were submitted along with hopes of a personal, political or community nature. Another Wish Machine iteration interacted with communities in Edmonton, Alberta, Canada. Public wishes were collected (e.g. from Al Rashid Mosque Youth Group) via SNAP, the Society of Northern Alberta Printmakers, and displayed in their window gallery for safe pandemic viewing. Community members each received a free printed copy of their wish at a safe drop site. Canadian wishes differed slightly from those of Minnesotans, but often had parallels. For example, many people expressed the desire for the RCMP to be held accountable for its treatment of First Nations people, while the need for justice for Black American’s killed at the hands of US police was fore fronted by the uprising in the wake of George Floyd’s brutal murder. I printed the texts using antique wooden type on my 1860s Washington cast iron overhead hand press and a midcentury Showcard sign press. The process harkened back to my early career as a job sign printer in Minneapolis. The US and Canadian postal services were essential in delivering the installation materials to Canada and the distribution of wishes. Quite a few wishes came to be realized, while many still have yet to be. The Wish Machine expresses collective dreams- in light of frustrated ambitions, we can envision what needs to change, our hopes and desires and what, if we put our minds and hands to it, we might achieve. Sometimes naming what we want is the first step to making it happen. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773782723106-4JQS83JUSSITO2WPXCI6/mcba-prize-2022-Diane-Stemper-Coral-Ghosts-5.jpg Entries & Jurors - 2022 Entries - Diane Stemper Cincinnati, Ohio www.dianestemper.com/artist-books Coral Ghosts 2022 Etching and letterpress 32″ x .05″ x 10″ open; 8.25″ x 10″ Artist Statement I am an artist and have worked in the non-profit arts sector for many years. I received my B.F.A. in printmaking from the San Francisco Art Institute, an M.A. in interdisciplinary arts from San Francisco State University, and an M.A. in art education from Miami University, Oxford, Ohio. I have exhibited my artist books, prints, and drawings regionally and nationally, and have displayed and sold my work at Codex V, VI, VII & VIII Book Fairs, and Pyramid Atlantic Artist Book Fair in 2018. My artist books are in private collections, and in several public library and university special collections. I am a member of Tiger Lily Press in Cincinnati (artist-run print studio) where I do the printing for my artist books. Recently, several of my artist’s books were featured in the exhibition, Symbiotic Affair, Walter E. Havigurst Special Collections, King Library, Miami University, Oxford, Ohio. My art aligns itself with science and many times reflects an intersection between the natural world and human activity. I have several sources for my artist books which reference science and natural history collections, back yard specimens and scientific illustration. My work can be inspired by human endeavor, natural occurrences, or by encounters with specimens/species (live or not). I begin with research, reading, and observation. My prints and artist books are informed by preliminary drawing, photographing and recording of subjects. As I engage with printing and the book structure, the two aspects, images and three-dimensional book form, work together to transform into a final piece. Drawing is fundamental to the intaglio printmaking process and I enjoy adding text with letterpress. I work back and forth between small edition artist books, petri dish construction/books, charcoal drawing and intaglio prints. Approximately ten years ago, I happened upon dozens of petri dishes and had already been thinking about Charles Darwin’s 200th birthday. The petri dishes inspired a whole new direction. I constructed two suites of artist books about Darwin and his travels to the Galapagos Islands that were built into Petri dishes. Additionally, I made several small edition and one-of-a-kind artist books about Charles Darwin (Darwin’s Collector Box, 2014). My interest in Darwin and my own travels led to a focus on specimens. One example is Waggle that was inspired by a Linden tree on my property, its inhabitants included lighting bugs, wasps, moths along with an array of different North American bee species. One species leads to another and I made a series on birds, found in nature, in my backyard, and in the drawers of natural history museums. My 2019 project, Mussels: What Was / What Remains came out of an invitation to participate in Miami University’s 2019 Library theme – Building STE(A)M. In response I made, a small edition artist book inspired by a collection of mollusks at the Hefner Natural History Museum at Miami University, Oxford, Ohio. Just prior to the pandemic shutting down the world, I had visited a museum just outside of London, the John Horniman Museum that houses an old collection of specimens and oddities among which is a case of coral from various parts of the world. Coral Ghosts was inspired by the skeletal coral I saw that day and reflects my own personal concern about the degradation of our natural world, the rapid extinction of species and the loss of the vibrant colors of a coral reef. The pink text expresses a wish for remembrance, hope and revival. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773782723279-52RLNZMOP2Z3YGU10BDE/mcba-prize-2022-Diane-Stemper-Coral-Ghosts-4.jpg Entries & Jurors - 2022 Entries - Diane Stemper Cincinnati, Ohio www.dianestemper.com/artist-books Coral Ghosts 2022 Etching and letterpress 32″ x .05″ x 10″ open; 8.25″ x 10″ Artist Statement I am an artist and have worked in the non-profit arts sector for many years. I received my B.F.A. in printmaking from the San Francisco Art Institute, an M.A. in interdisciplinary arts from San Francisco State University, and an M.A. in art education from Miami University, Oxford, Ohio. I have exhibited my artist books, prints, and drawings regionally and nationally, and have displayed and sold my work at Codex V, VI, VII & VIII Book Fairs, and Pyramid Atlantic Artist Book Fair in 2018. My artist books are in private collections, and in several public library and university special collections. I am a member of Tiger Lily Press in Cincinnati (artist-run print studio) where I do the printing for my artist books. Recently, several of my artist’s books were featured in the exhibition, Symbiotic Affair, Walter E. Havigurst Special Collections, King Library, Miami University, Oxford, Ohio. My art aligns itself with science and many times reflects an intersection between the natural world and human activity. I have several sources for my artist books which reference science and natural history collections, back yard specimens and scientific illustration. My work can be inspired by human endeavor, natural occurrences, or by encounters with specimens/species (live or not). I begin with research, reading, and observation. My prints and artist books are informed by preliminary drawing, photographing and recording of subjects. As I engage with printing and the book structure, the two aspects, images and three-dimensional book form, work together to transform into a final piece. Drawing is fundamental to the intaglio printmaking process and I enjoy adding text with letterpress. I work back and forth between small edition artist books, petri dish construction/books, charcoal drawing and intaglio prints. Approximately ten years ago, I happened upon dozens of petri dishes and had already been thinking about Charles Darwin’s 200th birthday. The petri dishes inspired a whole new direction. I constructed two suites of artist books about Darwin and his travels to the Galapagos Islands that were built into Petri dishes. Additionally, I made several small edition and one-of-a-kind artist books about Charles Darwin (Darwin’s Collector Box, 2014). My interest in Darwin and my own travels led to a focus on specimens. One example is Waggle that was inspired by a Linden tree on my property, its inhabitants included lighting bugs, wasps, moths along with an array of different North American bee species. One species leads to another and I made a series on birds, found in nature, in my backyard, and in the drawers of natural history museums. My 2019 project, Mussels: What Was / What Remains came out of an invitation to participate in Miami University’s 2019 Library theme – Building STE(A)M. In response I made, a small edition artist book inspired by a collection of mollusks at the Hefner Natural History Museum at Miami University, Oxford, Ohio. Just prior to the pandemic shutting down the world, I had visited a museum just outside of London, the John Horniman Museum that houses an old collection of specimens and oddities among which is a case of coral from various parts of the world. Coral Ghosts was inspired by the skeletal coral I saw that day and reflects my own personal concern about the degradation of our natural world, the rapid extinction of species and the loss of the vibrant colors of a coral reef. The pink text expresses a wish for remembrance, hope and revival. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773782725806-1OC5SG5UR85DE9VYGLCR/mcba-prize-2022-Diane-Stemper-Coral-Ghosts-3.jpg Entries & Jurors - 2022 Entries - Diane Stemper Cincinnati, Ohio www.dianestemper.com/artist-books Coral Ghosts 2022 Etching and letterpress 32″ x .05″ x 10″ open; 8.25″ x 10″ Artist Statement I am an artist and have worked in the non-profit arts sector for many years. I received my B.F.A. in printmaking from the San Francisco Art Institute, an M.A. in interdisciplinary arts from San Francisco State University, and an M.A. in art education from Miami University, Oxford, Ohio. I have exhibited my artist books, prints, and drawings regionally and nationally, and have displayed and sold my work at Codex V, VI, VII & VIII Book Fairs, and Pyramid Atlantic Artist Book Fair in 2018. My artist books are in private collections, and in several public library and university special collections. I am a member of Tiger Lily Press in Cincinnati (artist-run print studio) where I do the printing for my artist books. Recently, several of my artist’s books were featured in the exhibition, Symbiotic Affair, Walter E. Havigurst Special Collections, King Library, Miami University, Oxford, Ohio. My art aligns itself with science and many times reflects an intersection between the natural world and human activity. I have several sources for my artist books which reference science and natural history collections, back yard specimens and scientific illustration. My work can be inspired by human endeavor, natural occurrences, or by encounters with specimens/species (live or not). I begin with research, reading, and observation. My prints and artist books are informed by preliminary drawing, photographing and recording of subjects. As I engage with printing and the book structure, the two aspects, images and three-dimensional book form, work together to transform into a final piece. Drawing is fundamental to the intaglio printmaking process and I enjoy adding text with letterpress. I work back and forth between small edition artist books, petri dish construction/books, charcoal drawing and intaglio prints. Approximately ten years ago, I happened upon dozens of petri dishes and had already been thinking about Charles Darwin’s 200th birthday. The petri dishes inspired a whole new direction. I constructed two suites of artist books about Darwin and his travels to the Galapagos Islands that were built into Petri dishes. Additionally, I made several small edition and one-of-a-kind artist books about Charles Darwin (Darwin’s Collector Box, 2014). My interest in Darwin and my own travels led to a focus on specimens. One example is Waggle that was inspired by a Linden tree on my property, its inhabitants included lighting bugs, wasps, moths along with an array of different North American bee species. One species leads to another and I made a series on birds, found in nature, in my backyard, and in the drawers of natural history museums. My 2019 project, Mussels: What Was / What Remains came out of an invitation to participate in Miami University’s 2019 Library theme – Building STE(A)M. In response I made, a small edition artist book inspired by a collection of mollusks at the Hefner Natural History Museum at Miami University, Oxford, Ohio. Just prior to the pandemic shutting down the world, I had visited a museum just outside of London, the John Horniman Museum that houses an old collection of specimens and oddities among which is a case of coral from various parts of the world. Coral Ghosts was inspired by the skeletal coral I saw that day and reflects my own personal concern about the degradation of our natural world, the rapid extinction of species and the loss of the vibrant colors of a coral reef. The pink text expresses a wish for remembrance, hope and revival. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773782726032-LVAXX3Y3VK1B2I8THGE5/mcba-prize-2022-Diane-Stemper-Coral-Ghosts-2.jpg Entries & Jurors - 2022 Entries - Diane Stemper Cincinnati, Ohio www.dianestemper.com/artist-books Coral Ghosts 2022 Etching and letterpress 32″ x .05″ x 10″ open; 8.25″ x 10″ Artist Statement I am an artist and have worked in the non-profit arts sector for many years. I received my B.F.A. in printmaking from the San Francisco Art Institute, an M.A. in interdisciplinary arts from San Francisco State University, and an M.A. in art education from Miami University, Oxford, Ohio. I have exhibited my artist books, prints, and drawings regionally and nationally, and have displayed and sold my work at Codex V, VI, VII & VIII Book Fairs, and Pyramid Atlantic Artist Book Fair in 2018. My artist books are in private collections, and in several public library and university special collections. I am a member of Tiger Lily Press in Cincinnati (artist-run print studio) where I do the printing for my artist books. Recently, several of my artist’s books were featured in the exhibition, Symbiotic Affair, Walter E. Havigurst Special Collections, King Library, Miami University, Oxford, Ohio. My art aligns itself with science and many times reflects an intersection between the natural world and human activity. I have several sources for my artist books which reference science and natural history collections, back yard specimens and scientific illustration. My work can be inspired by human endeavor, natural occurrences, or by encounters with specimens/species (live or not). I begin with research, reading, and observation. My prints and artist books are informed by preliminary drawing, photographing and recording of subjects. As I engage with printing and the book structure, the two aspects, images and three-dimensional book form, work together to transform into a final piece. Drawing is fundamental to the intaglio printmaking process and I enjoy adding text with letterpress. I work back and forth between small edition artist books, petri dish construction/books, charcoal drawing and intaglio prints. Approximately ten years ago, I happened upon dozens of petri dishes and had already been thinking about Charles Darwin’s 200th birthday. The petri dishes inspired a whole new direction. I constructed two suites of artist books about Darwin and his travels to the Galapagos Islands that were built into Petri dishes. Additionally, I made several small edition and one-of-a-kind artist books about Charles Darwin (Darwin’s Collector Box, 2014). My interest in Darwin and my own travels led to a focus on specimens. One example is Waggle that was inspired by a Linden tree on my property, its inhabitants included lighting bugs, wasps, moths along with an array of different North American bee species. One species leads to another and I made a series on birds, found in nature, in my backyard, and in the drawers of natural history museums. My 2019 project, Mussels: What Was / What Remains came out of an invitation to participate in Miami University’s 2019 Library theme – Building STE(A)M. In response I made, a small edition artist book inspired by a collection of mollusks at the Hefner Natural History Museum at Miami University, Oxford, Ohio. Just prior to the pandemic shutting down the world, I had visited a museum just outside of London, the John Horniman Museum that houses an old collection of specimens and oddities among which is a case of coral from various parts of the world. Coral Ghosts was inspired by the skeletal coral I saw that day and reflects my own personal concern about the degradation of our natural world, the rapid extinction of species and the loss of the vibrant colors of a coral reef. The pink text expresses a wish for remembrance, hope and revival. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773782727973-FQ8R4CV3JYTEAFXDIC88/mcba-prize-2022-Diane-Stemper-Coral-Ghosts-1.jpg Entries & Jurors - 2022 Entries - Diane Stemper Cincinnati, Ohio www.dianestemper.com/artist-books Coral Ghosts 2022 Etching and letterpress 32″ x .05″ x 10″ open; 8.25″ x 10″ Artist Statement I am an artist and have worked in the non-profit arts sector for many years. I received my B.F.A. in printmaking from the San Francisco Art Institute, an M.A. in interdisciplinary arts from San Francisco State University, and an M.A. in art education from Miami University, Oxford, Ohio. I have exhibited my artist books, prints, and drawings regionally and nationally, and have displayed and sold my work at Codex V, VI, VII & VIII Book Fairs, and Pyramid Atlantic Artist Book Fair in 2018. My artist books are in private collections, and in several public library and university special collections. I am a member of Tiger Lily Press in Cincinnati (artist-run print studio) where I do the printing for my artist books. Recently, several of my artist’s books were featured in the exhibition, Symbiotic Affair, Walter E. Havigurst Special Collections, King Library, Miami University, Oxford, Ohio. My art aligns itself with science and many times reflects an intersection between the natural world and human activity. I have several sources for my artist books which reference science and natural history collections, back yard specimens and scientific illustration. My work can be inspired by human endeavor, natural occurrences, or by encounters with specimens/species (live or not). I begin with research, reading, and observation. My prints and artist books are informed by preliminary drawing, photographing and recording of subjects. As I engage with printing and the book structure, the two aspects, images and three-dimensional book form, work together to transform into a final piece. Drawing is fundamental to the intaglio printmaking process and I enjoy adding text with letterpress. I work back and forth between small edition artist books, petri dish construction/books, charcoal drawing and intaglio prints. Approximately ten years ago, I happened upon dozens of petri dishes and had already been thinking about Charles Darwin’s 200th birthday. The petri dishes inspired a whole new direction. I constructed two suites of artist books about Darwin and his travels to the Galapagos Islands that were built into Petri dishes. Additionally, I made several small edition and one-of-a-kind artist books about Charles Darwin (Darwin’s Collector Box, 2014). My interest in Darwin and my own travels led to a focus on specimens. One example is Waggle that was inspired by a Linden tree on my property, its inhabitants included lighting bugs, wasps, moths along with an array of different North American bee species. One species leads to another and I made a series on birds, found in nature, in my backyard, and in the drawers of natural history museums. My 2019 project, Mussels: What Was / What Remains came out of an invitation to participate in Miami University’s 2019 Library theme – Building STE(A)M. In response I made, a small edition artist book inspired by a collection of mollusks at the Hefner Natural History Museum at Miami University, Oxford, Ohio. Just prior to the pandemic shutting down the world, I had visited a museum just outside of London, the John Horniman Museum that houses an old collection of specimens and oddities among which is a case of coral from various parts of the world. Coral Ghosts was inspired by the skeletal coral I saw that day and reflects my own personal concern about the degradation of our natural world, the rapid extinction of species and the loss of the vibrant colors of a coral reef. The pink text expresses a wish for remembrance, hope and revival. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773782925496-VKWBFAQFO9IH2PMW53HC/mcba-prize-2022-Kena-Kitchengs-The-Scallops-Spine-3.jpg Entries & Jurors - 2022 Entries - Kena Kitchengs Toluca, Mexico https://kitchengs.wordpress.com/ The Scallop’s Spine, a Book With Eyes 2022 Ceramics, stamps, watercolors 7 x 7 1″/2 x 3 1/2″ Artist Statement The Scallop’s Spine, a Book With Eyes is a work that plays with and mingles what it means to be a book and what, from our human standpoint, it means to be a scallop. During my research, I inevitably stumbled upon several bivalve shells turned into books, including clams and scallops. They appear tous, or at least the book-obsessed of us, as sea books of sorts. Bivalves consist on two “covers”, that is, symmetric shells that join on one side by way of a sort of hinge, or a “spine”, from a book perspective. Bivalves barely have brains, let alone spines. From all of this, I created this artists’ book that delves into the book itself as an artifact–following quite a tradition in this respect in the book arts genre–looking at not only how the scallop would translate very neatly into book-form, but also how this rather bookish structure contains a living being. Scallops, by the way, have hundreds of tiny blue eyes https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773782925476-1UNJAUE8XM10UAI69ZA3/mcba-prize-2022-Kena-Kitchengs-The-Scallops-Spine-2.jpg Entries & Jurors - 2022 Entries - Kena Kitchengs Toluca, Mexico https://kitchengs.wordpress.com/ The Scallop’s Spine, a Book With Eyes 2022 Ceramics, stamps, watercolors 7 x 7 1″/2 x 3 1/2″ Artist Statement The Scallop’s Spine, a Book With Eyes is a work that plays with and mingles what it means to be a book and what, from our human standpoint, it means to be a scallop. During my research, I inevitably stumbled upon several bivalve shells turned into books, including clams and scallops. They appear tous, or at least the book-obsessed of us, as sea books of sorts. Bivalves consist on two “covers”, that is, symmetric shells that join on one side by way of a sort of hinge, or a “spine”, from a book perspective. Bivalves barely have brains, let alone spines. From all of this, I created this artists’ book that delves into the book itself as an artifact–following quite a tradition in this respect in the book arts genre–looking at not only how the scallop would translate very neatly into book-form, but also how this rather bookish structure contains a living being. Scallops, by the way, have hundreds of tiny blue eyes https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773782926724-YGB4O1YNL6VHOL4LRYZI/mcba-prize-2022-Kena-Kitchengs-The-Scallops-Spine-1.jpg Entries & Jurors - 2022 Entries - Kena Kitchengs Toluca, Mexico https://kitchengs.wordpress.com/ The Scallop’s Spine, a Book With Eyes 2022 Ceramics, stamps, watercolors 7 x 7 1″/2 x 3 1/2″ Artist Statement The Scallop’s Spine, a Book With Eyes is a work that plays with and mingles what it means to be a book and what, from our human standpoint, it means to be a scallop. During my research, I inevitably stumbled upon several bivalve shells turned into books, including clams and scallops. They appear tous, or at least the book-obsessed of us, as sea books of sorts. Bivalves consist on two “covers”, that is, symmetric shells that join on one side by way of a sort of hinge, or a “spine”, from a book perspective. Bivalves barely have brains, let alone spines. From all of this, I created this artists’ book that delves into the book itself as an artifact–following quite a tradition in this respect in the book arts genre–looking at not only how the scallop would translate very neatly into book-form, but also how this rather bookish structure contains a living being. Scallops, by the way, have hundreds of tiny blue eyes https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773782923622-EHEDBRN7HID5COZIYIWJ/mcba-prize-2022-Kena-Kitchengs-The-Scallops-Spine-5.jpg Entries & Jurors - 2022 Entries - Kena Kitchengs Toluca, Mexico https://kitchengs.wordpress.com/ The Scallop’s Spine, a Book With Eyes 2022 Ceramics, stamps, watercolors 7 x 7 1″/2 x 3 1/2″ Artist Statement The Scallop’s Spine, a Book With Eyes is a work that plays with and mingles what it means to be a book and what, from our human standpoint, it means to be a scallop. During my research, I inevitably stumbled upon several bivalve shells turned into books, including clams and scallops. They appear tous, or at least the book-obsessed of us, as sea books of sorts. Bivalves consist on two “covers”, that is, symmetric shells that join on one side by way of a sort of hinge, or a “spine”, from a book perspective. Bivalves barely have brains, let alone spines. From all of this, I created this artists’ book that delves into the book itself as an artifact–following quite a tradition in this respect in the book arts genre–looking at not only how the scallop would translate very neatly into book-form, but also how this rather bookish structure contains a living being. Scallops, by the way, have hundreds of tiny blue eyes https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773782923752-IB14I6YL2QQ63LM9D7HJ/mcba-prize-2022-Kena-Kitchengs-The-Scallops-Spine-4.jpg Entries & Jurors - 2022 Entries - Kena Kitchengs Toluca, Mexico https://kitchengs.wordpress.com/ The Scallop’s Spine, a Book With Eyes 2022 Ceramics, stamps, watercolors 7 x 7 1″/2 x 3 1/2″ Artist Statement The Scallop’s Spine, a Book With Eyes is a work that plays with and mingles what it means to be a book and what, from our human standpoint, it means to be a scallop. During my research, I inevitably stumbled upon several bivalve shells turned into books, including clams and scallops. They appear tous, or at least the book-obsessed of us, as sea books of sorts. Bivalves consist on two “covers”, that is, symmetric shells that join on one side by way of a sort of hinge, or a “spine”, from a book perspective. Bivalves barely have brains, let alone spines. From all of this, I created this artists’ book that delves into the book itself as an artifact–following quite a tradition in this respect in the book arts genre–looking at not only how the scallop would translate very neatly into book-form, but also how this rather bookish structure contains a living being. Scallops, by the way, have hundreds of tiny blue eyes https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783101064-A39S8F24RQICPEBU3NKI/mcba-prize-2022-Gina-Fowler-Ladies-Book-of-Etiquette-1.jpg Entries & Jurors - 2022 Entries - Gina Fowler Newburgh, New York www.ginafowler.com The Ladies’ Book of Etiquette 2021 Artist’s book, Letterpress 8″ x 8″ x 1.25″ Artist Statement The Ladies’ Book of Etiquette was born of a desire to question the validity of socially constructed standards of behavior, while simultaneously deconstructing the traditional notion the book. These two objectives work together in parallel throughout this artist’s book. Housed in a clamshell box, The Ladies’ Book of Etiquette is made up of 12 individual, hand-sewn napkins. These napkins have been letterpress printed with content from an 1860 etiquette manual by Florence Hartley, which is the book’s namesake. After the title page, each of the 11 prints is folded inside the book, encouraging viewers to handle each piece separately. These prints contain passages from the original text that were particularly compelling, interesting, or amusing to me, which I then manipulated to tell a new story. Prints that contain direct passages are interspersed among prints that contain text from multiple, unrelated sections of the etiquette manual, combined or rewritten out-of-context. Viewers of this book are encouraged to abandon any sort of sequence as they unfold and handle each individual page, considering each selection of text and typographic design independently of the whole. Once they have explored and handled the entire book, readers are encouraged to re-fold as desired, returning each napkin to the box in any order they choose and creating a different experience for the next person who opens the box. Alternatively, the napkins can remain unfolded and stored as a set of flat prints, leaving open room for individuals to make their own construction of this project. The Ladies Book of Etiquette was produced in an edition of 15. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783100297-9K9BOTQ7IHYUWMYK5BBF/mcba-prize-2022-Gina-Fowler-Ladies-Book-of-Etiquette-2.jpg Entries & Jurors - 2022 Entries - Gina Fowler Newburgh, New York www.ginafowler.com The Ladies’ Book of Etiquette 2021 Artist’s book, Letterpress 8″ x 8″ x 1.25″ Artist Statement The Ladies’ Book of Etiquette was born of a desire to question the validity of socially constructed standards of behavior, while simultaneously deconstructing the traditional notion the book. These two objectives work together in parallel throughout this artist’s book. Housed in a clamshell box, The Ladies’ Book of Etiquette is made up of 12 individual, hand-sewn napkins. These napkins have been letterpress printed with content from an 1860 etiquette manual by Florence Hartley, which is the book’s namesake. After the title page, each of the 11 prints is folded inside the book, encouraging viewers to handle each piece separately. These prints contain passages from the original text that were particularly compelling, interesting, or amusing to me, which I then manipulated to tell a new story. Prints that contain direct passages are interspersed among prints that contain text from multiple, unrelated sections of the etiquette manual, combined or rewritten out-of-context. Viewers of this book are encouraged to abandon any sort of sequence as they unfold and handle each individual page, considering each selection of text and typographic design independently of the whole. Once they have explored and handled the entire book, readers are encouraged to re-fold as desired, returning each napkin to the box in any order they choose and creating a different experience for the next person who opens the box. Alternatively, the napkins can remain unfolded and stored as a set of flat prints, leaving open room for individuals to make their own construction of this project. The Ladies Book of Etiquette was produced in an edition of 15. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783099414-KIAK5C11Z5G6UBAJ5O7F/mcba-prize-2022-Gina-Fowler-Ladies-Book-of-Etiquette-3.jpg Entries & Jurors - 2022 Entries - Gina Fowler Newburgh, New York www.ginafowler.com The Ladies’ Book of Etiquette 2021 Artist’s book, Letterpress 8″ x 8″ x 1.25″ Artist Statement The Ladies’ Book of Etiquette was born of a desire to question the validity of socially constructed standards of behavior, while simultaneously deconstructing the traditional notion the book. These two objectives work together in parallel throughout this artist’s book. Housed in a clamshell box, The Ladies’ Book of Etiquette is made up of 12 individual, hand-sewn napkins. These napkins have been letterpress printed with content from an 1860 etiquette manual by Florence Hartley, which is the book’s namesake. After the title page, each of the 11 prints is folded inside the book, encouraging viewers to handle each piece separately. These prints contain passages from the original text that were particularly compelling, interesting, or amusing to me, which I then manipulated to tell a new story. Prints that contain direct passages are interspersed among prints that contain text from multiple, unrelated sections of the etiquette manual, combined or rewritten out-of-context. Viewers of this book are encouraged to abandon any sort of sequence as they unfold and handle each individual page, considering each selection of text and typographic design independently of the whole. Once they have explored and handled the entire book, readers are encouraged to re-fold as desired, returning each napkin to the box in any order they choose and creating a different experience for the next person who opens the box. Alternatively, the napkins can remain unfolded and stored as a set of flat prints, leaving open room for individuals to make their own construction of this project. The Ladies Book of Etiquette was produced in an edition of 15. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783098005-67ZUCTQ6C6CSC8T2DSAC/mcba-prize-2022-Gina-Fowler-Ladies-Book-of-Etiquette-4.jpg Entries & Jurors - 2022 Entries - Gina Fowler Newburgh, New York www.ginafowler.com The Ladies’ Book of Etiquette 2021 Artist’s book, Letterpress 8″ x 8″ x 1.25″ Artist Statement The Ladies’ Book of Etiquette was born of a desire to question the validity of socially constructed standards of behavior, while simultaneously deconstructing the traditional notion the book. These two objectives work together in parallel throughout this artist’s book. Housed in a clamshell box, The Ladies’ Book of Etiquette is made up of 12 individual, hand-sewn napkins. These napkins have been letterpress printed with content from an 1860 etiquette manual by Florence Hartley, which is the book’s namesake. After the title page, each of the 11 prints is folded inside the book, encouraging viewers to handle each piece separately. These prints contain passages from the original text that were particularly compelling, interesting, or amusing to me, which I then manipulated to tell a new story. Prints that contain direct passages are interspersed among prints that contain text from multiple, unrelated sections of the etiquette manual, combined or rewritten out-of-context. Viewers of this book are encouraged to abandon any sort of sequence as they unfold and handle each individual page, considering each selection of text and typographic design independently of the whole. Once they have explored and handled the entire book, readers are encouraged to re-fold as desired, returning each napkin to the box in any order they choose and creating a different experience for the next person who opens the box. Alternatively, the napkins can remain unfolded and stored as a set of flat prints, leaving open room for individuals to make their own construction of this project. The Ladies Book of Etiquette was produced in an edition of 15. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783097022-J6NCLAZ0UU20R7TZJ9Z5/mcba-prize-2022-Gina-Fowler-Ladies-Book-of-Etiquette-5.jpg Entries & Jurors - 2022 Entries - Gina Fowler Newburgh, New York www.ginafowler.com The Ladies’ Book of Etiquette 2021 Artist’s book, Letterpress 8″ x 8″ x 1.25″ Artist Statement The Ladies’ Book of Etiquette was born of a desire to question the validity of socially constructed standards of behavior, while simultaneously deconstructing the traditional notion the book. These two objectives work together in parallel throughout this artist’s book. Housed in a clamshell box, The Ladies’ Book of Etiquette is made up of 12 individual, hand-sewn napkins. These napkins have been letterpress printed with content from an 1860 etiquette manual by Florence Hartley, which is the book’s namesake. After the title page, each of the 11 prints is folded inside the book, encouraging viewers to handle each piece separately. These prints contain passages from the original text that were particularly compelling, interesting, or amusing to me, which I then manipulated to tell a new story. Prints that contain direct passages are interspersed among prints that contain text from multiple, unrelated sections of the etiquette manual, combined or rewritten out-of-context. Viewers of this book are encouraged to abandon any sort of sequence as they unfold and handle each individual page, considering each selection of text and typographic design independently of the whole. Once they have explored and handled the entire book, readers are encouraged to re-fold as desired, returning each napkin to the box in any order they choose and creating a different experience for the next person who opens the box. Alternatively, the napkins can remain unfolded and stored as a set of flat prints, leaving open room for individuals to make their own construction of this project. The Ladies Book of Etiquette was produced in an edition of 15. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783234170-8FDHLGTXJ51JMBQ8QVST/mcba-prize-2022-Annina-Sarantis-Zwischenzeiten-5.jpg Entries & Jurors - 2022 Entries - Annina Sarantis Halle (Saale), Germany Zwischenzeiten 2021 Artist’s book 27×23 cm Artist Statement The book »zwischenzeiten« understands itself as a haptic approach to the feeling of lingering and rediscovering. It‘s about the tension between time and material and an approach to translate poetry in a nonverbal way. The original wood cut prints, as well as the blind embossed text fragments on very sensible handmade paper, translate the feeling of searching and insecurity. The choice of paper provokes the reader to slow down and to accept the risk of damaging the book by loosing the composure. The visual and haptic use of the material, the extremely soft paper and the fragile text fragments are a reference to the feeling of moving carefully in the fog, finding ones way. Depending on the room and light situation, different parts of the text and structures are getting visible and invisible. With its use of sensitive material and handling, this artist book is a suggestion for unwinding, slowing down the pace and discovering a different understanding of situative space and time. Besides the binding and designing of books, my work is concentrating on the question »what is a book as an object and what is the relation between my body handling the book as a body?«. As a student of the book arts, my work figures out how to read and understand a topic without necessarily reading a physically printed text. It‘s more about understanding the book as an individual object which is able to tell anything with its individual form. Reading between the pages, understanding through touching, discovering a relation between the physical object, the surrounding and oneself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783234184-N1XLXP6YMUZA6QLNM1Q6/mcba-prize-2022-Annina-Sarantis-Zwischenzeiten-4.jpg Entries & Jurors - 2022 Entries - Annina Sarantis Halle (Saale), Germany Zwischenzeiten 2021 Artist’s book 27×23 cm Artist Statement The book »zwischenzeiten« understands itself as a haptic approach to the feeling of lingering and rediscovering. It‘s about the tension between time and material and an approach to translate poetry in a nonverbal way. The original wood cut prints, as well as the blind embossed text fragments on very sensible handmade paper, translate the feeling of searching and insecurity. The choice of paper provokes the reader to slow down and to accept the risk of damaging the book by loosing the composure. The visual and haptic use of the material, the extremely soft paper and the fragile text fragments are a reference to the feeling of moving carefully in the fog, finding ones way. Depending on the room and light situation, different parts of the text and structures are getting visible and invisible. With its use of sensitive material and handling, this artist book is a suggestion for unwinding, slowing down the pace and discovering a different understanding of situative space and time. Besides the binding and designing of books, my work is concentrating on the question »what is a book as an object and what is the relation between my body handling the book as a body?«. As a student of the book arts, my work figures out how to read and understand a topic without necessarily reading a physically printed text. It‘s more about understanding the book as an individual object which is able to tell anything with its individual form. Reading between the pages, understanding through touching, discovering a relation between the physical object, the surrounding and oneself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783235645-KH3ZH5ILCKVYMLJHQ2G1/mcba-prize-2022-Annina-Sarantis-Zwischenzeiten-3.jpg Entries & Jurors - 2022 Entries - Annina Sarantis Halle (Saale), Germany Zwischenzeiten 2021 Artist’s book 27×23 cm Artist Statement The book »zwischenzeiten« understands itself as a haptic approach to the feeling of lingering and rediscovering. It‘s about the tension between time and material and an approach to translate poetry in a nonverbal way. The original wood cut prints, as well as the blind embossed text fragments on very sensible handmade paper, translate the feeling of searching and insecurity. The choice of paper provokes the reader to slow down and to accept the risk of damaging the book by loosing the composure. The visual and haptic use of the material, the extremely soft paper and the fragile text fragments are a reference to the feeling of moving carefully in the fog, finding ones way. Depending on the room and light situation, different parts of the text and structures are getting visible and invisible. With its use of sensitive material and handling, this artist book is a suggestion for unwinding, slowing down the pace and discovering a different understanding of situative space and time. Besides the binding and designing of books, my work is concentrating on the question »what is a book as an object and what is the relation between my body handling the book as a body?«. As a student of the book arts, my work figures out how to read and understand a topic without necessarily reading a physically printed text. It‘s more about understanding the book as an individual object which is able to tell anything with its individual form. Reading between the pages, understanding through touching, discovering a relation between the physical object, the surrounding and oneself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783236595-S4RSQ7USQP7WIXG4Z91O/mcba-prize-2022-Annina-Sarantis-Zwischenzeiten-2.jpg Entries & Jurors - 2022 Entries - Annina Sarantis Halle (Saale), Germany Zwischenzeiten 2021 Artist’s book 27×23 cm Artist Statement The book »zwischenzeiten« understands itself as a haptic approach to the feeling of lingering and rediscovering. It‘s about the tension between time and material and an approach to translate poetry in a nonverbal way. The original wood cut prints, as well as the blind embossed text fragments on very sensible handmade paper, translate the feeling of searching and insecurity. The choice of paper provokes the reader to slow down and to accept the risk of damaging the book by loosing the composure. The visual and haptic use of the material, the extremely soft paper and the fragile text fragments are a reference to the feeling of moving carefully in the fog, finding ones way. Depending on the room and light situation, different parts of the text and structures are getting visible and invisible. With its use of sensitive material and handling, this artist book is a suggestion for unwinding, slowing down the pace and discovering a different understanding of situative space and time. Besides the binding and designing of books, my work is concentrating on the question »what is a book as an object and what is the relation between my body handling the book as a body?«. As a student of the book arts, my work figures out how to read and understand a topic without necessarily reading a physically printed text. It‘s more about understanding the book as an individual object which is able to tell anything with its individual form. Reading between the pages, understanding through touching, discovering a relation between the physical object, the surrounding and oneself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783237364-NIIUSE4YXMNBV2Z8GXIE/mcba-prize-2022-Annina-Sarantis-Zwischenzeiten-1.jpg Entries & Jurors - 2022 Entries - Annina Sarantis Halle (Saale), Germany Zwischenzeiten 2021 Artist’s book 27×23 cm Artist Statement The book »zwischenzeiten« understands itself as a haptic approach to the feeling of lingering and rediscovering. It‘s about the tension between time and material and an approach to translate poetry in a nonverbal way. The original wood cut prints, as well as the blind embossed text fragments on very sensible handmade paper, translate the feeling of searching and insecurity. The choice of paper provokes the reader to slow down and to accept the risk of damaging the book by loosing the composure. The visual and haptic use of the material, the extremely soft paper and the fragile text fragments are a reference to the feeling of moving carefully in the fog, finding ones way. Depending on the room and light situation, different parts of the text and structures are getting visible and invisible. With its use of sensitive material and handling, this artist book is a suggestion for unwinding, slowing down the pace and discovering a different understanding of situative space and time. Besides the binding and designing of books, my work is concentrating on the question »what is a book as an object and what is the relation between my body handling the book as a body?«. As a student of the book arts, my work figures out how to read and understand a topic without necessarily reading a physically printed text. It‘s more about understanding the book as an individual object which is able to tell anything with its individual form. Reading between the pages, understanding through touching, discovering a relation between the physical object, the surrounding and oneself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783369613-IJBHK406CY626ZHNCXAM/mcba-prize-2022-Matthew-Magruder-Fruiting-5.jpg Entries & Jurors - 2022 Entries - Matthew Magruder Austin, Texas FRUIT(ING) 2021 Book arts project. Mycelia network abstractions, macro photography, dried wild mushroom sample, case making, letterpress, etc. 12″ x 10″ x 3″ Artist Statement This book arts project initially originated from the conceptual word prompt of “Fruit.” As the concept was further explored I connected with the idea of the fruiting bodies of a mycelial network–or more commonly known as–mushrooms. I’ve always been fascinated by the interconnectedness of mushrooms and the science behind them. I amassed a collection of various mushroom species and created a series of macro photographs of 5 different species of mushrooms. These were then paired with a series of copper plate etchings created around abstractions of the various forms that mycelial networks take underground. Each of the 5 dos-a-dos openings contains letterpress type of the scientific name for the specific mushrooms. The inset glass corked vial contains a dried wild mushroom. This ephemeral element provides for an olfactory experience of earthy natural perfume. The inside cover of the cover lid contains the order of mushrooms featured, showing the common and scientific names. The is also a hand-stitched threaded network of mycelial structure covering the inner lid. Handset letterpress type in black, gold, and blind embossed Blado Italic 24pt and Cloister 24pt. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783369766-N0JW6RA6XY4CTT0R7E7H/mcba-prize-2022-Matthew-Magruder-Fruiting-4.jpg Entries & Jurors - 2022 Entries - Matthew Magruder Austin, Texas FRUIT(ING) 2021 Book arts project. Mycelia network abstractions, macro photography, dried wild mushroom sample, case making, letterpress, etc. 12″ x 10″ x 3″ Artist Statement This book arts project initially originated from the conceptual word prompt of “Fruit.” As the concept was further explored I connected with the idea of the fruiting bodies of a mycelial network–or more commonly known as–mushrooms. I’ve always been fascinated by the interconnectedness of mushrooms and the science behind them. I amassed a collection of various mushroom species and created a series of macro photographs of 5 different species of mushrooms. These were then paired with a series of copper plate etchings created around abstractions of the various forms that mycelial networks take underground. Each of the 5 dos-a-dos openings contains letterpress type of the scientific name for the specific mushrooms. The inset glass corked vial contains a dried wild mushroom. This ephemeral element provides for an olfactory experience of earthy natural perfume. The inside cover of the cover lid contains the order of mushrooms featured, showing the common and scientific names. The is also a hand-stitched threaded network of mycelial structure covering the inner lid. Handset letterpress type in black, gold, and blind embossed Blado Italic 24pt and Cloister 24pt. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783371457-QIK289RD4IBWW23D2CAZ/mcba-prize-2022-Matthew-Magruder-Fruiting-3.jpg Entries & Jurors - 2022 Entries - Matthew Magruder Austin, Texas FRUIT(ING) 2021 Book arts project. Mycelia network abstractions, macro photography, dried wild mushroom sample, case making, letterpress, etc. 12″ x 10″ x 3″ Artist Statement This book arts project initially originated from the conceptual word prompt of “Fruit.” As the concept was further explored I connected with the idea of the fruiting bodies of a mycelial network–or more commonly known as–mushrooms. I’ve always been fascinated by the interconnectedness of mushrooms and the science behind them. I amassed a collection of various mushroom species and created a series of macro photographs of 5 different species of mushrooms. These were then paired with a series of copper plate etchings created around abstractions of the various forms that mycelial networks take underground. Each of the 5 dos-a-dos openings contains letterpress type of the scientific name for the specific mushrooms. The inset glass corked vial contains a dried wild mushroom. This ephemeral element provides for an olfactory experience of earthy natural perfume. The inside cover of the cover lid contains the order of mushrooms featured, showing the common and scientific names. The is also a hand-stitched threaded network of mycelial structure covering the inner lid. Handset letterpress type in black, gold, and blind embossed Blado Italic 24pt and Cloister 24pt. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783371912-ZX9OY5I3LB61O71Y13A3/mcba-prize-2022-Matthew-Magruder-Fruiting-2.jpg Entries & Jurors - 2022 Entries - Matthew Magruder Austin, Texas FRUIT(ING) 2021 Book arts project. Mycelia network abstractions, macro photography, dried wild mushroom sample, case making, letterpress, etc. 12″ x 10″ x 3″ Artist Statement This book arts project initially originated from the conceptual word prompt of “Fruit.” As the concept was further explored I connected with the idea of the fruiting bodies of a mycelial network–or more commonly known as–mushrooms. I’ve always been fascinated by the interconnectedness of mushrooms and the science behind them. I amassed a collection of various mushroom species and created a series of macro photographs of 5 different species of mushrooms. These were then paired with a series of copper plate etchings created around abstractions of the various forms that mycelial networks take underground. Each of the 5 dos-a-dos openings contains letterpress type of the scientific name for the specific mushrooms. The inset glass corked vial contains a dried wild mushroom. This ephemeral element provides for an olfactory experience of earthy natural perfume. The inside cover of the cover lid contains the order of mushrooms featured, showing the common and scientific names. The is also a hand-stitched threaded network of mycelial structure covering the inner lid. Handset letterpress type in black, gold, and blind embossed Blado Italic 24pt and Cloister 24pt. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783372730-LDYXN1M5HGPCJZWGU95R/mcba-prize-2022-Matthew-Magruder-Fruiting-1.jpg Entries & Jurors - 2022 Entries - Matthew Magruder Austin, Texas FRUIT(ING) 2021 Book arts project. Mycelia network abstractions, macro photography, dried wild mushroom sample, case making, letterpress, etc. 12″ x 10″ x 3″ Artist Statement This book arts project initially originated from the conceptual word prompt of “Fruit.” As the concept was further explored I connected with the idea of the fruiting bodies of a mycelial network–or more commonly known as–mushrooms. I’ve always been fascinated by the interconnectedness of mushrooms and the science behind them. I amassed a collection of various mushroom species and created a series of macro photographs of 5 different species of mushrooms. These were then paired with a series of copper plate etchings created around abstractions of the various forms that mycelial networks take underground. Each of the 5 dos-a-dos openings contains letterpress type of the scientific name for the specific mushrooms. The inset glass corked vial contains a dried wild mushroom. This ephemeral element provides for an olfactory experience of earthy natural perfume. The inside cover of the cover lid contains the order of mushrooms featured, showing the common and scientific names. The is also a hand-stitched threaded network of mycelial structure covering the inner lid. Handset letterpress type in black, gold, and blind embossed Blado Italic 24pt and Cloister 24pt. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783555079-GYN5GC2A6VMJH3SNYASU/mcba-prize-2022-Karen-Esteves-Private-letters-3.jpg Entries & Jurors - 2022 Entries - Karen Esteves Winter Haven, Florida www.karenesteves.com Private Letters 2022 Mixed media 4.5″ x 1.5″ x 5″ Artist Statement The impetus for my work is found as an emotional response to visual stimulus, current events or my mood. Which comes first? I never quite know. I prefer an intimate engagement with the audience, through skillful use of tools on hand – image, word and media. I marry unusual book formats that will complement the content and message, providing the reader with a satisfying experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783555036-5AZGUGBSL54E81685MJ2/mcba-prize-2022-Karen-Esteves-Private-letters-2.jpg Entries & Jurors - 2022 Entries - Karen Esteves Winter Haven, Florida www.karenesteves.com Private Letters 2022 Mixed media 4.5″ x 1.5″ x 5″ Artist Statement The impetus for my work is found as an emotional response to visual stimulus, current events or my mood. Which comes first? I never quite know. I prefer an intimate engagement with the audience, through skillful use of tools on hand – image, word and media. I marry unusual book formats that will complement the content and message, providing the reader with a satisfying experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783556029-GL7YNBNH4D0R6095M5RY/mcba-prize-2022-Karen-Esteves-Private-letters-1.jpg Entries & Jurors - 2022 Entries - Karen Esteves Winter Haven, Florida www.karenesteves.com Private Letters 2022 Mixed media 4.5″ x 1.5″ x 5″ Artist Statement The impetus for my work is found as an emotional response to visual stimulus, current events or my mood. Which comes first? I never quite know. I prefer an intimate engagement with the audience, through skillful use of tools on hand – image, word and media. I marry unusual book formats that will complement the content and message, providing the reader with a satisfying experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783650383-IRFGR1C0FPRP9DL3KA73/mcba-prize-2022-Nick-West-Work-55-4.jpg Entries & Jurors - 2022 Entries - Nick West Brighton, United Kingdom https://www.nickwest.work Work 55 2021 Artist’s Book 9.8 “x 9.4 “x 1.7” Artist Statement I make books. In my ongoing series Books From Things I reimagine what a book can be by creating objects composed of readily available objects. Working modularly, I use the technique of assemblage to build one-of-a-kind sculptures from everyday items like matches, dice, and gloves. The choice of object is crucial, as each readymade item produces a different set of ideas in the viewer. Where a book made from matches suggests light and volatility, a book made from dice implies code, chance, or even fate. For my iteration for the Minnesota Center for Book Arts Prize – Work 55 – I wanted to emphasize the relationship between the book and the body. Are books haptic? After being attracted to the markings on some work gloves I found in a local hardware store, I hand-stitched the fingers and edges of the gloves together so that this book would mimic the gestures of the reader when holding a volume. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783650517-CVZXUU3CHF776IYOVWYC/mcba-prize-2022-Nick-West-Work-55-3.jpg Entries & Jurors - 2022 Entries - Nick West Brighton, United Kingdom https://www.nickwest.work Work 55 2021 Artist’s Book 9.8 “x 9.4 “x 1.7” Artist Statement I make books. In my ongoing series Books From Things I reimagine what a book can be by creating objects composed of readily available objects. Working modularly, I use the technique of assemblage to build one-of-a-kind sculptures from everyday items like matches, dice, and gloves. The choice of object is crucial, as each readymade item produces a different set of ideas in the viewer. Where a book made from matches suggests light and volatility, a book made from dice implies code, chance, or even fate. For my iteration for the Minnesota Center for Book Arts Prize – Work 55 – I wanted to emphasize the relationship between the book and the body. Are books haptic? After being attracted to the markings on some work gloves I found in a local hardware store, I hand-stitched the fingers and edges of the gloves together so that this book would mimic the gestures of the reader when holding a volume. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783652165-64ELZBW54P5BCEM6D1F4/mcba-prize-2022-Nick-West-Work-55-2.jpg Entries & Jurors - 2022 Entries - Nick West Brighton, United Kingdom https://www.nickwest.work Work 55 2021 Artist’s Book 9.8 “x 9.4 “x 1.7” Artist Statement I make books. In my ongoing series Books From Things I reimagine what a book can be by creating objects composed of readily available objects. Working modularly, I use the technique of assemblage to build one-of-a-kind sculptures from everyday items like matches, dice, and gloves. The choice of object is crucial, as each readymade item produces a different set of ideas in the viewer. Where a book made from matches suggests light and volatility, a book made from dice implies code, chance, or even fate. For my iteration for the Minnesota Center for Book Arts Prize – Work 55 – I wanted to emphasize the relationship between the book and the body. Are books haptic? After being attracted to the markings on some work gloves I found in a local hardware store, I hand-stitched the fingers and edges of the gloves together so that this book would mimic the gestures of the reader when holding a volume. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783652972-XAJ8CKR1KO9DZFYJEZ1R/mcba-prize-2022-Nick-West-Work-55-1.jpg Entries & Jurors - 2022 Entries - Nick West Brighton, United Kingdom https://www.nickwest.work Work 55 2021 Artist’s Book 9.8 “x 9.4 “x 1.7” Artist Statement I make books. In my ongoing series Books From Things I reimagine what a book can be by creating objects composed of readily available objects. Working modularly, I use the technique of assemblage to build one-of-a-kind sculptures from everyday items like matches, dice, and gloves. The choice of object is crucial, as each readymade item produces a different set of ideas in the viewer. Where a book made from matches suggests light and volatility, a book made from dice implies code, chance, or even fate. For my iteration for the Minnesota Center for Book Arts Prize – Work 55 – I wanted to emphasize the relationship between the book and the body. Are books haptic? After being attracted to the markings on some work gloves I found in a local hardware store, I hand-stitched the fingers and edges of the gloves together so that this book would mimic the gestures of the reader when holding a volume. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783741816-1P3V4RKYKUMH7NCIGHZY/mcba-prize-2022-Tim-Shore-Tidal-3.jpeg Entries & Jurors - 2022 Entries - Tim Shore Derby, United Kingdom timothyshore.com Tidal 2021 Paper, Single-wall corrugated cardboard, thread 10 x 9 x 1/4” Artist Statement The ‘tidal volume’ is the amount of air we typically breathe in and out of our lungs. Tidal is made of two accordion-fold books that are sewn back-to-back at their spines. The books are labelled L (left) and R (right). Each volume may be partially opened until the fold reaches its mechanical and material limit (inhale) then returned to its flat state (exhale). Tidal references the human lungs, the book’s limited capacity to open comments on the respiratory difficulties that people with the COVID 19 virus continue to experience, and also the artificial ventilation which may be needed to allow people to continue to breathe. 10 x 9 x ¼”, Office Depot 80gsm Pink, GF Smith Colorplan Cobalt 135gsm and Natural 100gsm. Tidal was made for the AMBruno Volume project, 2021. Edition of 12, 2021 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783742200-OBCIIB1O9Q4LJJ8SXRPO/mcba-prize-2022-Tim-Shore-Tidal-2.jpeg Entries & Jurors - 2022 Entries - Tim Shore Derby, United Kingdom timothyshore.com Tidal 2021 Paper, Single-wall corrugated cardboard, thread 10 x 9 x 1/4” Artist Statement The ‘tidal volume’ is the amount of air we typically breathe in and out of our lungs. Tidal is made of two accordion-fold books that are sewn back-to-back at their spines. The books are labelled L (left) and R (right). Each volume may be partially opened until the fold reaches its mechanical and material limit (inhale) then returned to its flat state (exhale). Tidal references the human lungs, the book’s limited capacity to open comments on the respiratory difficulties that people with the COVID 19 virus continue to experience, and also the artificial ventilation which may be needed to allow people to continue to breathe. 10 x 9 x ¼”, Office Depot 80gsm Pink, GF Smith Colorplan Cobalt 135gsm and Natural 100gsm. Tidal was made for the AMBruno Volume project, 2021. Edition of 12, 2021 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783743988-H68134PJVV1R9708CY4O/mcba-prize-2022-Tim-Shore-Tidal-1.jpeg Entries & Jurors - 2022 Entries - Tim Shore Derby, United Kingdom timothyshore.com Tidal 2021 Paper, Single-wall corrugated cardboard, thread 10 x 9 x 1/4” Artist Statement The ‘tidal volume’ is the amount of air we typically breathe in and out of our lungs. Tidal is made of two accordion-fold books that are sewn back-to-back at their spines. The books are labelled L (left) and R (right). Each volume may be partially opened until the fold reaches its mechanical and material limit (inhale) then returned to its flat state (exhale). Tidal references the human lungs, the book’s limited capacity to open comments on the respiratory difficulties that people with the COVID 19 virus continue to experience, and also the artificial ventilation which may be needed to allow people to continue to breathe. 10 x 9 x ¼”, Office Depot 80gsm Pink, GF Smith Colorplan Cobalt 135gsm and Natural 100gsm. Tidal was made for the AMBruno Volume project, 2021. Edition of 12, 2021 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783844649-086II3MLK8NNMV0B8A4X/mcba-prize-2022-Bernadette-Keating-Of-Bounds-5.jpg Entries & Jurors - 2022 Entries - Bernadette Keating Mountmellick, Ireland www.bernadettekeating.com Of Bounds 2022 Visual Arts (photography and text-based work) 13 x 8.6 x 0.6″ Artist Statement Of Bounds, which includes an essay by the artist, combines two works that focus on land reform,borders, and the design of space. ‘Líne’, a series of color photographs shot over a number of years, explores the reinforced hedge boundary of a small farm in Ireland where Keating grew up. The text-based series, ‘Not all battlecries are meant to be heard’, is a collection of slogans taken from annual reports and social media platforms that have been engraved on steel plates; photographed in a gallery setting, each re-contextualizes the values and visions of corporate landowners. The juxtaposition of the two works emphasizes the temporal nature of a world always in flux and the ongoing efforts to control it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783844985-UV85WCMRHZKRNI4318TB/mcba-prize-2022-Bernadette-Keating-Of-Bounds-4.jpg Entries & Jurors - 2022 Entries - Bernadette Keating Mountmellick, Ireland www.bernadettekeating.com Of Bounds 2022 Visual Arts (photography and text-based work) 13 x 8.6 x 0.6″ Artist Statement Of Bounds, which includes an essay by the artist, combines two works that focus on land reform,borders, and the design of space. ‘Líne’, a series of color photographs shot over a number of years, explores the reinforced hedge boundary of a small farm in Ireland where Keating grew up. The text-based series, ‘Not all battlecries are meant to be heard’, is a collection of slogans taken from annual reports and social media platforms that have been engraved on steel plates; photographed in a gallery setting, each re-contextualizes the values and visions of corporate landowners. The juxtaposition of the two works emphasizes the temporal nature of a world always in flux and the ongoing efforts to control it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783846447-YV2N3OUSY3XGGZ0ZQ93G/mcba-prize-2022-Bernadette-Keating-Of-Bounds-3.jpg Entries & Jurors - 2022 Entries - Bernadette Keating Mountmellick, Ireland www.bernadettekeating.com Of Bounds 2022 Visual Arts (photography and text-based work) 13 x 8.6 x 0.6″ Artist Statement Of Bounds, which includes an essay by the artist, combines two works that focus on land reform,borders, and the design of space. ‘Líne’, a series of color photographs shot over a number of years, explores the reinforced hedge boundary of a small farm in Ireland where Keating grew up. The text-based series, ‘Not all battlecries are meant to be heard’, is a collection of slogans taken from annual reports and social media platforms that have been engraved on steel plates; photographed in a gallery setting, each re-contextualizes the values and visions of corporate landowners. The juxtaposition of the two works emphasizes the temporal nature of a world always in flux and the ongoing efforts to control it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783847747-KF8XPNAJBE5DQBWWH8F3/mcba-prize-2022-Bernadette-Keating-Of-Bounds-2.jpg Entries & Jurors - 2022 Entries - Bernadette Keating Mountmellick, Ireland www.bernadettekeating.com Of Bounds 2022 Visual Arts (photography and text-based work) 13 x 8.6 x 0.6″ Artist Statement Of Bounds, which includes an essay by the artist, combines two works that focus on land reform,borders, and the design of space. ‘Líne’, a series of color photographs shot over a number of years, explores the reinforced hedge boundary of a small farm in Ireland where Keating grew up. The text-based series, ‘Not all battlecries are meant to be heard’, is a collection of slogans taken from annual reports and social media platforms that have been engraved on steel plates; photographed in a gallery setting, each re-contextualizes the values and visions of corporate landowners. The juxtaposition of the two works emphasizes the temporal nature of a world always in flux and the ongoing efforts to control it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773783848356-YP796SE4MLZYIVJI51VR/mcba-prize-2022-Bernadette-Keating-Of-Bounds-1.jpg Entries & Jurors - 2022 Entries - Bernadette Keating Mountmellick, Ireland www.bernadettekeating.com Of Bounds 2022 Visual Arts (photography and text-based work) 13 x 8.6 x 0.6″ Artist Statement Of Bounds, which includes an essay by the artist, combines two works that focus on land reform,borders, and the design of space. ‘Líne’, a series of color photographs shot over a number of years, explores the reinforced hedge boundary of a small farm in Ireland where Keating grew up. The text-based series, ‘Not all battlecries are meant to be heard’, is a collection of slogans taken from annual reports and social media platforms that have been engraved on steel plates; photographed in a gallery setting, each re-contextualizes the values and visions of corporate landowners. The juxtaposition of the two works emphasizes the temporal nature of a world always in flux and the ongoing efforts to control it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784425041-XGNKIBUBFMLU0EV1B86R/mcba-prize-2022-Melissa-Wagner-Lawler-Low-Tide-5.jpg Entries & Jurors - 2022 Entries - Melissa Wagner-Lawler Milwaukee, Wisconsin https://redthreadletterpress.com/home.html Low Tide 2022 Toner transfer and gouache in a Wire Edge Binding; custom enclosure. 11″ x 11″ x 1.5″ Artist Statement Low Tide is an artist book object created in 2022 using the randomly drawn Artist Book Idea Card set parameters. This version of the book incorporates text and image printed using toner transfer techniques and hand painted gouache on the wire edge bound book. The first part of the poem is outlined in the book, while the later part is printed on the trench that holds the sculptural artist book when displayed. The imagery in the book shows a section of a beach with the water at low tide. On the exterior of the book form, the low tide is presented as a dark image to highlight the text and hand painted rocks. This is contrasted on in the inside of the book form with a lighter, digitally manipulated version of the same imagery. The imagery of rocks is also presented throughout the enclosure to repeat the form. The colophon is presented on a triangular plate that rests inside the opening of the tray enclosure that holds the book. This tray is removed to reveal the lower portion of the poem and trench where the book is ultimately displayed. While this book is one of a kind, I will be creating a small edition of the book this summer. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784425775-9TMDBY42LA2A7L8IKGO2/mcba-prize-2022-Melissa-Wagner-Lawler-Low-Tide-4.jpg Entries & Jurors - 2022 Entries - Melissa Wagner-Lawler Milwaukee, Wisconsin https://redthreadletterpress.com/home.html Low Tide 2022 Toner transfer and gouache in a Wire Edge Binding; custom enclosure. 11″ x 11″ x 1.5″ Artist Statement Low Tide is an artist book object created in 2022 using the randomly drawn Artist Book Idea Card set parameters. This version of the book incorporates text and image printed using toner transfer techniques and hand painted gouache on the wire edge bound book. The first part of the poem is outlined in the book, while the later part is printed on the trench that holds the sculptural artist book when displayed. The imagery in the book shows a section of a beach with the water at low tide. On the exterior of the book form, the low tide is presented as a dark image to highlight the text and hand painted rocks. This is contrasted on in the inside of the book form with a lighter, digitally manipulated version of the same imagery. The imagery of rocks is also presented throughout the enclosure to repeat the form. The colophon is presented on a triangular plate that rests inside the opening of the tray enclosure that holds the book. This tray is removed to reveal the lower portion of the poem and trench where the book is ultimately displayed. While this book is one of a kind, I will be creating a small edition of the book this summer. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784426992-HYTWWPLG3JPD8L48QL4H/mcba-prize-2022-Melissa-Wagner-Lawler-Low-Tide-3.jpg Entries & Jurors - 2022 Entries - Melissa Wagner-Lawler Milwaukee, Wisconsin https://redthreadletterpress.com/home.html Low Tide 2022 Toner transfer and gouache in a Wire Edge Binding; custom enclosure. 11″ x 11″ x 1.5″ Artist Statement Low Tide is an artist book object created in 2022 using the randomly drawn Artist Book Idea Card set parameters. This version of the book incorporates text and image printed using toner transfer techniques and hand painted gouache on the wire edge bound book. The first part of the poem is outlined in the book, while the later part is printed on the trench that holds the sculptural artist book when displayed. The imagery in the book shows a section of a beach with the water at low tide. On the exterior of the book form, the low tide is presented as a dark image to highlight the text and hand painted rocks. This is contrasted on in the inside of the book form with a lighter, digitally manipulated version of the same imagery. The imagery of rocks is also presented throughout the enclosure to repeat the form. The colophon is presented on a triangular plate that rests inside the opening of the tray enclosure that holds the book. This tray is removed to reveal the lower portion of the poem and trench where the book is ultimately displayed. While this book is one of a kind, I will be creating a small edition of the book this summer. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784429238-G4RICYL6MXBRXPCNPFC8/mcba-prize-2022-Melissa-Wagner-Lawler-Low-Tide-2.jpg Entries & Jurors - 2022 Entries - Melissa Wagner-Lawler Milwaukee, Wisconsin https://redthreadletterpress.com/home.html Low Tide 2022 Toner transfer and gouache in a Wire Edge Binding; custom enclosure. 11″ x 11″ x 1.5″ Artist Statement Low Tide is an artist book object created in 2022 using the randomly drawn Artist Book Idea Card set parameters. This version of the book incorporates text and image printed using toner transfer techniques and hand painted gouache on the wire edge bound book. The first part of the poem is outlined in the book, while the later part is printed on the trench that holds the sculptural artist book when displayed. The imagery in the book shows a section of a beach with the water at low tide. On the exterior of the book form, the low tide is presented as a dark image to highlight the text and hand painted rocks. This is contrasted on in the inside of the book form with a lighter, digitally manipulated version of the same imagery. The imagery of rocks is also presented throughout the enclosure to repeat the form. The colophon is presented on a triangular plate that rests inside the opening of the tray enclosure that holds the book. This tray is removed to reveal the lower portion of the poem and trench where the book is ultimately displayed. While this book is one of a kind, I will be creating a small edition of the book this summer. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784429659-JHAR92QYLF2HV5B4RZ9Z/mcba-prize-2022-Melissa-Wagner-Lawler-Low-Tide-1.jpg Entries & Jurors - 2022 Entries - Melissa Wagner-Lawler Milwaukee, Wisconsin https://redthreadletterpress.com/home.html Low Tide 2022 Toner transfer and gouache in a Wire Edge Binding; custom enclosure. 11″ x 11″ x 1.5″ Artist Statement Low Tide is an artist book object created in 2022 using the randomly drawn Artist Book Idea Card set parameters. This version of the book incorporates text and image printed using toner transfer techniques and hand painted gouache on the wire edge bound book. The first part of the poem is outlined in the book, while the later part is printed on the trench that holds the sculptural artist book when displayed. The imagery in the book shows a section of a beach with the water at low tide. On the exterior of the book form, the low tide is presented as a dark image to highlight the text and hand painted rocks. This is contrasted on in the inside of the book form with a lighter, digitally manipulated version of the same imagery. The imagery of rocks is also presented throughout the enclosure to repeat the form. The colophon is presented on a triangular plate that rests inside the opening of the tray enclosure that holds the book. This tray is removed to reveal the lower portion of the poem and trench where the book is ultimately displayed. While this book is one of a kind, I will be creating a small edition of the book this summer. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784556349-WZUKG70JVAJFEHO7VV2R/mcba-prize-2022-Susan-Wolf-Taken-4.jpg Entries & Jurors - 2022 Entries - Susan Wolf Berkeley, California www.susanwolfprojects.com Taken 2022 Paper and fabric book 22″ x 6″ x 1/2″ Artist Statement George Floyd was murdered by police while I was at a weeklong printmaking residency. It was hard to think about much of anything but the truth and how I was complicit. I needed a process, a durational practice to think and feel while keeping my hands busy. I began with inking up and rolling out a deep shade of gray and placing a page over the surface. I sat at a table, taking the time necessary for narrow and wide lines and the spaces between them. Each page had its own tool. Some were thin and narrow, others were colorful. The shade of gray (darker to lighter) and the tool changed with each page. Parallel lines drawn lifting ink from below. Using the practice of trace monotype as a durational practice. Back in my sun porch studio at home I painted Kakishibu over the surface of each page on one side. Kakishibu is fermented tannin juice from unripe persimmon. It is traditionally used to waterproof, insect-proof and strengthen paper. One characteristic that I was particularly interested in was that it looks like blood and the color darkens over time. Applied slopply. Once dry, rough patches were sanded smooth. Once dry I realized that each page needed to be deconstructed and reassembled. The shade of the ink and the color of the tool felt just as important as the painted page. For reassembly I used machine stitches. How to hold the pages, to collect the pages: Returning to the same printmaking residency a year later I thought to experiment with the foil press for some limited text within the pages of TAKEN. A coptic binding would allow the long narrow pages to lie flat. I learned how to do each. It required several needles navigating the space beyond the edges. It required a focus that for me resulted in a janky edge that I’m absolutely okay with. The cover needed to be something other than a hard surface. I have recently been experimenting with natural dyes. I had collected oak acorns and had made a potion. Among a collection of other fibers I also soaked the shirt my Dad had worn to his wedding. The book cover to TAKEN is a shroud. A shroud stitched from this formal shirt of my Dad who passed away in 1994. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784556242-6ZJ1CWTB57HAIKF6NPOM/mcba-prize-2022-Susan-Wolf-Taken-3.jpg Entries & Jurors - 2022 Entries - Susan Wolf Berkeley, California www.susanwolfprojects.com Taken 2022 Paper and fabric book 22″ x 6″ x 1/2″ Artist Statement George Floyd was murdered by police while I was at a weeklong printmaking residency. It was hard to think about much of anything but the truth and how I was complicit. I needed a process, a durational practice to think and feel while keeping my hands busy. I began with inking up and rolling out a deep shade of gray and placing a page over the surface. I sat at a table, taking the time necessary for narrow and wide lines and the spaces between them. Each page had its own tool. Some were thin and narrow, others were colorful. The shade of gray (darker to lighter) and the tool changed with each page. Parallel lines drawn lifting ink from below. Using the practice of trace monotype as a durational practice. Back in my sun porch studio at home I painted Kakishibu over the surface of each page on one side. Kakishibu is fermented tannin juice from unripe persimmon. It is traditionally used to waterproof, insect-proof and strengthen paper. One characteristic that I was particularly interested in was that it looks like blood and the color darkens over time. Applied slopply. Once dry, rough patches were sanded smooth. Once dry I realized that each page needed to be deconstructed and reassembled. The shade of the ink and the color of the tool felt just as important as the painted page. For reassembly I used machine stitches. How to hold the pages, to collect the pages: Returning to the same printmaking residency a year later I thought to experiment with the foil press for some limited text within the pages of TAKEN. A coptic binding would allow the long narrow pages to lie flat. I learned how to do each. It required several needles navigating the space beyond the edges. It required a focus that for me resulted in a janky edge that I’m absolutely okay with. The cover needed to be something other than a hard surface. I have recently been experimenting with natural dyes. I had collected oak acorns and had made a potion. Among a collection of other fibers I also soaked the shirt my Dad had worn to his wedding. The book cover to TAKEN is a shroud. A shroud stitched from this formal shirt of my Dad who passed away in 1994. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784557926-8KV55HWEEUB2Q2HQ9PNA/mcba-prize-2022-Susan-Wolf-Taken-2.jpg Entries & Jurors - 2022 Entries - Susan Wolf Berkeley, California www.susanwolfprojects.com Taken 2022 Paper and fabric book 22″ x 6″ x 1/2″ Artist Statement George Floyd was murdered by police while I was at a weeklong printmaking residency. It was hard to think about much of anything but the truth and how I was complicit. I needed a process, a durational practice to think and feel while keeping my hands busy. I began with inking up and rolling out a deep shade of gray and placing a page over the surface. I sat at a table, taking the time necessary for narrow and wide lines and the spaces between them. Each page had its own tool. Some were thin and narrow, others were colorful. The shade of gray (darker to lighter) and the tool changed with each page. Parallel lines drawn lifting ink from below. Using the practice of trace monotype as a durational practice. Back in my sun porch studio at home I painted Kakishibu over the surface of each page on one side. Kakishibu is fermented tannin juice from unripe persimmon. It is traditionally used to waterproof, insect-proof and strengthen paper. One characteristic that I was particularly interested in was that it looks like blood and the color darkens over time. Applied slopply. Once dry, rough patches were sanded smooth. Once dry I realized that each page needed to be deconstructed and reassembled. The shade of the ink and the color of the tool felt just as important as the painted page. For reassembly I used machine stitches. How to hold the pages, to collect the pages: Returning to the same printmaking residency a year later I thought to experiment with the foil press for some limited text within the pages of TAKEN. A coptic binding would allow the long narrow pages to lie flat. I learned how to do each. It required several needles navigating the space beyond the edges. It required a focus that for me resulted in a janky edge that I’m absolutely okay with. The cover needed to be something other than a hard surface. I have recently been experimenting with natural dyes. I had collected oak acorns and had made a potion. Among a collection of other fibers I also soaked the shirt my Dad had worn to his wedding. The book cover to TAKEN is a shroud. A shroud stitched from this formal shirt of my Dad who passed away in 1994. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784558209-YEH2JM0I8I5VJR1NQKTA/mcba-prize-2022-Susan-Wolf-Taken-1.jpg Entries & Jurors - 2022 Entries - Susan Wolf Berkeley, California www.susanwolfprojects.com Taken 2022 Paper and fabric book 22″ x 6″ x 1/2″ Artist Statement George Floyd was murdered by police while I was at a weeklong printmaking residency. It was hard to think about much of anything but the truth and how I was complicit. I needed a process, a durational practice to think and feel while keeping my hands busy. I began with inking up and rolling out a deep shade of gray and placing a page over the surface. I sat at a table, taking the time necessary for narrow and wide lines and the spaces between them. Each page had its own tool. Some were thin and narrow, others were colorful. The shade of gray (darker to lighter) and the tool changed with each page. Parallel lines drawn lifting ink from below. Using the practice of trace monotype as a durational practice. Back in my sun porch studio at home I painted Kakishibu over the surface of each page on one side. Kakishibu is fermented tannin juice from unripe persimmon. It is traditionally used to waterproof, insect-proof and strengthen paper. One characteristic that I was particularly interested in was that it looks like blood and the color darkens over time. Applied slopply. Once dry, rough patches were sanded smooth. Once dry I realized that each page needed to be deconstructed and reassembled. The shade of the ink and the color of the tool felt just as important as the painted page. For reassembly I used machine stitches. How to hold the pages, to collect the pages: Returning to the same printmaking residency a year later I thought to experiment with the foil press for some limited text within the pages of TAKEN. A coptic binding would allow the long narrow pages to lie flat. I learned how to do each. It required several needles navigating the space beyond the edges. It required a focus that for me resulted in a janky edge that I’m absolutely okay with. The cover needed to be something other than a hard surface. I have recently been experimenting with natural dyes. I had collected oak acorns and had made a potion. Among a collection of other fibers I also soaked the shirt my Dad had worn to his wedding. The book cover to TAKEN is a shroud. A shroud stitched from this formal shirt of my Dad who passed away in 1994. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784720768-Y33UG8FUFYCFPI32WEJE/mcba-prize-2022-Sam-Winston-Following-the-breath-5.jpg Entries & Jurors - 2022 Entries - Sam Winston London www.samwinston.com Following The Breath 2022 Artist Book / Ink making 22″ x 6″ x 1/2″ Artist Statement I was commissioned by Barbican Centre London to create a work of participatory art and artist book around the theme of breathing. It uses drawing and breathing to explore the relationship between air quality, environmental issues and mindful creative practice. I have has spent several years exploring how and what London, its people and plants breathe, researching and illustrating how pollution affects our health. Using inks made from pigments collected from urban tunnels, polluted tree bark, discarded cigarette butts and other ‘inhaling and exhaling materials’, I created an art installation and book for the Barbican’s Conservatory. It was in collaboration with 125 school students and 47 visitors who took part in 10 workshops over a four-day residency. We had over 3,000 people see the work over the residency and 1,500 visited the exhibition afterwords. The ‘drawing breath’ exercise is at the start of the artist book. The artist book was produced in an edition 18 copies with 5 artist proofs. The Essay text is by Ellen Mara De Wachter and the Ink drawings are on 230gsm Zerkall mould made printmaking paper. Each ink is made from some type or air particulates A video about how the ink was made can been seen here (it’s also available for exhibition if needed). The artist prints are Glicee printed on 170gsm Awagami Bamboo organic paper. The original drawings were all made from foraged ink. Taking air particulates and turning them into pigment. “Over the past decade, Winston has used the act of drawing to consider questions around foundational concepts such as time, space and distance, and to challenge some of the interpretive frameworks that humans have imposed on the world. Drawing is one aspect of a wider practice through which Winston turns his attention to topics including the structures and components of language; natural and artificial materials; human perception and physical responses; and individual and collective creativity. His aim is to unlock some of the potential latent in these vast subject areas and to foster unexpected outcomes, so often stifled by cultural reflexes or systemic imbalances. His approach might involve phases of observation or deprivation, such as when he spends long periods of time drawing in the dark, or the attempt to repeat identical actions under different conditions. With Following the Breath, Winston invites you to breathe and draw, because he believes that ‘drawing bypasses cognitive overload and lets intuition in. It teaches us how to deal with complexity without the need to control it.’” Text by Ellen Mara De Wachter https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784720720-2I54L048BXZSFN5M3OE3/mcba-prize-2022-Sam-Winston-Following-the-breath-4.jpg Entries & Jurors - 2022 Entries - Sam Winston London www.samwinston.com Following The Breath 2022 Artist Book / Ink making 22″ x 6″ x 1/2″ Artist Statement I was commissioned by Barbican Centre London to create a work of participatory art and artist book around the theme of breathing. It uses drawing and breathing to explore the relationship between air quality, environmental issues and mindful creative practice. I have has spent several years exploring how and what London, its people and plants breathe, researching and illustrating how pollution affects our health. Using inks made from pigments collected from urban tunnels, polluted tree bark, discarded cigarette butts and other ‘inhaling and exhaling materials’, I created an art installation and book for the Barbican’s Conservatory. It was in collaboration with 125 school students and 47 visitors who took part in 10 workshops over a four-day residency. We had over 3,000 people see the work over the residency and 1,500 visited the exhibition afterwords. The ‘drawing breath’ exercise is at the start of the artist book. The artist book was produced in an edition 18 copies with 5 artist proofs. The Essay text is by Ellen Mara De Wachter and the Ink drawings are on 230gsm Zerkall mould made printmaking paper. Each ink is made from some type or air particulates A video about how the ink was made can been seen here (it’s also available for exhibition if needed). The artist prints are Glicee printed on 170gsm Awagami Bamboo organic paper. The original drawings were all made from foraged ink. Taking air particulates and turning them into pigment. “Over the past decade, Winston has used the act of drawing to consider questions around foundational concepts such as time, space and distance, and to challenge some of the interpretive frameworks that humans have imposed on the world. Drawing is one aspect of a wider practice through which Winston turns his attention to topics including the structures and components of language; natural and artificial materials; human perception and physical responses; and individual and collective creativity. His aim is to unlock some of the potential latent in these vast subject areas and to foster unexpected outcomes, so often stifled by cultural reflexes or systemic imbalances. His approach might involve phases of observation or deprivation, such as when he spends long periods of time drawing in the dark, or the attempt to repeat identical actions under different conditions. With Following the Breath, Winston invites you to breathe and draw, because he believes that ‘drawing bypasses cognitive overload and lets intuition in. It teaches us how to deal with complexity without the need to control it.’” Text by Ellen Mara De Wachter https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784722021-O6VXO4K1WGFAQF7VYVIG/mcba-prize-2022-Sam-Winston-Following-the-breath-3.jpg Entries & Jurors - 2022 Entries - Sam Winston London www.samwinston.com Following The Breath 2022 Artist Book / Ink making 22″ x 6″ x 1/2″ Artist Statement I was commissioned by Barbican Centre London to create a work of participatory art and artist book around the theme of breathing. It uses drawing and breathing to explore the relationship between air quality, environmental issues and mindful creative practice. I have has spent several years exploring how and what London, its people and plants breathe, researching and illustrating how pollution affects our health. Using inks made from pigments collected from urban tunnels, polluted tree bark, discarded cigarette butts and other ‘inhaling and exhaling materials’, I created an art installation and book for the Barbican’s Conservatory. It was in collaboration with 125 school students and 47 visitors who took part in 10 workshops over a four-day residency. We had over 3,000 people see the work over the residency and 1,500 visited the exhibition afterwords. The ‘drawing breath’ exercise is at the start of the artist book. The artist book was produced in an edition 18 copies with 5 artist proofs. The Essay text is by Ellen Mara De Wachter and the Ink drawings are on 230gsm Zerkall mould made printmaking paper. Each ink is made from some type or air particulates A video about how the ink was made can been seen here (it’s also available for exhibition if needed). The artist prints are Glicee printed on 170gsm Awagami Bamboo organic paper. The original drawings were all made from foraged ink. Taking air particulates and turning them into pigment. “Over the past decade, Winston has used the act of drawing to consider questions around foundational concepts such as time, space and distance, and to challenge some of the interpretive frameworks that humans have imposed on the world. Drawing is one aspect of a wider practice through which Winston turns his attention to topics including the structures and components of language; natural and artificial materials; human perception and physical responses; and individual and collective creativity. His aim is to unlock some of the potential latent in these vast subject areas and to foster unexpected outcomes, so often stifled by cultural reflexes or systemic imbalances. His approach might involve phases of observation or deprivation, such as when he spends long periods of time drawing in the dark, or the attempt to repeat identical actions under different conditions. With Following the Breath, Winston invites you to breathe and draw, because he believes that ‘drawing bypasses cognitive overload and lets intuition in. It teaches us how to deal with complexity without the need to control it.’” Text by Ellen Mara De Wachter https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784722264-BBWBTHP4K2WRZ5QJI0X4/mcba-prize-2022-Sam-Winston-Following-the-breath-2.jpg Entries & Jurors - 2022 Entries - Sam Winston London www.samwinston.com Following The Breath 2022 Artist Book / Ink making 22″ x 6″ x 1/2″ Artist Statement I was commissioned by Barbican Centre London to create a work of participatory art and artist book around the theme of breathing. It uses drawing and breathing to explore the relationship between air quality, environmental issues and mindful creative practice. I have has spent several years exploring how and what London, its people and plants breathe, researching and illustrating how pollution affects our health. Using inks made from pigments collected from urban tunnels, polluted tree bark, discarded cigarette butts and other ‘inhaling and exhaling materials’, I created an art installation and book for the Barbican’s Conservatory. It was in collaboration with 125 school students and 47 visitors who took part in 10 workshops over a four-day residency. We had over 3,000 people see the work over the residency and 1,500 visited the exhibition afterwords. The ‘drawing breath’ exercise is at the start of the artist book. The artist book was produced in an edition 18 copies with 5 artist proofs. The Essay text is by Ellen Mara De Wachter and the Ink drawings are on 230gsm Zerkall mould made printmaking paper. Each ink is made from some type or air particulates A video about how the ink was made can been seen here (it’s also available for exhibition if needed). The artist prints are Glicee printed on 170gsm Awagami Bamboo organic paper. The original drawings were all made from foraged ink. Taking air particulates and turning them into pigment. “Over the past decade, Winston has used the act of drawing to consider questions around foundational concepts such as time, space and distance, and to challenge some of the interpretive frameworks that humans have imposed on the world. Drawing is one aspect of a wider practice through which Winston turns his attention to topics including the structures and components of language; natural and artificial materials; human perception and physical responses; and individual and collective creativity. His aim is to unlock some of the potential latent in these vast subject areas and to foster unexpected outcomes, so often stifled by cultural reflexes or systemic imbalances. His approach might involve phases of observation or deprivation, such as when he spends long periods of time drawing in the dark, or the attempt to repeat identical actions under different conditions. With Following the Breath, Winston invites you to breathe and draw, because he believes that ‘drawing bypasses cognitive overload and lets intuition in. It teaches us how to deal with complexity without the need to control it.’” Text by Ellen Mara De Wachter https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784723548-2WL9ZFNEZ83HHIQAWK3P/mcba-prize-2022-Sam-Winston-Following-the-breath-1.jpg Entries & Jurors - 2022 Entries - Sam Winston London www.samwinston.com Following The Breath 2022 Artist Book / Ink making 22″ x 6″ x 1/2″ Artist Statement I was commissioned by Barbican Centre London to create a work of participatory art and artist book around the theme of breathing. It uses drawing and breathing to explore the relationship between air quality, environmental issues and mindful creative practice. I have has spent several years exploring how and what London, its people and plants breathe, researching and illustrating how pollution affects our health. Using inks made from pigments collected from urban tunnels, polluted tree bark, discarded cigarette butts and other ‘inhaling and exhaling materials’, I created an art installation and book for the Barbican’s Conservatory. It was in collaboration with 125 school students and 47 visitors who took part in 10 workshops over a four-day residency. We had over 3,000 people see the work over the residency and 1,500 visited the exhibition afterwords. The ‘drawing breath’ exercise is at the start of the artist book. The artist book was produced in an edition 18 copies with 5 artist proofs. The Essay text is by Ellen Mara De Wachter and the Ink drawings are on 230gsm Zerkall mould made printmaking paper. Each ink is made from some type or air particulates A video about how the ink was made can been seen here (it’s also available for exhibition if needed). The artist prints are Glicee printed on 170gsm Awagami Bamboo organic paper. The original drawings were all made from foraged ink. Taking air particulates and turning them into pigment. “Over the past decade, Winston has used the act of drawing to consider questions around foundational concepts such as time, space and distance, and to challenge some of the interpretive frameworks that humans have imposed on the world. Drawing is one aspect of a wider practice through which Winston turns his attention to topics including the structures and components of language; natural and artificial materials; human perception and physical responses; and individual and collective creativity. His aim is to unlock some of the potential latent in these vast subject areas and to foster unexpected outcomes, so often stifled by cultural reflexes or systemic imbalances. His approach might involve phases of observation or deprivation, such as when he spends long periods of time drawing in the dark, or the attempt to repeat identical actions under different conditions. With Following the Breath, Winston invites you to breathe and draw, because he believes that ‘drawing bypasses cognitive overload and lets intuition in. It teaches us how to deal with complexity without the need to control it.’” Text by Ellen Mara De Wachter https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784842738-1FOEPZC13VOG187VESTJ/mcba-prize-2022-Woodlin-Latocki-Domeless-5.jpg Entries & Jurors - 2022 Entries - Woodlin Latocki Rochester, Minnesota www.woodlinlatocki.com Domeless 2021 Risograph-printed book 7 x 5″ x .25″ Artist Statement Domeless is a loose narrative in images documenting a year in Minneapolis skylines, stomping grounds, smiling surfaces, and the shifting of seasons. The book project was conceived in late summer 2018, when the title Domeless was written down in a sketchbook during a period of transient living. The title stuck with me and became a personal term for a state of living on unstable grounds and seeking out a sense of place and belonging wherever I am. The spaces and objects depicted are imbued with a symbolic quality related to my own experiences as I moved through and captured them. These are the spaces in-between – focused moments of stillness or warmth within the larger harshness of day-to-day realities. The changing of seasons is used as a framing device, from warm, gauzy scenes of late summer to the welcome signs of spring signaled by dirty mountains of melting snow. Many of the spaces depicted reappear later in the book as the narrative shifts from the darkness of winter to the emergence of spring. The motifs of the hand and shadow serve as a first person presence within the ambiguous and hazy narrative. The book encapsulates an important period of transition in my life, and serves as a psychogeographical meditation and an ode to the corners and crevices of Minneapolis that have spoken to me. Domeless was Risograph-printed and perfect-bound by hand at the University of Arizona’s Book Art &Letterpress Lab in 2021. The book is printed in fluorescent orange, lime green, light gray and medium blue. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784842868-3VDEKIEH1HB3KZ8QXJJV/mcba-prize-2022-Woodlin-Latocki-Domeless-4.jpg Entries & Jurors - 2022 Entries - Woodlin Latocki Rochester, Minnesota www.woodlinlatocki.com Domeless 2021 Risograph-printed book 7 x 5″ x .25″ Artist Statement Domeless is a loose narrative in images documenting a year in Minneapolis skylines, stomping grounds, smiling surfaces, and the shifting of seasons. The book project was conceived in late summer 2018, when the title Domeless was written down in a sketchbook during a period of transient living. The title stuck with me and became a personal term for a state of living on unstable grounds and seeking out a sense of place and belonging wherever I am. The spaces and objects depicted are imbued with a symbolic quality related to my own experiences as I moved through and captured them. These are the spaces in-between – focused moments of stillness or warmth within the larger harshness of day-to-day realities. The changing of seasons is used as a framing device, from warm, gauzy scenes of late summer to the welcome signs of spring signaled by dirty mountains of melting snow. Many of the spaces depicted reappear later in the book as the narrative shifts from the darkness of winter to the emergence of spring. The motifs of the hand and shadow serve as a first person presence within the ambiguous and hazy narrative. The book encapsulates an important period of transition in my life, and serves as a psychogeographical meditation and an ode to the corners and crevices of Minneapolis that have spoken to me. Domeless was Risograph-printed and perfect-bound by hand at the University of Arizona’s Book Art &Letterpress Lab in 2021. The book is printed in fluorescent orange, lime green, light gray and medium blue. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784845296-XHSLMNJSHEGAE51MUCNC/mcba-prize-2022-Woodlin-Latocki-Domeless-3.jpg Entries & Jurors - 2022 Entries - Woodlin Latocki Rochester, Minnesota www.woodlinlatocki.com Domeless 2021 Risograph-printed book 7 x 5″ x .25″ Artist Statement Domeless is a loose narrative in images documenting a year in Minneapolis skylines, stomping grounds, smiling surfaces, and the shifting of seasons. The book project was conceived in late summer 2018, when the title Domeless was written down in a sketchbook during a period of transient living. The title stuck with me and became a personal term for a state of living on unstable grounds and seeking out a sense of place and belonging wherever I am. The spaces and objects depicted are imbued with a symbolic quality related to my own experiences as I moved through and captured them. These are the spaces in-between – focused moments of stillness or warmth within the larger harshness of day-to-day realities. The changing of seasons is used as a framing device, from warm, gauzy scenes of late summer to the welcome signs of spring signaled by dirty mountains of melting snow. Many of the spaces depicted reappear later in the book as the narrative shifts from the darkness of winter to the emergence of spring. The motifs of the hand and shadow serve as a first person presence within the ambiguous and hazy narrative. The book encapsulates an important period of transition in my life, and serves as a psychogeographical meditation and an ode to the corners and crevices of Minneapolis that have spoken to me. Domeless was Risograph-printed and perfect-bound by hand at the University of Arizona’s Book Art &Letterpress Lab in 2021. The book is printed in fluorescent orange, lime green, light gray and medium blue. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784845741-G1VFJB789HZ6E8AW3FQZ/mcba-prize-2022-Woodlin-Latocki-Domeless-2.jpg Entries & Jurors - 2022 Entries - Woodlin Latocki Rochester, Minnesota www.woodlinlatocki.com Domeless 2021 Risograph-printed book 7 x 5″ x .25″ Artist Statement Domeless is a loose narrative in images documenting a year in Minneapolis skylines, stomping grounds, smiling surfaces, and the shifting of seasons. The book project was conceived in late summer 2018, when the title Domeless was written down in a sketchbook during a period of transient living. The title stuck with me and became a personal term for a state of living on unstable grounds and seeking out a sense of place and belonging wherever I am. The spaces and objects depicted are imbued with a symbolic quality related to my own experiences as I moved through and captured them. These are the spaces in-between – focused moments of stillness or warmth within the larger harshness of day-to-day realities. The changing of seasons is used as a framing device, from warm, gauzy scenes of late summer to the welcome signs of spring signaled by dirty mountains of melting snow. Many of the spaces depicted reappear later in the book as the narrative shifts from the darkness of winter to the emergence of spring. The motifs of the hand and shadow serve as a first person presence within the ambiguous and hazy narrative. The book encapsulates an important period of transition in my life, and serves as a psychogeographical meditation and an ode to the corners and crevices of Minneapolis that have spoken to me. Domeless was Risograph-printed and perfect-bound by hand at the University of Arizona’s Book Art &Letterpress Lab in 2021. The book is printed in fluorescent orange, lime green, light gray and medium blue. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773784847440-CCPSCWQM8VY4ATZUH0OM/mcba-prize-2022-Woodlin-Latocki-Domeless-1.jpg Entries & Jurors - 2022 Entries - Woodlin Latocki Rochester, Minnesota www.woodlinlatocki.com Domeless 2021 Risograph-printed book 7 x 5″ x .25″ Artist Statement Domeless is a loose narrative in images documenting a year in Minneapolis skylines, stomping grounds, smiling surfaces, and the shifting of seasons. The book project was conceived in late summer 2018, when the title Domeless was written down in a sketchbook during a period of transient living. The title stuck with me and became a personal term for a state of living on unstable grounds and seeking out a sense of place and belonging wherever I am. The spaces and objects depicted are imbued with a symbolic quality related to my own experiences as I moved through and captured them. These are the spaces in-between – focused moments of stillness or warmth within the larger harshness of day-to-day realities. The changing of seasons is used as a framing device, from warm, gauzy scenes of late summer to the welcome signs of spring signaled by dirty mountains of melting snow. Many of the spaces depicted reappear later in the book as the narrative shifts from the darkness of winter to the emergence of spring. The motifs of the hand and shadow serve as a first person presence within the ambiguous and hazy narrative. The book encapsulates an important period of transition in my life, and serves as a psychogeographical meditation and an ode to the corners and crevices of Minneapolis that have spoken to me. Domeless was Risograph-printed and perfect-bound by hand at the University of Arizona’s Book Art &Letterpress Lab in 2021. The book is printed in fluorescent orange, lime green, light gray and medium blue. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773785025656-0MIM9OA8IAYDVAEEPLGQ/mcba-prize-2022-Sumi-Perera-Roots-5.jpg Entries & Jurors - 2022 Entries - Sumi Perera United Kingdom https://www.saatchiart.com/sumiperera ROOTS-It’s not Black & White, but 50 Shades of Grey & Brown 2021 Etching, aquatint, embossing. stitch with hair & her-dye, deconstructed portraits 11.6″ x 4.1 “x 0.39” Artist Statement Sumi Perera is a interdisciplinary artist, academic & curator who makes interactive print installations, combining traditional & contemporary cutting edge technology. Sometimes electroconductive-ink (to generate sound) & thermochromic-inks (tomutate in colour) are integrated, with her background working as a bimodal émigré (Sri Lanka& UK), doctor & scientist. She obtained a MA at Camberwell College, London 2004, and taught at Middlesex University & Royal Academy, London. She has held many international residencies: teaching residency at CAFA, Beijing China in 2007; recipient of the first Guest Artist Fellowship & solo show at Scuola Internazionale di Grafica, Venice 2017, Stone Lithography at Pierre Presse, France 2017; The National Open Art Residency in London 2016 She exhibits internationally & has won awards/prizes: Prix de Print, Art in Print USA 2015, Gold Medal-Seoul 1st International Artistbook Competition 2005; 1st PrizeSHELTER, USA; Flourish Award 2015-excellence in printmaking & solo show. Public & private collections of her work: Tate (10works); Victoria & Albert museum (12works); Yale Centre of British Art (2); Ashmolean (2); China, Japan, Italy & Australia etc. She had a 12 year retrospective of collaborative projects: “Sumi Perera et al.” at CFPR, UWE Bristol 2017; & at IMPACT10 & IMPACT11 [International Printmaking Conference-Spain’18 & Hong Kong ‘21]. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773785025830-LXXV5Z1LP1LUXME86NGS/mcba-prize-2022-Sumi-Perera-Roots-4.jpg Entries & Jurors - 2022 Entries - Sumi Perera United Kingdom https://www.saatchiart.com/sumiperera ROOTS-It’s not Black & White, but 50 Shades of Grey & Brown 2021 Etching, aquatint, embossing. stitch with hair & her-dye, deconstructed portraits 11.6″ x 4.1 “x 0.39” Artist Statement Sumi Perera is a interdisciplinary artist, academic & curator who makes interactive print installations, combining traditional & contemporary cutting edge technology. Sometimes electroconductive-ink (to generate sound) & thermochromic-inks (tomutate in colour) are integrated, with her background working as a bimodal émigré (Sri Lanka& UK), doctor & scientist. She obtained a MA at Camberwell College, London 2004, and taught at Middlesex University & Royal Academy, London. She has held many international residencies: teaching residency at CAFA, Beijing China in 2007; recipient of the first Guest Artist Fellowship & solo show at Scuola Internazionale di Grafica, Venice 2017, Stone Lithography at Pierre Presse, France 2017; The National Open Art Residency in London 2016 She exhibits internationally & has won awards/prizes: Prix de Print, Art in Print USA 2015, Gold Medal-Seoul 1st International Artistbook Competition 2005; 1st PrizeSHELTER, USA; Flourish Award 2015-excellence in printmaking & solo show. Public & private collections of her work: Tate (10works); Victoria & Albert museum (12works); Yale Centre of British Art (2); Ashmolean (2); China, Japan, Italy & Australia etc. She had a 12 year retrospective of collaborative projects: “Sumi Perera et al.” at CFPR, UWE Bristol 2017; & at IMPACT10 & IMPACT11 [International Printmaking Conference-Spain’18 & Hong Kong ‘21]. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773785027141-XYSGDI3OQLTFZAKMIZSD/mcba-prize-2022-Sumi-Perera-Roots-3.jpg Entries & Jurors - 2022 Entries - Sumi Perera United Kingdom https://www.saatchiart.com/sumiperera ROOTS-It’s not Black & White, but 50 Shades of Grey & Brown 2021 Etching, aquatint, embossing. stitch with hair & her-dye, deconstructed portraits 11.6″ x 4.1 “x 0.39” Artist Statement Sumi Perera is a interdisciplinary artist, academic & curator who makes interactive print installations, combining traditional & contemporary cutting edge technology. Sometimes electroconductive-ink (to generate sound) & thermochromic-inks (tomutate in colour) are integrated, with her background working as a bimodal émigré (Sri Lanka& UK), doctor & scientist. She obtained a MA at Camberwell College, London 2004, and taught at Middlesex University & Royal Academy, London. She has held many international residencies: teaching residency at CAFA, Beijing China in 2007; recipient of the first Guest Artist Fellowship & solo show at Scuola Internazionale di Grafica, Venice 2017, Stone Lithography at Pierre Presse, France 2017; The National Open Art Residency in London 2016 She exhibits internationally & has won awards/prizes: Prix de Print, Art in Print USA 2015, Gold Medal-Seoul 1st International Artistbook Competition 2005; 1st PrizeSHELTER, USA; Flourish Award 2015-excellence in printmaking & solo show. Public & private collections of her work: Tate (10works); Victoria & Albert museum (12works); Yale Centre of British Art (2); Ashmolean (2); China, Japan, Italy & Australia etc. She had a 12 year retrospective of collaborative projects: “Sumi Perera et al.” at CFPR, UWE Bristol 2017; & at IMPACT10 & IMPACT11 [International Printmaking Conference-Spain’18 & Hong Kong ‘21]. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773785027778-USKXS2D2BD6JORRR4N4H/mcba-prize-2022-Sumi-Perera-Roots-2.jpg Entries & Jurors - 2022 Entries - Sumi Perera United Kingdom https://www.saatchiart.com/sumiperera ROOTS-It’s not Black & White, but 50 Shades of Grey & Brown 2021 Etching, aquatint, embossing. stitch with hair & her-dye, deconstructed portraits 11.6″ x 4.1 “x 0.39” Artist Statement Sumi Perera is a interdisciplinary artist, academic & curator who makes interactive print installations, combining traditional & contemporary cutting edge technology. Sometimes electroconductive-ink (to generate sound) & thermochromic-inks (tomutate in colour) are integrated, with her background working as a bimodal émigré (Sri Lanka& UK), doctor & scientist. She obtained a MA at Camberwell College, London 2004, and taught at Middlesex University & Royal Academy, London. She has held many international residencies: teaching residency at CAFA, Beijing China in 2007; recipient of the first Guest Artist Fellowship & solo show at Scuola Internazionale di Grafica, Venice 2017, Stone Lithography at Pierre Presse, France 2017; The National Open Art Residency in London 2016 She exhibits internationally & has won awards/prizes: Prix de Print, Art in Print USA 2015, Gold Medal-Seoul 1st International Artistbook Competition 2005; 1st PrizeSHELTER, USA; Flourish Award 2015-excellence in printmaking & solo show. Public & private collections of her work: Tate (10works); Victoria & Albert museum (12works); Yale Centre of British Art (2); Ashmolean (2); China, Japan, Italy & Australia etc. She had a 12 year retrospective of collaborative projects: “Sumi Perera et al.” at CFPR, UWE Bristol 2017; & at IMPACT10 & IMPACT11 [International Printmaking Conference-Spain’18 & Hong Kong ‘21]. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773785029109-WE0S7MLCQPRJXLNLNSPS/mcba-prize-2022-Sumi-Perera-Roots-1.jpg Entries & Jurors - 2022 Entries - Sumi Perera United Kingdom https://www.saatchiart.com/sumiperera ROOTS-It’s not Black & White, but 50 Shades of Grey & Brown 2021 Etching, aquatint, embossing. stitch with hair & her-dye, deconstructed portraits 11.6″ x 4.1 “x 0.39” Artist Statement Sumi Perera is a interdisciplinary artist, academic & curator who makes interactive print installations, combining traditional & contemporary cutting edge technology. Sometimes electroconductive-ink (to generate sound) & thermochromic-inks (tomutate in colour) are integrated, with her background working as a bimodal émigré (Sri Lanka& UK), doctor & scientist. She obtained a MA at Camberwell College, London 2004, and taught at Middlesex University & Royal Academy, London. She has held many international residencies: teaching residency at CAFA, Beijing China in 2007; recipient of the first Guest Artist Fellowship & solo show at Scuola Internazionale di Grafica, Venice 2017, Stone Lithography at Pierre Presse, France 2017; The National Open Art Residency in London 2016 She exhibits internationally & has won awards/prizes: Prix de Print, Art in Print USA 2015, Gold Medal-Seoul 1st International Artistbook Competition 2005; 1st PrizeSHELTER, USA; Flourish Award 2015-excellence in printmaking & solo show. Public & private collections of her work: Tate (10works); Victoria & Albert museum (12works); Yale Centre of British Art (2); Ashmolean (2); China, Japan, Italy & Australia etc. She had a 12 year retrospective of collaborative projects: “Sumi Perera et al.” at CFPR, UWE Bristol 2017; & at IMPACT10 & IMPACT11 [International Printmaking Conference-Spain’18 & Hong Kong ‘21]. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773785180713-4CXF7Z6CVCCBM266DVMJ/mcba-prize-2022-Allison-Milham-Pilina-Everlasting-5.jpg Entries & Jurors - 2022 Entries - Allison Milham Atascadero, California Pilina Everlasting 2022 Artists’ Book 7.5 x 7.5 x 1.75 “(closed) / 25 x 7.5 x 1.75 ” (open) Artist Statement DRAWING ON INDIGENOUS WAYS OF KNOWING and the ever-shifting volcanic landscapes of Hawai‘i Island, Pilina Everlasting is a meditation on loss and love that honors my experience of grief and the ways I’ve found healing through forging new intimacies with ‘āina (the land) and nā kūpuna (my ancestors). The sounds and sequences of text & image offer moments of connection and belonging within an ever-changing environment, cycling through life and death. Themes of pilina (connection, relationship), loss and transformation are explored through music and print. The project began during a monthlong songwriting residency in September of 2018 at Hawai‘i Volcanoes National Park, shortly after losing my mom to pancreatic cancer. Being on Hawai‘i Island—the place where my ancestors come from and where my mom and I had spent time together—was a deep comfort during my early stages of grief. When I arrived, the massive eruptions occurring that spring and summer along the Lower East Rift Zone of Kīlauea had just subsided. The recent devastation of forests and homes resonated. At the same time, a sense of hope was felt with the creation of new ‘āina—Pele’s work, and with the slow but sure succession of plant growth—lichens and mosses followed by ferns, shrubs and ‘ōhi‘a—the gifts of Hi‘iaka, Pele’s sister. While there, I learned the mo‘olelo (stories) associated with the places I visited. I practiced ‘ ō lelo Hawai‘i (Hawaiian language), learned my first oli (chant) and cultivated my skills of kilo (observation). I was beginning the journey of reforging connections and finding myself in the wake of losing the closest person in my life. There were endless ways I felt my inner experience mirrored in the landscape surrounding me and I was blessed with an abiding sense of feeling seen and loved. As part of this project, I’ve included a short pamphlet featuring an essay by mom. She wrote Mauna Kea Calling shortly after her move home to Hawai‘i in 2015 when she became involved in the struggle to protect Mauna Kea.In this short piece, she speaks to several issues affecting Native Hawaiians as the result of ongoing US occupation and militarism in our islands. I dedicate this project to her, in honor of our eternal bond and our shared commitment to protecting the rights of Indigenous peoples and sacred relationships with ‘āina. Following my time in Hawai‘i I worked on the text, images and structure in fits and starts at various artist residencies including Paper Machine, In Cahoots and The Press at Colorado College. The printing of Mauna Kea Calling was done during my time as visiting faculty at UA’s Book Arts Program in the winter of 2021. The rest of the printing and binding was completed at home in my tiny studio in the redwoods in early 2022. I couldn’t have done it without the loving support and encouragement from my family and many sweet friends as I processed through grief and prolonged creative paralysis. Pilina Everlasting was composed, designed, printed and bound by Allison Leialoha Milham. The text and images were printed on the letterpress from photopolymer plates with added layers of sumi ink washes on Rives Heavyweight and handmade papers. Other papers include abaca from the Morgan Conservatory and cover sheets from Cave Paper. The 7-inch record was cut into clear acrylic by LatheCuts in Tucson. In an effort to better integrate the music into the viewing experience, a built-in sound piece containing a sample from the record is triggered when the box is opened. Music was composed at Hawai‘i Volcanoes National Park and recorded at home. Open editions of the content will be made available in alternative formats. This hand-printed and bound, boxed set exists in a limited edition of eight. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773785180568-KJWM053EJCK6993BWVSE/mcba-prize-2022-Allison-Milham-Pilina-Everlasting-4.jpg Entries & Jurors - 2022 Entries - Allison Milham Atascadero, California Pilina Everlasting 2022 Artists’ Book 7.5 x 7.5 x 1.75 “(closed) / 25 x 7.5 x 1.75 ” (open) Artist Statement DRAWING ON INDIGENOUS WAYS OF KNOWING and the ever-shifting volcanic landscapes of Hawai‘i Island, Pilina Everlasting is a meditation on loss and love that honors my experience of grief and the ways I’ve found healing through forging new intimacies with ‘āina (the land) and nā kūpuna (my ancestors). The sounds and sequences of text & image offer moments of connection and belonging within an ever-changing environment, cycling through life and death. Themes of pilina (connection, relationship), loss and transformation are explored through music and print. The project began during a monthlong songwriting residency in September of 2018 at Hawai‘i Volcanoes National Park, shortly after losing my mom to pancreatic cancer. Being on Hawai‘i Island—the place where my ancestors come from and where my mom and I had spent time together—was a deep comfort during my early stages of grief. When I arrived, the massive eruptions occurring that spring and summer along the Lower East Rift Zone of Kīlauea had just subsided. The recent devastation of forests and homes resonated. At the same time, a sense of hope was felt with the creation of new ‘āina—Pele’s work, and with the slow but sure succession of plant growth—lichens and mosses followed by ferns, shrubs and ‘ōhi‘a—the gifts of Hi‘iaka, Pele’s sister. While there, I learned the mo‘olelo (stories) associated with the places I visited. I practiced ‘ ō lelo Hawai‘i (Hawaiian language), learned my first oli (chant) and cultivated my skills of kilo (observation). I was beginning the journey of reforging connections and finding myself in the wake of losing the closest person in my life. There were endless ways I felt my inner experience mirrored in the landscape surrounding me and I was blessed with an abiding sense of feeling seen and loved. As part of this project, I’ve included a short pamphlet featuring an essay by mom. She wrote Mauna Kea Calling shortly after her move home to Hawai‘i in 2015 when she became involved in the struggle to protect Mauna Kea.In this short piece, she speaks to several issues affecting Native Hawaiians as the result of ongoing US occupation and militarism in our islands. I dedicate this project to her, in honor of our eternal bond and our shared commitment to protecting the rights of Indigenous peoples and sacred relationships with ‘āina. Following my time in Hawai‘i I worked on the text, images and structure in fits and starts at various artist residencies including Paper Machine, In Cahoots and The Press at Colorado College. The printing of Mauna Kea Calling was done during my time as visiting faculty at UA’s Book Arts Program in the winter of 2021. The rest of the printing and binding was completed at home in my tiny studio in the redwoods in early 2022. I couldn’t have done it without the loving support and encouragement from my family and many sweet friends as I processed through grief and prolonged creative paralysis. Pilina Everlasting was composed, designed, printed and bound by Allison Leialoha Milham. The text and images were printed on the letterpress from photopolymer plates with added layers of sumi ink washes on Rives Heavyweight and handmade papers. Other papers include abaca from the Morgan Conservatory and cover sheets from Cave Paper. The 7-inch record was cut into clear acrylic by LatheCuts in Tucson. In an effort to better integrate the music into the viewing experience, a built-in sound piece containing a sample from the record is triggered when the box is opened. Music was composed at Hawai‘i Volcanoes National Park and recorded at home. Open editions of the content will be made available in alternative formats. This hand-printed and bound, boxed set exists in a limited edition of eight. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773785183167-515QRSRTPIS3RE6VFPEW/mcba-prize-2022-Allison-Milham-Pilina-Everlasting-3.jpg Entries & Jurors - 2022 Entries - Allison Milham Atascadero, California Pilina Everlasting 2022 Artists’ Book 7.5 x 7.5 x 1.75 “(closed) / 25 x 7.5 x 1.75 ” (open) Artist Statement DRAWING ON INDIGENOUS WAYS OF KNOWING and the ever-shifting volcanic landscapes of Hawai‘i Island, Pilina Everlasting is a meditation on loss and love that honors my experience of grief and the ways I’ve found healing through forging new intimacies with ‘āina (the land) and nā kūpuna (my ancestors). The sounds and sequences of text & image offer moments of connection and belonging within an ever-changing environment, cycling through life and death. Themes of pilina (connection, relationship), loss and transformation are explored through music and print. The project began during a monthlong songwriting residency in September of 2018 at Hawai‘i Volcanoes National Park, shortly after losing my mom to pancreatic cancer. Being on Hawai‘i Island—the place where my ancestors come from and where my mom and I had spent time together—was a deep comfort during my early stages of grief. When I arrived, the massive eruptions occurring that spring and summer along the Lower East Rift Zone of Kīlauea had just subsided. The recent devastation of forests and homes resonated. At the same time, a sense of hope was felt with the creation of new ‘āina—Pele’s work, and with the slow but sure succession of plant growth—lichens and mosses followed by ferns, shrubs and ‘ōhi‘a—the gifts of Hi‘iaka, Pele’s sister. While there, I learned the mo‘olelo (stories) associated with the places I visited. I practiced ‘ ō lelo Hawai‘i (Hawaiian language), learned my first oli (chant) and cultivated my skills of kilo (observation). I was beginning the journey of reforging connections and finding myself in the wake of losing the closest person in my life. There were endless ways I felt my inner experience mirrored in the landscape surrounding me and I was blessed with an abiding sense of feeling seen and loved. As part of this project, I’ve included a short pamphlet featuring an essay by mom. She wrote Mauna Kea Calling shortly after her move home to Hawai‘i in 2015 when she became involved in the struggle to protect Mauna Kea.In this short piece, she speaks to several issues affecting Native Hawaiians as the result of ongoing US occupation and militarism in our islands. I dedicate this project to her, in honor of our eternal bond and our shared commitment to protecting the rights of Indigenous peoples and sacred relationships with ‘āina. Following my time in Hawai‘i I worked on the text, images and structure in fits and starts at various artist residencies including Paper Machine, In Cahoots and The Press at Colorado College. The printing of Mauna Kea Calling was done during my time as visiting faculty at UA’s Book Arts Program in the winter of 2021. The rest of the printing and binding was completed at home in my tiny studio in the redwoods in early 2022. I couldn’t have done it without the loving support and encouragement from my family and many sweet friends as I processed through grief and prolonged creative paralysis. Pilina Everlasting was composed, designed, printed and bound by Allison Leialoha Milham. The text and images were printed on the letterpress from photopolymer plates with added layers of sumi ink washes on Rives Heavyweight and handmade papers. Other papers include abaca from the Morgan Conservatory and cover sheets from Cave Paper. The 7-inch record was cut into clear acrylic by LatheCuts in Tucson. In an effort to better integrate the music into the viewing experience, a built-in sound piece containing a sample from the record is triggered when the box is opened. Music was composed at Hawai‘i Volcanoes National Park and recorded at home. Open editions of the content will be made available in alternative formats. This hand-printed and bound, boxed set exists in a limited edition of eight. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773785183120-9X1DDVGFAZ5GKSC280I2/mcba-prize-2022-Allison-Milham-Pilina-Everlasting-2.jpg Entries & Jurors - 2022 Entries - Allison Milham Atascadero, California Pilina Everlasting 2022 Artists’ Book 7.5 x 7.5 x 1.75 “(closed) / 25 x 7.5 x 1.75 ” (open) Artist Statement DRAWING ON INDIGENOUS WAYS OF KNOWING and the ever-shifting volcanic landscapes of Hawai‘i Island, Pilina Everlasting is a meditation on loss and love that honors my experience of grief and the ways I’ve found healing through forging new intimacies with ‘āina (the land) and nā kūpuna (my ancestors). The sounds and sequences of text & image offer moments of connection and belonging within an ever-changing environment, cycling through life and death. Themes of pilina (connection, relationship), loss and transformation are explored through music and print. The project began during a monthlong songwriting residency in September of 2018 at Hawai‘i Volcanoes National Park, shortly after losing my mom to pancreatic cancer. Being on Hawai‘i Island—the place where my ancestors come from and where my mom and I had spent time together—was a deep comfort during my early stages of grief. When I arrived, the massive eruptions occurring that spring and summer along the Lower East Rift Zone of Kīlauea had just subsided. The recent devastation of forests and homes resonated. At the same time, a sense of hope was felt with the creation of new ‘āina—Pele’s work, and with the slow but sure succession of plant growth—lichens and mosses followed by ferns, shrubs and ‘ōhi‘a—the gifts of Hi‘iaka, Pele’s sister. While there, I learned the mo‘olelo (stories) associated with the places I visited. I practiced ‘ ō lelo Hawai‘i (Hawaiian language), learned my first oli (chant) and cultivated my skills of kilo (observation). I was beginning the journey of reforging connections and finding myself in the wake of losing the closest person in my life. There were endless ways I felt my inner experience mirrored in the landscape surrounding me and I was blessed with an abiding sense of feeling seen and loved. As part of this project, I’ve included a short pamphlet featuring an essay by mom. She wrote Mauna Kea Calling shortly after her move home to Hawai‘i in 2015 when she became involved in the struggle to protect Mauna Kea.In this short piece, she speaks to several issues affecting Native Hawaiians as the result of ongoing US occupation and militarism in our islands. I dedicate this project to her, in honor of our eternal bond and our shared commitment to protecting the rights of Indigenous peoples and sacred relationships with ‘āina. Following my time in Hawai‘i I worked on the text, images and structure in fits and starts at various artist residencies including Paper Machine, In Cahoots and The Press at Colorado College. The printing of Mauna Kea Calling was done during my time as visiting faculty at UA’s Book Arts Program in the winter of 2021. The rest of the printing and binding was completed at home in my tiny studio in the redwoods in early 2022. I couldn’t have done it without the loving support and encouragement from my family and many sweet friends as I processed through grief and prolonged creative paralysis. Pilina Everlasting was composed, designed, printed and bound by Allison Leialoha Milham. The text and images were printed on the letterpress from photopolymer plates with added layers of sumi ink washes on Rives Heavyweight and handmade papers. Other papers include abaca from the Morgan Conservatory and cover sheets from Cave Paper. The 7-inch record was cut into clear acrylic by LatheCuts in Tucson. In an effort to better integrate the music into the viewing experience, a built-in sound piece containing a sample from the record is triggered when the box is opened. Music was composed at Hawai‘i Volcanoes National Park and recorded at home. Open editions of the content will be made available in alternative formats. This hand-printed and bound, boxed set exists in a limited edition of eight. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773785184902-S8Z8ZMYWIZXQ3PTTATOW/mcba-prize-2022-Allison-Milham-Pilina-Everlasting-1.jpg Entries & Jurors - 2022 Entries - Allison Milham Atascadero, California Pilina Everlasting 2022 Artists’ Book 7.5 x 7.5 x 1.75 “(closed) / 25 x 7.5 x 1.75 ” (open) Artist Statement DRAWING ON INDIGENOUS WAYS OF KNOWING and the ever-shifting volcanic landscapes of Hawai‘i Island, Pilina Everlasting is a meditation on loss and love that honors my experience of grief and the ways I’ve found healing through forging new intimacies with ‘āina (the land) and nā kūpuna (my ancestors). The sounds and sequences of text & image offer moments of connection and belonging within an ever-changing environment, cycling through life and death. Themes of pilina (connection, relationship), loss and transformation are explored through music and print. The project began during a monthlong songwriting residency in September of 2018 at Hawai‘i Volcanoes National Park, shortly after losing my mom to pancreatic cancer. Being on Hawai‘i Island—the place where my ancestors come from and where my mom and I had spent time together—was a deep comfort during my early stages of grief. When I arrived, the massive eruptions occurring that spring and summer along the Lower East Rift Zone of Kīlauea had just subsided. The recent devastation of forests and homes resonated. At the same time, a sense of hope was felt with the creation of new ‘āina—Pele’s work, and with the slow but sure succession of plant growth—lichens and mosses followed by ferns, shrubs and ‘ōhi‘a—the gifts of Hi‘iaka, Pele’s sister. While there, I learned the mo‘olelo (stories) associated with the places I visited. I practiced ‘ ō lelo Hawai‘i (Hawaiian language), learned my first oli (chant) and cultivated my skills of kilo (observation). I was beginning the journey of reforging connections and finding myself in the wake of losing the closest person in my life. There were endless ways I felt my inner experience mirrored in the landscape surrounding me and I was blessed with an abiding sense of feeling seen and loved. As part of this project, I’ve included a short pamphlet featuring an essay by mom. She wrote Mauna Kea Calling shortly after her move home to Hawai‘i in 2015 when she became involved in the struggle to protect Mauna Kea.In this short piece, she speaks to several issues affecting Native Hawaiians as the result of ongoing US occupation and militarism in our islands. I dedicate this project to her, in honor of our eternal bond and our shared commitment to protecting the rights of Indigenous peoples and sacred relationships with ‘āina. Following my time in Hawai‘i I worked on the text, images and structure in fits and starts at various artist residencies including Paper Machine, In Cahoots and The Press at Colorado College. The printing of Mauna Kea Calling was done during my time as visiting faculty at UA’s Book Arts Program in the winter of 2021. The rest of the printing and binding was completed at home in my tiny studio in the redwoods in early 2022. I couldn’t have done it without the loving support and encouragement from my family and many sweet friends as I processed through grief and prolonged creative paralysis. Pilina Everlasting was composed, designed, printed and bound by Allison Leialoha Milham. The text and images were printed on the letterpress from photopolymer plates with added layers of sumi ink washes on Rives Heavyweight and handmade papers. Other papers include abaca from the Morgan Conservatory and cover sheets from Cave Paper. The 7-inch record was cut into clear acrylic by LatheCuts in Tucson. In an effort to better integrate the music into the viewing experience, a built-in sound piece containing a sample from the record is triggered when the box is opened. Music was composed at Hawai‘i Volcanoes National Park and recorded at home. Open editions of the content will be made available in alternative formats. This hand-printed and bound, boxed set exists in a limited edition of eight. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864063630-ZTG0K9XZGOJGXHDFSJJI/mcba-prize-2022-Sheila-Benedis-Trees-Apparel-5.jpg Entries & Jurors - 2022 Entries - Sheila Benedis New York Trees Apparel 2022 Watercolor and collage 15″x15″x12″ Artist Statement My life’s work is to make artist books activated by poetry. When I am in tune with my innermost self, I feel more alive, since my energy is faithful to a commitment that nourishes me. I feel grounded in the world, knowing that I belong here and can offer something important. I live next to a beautiful park with undulating walls. I enjoy the trees moving in the wind, the rustling leaves, the clouds slowly floating by. The park changes with the seasons. Experiencing nature is a form of creative meditation for making art. I slow down, revitalize my soul, refresh my mind, relax my body, feel alive. A brisk walk arouses my creative juices. I enter my personal territory, my apartment, a sacred space for creativity. The discipline of solitary work completely absorbs me. Nature’s organic shapes permeate with their texture and movement. My imagery shows off lively, bright colors and conveys feelings of joy and excitement as well as feelings of injustice. I show off my inner beauty, my identity as an artist. I become the tree. Nature lives in my art. The tree is a symbol of my life. It is a personal way to work through life’s experiences. My inner voice speaks. I express important ideas with my poetry. The visual image combined with verbal language gives meaning, a visual diary. Artist books, activated by language, are my medium. My book Trees Apparel examines the deciduous tree’s apparel in all four seasons. I have written a poem of the same name, copy included. There is a page of the book for each season, which incorporates a stanza of the poem. I relate the tree’s apparel, its leaves, to the trees feelings. The tree feels power and glory in winter’s nakedness, is still content at start of spring with radiant flower blooming, descends into summer darkness with full cover, revives in the fall for the cycle. There is also a page for the trees communication system. I copy the lines of each stanza of my poem and paste onto a page to produce a combination of imagery and imbedded text. My meditative labor is intervention with intention. Some of the content may be hidden beneath the surface. The poem submerged moves, floating in the layers, twisting and turning, not necessarily legible. On one side of the page is the stanza of the poem and on the other side is the image of the season. Using watercolor, I create pages, cut organic shapes, and with the ConcertinaCrown binding, I produce an artists book. My original poetry reflects, examines my life, my sense of the world, and positive social change. I communicate my feelings and ideas through art incorporating language, share my work, connect with and impact others. Creativity heals me, the world https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864063574-NK95981UPG2WLEQCRVO5/mcba-prize-2022-Sheila-Benedis-Trees-Apparel-4.jpg Entries & Jurors - 2022 Entries - Sheila Benedis New York Trees Apparel 2022 Watercolor and collage 15″x15″x12″ Artist Statement My life’s work is to make artist books activated by poetry. When I am in tune with my innermost self, I feel more alive, since my energy is faithful to a commitment that nourishes me. I feel grounded in the world, knowing that I belong here and can offer something important. I live next to a beautiful park with undulating walls. I enjoy the trees moving in the wind, the rustling leaves, the clouds slowly floating by. The park changes with the seasons. Experiencing nature is a form of creative meditation for making art. I slow down, revitalize my soul, refresh my mind, relax my body, feel alive. A brisk walk arouses my creative juices. I enter my personal territory, my apartment, a sacred space for creativity. The discipline of solitary work completely absorbs me. Nature’s organic shapes permeate with their texture and movement. My imagery shows off lively, bright colors and conveys feelings of joy and excitement as well as feelings of injustice. I show off my inner beauty, my identity as an artist. I become the tree. Nature lives in my art. The tree is a symbol of my life. It is a personal way to work through life’s experiences. My inner voice speaks. I express important ideas with my poetry. The visual image combined with verbal language gives meaning, a visual diary. Artist books, activated by language, are my medium. My book Trees Apparel examines the deciduous tree’s apparel in all four seasons. I have written a poem of the same name, copy included. There is a page of the book for each season, which incorporates a stanza of the poem. I relate the tree’s apparel, its leaves, to the trees feelings. The tree feels power and glory in winter’s nakedness, is still content at start of spring with radiant flower blooming, descends into summer darkness with full cover, revives in the fall for the cycle. There is also a page for the trees communication system. I copy the lines of each stanza of my poem and paste onto a page to produce a combination of imagery and imbedded text. My meditative labor is intervention with intention. Some of the content may be hidden beneath the surface. The poem submerged moves, floating in the layers, twisting and turning, not necessarily legible. On one side of the page is the stanza of the poem and on the other side is the image of the season. Using watercolor, I create pages, cut organic shapes, and with the ConcertinaCrown binding, I produce an artists book. My original poetry reflects, examines my life, my sense of the world, and positive social change. I communicate my feelings and ideas through art incorporating language, share my work, connect with and impact others. Creativity heals me, the world https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864066087-HTAEOZMGOHXIJTBI0KD2/mcba-prize-2022-Sheila-Benedis-Trees-Apparel-3.jpg Entries & Jurors - 2022 Entries - Sheila Benedis New York Trees Apparel 2022 Watercolor and collage 15″x15″x12″ Artist Statement My life’s work is to make artist books activated by poetry. When I am in tune with my innermost self, I feel more alive, since my energy is faithful to a commitment that nourishes me. I feel grounded in the world, knowing that I belong here and can offer something important. I live next to a beautiful park with undulating walls. I enjoy the trees moving in the wind, the rustling leaves, the clouds slowly floating by. The park changes with the seasons. Experiencing nature is a form of creative meditation for making art. I slow down, revitalize my soul, refresh my mind, relax my body, feel alive. A brisk walk arouses my creative juices. I enter my personal territory, my apartment, a sacred space for creativity. The discipline of solitary work completely absorbs me. Nature’s organic shapes permeate with their texture and movement. My imagery shows off lively, bright colors and conveys feelings of joy and excitement as well as feelings of injustice. I show off my inner beauty, my identity as an artist. I become the tree. Nature lives in my art. The tree is a symbol of my life. It is a personal way to work through life’s experiences. My inner voice speaks. I express important ideas with my poetry. The visual image combined with verbal language gives meaning, a visual diary. Artist books, activated by language, are my medium. My book Trees Apparel examines the deciduous tree’s apparel in all four seasons. I have written a poem of the same name, copy included. There is a page of the book for each season, which incorporates a stanza of the poem. I relate the tree’s apparel, its leaves, to the trees feelings. The tree feels power and glory in winter’s nakedness, is still content at start of spring with radiant flower blooming, descends into summer darkness with full cover, revives in the fall for the cycle. There is also a page for the trees communication system. I copy the lines of each stanza of my poem and paste onto a page to produce a combination of imagery and imbedded text. My meditative labor is intervention with intention. Some of the content may be hidden beneath the surface. The poem submerged moves, floating in the layers, twisting and turning, not necessarily legible. On one side of the page is the stanza of the poem and on the other side is the image of the season. Using watercolor, I create pages, cut organic shapes, and with the ConcertinaCrown binding, I produce an artists book. My original poetry reflects, examines my life, my sense of the world, and positive social change. I communicate my feelings and ideas through art incorporating language, share my work, connect with and impact others. Creativity heals me, the world https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864066168-0F086P9W5N8BEJYQEUSW/mcba-prize-2022-Sheila-Benedis-Trees-Apparel-2.jpg Entries & Jurors - 2022 Entries - Sheila Benedis New York Trees Apparel 2022 Watercolor and collage 15″x15″x12″ Artist Statement My life’s work is to make artist books activated by poetry. When I am in tune with my innermost self, I feel more alive, since my energy is faithful to a commitment that nourishes me. I feel grounded in the world, knowing that I belong here and can offer something important. I live next to a beautiful park with undulating walls. I enjoy the trees moving in the wind, the rustling leaves, the clouds slowly floating by. The park changes with the seasons. Experiencing nature is a form of creative meditation for making art. I slow down, revitalize my soul, refresh my mind, relax my body, feel alive. A brisk walk arouses my creative juices. I enter my personal territory, my apartment, a sacred space for creativity. The discipline of solitary work completely absorbs me. Nature’s organic shapes permeate with their texture and movement. My imagery shows off lively, bright colors and conveys feelings of joy and excitement as well as feelings of injustice. I show off my inner beauty, my identity as an artist. I become the tree. Nature lives in my art. The tree is a symbol of my life. It is a personal way to work through life’s experiences. My inner voice speaks. I express important ideas with my poetry. The visual image combined with verbal language gives meaning, a visual diary. Artist books, activated by language, are my medium. My book Trees Apparel examines the deciduous tree’s apparel in all four seasons. I have written a poem of the same name, copy included. There is a page of the book for each season, which incorporates a stanza of the poem. I relate the tree’s apparel, its leaves, to the trees feelings. The tree feels power and glory in winter’s nakedness, is still content at start of spring with radiant flower blooming, descends into summer darkness with full cover, revives in the fall for the cycle. There is also a page for the trees communication system. I copy the lines of each stanza of my poem and paste onto a page to produce a combination of imagery and imbedded text. My meditative labor is intervention with intention. Some of the content may be hidden beneath the surface. The poem submerged moves, floating in the layers, twisting and turning, not necessarily legible. On one side of the page is the stanza of the poem and on the other side is the image of the season. Using watercolor, I create pages, cut organic shapes, and with the ConcertinaCrown binding, I produce an artists book. My original poetry reflects, examines my life, my sense of the world, and positive social change. I communicate my feelings and ideas through art incorporating language, share my work, connect with and impact others. Creativity heals me, the world https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864067801-2OVF2NENVTEDVAOXRRT8/mcba-prize-2022-Sheila-Benedis-Trees-Apparel-1.jpg Entries & Jurors - 2022 Entries - Sheila Benedis New York Trees Apparel 2022 Watercolor and collage 15″x15″x12″ Artist Statement My life’s work is to make artist books activated by poetry. When I am in tune with my innermost self, I feel more alive, since my energy is faithful to a commitment that nourishes me. I feel grounded in the world, knowing that I belong here and can offer something important. I live next to a beautiful park with undulating walls. I enjoy the trees moving in the wind, the rustling leaves, the clouds slowly floating by. The park changes with the seasons. Experiencing nature is a form of creative meditation for making art. I slow down, revitalize my soul, refresh my mind, relax my body, feel alive. A brisk walk arouses my creative juices. I enter my personal territory, my apartment, a sacred space for creativity. The discipline of solitary work completely absorbs me. Nature’s organic shapes permeate with their texture and movement. My imagery shows off lively, bright colors and conveys feelings of joy and excitement as well as feelings of injustice. I show off my inner beauty, my identity as an artist. I become the tree. Nature lives in my art. The tree is a symbol of my life. It is a personal way to work through life’s experiences. My inner voice speaks. I express important ideas with my poetry. The visual image combined with verbal language gives meaning, a visual diary. Artist books, activated by language, are my medium. My book Trees Apparel examines the deciduous tree’s apparel in all four seasons. I have written a poem of the same name, copy included. There is a page of the book for each season, which incorporates a stanza of the poem. I relate the tree’s apparel, its leaves, to the trees feelings. The tree feels power and glory in winter’s nakedness, is still content at start of spring with radiant flower blooming, descends into summer darkness with full cover, revives in the fall for the cycle. There is also a page for the trees communication system. I copy the lines of each stanza of my poem and paste onto a page to produce a combination of imagery and imbedded text. My meditative labor is intervention with intention. Some of the content may be hidden beneath the surface. The poem submerged moves, floating in the layers, twisting and turning, not necessarily legible. On one side of the page is the stanza of the poem and on the other side is the image of the season. Using watercolor, I create pages, cut organic shapes, and with the ConcertinaCrown binding, I produce an artists book. My original poetry reflects, examines my life, my sense of the world, and positive social change. I communicate my feelings and ideas through art incorporating language, share my work, connect with and impact others. Creativity heals me, the world https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864525810-0R0ZMMRP2XHVLIHQ1ZQE/mcba-prize-2022-Suzette-Cozzens-The-Tactilliene-1.jpg Entries & Jurors - 2022 Entries - Suzette Cozzens Providence, Rhode Island The Tactilliene 2020 Handmade paper, silkscreen printing, digital printing, Letterpress printing, collage, hand-sewn. 14″ x 9″ x 4″ Artist Statement Tactility simply refers to the ability of being felt or touched and our responsiveness to stimulation of the sense of touch. The tactile sense is how we interpret the information we get from our skin receptors. When we feel an object, our nervous system receives this information and helps us understand and differentiate pressure, texture, traction, and other tactile qualities of the object. Our tactile system also helps us to understand temperature and to feel pain. There is a relationship between touch and the brain’s emotional centers, helping us make decisions and remember details about tactile experiences that we find pleasant and ones we do not. The book I am submitting, The Tactillienne, is a part of the trio of books I have completed for my graduate degree in Graphic Design at Vermont College of Fine Art (the other two books are The Flaneuse and The Collagista). In this book I combine numerous techniques and tactile examples including: silkscreen printing, silkscreen fabric, polymer plate/letterpress printing, braille, letraset, hand and machine sewing, a variety of handmade papers, vintage cloth, eel skin, shifu and plant matter. The book is a celebration of tactility and emphasizes the importance of tactility in education and acts as a joyous invitation to pause, touch and feel the pages. As an educator in graphic design, I believe in providing for students a much-needed break from the precision and sterility of the computer. Papermaking allows for and embraces irregularity and the evidence of the human hand. We gather, tear, chop, mix, beat and touch plant matter. We scoop, swirl and measure with our hands and learn, through time and repetition when to add pulp to a vat and how to gauge the outcome of a sheet of paper based on touch. Silkscreen printing involves numerous steps including washing and coating a screen, allowing the screen to dry for several hours, exposing imagery, washing and drying the screen again, mixing ink and ultimately printing. I am attracted to teaching this process as it engages the total physical being as one experiences the tactility of the process. There is a rhythm to silkscreen printing that is very similar to preparing a meal—gathering mise en place, assembling ingredients in a user-friendly arrangement, hands working in tandem as the body lifts ,pulls and stacks completed prints. There is often a degree of chance—as light deviation from a plan that happens when the print starts to develop before us. Perhaps an original color palette is not satisfying, so we remix the ink. Possibly there is an overlap which was unintentional, but now we can see its beauty. We are tasked with slowing down. This book also includes my Womanifesto, a declaration of my teaching principles in a predominantly tech-centric discipline (excerpt below): I am a tactillienne teacher and designer. I am a self-proclaimed digital minimalist. My materials and methods of choice—handmade paper, ephemera, letterpress printing, hand bookbinding—are tactile and sensual. I have been questioned about my choices numerous times, by numerous people, in various tones of voice throughout my 20-year career as a graphic designer and design educator. I have allowed others to influence how I work or apologized for my perfectly acceptable methods as if somehow inferior. I am often regarded as crafty—not to be taken too seriously. The world doesn’t need another blank book, as one colleague put it. I believe the world does need another blank book. The world needs to fill their blank books with letters, words, thoughts, marks, ideas. We need to never lose sight of the value of that which is tactile and real. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864524159-TOA66A2EDRJTJ6TMS3N4/mcba-prize-2022-Suzette-Cozzens-The-Tactilliene-2.jpg Entries & Jurors - 2022 Entries - Suzette Cozzens Providence, Rhode Island The Tactilliene 2020 Handmade paper, silkscreen printing, digital printing, Letterpress printing, collage, hand-sewn. 14″ x 9″ x 4″ Artist Statement Tactility simply refers to the ability of being felt or touched and our responsiveness to stimulation of the sense of touch. The tactile sense is how we interpret the information we get from our skin receptors. When we feel an object, our nervous system receives this information and helps us understand and differentiate pressure, texture, traction, and other tactile qualities of the object. Our tactile system also helps us to understand temperature and to feel pain. There is a relationship between touch and the brain’s emotional centers, helping us make decisions and remember details about tactile experiences that we find pleasant and ones we do not. The book I am submitting, The Tactillienne, is a part of the trio of books I have completed for my graduate degree in Graphic Design at Vermont College of Fine Art (the other two books are The Flaneuse and The Collagista). In this book I combine numerous techniques and tactile examples including: silkscreen printing, silkscreen fabric, polymer plate/letterpress printing, braille, letraset, hand and machine sewing, a variety of handmade papers, vintage cloth, eel skin, shifu and plant matter. The book is a celebration of tactility and emphasizes the importance of tactility in education and acts as a joyous invitation to pause, touch and feel the pages. As an educator in graphic design, I believe in providing for students a much-needed break from the precision and sterility of the computer. Papermaking allows for and embraces irregularity and the evidence of the human hand. We gather, tear, chop, mix, beat and touch plant matter. We scoop, swirl and measure with our hands and learn, through time and repetition when to add pulp to a vat and how to gauge the outcome of a sheet of paper based on touch. Silkscreen printing involves numerous steps including washing and coating a screen, allowing the screen to dry for several hours, exposing imagery, washing and drying the screen again, mixing ink and ultimately printing. I am attracted to teaching this process as it engages the total physical being as one experiences the tactility of the process. There is a rhythm to silkscreen printing that is very similar to preparing a meal—gathering mise en place, assembling ingredients in a user-friendly arrangement, hands working in tandem as the body lifts ,pulls and stacks completed prints. There is often a degree of chance—as light deviation from a plan that happens when the print starts to develop before us. Perhaps an original color palette is not satisfying, so we remix the ink. Possibly there is an overlap which was unintentional, but now we can see its beauty. We are tasked with slowing down. This book also includes my Womanifesto, a declaration of my teaching principles in a predominantly tech-centric discipline (excerpt below): I am a tactillienne teacher and designer. I am a self-proclaimed digital minimalist. My materials and methods of choice—handmade paper, ephemera, letterpress printing, hand bookbinding—are tactile and sensual. I have been questioned about my choices numerous times, by numerous people, in various tones of voice throughout my 20-year career as a graphic designer and design educator. I have allowed others to influence how I work or apologized for my perfectly acceptable methods as if somehow inferior. I am often regarded as crafty—not to be taken too seriously. The world doesn’t need another blank book, as one colleague put it. I believe the world does need another blank book. The world needs to fill their blank books with letters, words, thoughts, marks, ideas. We need to never lose sight of the value of that which is tactile and real. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864523907-JX1V30EXZWNYFY9PHQX7/mcba-prize-2022-Suzette-Cozzens-The-Tactilliene-3.jpg Entries & Jurors - 2022 Entries - Suzette Cozzens Providence, Rhode Island The Tactilliene 2020 Handmade paper, silkscreen printing, digital printing, Letterpress printing, collage, hand-sewn. 14″ x 9″ x 4″ Artist Statement Tactility simply refers to the ability of being felt or touched and our responsiveness to stimulation of the sense of touch. The tactile sense is how we interpret the information we get from our skin receptors. When we feel an object, our nervous system receives this information and helps us understand and differentiate pressure, texture, traction, and other tactile qualities of the object. Our tactile system also helps us to understand temperature and to feel pain. There is a relationship between touch and the brain’s emotional centers, helping us make decisions and remember details about tactile experiences that we find pleasant and ones we do not. The book I am submitting, The Tactillienne, is a part of the trio of books I have completed for my graduate degree in Graphic Design at Vermont College of Fine Art (the other two books are The Flaneuse and The Collagista). In this book I combine numerous techniques and tactile examples including: silkscreen printing, silkscreen fabric, polymer plate/letterpress printing, braille, letraset, hand and machine sewing, a variety of handmade papers, vintage cloth, eel skin, shifu and plant matter. The book is a celebration of tactility and emphasizes the importance of tactility in education and acts as a joyous invitation to pause, touch and feel the pages. As an educator in graphic design, I believe in providing for students a much-needed break from the precision and sterility of the computer. Papermaking allows for and embraces irregularity and the evidence of the human hand. We gather, tear, chop, mix, beat and touch plant matter. We scoop, swirl and measure with our hands and learn, through time and repetition when to add pulp to a vat and how to gauge the outcome of a sheet of paper based on touch. Silkscreen printing involves numerous steps including washing and coating a screen, allowing the screen to dry for several hours, exposing imagery, washing and drying the screen again, mixing ink and ultimately printing. I am attracted to teaching this process as it engages the total physical being as one experiences the tactility of the process. There is a rhythm to silkscreen printing that is very similar to preparing a meal—gathering mise en place, assembling ingredients in a user-friendly arrangement, hands working in tandem as the body lifts ,pulls and stacks completed prints. There is often a degree of chance—as light deviation from a plan that happens when the print starts to develop before us. Perhaps an original color palette is not satisfying, so we remix the ink. Possibly there is an overlap which was unintentional, but now we can see its beauty. We are tasked with slowing down. This book also includes my Womanifesto, a declaration of my teaching principles in a predominantly tech-centric discipline (excerpt below): I am a tactillienne teacher and designer. I am a self-proclaimed digital minimalist. My materials and methods of choice—handmade paper, ephemera, letterpress printing, hand bookbinding—are tactile and sensual. I have been questioned about my choices numerous times, by numerous people, in various tones of voice throughout my 20-year career as a graphic designer and design educator. I have allowed others to influence how I work or apologized for my perfectly acceptable methods as if somehow inferior. I am often regarded as crafty—not to be taken too seriously. The world doesn’t need another blank book, as one colleague put it. I believe the world does need another blank book. The world needs to fill their blank books with letters, words, thoughts, marks, ideas. We need to never lose sight of the value of that which is tactile and real. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864521613-411FGZ6ZGQ9MHIX28A7L/mcba-prize-2022-Suzette-Cozzens-The-Tactilliene-4.jpg Entries & Jurors - 2022 Entries - Suzette Cozzens Providence, Rhode Island The Tactilliene 2020 Handmade paper, silkscreen printing, digital printing, Letterpress printing, collage, hand-sewn. 14″ x 9″ x 4″ Artist Statement Tactility simply refers to the ability of being felt or touched and our responsiveness to stimulation of the sense of touch. The tactile sense is how we interpret the information we get from our skin receptors. When we feel an object, our nervous system receives this information and helps us understand and differentiate pressure, texture, traction, and other tactile qualities of the object. Our tactile system also helps us to understand temperature and to feel pain. There is a relationship between touch and the brain’s emotional centers, helping us make decisions and remember details about tactile experiences that we find pleasant and ones we do not. The book I am submitting, The Tactillienne, is a part of the trio of books I have completed for my graduate degree in Graphic Design at Vermont College of Fine Art (the other two books are The Flaneuse and The Collagista). In this book I combine numerous techniques and tactile examples including: silkscreen printing, silkscreen fabric, polymer plate/letterpress printing, braille, letraset, hand and machine sewing, a variety of handmade papers, vintage cloth, eel skin, shifu and plant matter. The book is a celebration of tactility and emphasizes the importance of tactility in education and acts as a joyous invitation to pause, touch and feel the pages. As an educator in graphic design, I believe in providing for students a much-needed break from the precision and sterility of the computer. Papermaking allows for and embraces irregularity and the evidence of the human hand. We gather, tear, chop, mix, beat and touch plant matter. We scoop, swirl and measure with our hands and learn, through time and repetition when to add pulp to a vat and how to gauge the outcome of a sheet of paper based on touch. Silkscreen printing involves numerous steps including washing and coating a screen, allowing the screen to dry for several hours, exposing imagery, washing and drying the screen again, mixing ink and ultimately printing. I am attracted to teaching this process as it engages the total physical being as one experiences the tactility of the process. There is a rhythm to silkscreen printing that is very similar to preparing a meal—gathering mise en place, assembling ingredients in a user-friendly arrangement, hands working in tandem as the body lifts ,pulls and stacks completed prints. There is often a degree of chance—as light deviation from a plan that happens when the print starts to develop before us. Perhaps an original color palette is not satisfying, so we remix the ink. Possibly there is an overlap which was unintentional, but now we can see its beauty. We are tasked with slowing down. This book also includes my Womanifesto, a declaration of my teaching principles in a predominantly tech-centric discipline (excerpt below): I am a tactillienne teacher and designer. I am a self-proclaimed digital minimalist. My materials and methods of choice—handmade paper, ephemera, letterpress printing, hand bookbinding—are tactile and sensual. I have been questioned about my choices numerous times, by numerous people, in various tones of voice throughout my 20-year career as a graphic designer and design educator. I have allowed others to influence how I work or apologized for my perfectly acceptable methods as if somehow inferior. I am often regarded as crafty—not to be taken too seriously. The world doesn’t need another blank book, as one colleague put it. I believe the world does need another blank book. The world needs to fill their blank books with letters, words, thoughts, marks, ideas. We need to never lose sight of the value of that which is tactile and real. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864521493-87PFKQF77P3GTV0YR8V4/mcba-prize-2022-Suzette-Cozzens-The-Tactilliene-5.jpg Entries & Jurors - 2022 Entries - Suzette Cozzens Providence, Rhode Island The Tactilliene 2020 Handmade paper, silkscreen printing, digital printing, Letterpress printing, collage, hand-sewn. 14″ x 9″ x 4″ Artist Statement Tactility simply refers to the ability of being felt or touched and our responsiveness to stimulation of the sense of touch. The tactile sense is how we interpret the information we get from our skin receptors. When we feel an object, our nervous system receives this information and helps us understand and differentiate pressure, texture, traction, and other tactile qualities of the object. Our tactile system also helps us to understand temperature and to feel pain. There is a relationship between touch and the brain’s emotional centers, helping us make decisions and remember details about tactile experiences that we find pleasant and ones we do not. The book I am submitting, The Tactillienne, is a part of the trio of books I have completed for my graduate degree in Graphic Design at Vermont College of Fine Art (the other two books are The Flaneuse and The Collagista). In this book I combine numerous techniques and tactile examples including: silkscreen printing, silkscreen fabric, polymer plate/letterpress printing, braille, letraset, hand and machine sewing, a variety of handmade papers, vintage cloth, eel skin, shifu and plant matter. The book is a celebration of tactility and emphasizes the importance of tactility in education and acts as a joyous invitation to pause, touch and feel the pages. As an educator in graphic design, I believe in providing for students a much-needed break from the precision and sterility of the computer. Papermaking allows for and embraces irregularity and the evidence of the human hand. We gather, tear, chop, mix, beat and touch plant matter. We scoop, swirl and measure with our hands and learn, through time and repetition when to add pulp to a vat and how to gauge the outcome of a sheet of paper based on touch. Silkscreen printing involves numerous steps including washing and coating a screen, allowing the screen to dry for several hours, exposing imagery, washing and drying the screen again, mixing ink and ultimately printing. I am attracted to teaching this process as it engages the total physical being as one experiences the tactility of the process. There is a rhythm to silkscreen printing that is very similar to preparing a meal—gathering mise en place, assembling ingredients in a user-friendly arrangement, hands working in tandem as the body lifts ,pulls and stacks completed prints. There is often a degree of chance—as light deviation from a plan that happens when the print starts to develop before us. Perhaps an original color palette is not satisfying, so we remix the ink. Possibly there is an overlap which was unintentional, but now we can see its beauty. We are tasked with slowing down. This book also includes my Womanifesto, a declaration of my teaching principles in a predominantly tech-centric discipline (excerpt below): I am a tactillienne teacher and designer. I am a self-proclaimed digital minimalist. My materials and methods of choice—handmade paper, ephemera, letterpress printing, hand bookbinding—are tactile and sensual. I have been questioned about my choices numerous times, by numerous people, in various tones of voice throughout my 20-year career as a graphic designer and design educator. I have allowed others to influence how I work or apologized for my perfectly acceptable methods as if somehow inferior. I am often regarded as crafty—not to be taken too seriously. The world doesn’t need another blank book, as one colleague put it. I believe the world does need another blank book. The world needs to fill their blank books with letters, words, thoughts, marks, ideas. We need to never lose sight of the value of that which is tactile and real. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864719621-53KG5C2GGR9WJ6IIXBU7/mcba-prize-2022-Angelica-Ong-Cutting-Breath-unto-air-5.jpg Entries & Jurors - 2022 Entries - Angelica Ong Chicago, Illinois https://angelicaong.art/ Cutting breath unto air 2022 Vellum, Bookbinding Cloth, Book Board, E-Tailor Handmade Cotton Paper Deckle Edge Loose Leaf Sheets 130 GSM Ivory White, and Decorative Paper 8 11/16″ x 10 1/8″ Artist Statement As a multidisciplinary artist who creates photographs, books, installations, videos, paper, and more, I am deeply preoccupied with ephemerality, indexicality, and traces in the quotidian. This has led me to subject matter like dust, windows, and the human body. In my practice, I also operate on the notion that nothing is self-identical, that meaning is always contingent. As I make mental constellations of meanings and associations, I underscore and celebrate the minutiae of the overlooked everyday and seek to forge an intimacy with the world. Cutting breath unto air is a book of haikus, about haikus. Japanese haikus often speak to the seasons, transience, time, and mortality. With a mere few syllables, they paint an entire atmosphere, ambiance, visage, inviting imagination rather than pointing to a specific message—it is a realm of ambiguity and nuance. My experience with English haikus, however, have yet to compare. The 5-7-5 syllabic format is often overemphasized, with insufficient attention given to the content and the sequence in which information is unraveled. Much of the profundity of haikus in Japanese tradition is lost. Cutting breath unto air is driven by my desire to convey how it feels to immerse myself in Japanese haikus to audiences who do not speak Japanese. cutting breath unto air is my physical manifestation of the sensation of a Japanese haiku, demonstrating and translating the experiences offered by Japanese haikus in tangible form. The smaller inner book communicates features and aspects of Japanese haikus that I am drawn to, one being kireji (切れ字), which translates literally to “cutting word.” Traditionally, Japanese haikus are written in one continuous line. Thus, kireji are crucial verbal exclamations that punctuate and emphasize the end of a haiku section. Masterful use of kireji creates an intuitive literary rhythm that very naturally “cuts space” in the haiku. The spiral shape of the outer book takes inspiration from one specific haiku, which is the first one on the strip: 巻貝の渦ゆきわたる冬銀河 (makigai no uzu yukiwataru fuyu ginga). Written by Hanatani Kazuko, this haiku can be roughly translated to “conch shell’s / spiraling / winter galaxy,” likening the spiral of a conch shell to that of the Milky Way. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864719815-WDYH39XBES78WAB4UQXL/mcba-prize-2022-Angelica-Ong-Cutting-Breath-unto-air-4.jpg Entries & Jurors - 2022 Entries - Angelica Ong Chicago, Illinois https://angelicaong.art/ Cutting breath unto air 2022 Vellum, Bookbinding Cloth, Book Board, E-Tailor Handmade Cotton Paper Deckle Edge Loose Leaf Sheets 130 GSM Ivory White, and Decorative Paper 8 11/16″ x 10 1/8″ Artist Statement As a multidisciplinary artist who creates photographs, books, installations, videos, paper, and more, I am deeply preoccupied with ephemerality, indexicality, and traces in the quotidian. This has led me to subject matter like dust, windows, and the human body. In my practice, I also operate on the notion that nothing is self-identical, that meaning is always contingent. As I make mental constellations of meanings and associations, I underscore and celebrate the minutiae of the overlooked everyday and seek to forge an intimacy with the world. Cutting breath unto air is a book of haikus, about haikus. Japanese haikus often speak to the seasons, transience, time, and mortality. With a mere few syllables, they paint an entire atmosphere, ambiance, visage, inviting imagination rather than pointing to a specific message—it is a realm of ambiguity and nuance. My experience with English haikus, however, have yet to compare. The 5-7-5 syllabic format is often overemphasized, with insufficient attention given to the content and the sequence in which information is unraveled. Much of the profundity of haikus in Japanese tradition is lost. Cutting breath unto air is driven by my desire to convey how it feels to immerse myself in Japanese haikus to audiences who do not speak Japanese. cutting breath unto air is my physical manifestation of the sensation of a Japanese haiku, demonstrating and translating the experiences offered by Japanese haikus in tangible form. The smaller inner book communicates features and aspects of Japanese haikus that I am drawn to, one being kireji (切れ字), which translates literally to “cutting word.” Traditionally, Japanese haikus are written in one continuous line. Thus, kireji are crucial verbal exclamations that punctuate and emphasize the end of a haiku section. Masterful use of kireji creates an intuitive literary rhythm that very naturally “cuts space” in the haiku. The spiral shape of the outer book takes inspiration from one specific haiku, which is the first one on the strip: 巻貝の渦ゆきわたる冬銀河 (makigai no uzu yukiwataru fuyu ginga). Written by Hanatani Kazuko, this haiku can be roughly translated to “conch shell’s / spiraling / winter galaxy,” likening the spiral of a conch shell to that of the Milky Way. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864722268-8F9ANLN5ZR8ZDHD6B7S4/mcba-prize-2022-Angelica-Ong-Cutting-Breath-unto-air-3.jpg Entries & Jurors - 2022 Entries - Angelica Ong Chicago, Illinois https://angelicaong.art/ Cutting breath unto air 2022 Vellum, Bookbinding Cloth, Book Board, E-Tailor Handmade Cotton Paper Deckle Edge Loose Leaf Sheets 130 GSM Ivory White, and Decorative Paper 8 11/16″ x 10 1/8″ Artist Statement As a multidisciplinary artist who creates photographs, books, installations, videos, paper, and more, I am deeply preoccupied with ephemerality, indexicality, and traces in the quotidian. This has led me to subject matter like dust, windows, and the human body. In my practice, I also operate on the notion that nothing is self-identical, that meaning is always contingent. As I make mental constellations of meanings and associations, I underscore and celebrate the minutiae of the overlooked everyday and seek to forge an intimacy with the world. Cutting breath unto air is a book of haikus, about haikus. Japanese haikus often speak to the seasons, transience, time, and mortality. With a mere few syllables, they paint an entire atmosphere, ambiance, visage, inviting imagination rather than pointing to a specific message—it is a realm of ambiguity and nuance. My experience with English haikus, however, have yet to compare. The 5-7-5 syllabic format is often overemphasized, with insufficient attention given to the content and the sequence in which information is unraveled. Much of the profundity of haikus in Japanese tradition is lost. Cutting breath unto air is driven by my desire to convey how it feels to immerse myself in Japanese haikus to audiences who do not speak Japanese. cutting breath unto air is my physical manifestation of the sensation of a Japanese haiku, demonstrating and translating the experiences offered by Japanese haikus in tangible form. The smaller inner book communicates features and aspects of Japanese haikus that I am drawn to, one being kireji (切れ字), which translates literally to “cutting word.” Traditionally, Japanese haikus are written in one continuous line. Thus, kireji are crucial verbal exclamations that punctuate and emphasize the end of a haiku section. Masterful use of kireji creates an intuitive literary rhythm that very naturally “cuts space” in the haiku. The spiral shape of the outer book takes inspiration from one specific haiku, which is the first one on the strip: 巻貝の渦ゆきわたる冬銀河 (makigai no uzu yukiwataru fuyu ginga). Written by Hanatani Kazuko, this haiku can be roughly translated to “conch shell’s / spiraling / winter galaxy,” likening the spiral of a conch shell to that of the Milky Way. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864723084-FB7EU2VFM818CXPI9TFA/mcba-prize-2022-Angelica-Ong-Cutting-Breath-unto-air-2.jpg Entries & Jurors - 2022 Entries - Angelica Ong Chicago, Illinois https://angelicaong.art/ Cutting breath unto air 2022 Vellum, Bookbinding Cloth, Book Board, E-Tailor Handmade Cotton Paper Deckle Edge Loose Leaf Sheets 130 GSM Ivory White, and Decorative Paper 8 11/16″ x 10 1/8″ Artist Statement As a multidisciplinary artist who creates photographs, books, installations, videos, paper, and more, I am deeply preoccupied with ephemerality, indexicality, and traces in the quotidian. This has led me to subject matter like dust, windows, and the human body. In my practice, I also operate on the notion that nothing is self-identical, that meaning is always contingent. As I make mental constellations of meanings and associations, I underscore and celebrate the minutiae of the overlooked everyday and seek to forge an intimacy with the world. Cutting breath unto air is a book of haikus, about haikus. Japanese haikus often speak to the seasons, transience, time, and mortality. With a mere few syllables, they paint an entire atmosphere, ambiance, visage, inviting imagination rather than pointing to a specific message—it is a realm of ambiguity and nuance. My experience with English haikus, however, have yet to compare. The 5-7-5 syllabic format is often overemphasized, with insufficient attention given to the content and the sequence in which information is unraveled. Much of the profundity of haikus in Japanese tradition is lost. Cutting breath unto air is driven by my desire to convey how it feels to immerse myself in Japanese haikus to audiences who do not speak Japanese. cutting breath unto air is my physical manifestation of the sensation of a Japanese haiku, demonstrating and translating the experiences offered by Japanese haikus in tangible form. The smaller inner book communicates features and aspects of Japanese haikus that I am drawn to, one being kireji (切れ字), which translates literally to “cutting word.” Traditionally, Japanese haikus are written in one continuous line. Thus, kireji are crucial verbal exclamations that punctuate and emphasize the end of a haiku section. Masterful use of kireji creates an intuitive literary rhythm that very naturally “cuts space” in the haiku. The spiral shape of the outer book takes inspiration from one specific haiku, which is the first one on the strip: 巻貝の渦ゆきわたる冬銀河 (makigai no uzu yukiwataru fuyu ginga). Written by Hanatani Kazuko, this haiku can be roughly translated to “conch shell’s / spiraling / winter galaxy,” likening the spiral of a conch shell to that of the Milky Way. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864723890-QWN5U3BW5WPA6AR2QBPA/mcba-prize-2022-Angelica-Ong-Cutting-Breath-unto-air-1.jpg Entries & Jurors - 2022 Entries - Angelica Ong Chicago, Illinois https://angelicaong.art/ Cutting breath unto air 2022 Vellum, Bookbinding Cloth, Book Board, E-Tailor Handmade Cotton Paper Deckle Edge Loose Leaf Sheets 130 GSM Ivory White, and Decorative Paper 8 11/16″ x 10 1/8″ Artist Statement As a multidisciplinary artist who creates photographs, books, installations, videos, paper, and more, I am deeply preoccupied with ephemerality, indexicality, and traces in the quotidian. This has led me to subject matter like dust, windows, and the human body. In my practice, I also operate on the notion that nothing is self-identical, that meaning is always contingent. As I make mental constellations of meanings and associations, I underscore and celebrate the minutiae of the overlooked everyday and seek to forge an intimacy with the world. Cutting breath unto air is a book of haikus, about haikus. Japanese haikus often speak to the seasons, transience, time, and mortality. With a mere few syllables, they paint an entire atmosphere, ambiance, visage, inviting imagination rather than pointing to a specific message—it is a realm of ambiguity and nuance. My experience with English haikus, however, have yet to compare. The 5-7-5 syllabic format is often overemphasized, with insufficient attention given to the content and the sequence in which information is unraveled. Much of the profundity of haikus in Japanese tradition is lost. Cutting breath unto air is driven by my desire to convey how it feels to immerse myself in Japanese haikus to audiences who do not speak Japanese. cutting breath unto air is my physical manifestation of the sensation of a Japanese haiku, demonstrating and translating the experiences offered by Japanese haikus in tangible form. The smaller inner book communicates features and aspects of Japanese haikus that I am drawn to, one being kireji (切れ字), which translates literally to “cutting word.” Traditionally, Japanese haikus are written in one continuous line. Thus, kireji are crucial verbal exclamations that punctuate and emphasize the end of a haiku section. Masterful use of kireji creates an intuitive literary rhythm that very naturally “cuts space” in the haiku. The spiral shape of the outer book takes inspiration from one specific haiku, which is the first one on the strip: 巻貝の渦ゆきわたる冬銀河 (makigai no uzu yukiwataru fuyu ginga). Written by Hanatani Kazuko, this haiku can be roughly translated to “conch shell’s / spiraling / winter galaxy,” likening the spiral of a conch shell to that of the Milky Way. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864925627-LZJZIT09L1FPLFQQ9WXJ/mcba-prize-2022-Nif-Hodgson-Light-Contour-Exciting-the-cell-4.jpg Entries & Jurors - 2022 Entries - Nif Hodgson Glendale, California www.nifhodgson.com Light, contour & exciting the cell 2019/2021 Screen-print, letterpress and foil stamp on Japanese Surface Gampi and peach-fuzz textured Curious Touch paper. Drum Leaf binding with a duplexed phase folder and translucent slipcase. 4.25″ x 7.5 “x 0.5” Artist Statement ‘Light, contour & exciting the cell’ is a series that reflects on the transforming nature of light and its ability to reveal, suggest, and change what and how we see. The drawings collect shadows from unseen objects that fall across unremarkable forms, which then create fleeting structures that do not exist. If not for the unique light and orientations in that moment, these locations and elements would have gone unnoticed. 12 unique images are arranged to progress from immersive shadowy forms, to emerging recognizable shapes, to the spare hints of organic architecture that may still be understood. The book focuses on shadow, light, the senses, and how much the viewer brings to noticing and shaping their surroundings. Matte ink is screen printed on reflective gampi to create tonal inversions that highlight the flipping of the senses and moments of materialization. As the pages turn, shadowy forms become light, and white objects turn to shadow. Additional subtle materials, which may be overlooked, are used to engage the senses and chance attention — a translucent slipcase is printed with clear varnish that may only be visible at particular light angles; and white peach-fuzz-textured phase folder and book covers add a tactile quality that will easily mar and record the viewer’s touch. The size, shape, and typefaces used for the book are a nod to vintage pocket atlases and their ‘definitive,’ ‘accurate,’ and ‘complete’ surveys of the known world. As individual observations and momentary landscapes are varied and unique, every print is varied and each collection of images is unique. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864926163-2DK8A1GU00HGMIBPKK9S/mcba-prize-2022-Nif-Hodgson-Light-Contour-Exciting-the-cell-3.jpg Entries & Jurors - 2022 Entries - Nif Hodgson Glendale, California www.nifhodgson.com Light, contour & exciting the cell 2019/2021 Screen-print, letterpress and foil stamp on Japanese Surface Gampi and peach-fuzz textured Curious Touch paper. Drum Leaf binding with a duplexed phase folder and translucent slipcase. 4.25″ x 7.5 “x 0.5” Artist Statement ‘Light, contour & exciting the cell’ is a series that reflects on the transforming nature of light and its ability to reveal, suggest, and change what and how we see. The drawings collect shadows from unseen objects that fall across unremarkable forms, which then create fleeting structures that do not exist. If not for the unique light and orientations in that moment, these locations and elements would have gone unnoticed. 12 unique images are arranged to progress from immersive shadowy forms, to emerging recognizable shapes, to the spare hints of organic architecture that may still be understood. The book focuses on shadow, light, the senses, and how much the viewer brings to noticing and shaping their surroundings. Matte ink is screen printed on reflective gampi to create tonal inversions that highlight the flipping of the senses and moments of materialization. As the pages turn, shadowy forms become light, and white objects turn to shadow. Additional subtle materials, which may be overlooked, are used to engage the senses and chance attention — a translucent slipcase is printed with clear varnish that may only be visible at particular light angles; and white peach-fuzz-textured phase folder and book covers add a tactile quality that will easily mar and record the viewer’s touch. The size, shape, and typefaces used for the book are a nod to vintage pocket atlases and their ‘definitive,’ ‘accurate,’ and ‘complete’ surveys of the known world. As individual observations and momentary landscapes are varied and unique, every print is varied and each collection of images is unique. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864928520-9TON7LP9QU20S4IG63N2/mcba-prize-2022-Nif-Hodgson-Light-Contour-Exciting-the-cell-2.jpg Entries & Jurors - 2022 Entries - Nif Hodgson Glendale, California www.nifhodgson.com Light, contour & exciting the cell 2019/2021 Screen-print, letterpress and foil stamp on Japanese Surface Gampi and peach-fuzz textured Curious Touch paper. Drum Leaf binding with a duplexed phase folder and translucent slipcase. 4.25″ x 7.5 “x 0.5” Artist Statement ‘Light, contour & exciting the cell’ is a series that reflects on the transforming nature of light and its ability to reveal, suggest, and change what and how we see. The drawings collect shadows from unseen objects that fall across unremarkable forms, which then create fleeting structures that do not exist. If not for the unique light and orientations in that moment, these locations and elements would have gone unnoticed. 12 unique images are arranged to progress from immersive shadowy forms, to emerging recognizable shapes, to the spare hints of organic architecture that may still be understood. The book focuses on shadow, light, the senses, and how much the viewer brings to noticing and shaping their surroundings. Matte ink is screen printed on reflective gampi to create tonal inversions that highlight the flipping of the senses and moments of materialization. As the pages turn, shadowy forms become light, and white objects turn to shadow. Additional subtle materials, which may be overlooked, are used to engage the senses and chance attention — a translucent slipcase is printed with clear varnish that may only be visible at particular light angles; and white peach-fuzz-textured phase folder and book covers add a tactile quality that will easily mar and record the viewer’s touch. The size, shape, and typefaces used for the book are a nod to vintage pocket atlases and their ‘definitive,’ ‘accurate,’ and ‘complete’ surveys of the known world. As individual observations and momentary landscapes are varied and unique, every print is varied and each collection of images is unique. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773864928894-DBLHOFGNFB5P6ZNNEE6Q/mcba-prize-2022-Nif-Hodgson-Light-Contour-Exciting-the-cell-1.jpg Entries & Jurors - 2022 Entries - Nif Hodgson Glendale, California www.nifhodgson.com Light, contour & exciting the cell 2019/2021 Screen-print, letterpress and foil stamp on Japanese Surface Gampi and peach-fuzz textured Curious Touch paper. Drum Leaf binding with a duplexed phase folder and translucent slipcase. 4.25″ x 7.5 “x 0.5” Artist Statement ‘Light, contour & exciting the cell’ is a series that reflects on the transforming nature of light and its ability to reveal, suggest, and change what and how we see. The drawings collect shadows from unseen objects that fall across unremarkable forms, which then create fleeting structures that do not exist. If not for the unique light and orientations in that moment, these locations and elements would have gone unnoticed. 12 unique images are arranged to progress from immersive shadowy forms, to emerging recognizable shapes, to the spare hints of organic architecture that may still be understood. The book focuses on shadow, light, the senses, and how much the viewer brings to noticing and shaping their surroundings. Matte ink is screen printed on reflective gampi to create tonal inversions that highlight the flipping of the senses and moments of materialization. As the pages turn, shadowy forms become light, and white objects turn to shadow. Additional subtle materials, which may be overlooked, are used to engage the senses and chance attention — a translucent slipcase is printed with clear varnish that may only be visible at particular light angles; and white peach-fuzz-textured phase folder and book covers add a tactile quality that will easily mar and record the viewer’s touch. The size, shape, and typefaces used for the book are a nod to vintage pocket atlases and their ‘definitive,’ ‘accurate,’ and ‘complete’ surveys of the known world. As individual observations and momentary landscapes are varied and unique, every print is varied and each collection of images is unique. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865071360-M0TAQSW10RWB251KB4F2/mcba-prize-2022-Macy-Chadwick-dislocation-4.jpg Entries & Jurors - 2022 Entries - Macy Chadwick Petaluma, California macychadwick.com (Dis)location 2022 Limited edition book, letterpress printed (polymer plates and linoleum) with archival inkjet printed collage elements, on Zerkall Book paper 10 x 10 x .5 ” closed. 10 x 130 x 10 ” fully extended. Artist Statement The artist’s book, (Dis)location, is a visual narrative communicating the artist’s emotional response to the COVID-19 pandemic through abstract shape and color. In the first few pages of the accordion-style book, geometric shapes in cool blues and greens are aligned and balanced on the page in a lyrical arrangement. As the storyline continues, a few fold-out pages reveal abstracted newspaper columns, and bright, jutting graphics of hot colors. The horizon line then begins to skitter and jump; and imagery becomes increasingly angled, fragmented, and spinning. The back of the book includes a visual interpretation of the news media and the now-familiar barrage of graphics of increasing virus, and infection. Rather than a chronicle of pandemic headlines, data, and dates, (Dis)location employs the universality of color and composition to evoke a world inexorably changed by isolation, sickness and loss. Imagery was inspired by collages created by the artist during isolation in 2020 and 2021. News graphics were based on images published by Johns Hopkins magazine and The New York Times. (Dis)location was printed on the letterpress with linoleum blocks and polymer plates, with additional archival inkjet-printed collage elements. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865070801-DP5UDES1BBUNVJK0N5VT/mcba-prize-2022-Macy-Chadwick-dislocation-3.jpg Entries & Jurors - 2022 Entries - Macy Chadwick Petaluma, California macychadwick.com (Dis)location 2022 Limited edition book, letterpress printed (polymer plates and linoleum) with archival inkjet printed collage elements, on Zerkall Book paper 10 x 10 x .5 ” closed. 10 x 130 x 10 ” fully extended. Artist Statement The artist’s book, (Dis)location, is a visual narrative communicating the artist’s emotional response to the COVID-19 pandemic through abstract shape and color. In the first few pages of the accordion-style book, geometric shapes in cool blues and greens are aligned and balanced on the page in a lyrical arrangement. As the storyline continues, a few fold-out pages reveal abstracted newspaper columns, and bright, jutting graphics of hot colors. The horizon line then begins to skitter and jump; and imagery becomes increasingly angled, fragmented, and spinning. The back of the book includes a visual interpretation of the news media and the now-familiar barrage of graphics of increasing virus, and infection. Rather than a chronicle of pandemic headlines, data, and dates, (Dis)location employs the universality of color and composition to evoke a world inexorably changed by isolation, sickness and loss. Imagery was inspired by collages created by the artist during isolation in 2020 and 2021. News graphics were based on images published by Johns Hopkins magazine and The New York Times. (Dis)location was printed on the letterpress with linoleum blocks and polymer plates, with additional archival inkjet-printed collage elements. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865069698-WYSDW3JDLPA58GI5H1XM/mcba-prize-2022-Macy-Chadwick-dislocation-2.jpg Entries & Jurors - 2022 Entries - Macy Chadwick Petaluma, California macychadwick.com (Dis)location 2022 Limited edition book, letterpress printed (polymer plates and linoleum) with archival inkjet printed collage elements, on Zerkall Book paper 10 x 10 x .5 ” closed. 10 x 130 x 10 ” fully extended. Artist Statement The artist’s book, (Dis)location, is a visual narrative communicating the artist’s emotional response to the COVID-19 pandemic through abstract shape and color. In the first few pages of the accordion-style book, geometric shapes in cool blues and greens are aligned and balanced on the page in a lyrical arrangement. As the storyline continues, a few fold-out pages reveal abstracted newspaper columns, and bright, jutting graphics of hot colors. The horizon line then begins to skitter and jump; and imagery becomes increasingly angled, fragmented, and spinning. The back of the book includes a visual interpretation of the news media and the now-familiar barrage of graphics of increasing virus, and infection. Rather than a chronicle of pandemic headlines, data, and dates, (Dis)location employs the universality of color and composition to evoke a world inexorably changed by isolation, sickness and loss. Imagery was inspired by collages created by the artist during isolation in 2020 and 2021. News graphics were based on images published by Johns Hopkins magazine and The New York Times. (Dis)location was printed on the letterpress with linoleum blocks and polymer plates, with additional archival inkjet-printed collage elements. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865069782-J65S7P3Y9S5AGXQQBSKS/mcba-prize-2022-Macy-Chadwick-dislocation-1.jpg Entries & Jurors - 2022 Entries - Macy Chadwick Petaluma, California macychadwick.com (Dis)location 2022 Limited edition book, letterpress printed (polymer plates and linoleum) with archival inkjet printed collage elements, on Zerkall Book paper 10 x 10 x .5 ” closed. 10 x 130 x 10 ” fully extended. Artist Statement The artist’s book, (Dis)location, is a visual narrative communicating the artist’s emotional response to the COVID-19 pandemic through abstract shape and color. In the first few pages of the accordion-style book, geometric shapes in cool blues and greens are aligned and balanced on the page in a lyrical arrangement. As the storyline continues, a few fold-out pages reveal abstracted newspaper columns, and bright, jutting graphics of hot colors. The horizon line then begins to skitter and jump; and imagery becomes increasingly angled, fragmented, and spinning. The back of the book includes a visual interpretation of the news media and the now-familiar barrage of graphics of increasing virus, and infection. Rather than a chronicle of pandemic headlines, data, and dates, (Dis)location employs the universality of color and composition to evoke a world inexorably changed by isolation, sickness and loss. Imagery was inspired by collages created by the artist during isolation in 2020 and 2021. News graphics were based on images published by Johns Hopkins magazine and The New York Times. (Dis)location was printed on the letterpress with linoleum blocks and polymer plates, with additional archival inkjet-printed collage elements. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865187980-EAEDT7RNG3G8F5GMFVAZ/mcba-prize-2022-Michelle-Moode-A-Winter-Garden-4.jpg Entries & Jurors - 2022 Entries - Michelle Moode Murray, Kentucky http://michellemoode.com A Winter Garden2021 letterpress printing from metal type and photopolymer on handmade paper, natural dyes, graphite marginalia, linen thread. 6″ x 4 1/4″ x 1/2″ closed Artist Statement A book in a pocket, or on a shelf, or in a box. A leaf, a flower, a thought: safely, yet unceremoniously preserved between its leaves. A collection; moments on hold. This artist’s book takes the form of a herbarium and a ghost story. Images derived from line drawings were printed from repurposed photopolymer plates. Printed inclusions are remainders from previous installation work, acting as a souvenir and stepping stones from one project to the next. Text accompanies the images in the form of short poetic captions, printed from tiny metal type. Additional text is manuscript marginalia. The paper was made of carefully collected and curated scraps of offcuts, old work, and ephemera. A Winter Garden grew out of research into the predecessors of contemporary Field Guides, particularly medieval herbals and herbaria. An herbal is an encyclopedic resource of prose describing the appearance, habitat, common and scientific names, and medicinal virtues of plants. Exploring such a massive resource prompts an engaging unease of simultaneously understanding and not understanding all the information: an alphabetical glossary, and indices in three languages, each printed in a different typeface. At the same time, a reader may easily recognize some of the illustrated plant specimens. A Winter Garden’s scale, minimal text and abstract imagery may not prompt an immediate comparison to such a grand tome, but the intention is that readers may have a comparable experience of recognition and wondering. An herbarium is a collection of actual plant specimens, pressed and dried, and collected into a book. These bookish counterparts to botanical gardens were also known as “winter gardens.” They could more easily be taken into the field to compare with living specimens, and they provided identifiable specimens out of season. Likewise, A Winter Garden is a book about being between places, garden-less, looking for home. This project was informed by long winters, (actual and metaphorical) and questions like “Are flowers celebratory or memorial?” and “Where will we store our empty baskets?” Hidden within the book is a small pamphlet made of translucent abaca paper, containing loose cutouts, tiny prints, and a snippet of thread. Maybe a mysterious secret, maybe a packet of seeds, maybe a map out of the dark woods. 6″ x 4 1/4“ x 1/2”, Edition of 17 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865187981-6PZMML6S8I81230ZX9N5/mcba-prize-2022-Michelle-Moode-A-Winter-Garden-3.jpg Entries & Jurors - 2022 Entries - Michelle Moode Murray, Kentucky http://michellemoode.com A Winter Garden2021 letterpress printing from metal type and photopolymer on handmade paper, natural dyes, graphite marginalia, linen thread. 6″ x 4 1/4″ x 1/2″ closed Artist Statement A book in a pocket, or on a shelf, or in a box. A leaf, a flower, a thought: safely, yet unceremoniously preserved between its leaves. A collection; moments on hold. This artist’s book takes the form of a herbarium and a ghost story. Images derived from line drawings were printed from repurposed photopolymer plates. Printed inclusions are remainders from previous installation work, acting as a souvenir and stepping stones from one project to the next. Text accompanies the images in the form of short poetic captions, printed from tiny metal type. Additional text is manuscript marginalia. The paper was made of carefully collected and curated scraps of offcuts, old work, and ephemera. A Winter Garden grew out of research into the predecessors of contemporary Field Guides, particularly medieval herbals and herbaria. An herbal is an encyclopedic resource of prose describing the appearance, habitat, common and scientific names, and medicinal virtues of plants. Exploring such a massive resource prompts an engaging unease of simultaneously understanding and not understanding all the information: an alphabetical glossary, and indices in three languages, each printed in a different typeface. At the same time, a reader may easily recognize some of the illustrated plant specimens. A Winter Garden’s scale, minimal text and abstract imagery may not prompt an immediate comparison to such a grand tome, but the intention is that readers may have a comparable experience of recognition and wondering. An herbarium is a collection of actual plant specimens, pressed and dried, and collected into a book. These bookish counterparts to botanical gardens were also known as “winter gardens.” They could more easily be taken into the field to compare with living specimens, and they provided identifiable specimens out of season. Likewise, A Winter Garden is a book about being between places, garden-less, looking for home. This project was informed by long winters, (actual and metaphorical) and questions like “Are flowers celebratory or memorial?” and “Where will we store our empty baskets?” Hidden within the book is a small pamphlet made of translucent abaca paper, containing loose cutouts, tiny prints, and a snippet of thread. Maybe a mysterious secret, maybe a packet of seeds, maybe a map out of the dark woods. 6″ x 4 1/4“ x 1/2”, Edition of 17 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865190299-XXSRX6PAOO5167CFF1BP/mcba-prize-2022-Michelle-Moode-A-Winter-Garden-2.jpg Entries & Jurors - 2022 Entries - Michelle Moode Murray, Kentucky http://michellemoode.com A Winter Garden2021 letterpress printing from metal type and photopolymer on handmade paper, natural dyes, graphite marginalia, linen thread. 6″ x 4 1/4″ x 1/2″ closed Artist Statement A book in a pocket, or on a shelf, or in a box. A leaf, a flower, a thought: safely, yet unceremoniously preserved between its leaves. A collection; moments on hold. This artist’s book takes the form of a herbarium and a ghost story. Images derived from line drawings were printed from repurposed photopolymer plates. Printed inclusions are remainders from previous installation work, acting as a souvenir and stepping stones from one project to the next. Text accompanies the images in the form of short poetic captions, printed from tiny metal type. Additional text is manuscript marginalia. The paper was made of carefully collected and curated scraps of offcuts, old work, and ephemera. A Winter Garden grew out of research into the predecessors of contemporary Field Guides, particularly medieval herbals and herbaria. An herbal is an encyclopedic resource of prose describing the appearance, habitat, common and scientific names, and medicinal virtues of plants. Exploring such a massive resource prompts an engaging unease of simultaneously understanding and not understanding all the information: an alphabetical glossary, and indices in three languages, each printed in a different typeface. At the same time, a reader may easily recognize some of the illustrated plant specimens. A Winter Garden’s scale, minimal text and abstract imagery may not prompt an immediate comparison to such a grand tome, but the intention is that readers may have a comparable experience of recognition and wondering. An herbarium is a collection of actual plant specimens, pressed and dried, and collected into a book. These bookish counterparts to botanical gardens were also known as “winter gardens.” They could more easily be taken into the field to compare with living specimens, and they provided identifiable specimens out of season. Likewise, A Winter Garden is a book about being between places, garden-less, looking for home. This project was informed by long winters, (actual and metaphorical) and questions like “Are flowers celebratory or memorial?” and “Where will we store our empty baskets?” Hidden within the book is a small pamphlet made of translucent abaca paper, containing loose cutouts, tiny prints, and a snippet of thread. Maybe a mysterious secret, maybe a packet of seeds, maybe a map out of the dark woods. 6″ x 4 1/4“ x 1/2”, Edition of 17 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865190408-Z4EDBTAW2HVLTK5NA268/mcba-prize-2022-Michelle-Moode-A-Winter-Garden-1.jpg Entries & Jurors - 2022 Entries - Michelle Moode Murray, Kentucky http://michellemoode.com A Winter Garden2021 letterpress printing from metal type and photopolymer on handmade paper, natural dyes, graphite marginalia, linen thread. 6″ x 4 1/4″ x 1/2″ closed Artist Statement A book in a pocket, or on a shelf, or in a box. A leaf, a flower, a thought: safely, yet unceremoniously preserved between its leaves. A collection; moments on hold. This artist’s book takes the form of a herbarium and a ghost story. Images derived from line drawings were printed from repurposed photopolymer plates. Printed inclusions are remainders from previous installation work, acting as a souvenir and stepping stones from one project to the next. Text accompanies the images in the form of short poetic captions, printed from tiny metal type. Additional text is manuscript marginalia. The paper was made of carefully collected and curated scraps of offcuts, old work, and ephemera. A Winter Garden grew out of research into the predecessors of contemporary Field Guides, particularly medieval herbals and herbaria. An herbal is an encyclopedic resource of prose describing the appearance, habitat, common and scientific names, and medicinal virtues of plants. Exploring such a massive resource prompts an engaging unease of simultaneously understanding and not understanding all the information: an alphabetical glossary, and indices in three languages, each printed in a different typeface. At the same time, a reader may easily recognize some of the illustrated plant specimens. A Winter Garden’s scale, minimal text and abstract imagery may not prompt an immediate comparison to such a grand tome, but the intention is that readers may have a comparable experience of recognition and wondering. An herbarium is a collection of actual plant specimens, pressed and dried, and collected into a book. These bookish counterparts to botanical gardens were also known as “winter gardens.” They could more easily be taken into the field to compare with living specimens, and they provided identifiable specimens out of season. Likewise, A Winter Garden is a book about being between places, garden-less, looking for home. This project was informed by long winters, (actual and metaphorical) and questions like “Are flowers celebratory or memorial?” and “Where will we store our empty baskets?” Hidden within the book is a small pamphlet made of translucent abaca paper, containing loose cutouts, tiny prints, and a snippet of thread. Maybe a mysterious secret, maybe a packet of seeds, maybe a map out of the dark woods. 6″ x 4 1/4“ x 1/2”, Edition of 17 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865307615-ECET0KGANDV8CGGBHP44/mcba-prize-2022-Jocmarys-Viruet-Feliciano-Sobre-la-Intencion-de-sanar-4.jpg Entries & Jurors - 2022 Entries - Jocmarys Viruet Feliciano Bajadero, Puerto Rico www.jocmarysviruetfeliciano.com Sobre la intención de sanar: texturas y orificios, pletórico y vacío 2022 Handmade paper made out of flax, unclenched abaca and cotton with embedded gauze and, letterpress printed text artist book. 14 x 9 ” x .5″ Artist Statement Sobre la idea de sanar: texturas y orificios, pletórico y vacío is a one-of-a-kind long-stitch book with soft covers that holds 10 spreads of merely healing-gauze paper. The handmade paper is a mixture of flax and unbleached abaca fiber. The sheets are formed thinly and have embedded gauze that has been ripped, stretched and manipulated. The spreads open spaces and incomplete corners. The fiber and the gauze support each other to create a strong and flexible material. The covers are made with flax and unbleached abaca fiber and are printed using a repetition of a photopolymer image that alludes to fiber. This image was taken from a close-up of a joomchi piece that was then manipulated on photoshop. The cover material is slightly heavier than the paper inside to support the text block. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865307780-3G1MUW8NH0AS0B53TN9U/mcba-prize-2022-Jocmarys-Viruet-Feliciano-Sobre-la-Intencion-de-sanar-3.jpg Entries & Jurors - 2022 Entries - Jocmarys Viruet Feliciano Bajadero, Puerto Rico www.jocmarysviruetfeliciano.com Sobre la intención de sanar: texturas y orificios, pletórico y vacío 2022 Handmade paper made out of flax, unclenched abaca and cotton with embedded gauze and, letterpress printed text artist book. 14 x 9 ” x .5″ Artist Statement Sobre la idea de sanar: texturas y orificios, pletórico y vacío is a one-of-a-kind long-stitch book with soft covers that holds 10 spreads of merely healing-gauze paper. The handmade paper is a mixture of flax and unbleached abaca fiber. The sheets are formed thinly and have embedded gauze that has been ripped, stretched and manipulated. The spreads open spaces and incomplete corners. The fiber and the gauze support each other to create a strong and flexible material. The covers are made with flax and unbleached abaca fiber and are printed using a repetition of a photopolymer image that alludes to fiber. This image was taken from a close-up of a joomchi piece that was then manipulated on photoshop. The cover material is slightly heavier than the paper inside to support the text block. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865309699-L3HGT8CIOZQSTXKCWZ2C/mcba-prize-2022-Jocmarys-Viruet-Feliciano-Sobre-la-Intencion-de-sanar-2.jpg Entries & Jurors - 2022 Entries - Jocmarys Viruet Feliciano Bajadero, Puerto Rico www.jocmarysviruetfeliciano.com Sobre la intención de sanar: texturas y orificios, pletórico y vacío 2022 Handmade paper made out of flax, unclenched abaca and cotton with embedded gauze and, letterpress printed text artist book. 14 x 9 ” x .5″ Artist Statement Sobre la idea de sanar: texturas y orificios, pletórico y vacío is a one-of-a-kind long-stitch book with soft covers that holds 10 spreads of merely healing-gauze paper. The handmade paper is a mixture of flax and unbleached abaca fiber. The sheets are formed thinly and have embedded gauze that has been ripped, stretched and manipulated. The spreads open spaces and incomplete corners. The fiber and the gauze support each other to create a strong and flexible material. The covers are made with flax and unbleached abaca fiber and are printed using a repetition of a photopolymer image that alludes to fiber. This image was taken from a close-up of a joomchi piece that was then manipulated on photoshop. The cover material is slightly heavier than the paper inside to support the text block. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865310023-BM0JICUUR5BRF8XTRL5U/mcba-prize-2022-Jocmarys-Viruet-Feliciano-Sobre-la-Intencion-de-sanar-1.jpg Entries & Jurors - 2022 Entries - Jocmarys Viruet Feliciano Bajadero, Puerto Rico www.jocmarysviruetfeliciano.com Sobre la intención de sanar: texturas y orificios, pletórico y vacío 2022 Handmade paper made out of flax, unclenched abaca and cotton with embedded gauze and, letterpress printed text artist book. 14 x 9 ” x .5″ Artist Statement Sobre la idea de sanar: texturas y orificios, pletórico y vacío is a one-of-a-kind long-stitch book with soft covers that holds 10 spreads of merely healing-gauze paper. The handmade paper is a mixture of flax and unbleached abaca fiber. The sheets are formed thinly and have embedded gauze that has been ripped, stretched and manipulated. The spreads open spaces and incomplete corners. The fiber and the gauze support each other to create a strong and flexible material. The covers are made with flax and unbleached abaca fiber and are printed using a repetition of a photopolymer image that alludes to fiber. This image was taken from a close-up of a joomchi piece that was then manipulated on photoshop. The cover material is slightly heavier than the paper inside to support the text block. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865625881-UOSW82O00Y5KR3BPM38N/mcba-prize-2022-Anne-Beck-Remineralization-5.jpg Entries & Jurors - 2022 Entries - Anne Beck Garberville, California www.annebeckprojects.com Remineralization 2019–2022 Case-bound, covered in handmade book cloth with copper oxide ink, screen print, linoleum block print, pulp prints, pulp painting, image transfer, inkjet, suminagashi, inks, clays, pigments, collage, and typewritten text on various found and handmade papers, 96 pages – many foldouts, edition of 9. Artist Statement From the big bang to earth’s dissolution in the near distant future, this is one story of mineral life, geological evolution and recombinant redistribution, and how we hold rocks in our hands and in our bones. Remineralization draws on Eastern metaphysical thinking that everything is simultaneously happening within us right here and right now, and also far far away and long long ago, and opens with a brief rumination in this vein: First Breath Inhale. and it all comes, to a fierce whole, dense as the space between two butting heads. and then, with an eternal force, too loud to be heard, exhale. Second Breath Inhale, draw in from the stars and, exhale, place just so. Loosely organized by the typewritten table of contents, the book unfolds a visual folktale from the big bang’s original mineralization through mining and industrial relations with earth’s geology, resulting in remineralizations and future gems: i Mineralization ii Record of the Rocks iii There’s Gold in Them Thar Hills iv The Prospector & the Landlooker v Simple Machines at First To separate one from another Becoming Partials vi Mineral Resources are extremely important and the increased use of them is a direct measure of progress vii Mineral Light viii Landfill Aggregates & the Unfactory ix ReMineralization Remineralization is a small volume – the size of a field guide – with many fold outs alluding to maps, topographical tools, and the terrain they depict. Likewise, the materials used in its making are also characters in its tale, including copper ink, metallic thread, and metallic and mica pigments. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865625633-VXUF05QRIZ2ML2MRV7WV/mcba-prize-2022-Anne-Beck-Remineralization-4.jpg Entries & Jurors - 2022 Entries - Anne Beck Garberville, California www.annebeckprojects.com Remineralization 2019–2022 Case-bound, covered in handmade book cloth with copper oxide ink, screen print, linoleum block print, pulp prints, pulp painting, image transfer, inkjet, suminagashi, inks, clays, pigments, collage, and typewritten text on various found and handmade papers, 96 pages – many foldouts, edition of 9. Artist Statement From the big bang to earth’s dissolution in the near distant future, this is one story of mineral life, geological evolution and recombinant redistribution, and how we hold rocks in our hands and in our bones. Remineralization draws on Eastern metaphysical thinking that everything is simultaneously happening within us right here and right now, and also far far away and long long ago, and opens with a brief rumination in this vein: First Breath Inhale. and it all comes, to a fierce whole, dense as the space between two butting heads. and then, with an eternal force, too loud to be heard, exhale. Second Breath Inhale, draw in from the stars and, exhale, place just so. Loosely organized by the typewritten table of contents, the book unfolds a visual folktale from the big bang’s original mineralization through mining and industrial relations with earth’s geology, resulting in remineralizations and future gems: i Mineralization ii Record of the Rocks iii There’s Gold in Them Thar Hills iv The Prospector & the Landlooker v Simple Machines at First To separate one from another Becoming Partials vi Mineral Resources are extremely important and the increased use of them is a direct measure of progress vii Mineral Light viii Landfill Aggregates & the Unfactory ix ReMineralization Remineralization is a small volume – the size of a field guide – with many fold outs alluding to maps, topographical tools, and the terrain they depict. Likewise, the materials used in its making are also characters in its tale, including copper ink, metallic thread, and metallic and mica pigments. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865628330-0AWCB62JH3SVB74ACD5R/mcba-prize-2022-Anne-Beck-Remineralization-3.jpg Entries & Jurors - 2022 Entries - Anne Beck Garberville, California www.annebeckprojects.com Remineralization 2019–2022 Case-bound, covered in handmade book cloth with copper oxide ink, screen print, linoleum block print, pulp prints, pulp painting, image transfer, inkjet, suminagashi, inks, clays, pigments, collage, and typewritten text on various found and handmade papers, 96 pages – many foldouts, edition of 9. Artist Statement From the big bang to earth’s dissolution in the near distant future, this is one story of mineral life, geological evolution and recombinant redistribution, and how we hold rocks in our hands and in our bones. Remineralization draws on Eastern metaphysical thinking that everything is simultaneously happening within us right here and right now, and also far far away and long long ago, and opens with a brief rumination in this vein: First Breath Inhale. and it all comes, to a fierce whole, dense as the space between two butting heads. and then, with an eternal force, too loud to be heard, exhale. Second Breath Inhale, draw in from the stars and, exhale, place just so. Loosely organized by the typewritten table of contents, the book unfolds a visual folktale from the big bang’s original mineralization through mining and industrial relations with earth’s geology, resulting in remineralizations and future gems: i Mineralization ii Record of the Rocks iii There’s Gold in Them Thar Hills iv The Prospector & the Landlooker v Simple Machines at First To separate one from another Becoming Partials vi Mineral Resources are extremely important and the increased use of them is a direct measure of progress vii Mineral Light viii Landfill Aggregates & the Unfactory ix ReMineralization Remineralization is a small volume – the size of a field guide – with many fold outs alluding to maps, topographical tools, and the terrain they depict. Likewise, the materials used in its making are also characters in its tale, including copper ink, metallic thread, and metallic and mica pigments. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865628937-ZM481WL2S314V9B8N5KZ/mcba-prize-2022-Anne-Beck-Remineralization-2.jpg Entries & Jurors - 2022 Entries - Anne Beck Garberville, California www.annebeckprojects.com Remineralization 2019–2022 Case-bound, covered in handmade book cloth with copper oxide ink, screen print, linoleum block print, pulp prints, pulp painting, image transfer, inkjet, suminagashi, inks, clays, pigments, collage, and typewritten text on various found and handmade papers, 96 pages – many foldouts, edition of 9. Artist Statement From the big bang to earth’s dissolution in the near distant future, this is one story of mineral life, geological evolution and recombinant redistribution, and how we hold rocks in our hands and in our bones. Remineralization draws on Eastern metaphysical thinking that everything is simultaneously happening within us right here and right now, and also far far away and long long ago, and opens with a brief rumination in this vein: First Breath Inhale. and it all comes, to a fierce whole, dense as the space between two butting heads. and then, with an eternal force, too loud to be heard, exhale. Second Breath Inhale, draw in from the stars and, exhale, place just so. Loosely organized by the typewritten table of contents, the book unfolds a visual folktale from the big bang’s original mineralization through mining and industrial relations with earth’s geology, resulting in remineralizations and future gems: i Mineralization ii Record of the Rocks iii There’s Gold in Them Thar Hills iv The Prospector & the Landlooker v Simple Machines at First To separate one from another Becoming Partials vi Mineral Resources are extremely important and the increased use of them is a direct measure of progress vii Mineral Light viii Landfill Aggregates & the Unfactory ix ReMineralization Remineralization is a small volume – the size of a field guide – with many fold outs alluding to maps, topographical tools, and the terrain they depict. Likewise, the materials used in its making are also characters in its tale, including copper ink, metallic thread, and metallic and mica pigments. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865630505-8LTBAPNNGFKW3KY6LN33/mcba-prize-2022-Anne-Beck-Remineralization-1.jpg Entries & Jurors - 2022 Entries - Anne Beck Garberville, California www.annebeckprojects.com Remineralization 2019–2022 Case-bound, covered in handmade book cloth with copper oxide ink, screen print, linoleum block print, pulp prints, pulp painting, image transfer, inkjet, suminagashi, inks, clays, pigments, collage, and typewritten text on various found and handmade papers, 96 pages – many foldouts, edition of 9. Artist Statement From the big bang to earth’s dissolution in the near distant future, this is one story of mineral life, geological evolution and recombinant redistribution, and how we hold rocks in our hands and in our bones. Remineralization draws on Eastern metaphysical thinking that everything is simultaneously happening within us right here and right now, and also far far away and long long ago, and opens with a brief rumination in this vein: First Breath Inhale. and it all comes, to a fierce whole, dense as the space between two butting heads. and then, with an eternal force, too loud to be heard, exhale. Second Breath Inhale, draw in from the stars and, exhale, place just so. Loosely organized by the typewritten table of contents, the book unfolds a visual folktale from the big bang’s original mineralization through mining and industrial relations with earth’s geology, resulting in remineralizations and future gems: i Mineralization ii Record of the Rocks iii There’s Gold in Them Thar Hills iv The Prospector & the Landlooker v Simple Machines at First To separate one from another Becoming Partials vi Mineral Resources are extremely important and the increased use of them is a direct measure of progress vii Mineral Light viii Landfill Aggregates & the Unfactory ix ReMineralization Remineralization is a small volume – the size of a field guide – with many fold outs alluding to maps, topographical tools, and the terrain they depict. Likewise, the materials used in its making are also characters in its tale, including copper ink, metallic thread, and metallic and mica pigments. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865802585-DQUHQ6CY8PQKGLAURTE8/mcba-prize-2022-Angela-Terry-Print-is-Precious-5.jpg Entries & Jurors - 2022 Entries - Angela Terry Alexandria, Virginia www.angelaterrydesign.com Print is Precious: a design manifesto 2021 laser print, risograph, screen print, french fold, wire-o binding 8.5″ (L) x 7.5″ (W) x .75″ (H) Artist Statement Print is Precious: a design manifesto is a confession of love for print design. The book is a “brand guide” that states and demonstrates my style. It reflects upon my different life influences and how it manifests in my work. Fully invested in the digital world, people say that print is dead, but it is not—it is precious. The text states, while the book demonstrates all the little things that I love about print, from typography to printing techniques, color to binding, and how books are just as interactive as the digital world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865802647-KXMZZQOQI4WFN8EERMMT/mcba-prize-2022-Angela-Terry-Print-is-Precious-4.jpg Entries & Jurors - 2022 Entries - Angela Terry Alexandria, Virginia www.angelaterrydesign.com Print is Precious: a design manifesto 2021 laser print, risograph, screen print, french fold, wire-o binding 8.5″ (L) x 7.5″ (W) x .75″ (H) Artist Statement Print is Precious: a design manifesto is a confession of love for print design. The book is a “brand guide” that states and demonstrates my style. It reflects upon my different life influences and how it manifests in my work. Fully invested in the digital world, people say that print is dead, but it is not—it is precious. The text states, while the book demonstrates all the little things that I love about print, from typography to printing techniques, color to binding, and how books are just as interactive as the digital world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865804390-7WVJ5HA3WT48F1ECRNAN/mcba-prize-2022-Angela-Terry-Print-is-Precious-3.jpg Entries & Jurors - 2022 Entries - Angela Terry Alexandria, Virginia www.angelaterrydesign.com Print is Precious: a design manifesto 2021 laser print, risograph, screen print, french fold, wire-o binding 8.5″ (L) x 7.5″ (W) x .75″ (H) Artist Statement Print is Precious: a design manifesto is a confession of love for print design. The book is a “brand guide” that states and demonstrates my style. It reflects upon my different life influences and how it manifests in my work. Fully invested in the digital world, people say that print is dead, but it is not—it is precious. The text states, while the book demonstrates all the little things that I love about print, from typography to printing techniques, color to binding, and how books are just as interactive as the digital world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865805081-V3AZEVUEV38T4EZYG1ZL/mcba-prize-2022-Angela-Terry-Print-is-Precious-2.jpg Entries & Jurors - 2022 Entries - Angela Terry Alexandria, Virginia www.angelaterrydesign.com Print is Precious: a design manifesto 2021 laser print, risograph, screen print, french fold, wire-o binding 8.5″ (L) x 7.5″ (W) x .75″ (H) Artist Statement Print is Precious: a design manifesto is a confession of love for print design. The book is a “brand guide” that states and demonstrates my style. It reflects upon my different life influences and how it manifests in my work. Fully invested in the digital world, people say that print is dead, but it is not—it is precious. The text states, while the book demonstrates all the little things that I love about print, from typography to printing techniques, color to binding, and how books are just as interactive as the digital world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773865806011-WUBREQGVMTKP8BJV0K9K/mcba-prize-2022-Angela-Terry-Print-is-Precious-1.jpg Entries & Jurors - 2022 Entries - Angela Terry Alexandria, Virginia www.angelaterrydesign.com Print is Precious: a design manifesto 2021 laser print, risograph, screen print, french fold, wire-o binding 8.5″ (L) x 7.5″ (W) x .75″ (H) Artist Statement Print is Precious: a design manifesto is a confession of love for print design. The book is a “brand guide” that states and demonstrates my style. It reflects upon my different life influences and how it manifests in my work. Fully invested in the digital world, people say that print is dead, but it is not—it is precious. The text states, while the book demonstrates all the little things that I love about print, from typography to printing techniques, color to binding, and how books are just as interactive as the digital world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773866652385-T08UFEK0LZKZZI6RRYQF/mcba-prize-2022-Emerson-Alexander-to-you-with-love-1.jpg Entries & Jurors - 2022 Entries - Emerson Alexander Baltimore, Maryland To you… With love 2021 Screen print on Rives Lightweight, handmade cotton rag and graph papers. Book structure is made of glassine. 6″x 2″ x 3″ Artist Statement A fictional correspondence told through collected ephemera. Inspired by my own habitual collection of ephemera and personification of objects, as well as a love for snail-mail, the book explores collections, sentimentality, ephemera and how narrative can be woven through those elements. In the glassine folded pockets are remnants of a relationship told only though items sent in the mail. The viewer acts as the collections keeper, the notes and photos piecing together their story. Through the examination of its contents, this book reveals an unresolved love story, first dates, long distance letters and small things sent in the moments between meetings. The book’s images are sourced from my own personal collection of objects. This included vintage postcards, stamps, photos, objects, and tickets that I bought in vintage stores, thrift shops, antique stores and estate sales. I also did additional material research on old letters, letter locking and stamps for additional content in the book. Following their collection, I redrew several of the objects and images and then exposed those images onto screens for printing. The prints were then hand colored with watercolor. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773866646687-Z9PYH2ASE9FRENCTCXA1/mcba-prize-2022-Emerson-Alexander-to-you-with-love-5.jpg Entries & Jurors - 2022 Entries - Emerson Alexander Baltimore, Maryland To you… With love 2021 Screen print on Rives Lightweight, handmade cotton rag and graph papers. Book structure is made of glassine. 6″x 2″ x 3″ Artist Statement A fictional correspondence told through collected ephemera. Inspired by my own habitual collection of ephemera and personification of objects, as well as a love for snail-mail, the book explores collections, sentimentality, ephemera and how narrative can be woven through those elements. In the glassine folded pockets are remnants of a relationship told only though items sent in the mail. The viewer acts as the collections keeper, the notes and photos piecing together their story. Through the examination of its contents, this book reveals an unresolved love story, first dates, long distance letters and small things sent in the moments between meetings. The book’s images are sourced from my own personal collection of objects. This included vintage postcards, stamps, photos, objects, and tickets that I bought in vintage stores, thrift shops, antique stores and estate sales. I also did additional material research on old letters, letter locking and stamps for additional content in the book. Following their collection, I redrew several of the objects and images and then exposed those images onto screens for printing. The prints were then hand colored with watercolor. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773866647775-P1EZ4FJOGE4V9RLDJVTM/mcba-prize-2022-Emerson-Alexander-to-you-with-love-4.jpg Entries & Jurors - 2022 Entries - Emerson Alexander Baltimore, Maryland To you… With love 2021 Screen print on Rives Lightweight, handmade cotton rag and graph papers. Book structure is made of glassine. 6″x 2″ x 3″ Artist Statement A fictional correspondence told through collected ephemera. Inspired by my own habitual collection of ephemera and personification of objects, as well as a love for snail-mail, the book explores collections, sentimentality, ephemera and how narrative can be woven through those elements. In the glassine folded pockets are remnants of a relationship told only though items sent in the mail. The viewer acts as the collections keeper, the notes and photos piecing together their story. Through the examination of its contents, this book reveals an unresolved love story, first dates, long distance letters and small things sent in the moments between meetings. The book’s images are sourced from my own personal collection of objects. This included vintage postcards, stamps, photos, objects, and tickets that I bought in vintage stores, thrift shops, antique stores and estate sales. I also did additional material research on old letters, letter locking and stamps for additional content in the book. Following their collection, I redrew several of the objects and images and then exposed those images onto screens for printing. The prints were then hand colored with watercolor. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773866650944-OBEK69FXPIKLTF0XJJ5W/mcba-prize-2022-Emerson-Alexander-to-you-with-love-3.jpg Entries & Jurors - 2022 Entries - Emerson Alexander Baltimore, Maryland To you… With love 2021 Screen print on Rives Lightweight, handmade cotton rag and graph papers. Book structure is made of glassine. 6″x 2″ x 3″ Artist Statement A fictional correspondence told through collected ephemera. Inspired by my own habitual collection of ephemera and personification of objects, as well as a love for snail-mail, the book explores collections, sentimentality, ephemera and how narrative can be woven through those elements. In the glassine folded pockets are remnants of a relationship told only though items sent in the mail. The viewer acts as the collections keeper, the notes and photos piecing together their story. Through the examination of its contents, this book reveals an unresolved love story, first dates, long distance letters and small things sent in the moments between meetings. The book’s images are sourced from my own personal collection of objects. This included vintage postcards, stamps, photos, objects, and tickets that I bought in vintage stores, thrift shops, antique stores and estate sales. I also did additional material research on old letters, letter locking and stamps for additional content in the book. Following their collection, I redrew several of the objects and images and then exposed those images onto screens for printing. The prints were then hand colored with watercolor. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773866651921-FMBL1Q1Y0SXUIR6VXVOW/mcba-prize-2022-Emerson-Alexander-to-you-with-love-2.jpg Entries & Jurors - 2022 Entries - Emerson Alexander Baltimore, Maryland To you… With love 2021 Screen print on Rives Lightweight, handmade cotton rag and graph papers. Book structure is made of glassine. 6″x 2″ x 3″ Artist Statement A fictional correspondence told through collected ephemera. Inspired by my own habitual collection of ephemera and personification of objects, as well as a love for snail-mail, the book explores collections, sentimentality, ephemera and how narrative can be woven through those elements. In the glassine folded pockets are remnants of a relationship told only though items sent in the mail. The viewer acts as the collections keeper, the notes and photos piecing together their story. Through the examination of its contents, this book reveals an unresolved love story, first dates, long distance letters and small things sent in the moments between meetings. The book’s images are sourced from my own personal collection of objects. This included vintage postcards, stamps, photos, objects, and tickets that I bought in vintage stores, thrift shops, antique stores and estate sales. I also did additional material research on old letters, letter locking and stamps for additional content in the book. Following their collection, I redrew several of the objects and images and then exposed those images onto screens for printing. The prints were then hand colored with watercolor. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773866863689-B8NSOUOSG5N9VAPCN4UM/mcba-prize-2022-Joy-Wagner-Sleep-My-Dear-4.jpeg Entries & Jurors - 2022 Entries - Joy Wagner Minneapolis, Minnesota Sleep, My Dear 2019 Paper & string 25″ x 40″ Artist Statement This book details something I experience every single morning. In a world of extroverts and early-birds, I am an introverted night-owl. The struggle is real! Waking up is the most painful part of my day. I am here to represent those who have brains that thrive in the night, but have no love for the daytime hours. The alarm clock is my nemesis. This quilt tells the story of pushing snooze a dozen times, complete with justification, frustration and imagined humiliation. The clock numbers get bigger with each hand-sewn panel, representing the increasing urgency of getting up and at ’em. The writer’s struggle to rise, increases their disillusionment with the day ahead. And makes them feel defeated before leaving the house. But, I do promise, her day gets better! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773866868061-H6E840X9ETT4H3K9HTTX/mcba-prize-2022-Joy-Wagner-Sleep-My-Dear-1.jpeg Entries & Jurors - 2022 Entries - Joy Wagner Minneapolis, Minnesota Sleep, My Dear 2019 Paper & string 25″ x 40″ Artist Statement This book details something I experience every single morning. In a world of extroverts and early-birds, I am an introverted night-owl. The struggle is real! Waking up is the most painful part of my day. I am here to represent those who have brains that thrive in the night, but have no love for the daytime hours. The alarm clock is my nemesis. This quilt tells the story of pushing snooze a dozen times, complete with justification, frustration and imagined humiliation. The clock numbers get bigger with each hand-sewn panel, representing the increasing urgency of getting up and at ’em. The writer’s struggle to rise, increases their disillusionment with the day ahead. And makes them feel defeated before leaving the house. But, I do promise, her day gets better! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773866865410-HUQ9X9FV73QKOCG0Q7DX/mcba-prize-2022-Joy-Wagner-Sleep-My-Dear-3.jpeg Entries & Jurors - 2022 Entries - Joy Wagner Minneapolis, Minnesota Sleep, My Dear 2019 Paper & string 25″ x 40″ Artist Statement This book details something I experience every single morning. In a world of extroverts and early-birds, I am an introverted night-owl. The struggle is real! Waking up is the most painful part of my day. I am here to represent those who have brains that thrive in the night, but have no love for the daytime hours. The alarm clock is my nemesis. This quilt tells the story of pushing snooze a dozen times, complete with justification, frustration and imagined humiliation. The clock numbers get bigger with each hand-sewn panel, representing the increasing urgency of getting up and at ’em. The writer’s struggle to rise, increases their disillusionment with the day ahead. And makes them feel defeated before leaving the house. But, I do promise, her day gets better! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773866867098-HYQHMFV1A9Q508ZEYA5X/mcba-prize-2022-Joy-Wagner-Sleep-My-Dear-2.jpeg Entries & Jurors - 2022 Entries - Joy Wagner Minneapolis, Minnesota Sleep, My Dear 2019 Paper & string 25″ x 40″ Artist Statement This book details something I experience every single morning. In a world of extroverts and early-birds, I am an introverted night-owl. The struggle is real! Waking up is the most painful part of my day. I am here to represent those who have brains that thrive in the night, but have no love for the daytime hours. The alarm clock is my nemesis. This quilt tells the story of pushing snooze a dozen times, complete with justification, frustration and imagined humiliation. The clock numbers get bigger with each hand-sewn panel, representing the increasing urgency of getting up and at ’em. The writer’s struggle to rise, increases their disillusionment with the day ahead. And makes them feel defeated before leaving the house. But, I do promise, her day gets better! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867276591-1VUYDQ9BG8UZDO02XBQW/mcba-prize-2022-Antonio-Guerra-Nahualli-5.jpg Entries & Jurors - 2022 Entries - Antonio Guerra Mexico Nahualli 2022 Photolithography, Serigraphy, Handmade binding 13 x 11 x 1 inches (closed) 156 x 11 x 1 inches (extended) Nahualli es un cuento que habla del amor, del poder de la mujer, los ciclos de la vida, las fuerzas del universo, la medicina tradicional, la conexión espiritual con nosotros mismos, con la naturaleza y todos los seres vivos. Está inspirado en las fantásticas historias que contaban los abuelos y que desde pequeños creíamos, sin saber qué tan reales eran, y que seguiremos contando a las nuevas generaciones. El cuento y las ilustraciones de esta historia fueron creados por Antonio Guerra, los textos se imprimieron en serigrafía sobre papel DePonte de 300g en Tinta Taller, las ilustraciones se imprimieron con la técnica de fotolitografía sobre papel Arches de 300g en La Trampa Gráfica Contemporánea y para su encuadernación se utilizó papel amate en las portadas. El libro se terminó en marzo 2022 en la Ciudad de México. La edición consta de 20 ejemplares seriados y firmados por el autor, este es el número: Nahualli is a story about love, the power of women, the cycles of life, the forces of the universe, traditional medicine, the spiritual connection with ourselves, with nature and all living beings. It is inspired by the fantastic stories that our grandparents used to tell and that we believed since we were little, without knowing how real they were, and that we will continue telling the new generations. The story and illustrations were created by Antonio Guerra, the texts were screen printed on 300g DePonte paper at Tinta Taller, the illustrations were printed with the photolithography technique on 300g Arches paper at La Trampa Gráfica Contemporánea and the binding was made with amate paper on the covers. The book was finished on March 2022 in Mexico City. The edition consists of 20 serial copies signed by the author https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867276806-FMSJ3MDXQWZWWIJUPBH9/mcba-prize-2022-Antonio-Guerra-Nahualli-4.jpg Entries & Jurors - 2022 Entries - Antonio Guerra Mexico Nahualli 2022 Photolithography, Serigraphy, Handmade binding 13 x 11 x 1 inches (closed) 156 x 11 x 1 inches (extended) Nahualli es un cuento que habla del amor, del poder de la mujer, los ciclos de la vida, las fuerzas del universo, la medicina tradicional, la conexión espiritual con nosotros mismos, con la naturaleza y todos los seres vivos. Está inspirado en las fantásticas historias que contaban los abuelos y que desde pequeños creíamos, sin saber qué tan reales eran, y que seguiremos contando a las nuevas generaciones. El cuento y las ilustraciones de esta historia fueron creados por Antonio Guerra, los textos se imprimieron en serigrafía sobre papel DePonte de 300g en Tinta Taller, las ilustraciones se imprimieron con la técnica de fotolitografía sobre papel Arches de 300g en La Trampa Gráfica Contemporánea y para su encuadernación se utilizó papel amate en las portadas. El libro se terminó en marzo 2022 en la Ciudad de México. La edición consta de 20 ejemplares seriados y firmados por el autor, este es el número: Nahualli is a story about love, the power of women, the cycles of life, the forces of the universe, traditional medicine, the spiritual connection with ourselves, with nature and all living beings. It is inspired by the fantastic stories that our grandparents used to tell and that we believed since we were little, without knowing how real they were, and that we will continue telling the new generations. The story and illustrations were created by Antonio Guerra, the texts were screen printed on 300g DePonte paper at Tinta Taller, the illustrations were printed with the photolithography technique on 300g Arches paper at La Trampa Gráfica Contemporánea and the binding was made with amate paper on the covers. The book was finished on March 2022 in Mexico City. The edition consists of 20 serial copies signed by the author https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867278504-F4R9YM5YS2EHCNODFAJU/mcba-prize-2022-Antonio-Guerra-Nahualli-3.jpg Entries & Jurors - 2022 Entries - Antonio Guerra Mexico Nahualli 2022 Photolithography, Serigraphy, Handmade binding 13 x 11 x 1 inches (closed) 156 x 11 x 1 inches (extended) Nahualli es un cuento que habla del amor, del poder de la mujer, los ciclos de la vida, las fuerzas del universo, la medicina tradicional, la conexión espiritual con nosotros mismos, con la naturaleza y todos los seres vivos. Está inspirado en las fantásticas historias que contaban los abuelos y que desde pequeños creíamos, sin saber qué tan reales eran, y que seguiremos contando a las nuevas generaciones. El cuento y las ilustraciones de esta historia fueron creados por Antonio Guerra, los textos se imprimieron en serigrafía sobre papel DePonte de 300g en Tinta Taller, las ilustraciones se imprimieron con la técnica de fotolitografía sobre papel Arches de 300g en La Trampa Gráfica Contemporánea y para su encuadernación se utilizó papel amate en las portadas. El libro se terminó en marzo 2022 en la Ciudad de México. La edición consta de 20 ejemplares seriados y firmados por el autor, este es el número: Nahualli is a story about love, the power of women, the cycles of life, the forces of the universe, traditional medicine, the spiritual connection with ourselves, with nature and all living beings. It is inspired by the fantastic stories that our grandparents used to tell and that we believed since we were little, without knowing how real they were, and that we will continue telling the new generations. The story and illustrations were created by Antonio Guerra, the texts were screen printed on 300g DePonte paper at Tinta Taller, the illustrations were printed with the photolithography technique on 300g Arches paper at La Trampa Gráfica Contemporánea and the binding was made with amate paper on the covers. The book was finished on March 2022 in Mexico City. The edition consists of 20 serial copies signed by the author https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867278914-I5MB31I6Q3QHITH9S997/mcba-prize-2022-Antonio-Guerra-Nahualli-2.jpg Entries & Jurors - 2022 Entries - Antonio Guerra Mexico Nahualli 2022 Photolithography, Serigraphy, Handmade binding 13 x 11 x 1 inches (closed) 156 x 11 x 1 inches (extended) Nahualli es un cuento que habla del amor, del poder de la mujer, los ciclos de la vida, las fuerzas del universo, la medicina tradicional, la conexión espiritual con nosotros mismos, con la naturaleza y todos los seres vivos. Está inspirado en las fantásticas historias que contaban los abuelos y que desde pequeños creíamos, sin saber qué tan reales eran, y que seguiremos contando a las nuevas generaciones. El cuento y las ilustraciones de esta historia fueron creados por Antonio Guerra, los textos se imprimieron en serigrafía sobre papel DePonte de 300g en Tinta Taller, las ilustraciones se imprimieron con la técnica de fotolitografía sobre papel Arches de 300g en La Trampa Gráfica Contemporánea y para su encuadernación se utilizó papel amate en las portadas. El libro se terminó en marzo 2022 en la Ciudad de México. La edición consta de 20 ejemplares seriados y firmados por el autor, este es el número: Nahualli is a story about love, the power of women, the cycles of life, the forces of the universe, traditional medicine, the spiritual connection with ourselves, with nature and all living beings. It is inspired by the fantastic stories that our grandparents used to tell and that we believed since we were little, without knowing how real they were, and that we will continue telling the new generations. The story and illustrations were created by Antonio Guerra, the texts were screen printed on 300g DePonte paper at Tinta Taller, the illustrations were printed with the photolithography technique on 300g Arches paper at La Trampa Gráfica Contemporánea and the binding was made with amate paper on the covers. The book was finished on March 2022 in Mexico City. The edition consists of 20 serial copies signed by the author https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867280167-6LX4COKEBKNFH3ZTR2W6/mcba-prize-2022-Antonio-Guerra-Nahualli-1.jpg Entries & Jurors - 2022 Entries - Antonio Guerra Mexico Nahualli 2022 Photolithography, Serigraphy, Handmade binding 13 x 11 x 1 inches (closed) 156 x 11 x 1 inches (extended) Nahualli es un cuento que habla del amor, del poder de la mujer, los ciclos de la vida, las fuerzas del universo, la medicina tradicional, la conexión espiritual con nosotros mismos, con la naturaleza y todos los seres vivos. Está inspirado en las fantásticas historias que contaban los abuelos y que desde pequeños creíamos, sin saber qué tan reales eran, y que seguiremos contando a las nuevas generaciones. El cuento y las ilustraciones de esta historia fueron creados por Antonio Guerra, los textos se imprimieron en serigrafía sobre papel DePonte de 300g en Tinta Taller, las ilustraciones se imprimieron con la técnica de fotolitografía sobre papel Arches de 300g en La Trampa Gráfica Contemporánea y para su encuadernación se utilizó papel amate en las portadas. El libro se terminó en marzo 2022 en la Ciudad de México. La edición consta de 20 ejemplares seriados y firmados por el autor, este es el número: Nahualli is a story about love, the power of women, the cycles of life, the forces of the universe, traditional medicine, the spiritual connection with ourselves, with nature and all living beings. It is inspired by the fantastic stories that our grandparents used to tell and that we believed since we were little, without knowing how real they were, and that we will continue telling the new generations. The story and illustrations were created by Antonio Guerra, the texts were screen printed on 300g DePonte paper at Tinta Taller, the illustrations were printed with the photolithography technique on 300g Arches paper at La Trampa Gráfica Contemporánea and the binding was made with amate paper on the covers. The book was finished on March 2022 in Mexico City. The edition consists of 20 serial copies signed by the author https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867572222-VQWIQ0RHHJYXKL8ZIK3J/mcba-prize-2022-Ines-von-Ketelhodt-Franz-Kafka-1.jpg Entries & Jurors - 2022 Entries - Ines von Ketelhodt Flörsheim, Germany tloen-enzyklopaedie.de Franz Kafka, Die Sorge des Hausvaters 2021 hand-set, letterpress printed, glassine and mouldmade paper book (11.26 x 7.83 x 0.35 in), clamshell box (11.73 x 8.15 x 0.71 in) Artist Statement Franz Kafka, Die Sorge des Hausvaters (The Cares of a Family Man) Franz Kafka’s story is about a strange thing – or creature – called “Odradek.” “At first glance it looks like a flat star-shaped spool for thread, and indeed it does seem to have thread wound upon it; to be sure, they are only old, broken-off bits of thread, knotted and tangled together, of the most varied sorts and colors. But it is not only a spool, […] Odradek is extraordinarily nimble and can never be laid hold of. […] Am I to suppose, then, that he will always be rolling down the stairs, with ends of thread trailing after him, right before the feet of my children, and my children’s children? He does no harm to anyone that one can see; but the idea that he is likely to survive me I find almost painful.” Kafka’s text is broken down into short phrases and spread out across all the pages of the book. There is only one line per page. Due to the transparency of the glassine book pages, the phrases on the following pages show through. The switch to individual lines seems to have interrupted the narrative thread, so that one “loses the thread” while reading. In order to stitch the narration back together and to create a complete textual fabric, the individual text segments are connected by a piece of red thread about 8 meters (26 feet) long. From one page to the next, the red silk thread pierces the glassine paper and ultimately continues through the entire book, connecting the line of text on each page with the following one. When the book is opened, the reader sees not only a space with lines of text in differing lengths, but also the red thread, which “moves with” the pages each time they are turned. Thus the reader/viewer is constantly changing the appearance of the double pages while turning the pages. Design, hand-set, letterpress and bookbinding by the artist. Embossed cloth-covered boards (28.6 x 19.9 cm) housed in a paper-covered clamshell box (29.8 x 20.7 x 1.8 cm), glassine paper (50 g/m2), Zerkall mouldmade paper (115 g/m2), 96 pages, 35 numbered and signed copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867567249-MUQDL2NKJ0HSOMHU845Y/mcba-prize-2022-Ines-von-Ketelhodt-Franz-Kafka-5.jpg Entries & Jurors - 2022 Entries - Ines von Ketelhodt Flörsheim, Germany tloen-enzyklopaedie.de Franz Kafka, Die Sorge des Hausvaters 2021 hand-set, letterpress printed, glassine and mouldmade paper book (11.26 x 7.83 x 0.35 in), clamshell box (11.73 x 8.15 x 0.71 in) Artist Statement Franz Kafka, Die Sorge des Hausvaters (The Cares of a Family Man) Franz Kafka’s story is about a strange thing – or creature – called “Odradek.” “At first glance it looks like a flat star-shaped spool for thread, and indeed it does seem to have thread wound upon it; to be sure, they are only old, broken-off bits of thread, knotted and tangled together, of the most varied sorts and colors. But it is not only a spool, […] Odradek is extraordinarily nimble and can never be laid hold of. […] Am I to suppose, then, that he will always be rolling down the stairs, with ends of thread trailing after him, right before the feet of my children, and my children’s children? He does no harm to anyone that one can see; but the idea that he is likely to survive me I find almost painful.” Kafka’s text is broken down into short phrases and spread out across all the pages of the book. There is only one line per page. Due to the transparency of the glassine book pages, the phrases on the following pages show through. The switch to individual lines seems to have interrupted the narrative thread, so that one “loses the thread” while reading. In order to stitch the narration back together and to create a complete textual fabric, the individual text segments are connected by a piece of red thread about 8 meters (26 feet) long. From one page to the next, the red silk thread pierces the glassine paper and ultimately continues through the entire book, connecting the line of text on each page with the following one. When the book is opened, the reader sees not only a space with lines of text in differing lengths, but also the red thread, which “moves with” the pages each time they are turned. Thus the reader/viewer is constantly changing the appearance of the double pages while turning the pages. Design, hand-set, letterpress and bookbinding by the artist. Embossed cloth-covered boards (28.6 x 19.9 cm) housed in a paper-covered clamshell box (29.8 x 20.7 x 1.8 cm), glassine paper (50 g/m2), Zerkall mouldmade paper (115 g/m2), 96 pages, 35 numbered and signed copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867567252-7SL8E02EGE5A0NL5H2LH/mcba-prize-2022-Ines-von-Ketelhodt-Franz-Kafka-4.jpg Entries & Jurors - 2022 Entries - Ines von Ketelhodt Flörsheim, Germany tloen-enzyklopaedie.de Franz Kafka, Die Sorge des Hausvaters 2021 hand-set, letterpress printed, glassine and mouldmade paper book (11.26 x 7.83 x 0.35 in), clamshell box (11.73 x 8.15 x 0.71 in) Artist Statement Franz Kafka, Die Sorge des Hausvaters (The Cares of a Family Man) Franz Kafka’s story is about a strange thing – or creature – called “Odradek.” “At first glance it looks like a flat star-shaped spool for thread, and indeed it does seem to have thread wound upon it; to be sure, they are only old, broken-off bits of thread, knotted and tangled together, of the most varied sorts and colors. But it is not only a spool, […] Odradek is extraordinarily nimble and can never be laid hold of. […] Am I to suppose, then, that he will always be rolling down the stairs, with ends of thread trailing after him, right before the feet of my children, and my children’s children? He does no harm to anyone that one can see; but the idea that he is likely to survive me I find almost painful.” Kafka’s text is broken down into short phrases and spread out across all the pages of the book. There is only one line per page. Due to the transparency of the glassine book pages, the phrases on the following pages show through. The switch to individual lines seems to have interrupted the narrative thread, so that one “loses the thread” while reading. In order to stitch the narration back together and to create a complete textual fabric, the individual text segments are connected by a piece of red thread about 8 meters (26 feet) long. From one page to the next, the red silk thread pierces the glassine paper and ultimately continues through the entire book, connecting the line of text on each page with the following one. When the book is opened, the reader sees not only a space with lines of text in differing lengths, but also the red thread, which “moves with” the pages each time they are turned. Thus the reader/viewer is constantly changing the appearance of the double pages while turning the pages. Design, hand-set, letterpress and bookbinding by the artist. Embossed cloth-covered boards (28.6 x 19.9 cm) housed in a paper-covered clamshell box (29.8 x 20.7 x 1.8 cm), glassine paper (50 g/m2), Zerkall mouldmade paper (115 g/m2), 96 pages, 35 numbered and signed copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867570472-DHYEVB8598TNK79XIHBR/mcba-prize-2022-Ines-von-Ketelhodt-Franz-Kafka-3.jpg Entries & Jurors - 2022 Entries - Ines von Ketelhodt Flörsheim, Germany tloen-enzyklopaedie.de Franz Kafka, Die Sorge des Hausvaters 2021 hand-set, letterpress printed, glassine and mouldmade paper book (11.26 x 7.83 x 0.35 in), clamshell box (11.73 x 8.15 x 0.71 in) Artist Statement Franz Kafka, Die Sorge des Hausvaters (The Cares of a Family Man) Franz Kafka’s story is about a strange thing – or creature – called “Odradek.” “At first glance it looks like a flat star-shaped spool for thread, and indeed it does seem to have thread wound upon it; to be sure, they are only old, broken-off bits of thread, knotted and tangled together, of the most varied sorts and colors. But it is not only a spool, […] Odradek is extraordinarily nimble and can never be laid hold of. […] Am I to suppose, then, that he will always be rolling down the stairs, with ends of thread trailing after him, right before the feet of my children, and my children’s children? He does no harm to anyone that one can see; but the idea that he is likely to survive me I find almost painful.” Kafka’s text is broken down into short phrases and spread out across all the pages of the book. There is only one line per page. Due to the transparency of the glassine book pages, the phrases on the following pages show through. The switch to individual lines seems to have interrupted the narrative thread, so that one “loses the thread” while reading. In order to stitch the narration back together and to create a complete textual fabric, the individual text segments are connected by a piece of red thread about 8 meters (26 feet) long. From one page to the next, the red silk thread pierces the glassine paper and ultimately continues through the entire book, connecting the line of text on each page with the following one. When the book is opened, the reader sees not only a space with lines of text in differing lengths, but also the red thread, which “moves with” the pages each time they are turned. Thus the reader/viewer is constantly changing the appearance of the double pages while turning the pages. Design, hand-set, letterpress and bookbinding by the artist. Embossed cloth-covered boards (28.6 x 19.9 cm) housed in a paper-covered clamshell box (29.8 x 20.7 x 1.8 cm), glassine paper (50 g/m2), Zerkall mouldmade paper (115 g/m2), 96 pages, 35 numbered and signed copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867571060-AY1T7UFWX9BIY03J0FYM/mcba-prize-2022-Ines-von-Ketelhodt-Franz-Kafka-2.jpg Entries & Jurors - 2022 Entries - Ines von Ketelhodt Flörsheim, Germany tloen-enzyklopaedie.de Franz Kafka, Die Sorge des Hausvaters 2021 hand-set, letterpress printed, glassine and mouldmade paper book (11.26 x 7.83 x 0.35 in), clamshell box (11.73 x 8.15 x 0.71 in) Artist Statement Franz Kafka, Die Sorge des Hausvaters (The Cares of a Family Man) Franz Kafka’s story is about a strange thing – or creature – called “Odradek.” “At first glance it looks like a flat star-shaped spool for thread, and indeed it does seem to have thread wound upon it; to be sure, they are only old, broken-off bits of thread, knotted and tangled together, of the most varied sorts and colors. But it is not only a spool, […] Odradek is extraordinarily nimble and can never be laid hold of. […] Am I to suppose, then, that he will always be rolling down the stairs, with ends of thread trailing after him, right before the feet of my children, and my children’s children? He does no harm to anyone that one can see; but the idea that he is likely to survive me I find almost painful.” Kafka’s text is broken down into short phrases and spread out across all the pages of the book. There is only one line per page. Due to the transparency of the glassine book pages, the phrases on the following pages show through. The switch to individual lines seems to have interrupted the narrative thread, so that one “loses the thread” while reading. In order to stitch the narration back together and to create a complete textual fabric, the individual text segments are connected by a piece of red thread about 8 meters (26 feet) long. From one page to the next, the red silk thread pierces the glassine paper and ultimately continues through the entire book, connecting the line of text on each page with the following one. When the book is opened, the reader sees not only a space with lines of text in differing lengths, but also the red thread, which “moves with” the pages each time they are turned. Thus the reader/viewer is constantly changing the appearance of the double pages while turning the pages. Design, hand-set, letterpress and bookbinding by the artist. Embossed cloth-covered boards (28.6 x 19.9 cm) housed in a paper-covered clamshell box (29.8 x 20.7 x 1.8 cm), glassine paper (50 g/m2), Zerkall mouldmade paper (115 g/m2), 96 pages, 35 numbered and signed copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867716695-CJUY03R6JVANKD7CCAST/mcba-prize-2022-Chris-Perry-195-Ripples-1.jpeg Entries & Jurors - 2022 Entries - Chris Perry Ridgefield, Connecticut csperry.net 195 Ripples: water(wheel) 2020 Altered book 92 x 13 x 13 Artist Statement I use hand-made books to impart information without the use of words or images; the books themselves are the idea, the shape of the paper the information. These ideas are conveyed by selecting the number and size of the volumes, by how the filaments are employed, and where and what, if anything, happens inside the assembled mass. 195 Ripples: water(wheel) uses an old book altered to support the cut tendrils that are made of a paper commonly used in book publishing. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867800093-V22QEKG5TTP2HO3H9KH5/mcba-prize-2022-Lisa-Nebenzahl-The-Chico-Poems-5.jpg Entries & Jurors - 2022 Entries - Lisa Nebenzahl Minneapolis, Minnesota lisanebenzahlphoto.com The Chico Poems 2021/2022 Letterpress/Cyanotype 16″ x 12″ x 1″ Artist Statement The Chico Poems: Written in the 1940’s – Reawakened in 2021 The Chico Poems is a suite of eight poems contained in a custom designed case. This project was inspired by my late mother Chico Nebenzahl (1916-2000), who penned the poems in the early 1940’s. With the support of a McKnight Fellowship for Book Artists, the project took a year to produce as I employed the light of the sun to create the cyanotype prints in the spring, summer and fall of 2021. Letterpress and cyanotype printing come together to share these short, sometimes acerbic poems. A posthumous collaboration with my mother, who wrote poetry and fiction in her in twenties in Chicago but never shared them widely, gave me a chance to bring these poems out of their long rest and into the light. The unique limited edition is housed in a custom clamshell case covered in Japanese book cloth, foil stamped and designed by the artist and crafted by Keith Taylor. The cover features a tipped in to-scale photograph of the poet at her typewriter in 1942. The eight poems are paired with 8 of my mother’s favorite vegetation and flowers, most of which I grew. Twenty unique prints were produced of each 8 poems; all-in-all 160 entirely unique cyanotype prints were produced, and 15 portfolios. Each print is hand printed, signed, titled, numbered, and gilded in silver on 2 sides. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867800591-R1DFD2BVTYQ0DP6MULHB/mcba-prize-2022-Lisa-Nebenzahl-The-Chico-Poems-4.jpg Entries & Jurors - 2022 Entries - Lisa Nebenzahl Minneapolis, Minnesota lisanebenzahlphoto.com The Chico Poems 2021/2022 Letterpress/Cyanotype 16″ x 12″ x 1″ Artist Statement The Chico Poems: Written in the 1940’s – Reawakened in 2021 The Chico Poems is a suite of eight poems contained in a custom designed case. This project was inspired by my late mother Chico Nebenzahl (1916-2000), who penned the poems in the early 1940’s. With the support of a McKnight Fellowship for Book Artists, the project took a year to produce as I employed the light of the sun to create the cyanotype prints in the spring, summer and fall of 2021. Letterpress and cyanotype printing come together to share these short, sometimes acerbic poems. A posthumous collaboration with my mother, who wrote poetry and fiction in her in twenties in Chicago but never shared them widely, gave me a chance to bring these poems out of their long rest and into the light. The unique limited edition is housed in a custom clamshell case covered in Japanese book cloth, foil stamped and designed by the artist and crafted by Keith Taylor. The cover features a tipped in to-scale photograph of the poet at her typewriter in 1942. The eight poems are paired with 8 of my mother’s favorite vegetation and flowers, most of which I grew. Twenty unique prints were produced of each 8 poems; all-in-all 160 entirely unique cyanotype prints were produced, and 15 portfolios. Each print is hand printed, signed, titled, numbered, and gilded in silver on 2 sides. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867802494-WQ9U5791FWQWSQ6FK6NQ/mcba-prize-2022-Lisa-Nebenzahl-The-Chico-Poems-3.jpg Entries & Jurors - 2022 Entries - Lisa Nebenzahl Minneapolis, Minnesota lisanebenzahlphoto.com The Chico Poems 2021/2022 Letterpress/Cyanotype 16″ x 12″ x 1″ Artist Statement The Chico Poems: Written in the 1940’s – Reawakened in 2021 The Chico Poems is a suite of eight poems contained in a custom designed case. This project was inspired by my late mother Chico Nebenzahl (1916-2000), who penned the poems in the early 1940’s. With the support of a McKnight Fellowship for Book Artists, the project took a year to produce as I employed the light of the sun to create the cyanotype prints in the spring, summer and fall of 2021. Letterpress and cyanotype printing come together to share these short, sometimes acerbic poems. A posthumous collaboration with my mother, who wrote poetry and fiction in her in twenties in Chicago but never shared them widely, gave me a chance to bring these poems out of their long rest and into the light. The unique limited edition is housed in a custom clamshell case covered in Japanese book cloth, foil stamped and designed by the artist and crafted by Keith Taylor. The cover features a tipped in to-scale photograph of the poet at her typewriter in 1942. The eight poems are paired with 8 of my mother’s favorite vegetation and flowers, most of which I grew. Twenty unique prints were produced of each 8 poems; all-in-all 160 entirely unique cyanotype prints were produced, and 15 portfolios. Each print is hand printed, signed, titled, numbered, and gilded in silver on 2 sides. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867803585-OA8FH776LIED4GWUVIM2/mcba-prize-2022-Lisa-Nebenzahl-The-Chico-Poems-2.jpg Entries & Jurors - 2022 Entries - Lisa Nebenzahl Minneapolis, Minnesota lisanebenzahlphoto.com The Chico Poems 2021/2022 Letterpress/Cyanotype 16″ x 12″ x 1″ Artist Statement The Chico Poems: Written in the 1940’s – Reawakened in 2021 The Chico Poems is a suite of eight poems contained in a custom designed case. This project was inspired by my late mother Chico Nebenzahl (1916-2000), who penned the poems in the early 1940’s. With the support of a McKnight Fellowship for Book Artists, the project took a year to produce as I employed the light of the sun to create the cyanotype prints in the spring, summer and fall of 2021. Letterpress and cyanotype printing come together to share these short, sometimes acerbic poems. A posthumous collaboration with my mother, who wrote poetry and fiction in her in twenties in Chicago but never shared them widely, gave me a chance to bring these poems out of their long rest and into the light. The unique limited edition is housed in a custom clamshell case covered in Japanese book cloth, foil stamped and designed by the artist and crafted by Keith Taylor. The cover features a tipped in to-scale photograph of the poet at her typewriter in 1942. The eight poems are paired with 8 of my mother’s favorite vegetation and flowers, most of which I grew. Twenty unique prints were produced of each 8 poems; all-in-all 160 entirely unique cyanotype prints were produced, and 15 portfolios. Each print is hand printed, signed, titled, numbered, and gilded in silver on 2 sides. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867805223-2UOOT4AK5VYSBUHSMD8C/mcba-prize-2022-Lisa-Nebenzahl-The-Chico-Poems-1.jpg Entries & Jurors - 2022 Entries - Lisa Nebenzahl Minneapolis, Minnesota lisanebenzahlphoto.com The Chico Poems 2021/2022 Letterpress/Cyanotype 16″ x 12″ x 1″ Artist Statement The Chico Poems: Written in the 1940’s – Reawakened in 2021 The Chico Poems is a suite of eight poems contained in a custom designed case. This project was inspired by my late mother Chico Nebenzahl (1916-2000), who penned the poems in the early 1940’s. With the support of a McKnight Fellowship for Book Artists, the project took a year to produce as I employed the light of the sun to create the cyanotype prints in the spring, summer and fall of 2021. Letterpress and cyanotype printing come together to share these short, sometimes acerbic poems. A posthumous collaboration with my mother, who wrote poetry and fiction in her in twenties in Chicago but never shared them widely, gave me a chance to bring these poems out of their long rest and into the light. The unique limited edition is housed in a custom clamshell case covered in Japanese book cloth, foil stamped and designed by the artist and crafted by Keith Taylor. The cover features a tipped in to-scale photograph of the poet at her typewriter in 1942. The eight poems are paired with 8 of my mother’s favorite vegetation and flowers, most of which I grew. Twenty unique prints were produced of each 8 poems; all-in-all 160 entirely unique cyanotype prints were produced, and 15 portfolios. Each print is hand printed, signed, titled, numbered, and gilded in silver on 2 sides. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867906543-FSAH0SKNGID67XUXX40R/mcba-prize-2022-Thomas-Parker-Williams-Storm-5.jpg Entries & Jurors - 2022 Entries - Thomas Parker Williams Philadelphia, Pennsylvania thomasparkerwilliams.com Storm 2021 Side one was painted with dry pigments in alkyd medium. Side two is an ink and wash drawing in brown ink on watercolor block paper. 25 x 25 x 1 Artist Statement Specifications – Unique book Case – 16″ dia. x 1″ thick, acrylic panels with wood border and magnet closure Paper, all panels – watercolor block Base – Davey board with painted edges and central circular panels. Panels Side 1 – 25″ dia. fully open, 9 panels 2.75″ dia. to 11.75″ dia. painted with dry pigments in alkyd medium. Side 2 – 24″ dia. fully open, 7 panels 3.75″ dia. to 11.6″ dia. ink and wash drawing in sepia acrylic ink over graphite. Panels are hinged with .75″ dia. paper hinges. Video of storm in action can be seen here. Video soundtrack – Storm, free improvised composition, performed and recorded by the artist. Thomas Parker Williams – Concept, design, illustrations, and music. Storm is a two sided unique artist book with an acrylic case Each side of the book is made up of radial hinged panels that swing out to reveal the complete image. This book work, completed in October 2021 , was inspired by The Punchinello Drawings by Domenico Tiepolo, perhaps the finest ink and wash drawings ever made and is dedicated to Allan John Moore, 7/1/1947 – 10/2/2021 My friend through the calm and the tempest for 61 years https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867906544-5A2KT73KRP31LDYQULLV/mcba-prize-2022-Thomas-Parker-Williams-Storm-4.jpg Entries & Jurors - 2022 Entries - Thomas Parker Williams Philadelphia, Pennsylvania thomasparkerwilliams.com Storm 2021 Side one was painted with dry pigments in alkyd medium. Side two is an ink and wash drawing in brown ink on watercolor block paper. 25 x 25 x 1 Artist Statement Specifications – Unique book Case – 16″ dia. x 1″ thick, acrylic panels with wood border and magnet closure Paper, all panels – watercolor block Base – Davey board with painted edges and central circular panels. Panels Side 1 – 25″ dia. fully open, 9 panels 2.75″ dia. to 11.75″ dia. painted with dry pigments in alkyd medium. Side 2 – 24″ dia. fully open, 7 panels 3.75″ dia. to 11.6″ dia. ink and wash drawing in sepia acrylic ink over graphite. Panels are hinged with .75″ dia. paper hinges. Video of storm in action can be seen here. Video soundtrack – Storm, free improvised composition, performed and recorded by the artist. Thomas Parker Williams – Concept, design, illustrations, and music. Storm is a two sided unique artist book with an acrylic case Each side of the book is made up of radial hinged panels that swing out to reveal the complete image. This book work, completed in October 2021 , was inspired by The Punchinello Drawings by Domenico Tiepolo, perhaps the finest ink and wash drawings ever made and is dedicated to Allan John Moore, 7/1/1947 – 10/2/2021 My friend through the calm and the tempest for 61 years https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867909580-3PL06YPRUS6XIHR95HVH/mcba-prize-2022-Thomas-Parker-Williams-Storm-3.jpg Entries & Jurors - 2022 Entries - Thomas Parker Williams Philadelphia, Pennsylvania thomasparkerwilliams.com Storm 2021 Side one was painted with dry pigments in alkyd medium. Side two is an ink and wash drawing in brown ink on watercolor block paper. 25 x 25 x 1 Artist Statement Specifications – Unique book Case – 16″ dia. x 1″ thick, acrylic panels with wood border and magnet closure Paper, all panels – watercolor block Base – Davey board with painted edges and central circular panels. Panels Side 1 – 25″ dia. fully open, 9 panels 2.75″ dia. to 11.75″ dia. painted with dry pigments in alkyd medium. Side 2 – 24″ dia. fully open, 7 panels 3.75″ dia. to 11.6″ dia. ink and wash drawing in sepia acrylic ink over graphite. Panels are hinged with .75″ dia. paper hinges. Video of storm in action can be seen here. Video soundtrack – Storm, free improvised composition, performed and recorded by the artist. Thomas Parker Williams – Concept, design, illustrations, and music. Storm is a two sided unique artist book with an acrylic case Each side of the book is made up of radial hinged panels that swing out to reveal the complete image. This book work, completed in October 2021 , was inspired by The Punchinello Drawings by Domenico Tiepolo, perhaps the finest ink and wash drawings ever made and is dedicated to Allan John Moore, 7/1/1947 – 10/2/2021 My friend through the calm and the tempest for 61 years https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867910124-W0691QGBO5IYFL42M59G/mcba-prize-2022-Thomas-Parker-Williams-Storm-2.jpg Entries & Jurors - 2022 Entries - Thomas Parker Williams Philadelphia, Pennsylvania thomasparkerwilliams.com Storm 2021 Side one was painted with dry pigments in alkyd medium. Side two is an ink and wash drawing in brown ink on watercolor block paper. 25 x 25 x 1 Artist Statement Specifications – Unique book Case – 16″ dia. x 1″ thick, acrylic panels with wood border and magnet closure Paper, all panels – watercolor block Base – Davey board with painted edges and central circular panels. Panels Side 1 – 25″ dia. fully open, 9 panels 2.75″ dia. to 11.75″ dia. painted with dry pigments in alkyd medium. Side 2 – 24″ dia. fully open, 7 panels 3.75″ dia. to 11.6″ dia. ink and wash drawing in sepia acrylic ink over graphite. Panels are hinged with .75″ dia. paper hinges. Video of storm in action can be seen here. Video soundtrack – Storm, free improvised composition, performed and recorded by the artist. Thomas Parker Williams – Concept, design, illustrations, and music. Storm is a two sided unique artist book with an acrylic case Each side of the book is made up of radial hinged panels that swing out to reveal the complete image. This book work, completed in October 2021 , was inspired by The Punchinello Drawings by Domenico Tiepolo, perhaps the finest ink and wash drawings ever made and is dedicated to Allan John Moore, 7/1/1947 – 10/2/2021 My friend through the calm and the tempest for 61 years https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867912164-W8GLVAD5MN3WV005IU7J/mcba-prize-2022-Thomas-Parker-Williams-Storm-1.jpg Entries & Jurors - 2022 Entries - Thomas Parker Williams Philadelphia, Pennsylvania thomasparkerwilliams.com Storm 2021 Side one was painted with dry pigments in alkyd medium. Side two is an ink and wash drawing in brown ink on watercolor block paper. 25 x 25 x 1 Artist Statement Specifications – Unique book Case – 16″ dia. x 1″ thick, acrylic panels with wood border and magnet closure Paper, all panels – watercolor block Base – Davey board with painted edges and central circular panels. Panels Side 1 – 25″ dia. fully open, 9 panels 2.75″ dia. to 11.75″ dia. painted with dry pigments in alkyd medium. Side 2 – 24″ dia. fully open, 7 panels 3.75″ dia. to 11.6″ dia. ink and wash drawing in sepia acrylic ink over graphite. Panels are hinged with .75″ dia. paper hinges. Video of storm in action can be seen here. Video soundtrack – Storm, free improvised composition, performed and recorded by the artist. Thomas Parker Williams – Concept, design, illustrations, and music. Storm is a two sided unique artist book with an acrylic case Each side of the book is made up of radial hinged panels that swing out to reveal the complete image. This book work, completed in October 2021 , was inspired by The Punchinello Drawings by Domenico Tiepolo, perhaps the finest ink and wash drawings ever made and is dedicated to Allan John Moore, 7/1/1947 – 10/2/2021 My friend through the calm and the tempest for 61 years https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773868091365-GTDBL5LE54XCCRIW8DPE/mcba-prize-2022-Kris-Prince-Young-Knight-Pop-Up-Book-5.jpg Entries & Jurors - 2022 Entries - Kris Prince Minneapolis, Minnesota “Young Knight Slays a Dragon” Pop-up Book (6 pop-ups) 2021–2022 Paper, Prismacolor Pencils, Winsor Newton Promarkers 44″ x 22″ x 20″ Artist Statement Creating this pop-up book presented engineering and dynamic challenges that I had not faced before in my 50+ years as a visual artist. I am indebted to Olli Johnson for her help in tackling these new challenges and the MCBA for connecting me with her in the early phases of this project. I have been a painter for most of my life and my art reflects my love for bright colors and natural fauna. My best works also include a spiritual component reflected in both form and color. For the last three decades much of my work has drawn on my Scandinavian roots and Jewish identity. In addition to two-dimensional painting, I am an accomplished seamstress and have created many pieces of ritual art using applique and fabric resist dyes on silk. Since receiving my BFA in painting from the University of Minnesota I have participated in various individual and group shows – including providing all of the two and three-dimensional works for a show about Hanukah at the Minneapolis ASI titled “Nordic Holidays – Celebrations of Light” from 11/12/16-1/8/17. Before this project my previous experience as a book artist included artwork for a 1999 Haggadah curated by Twin Cites poet Ruth Brin. I am presently working on a children’s picture book about the war-time experiences of a Jewish 5-year-old Austrian boy’s three-year journey to escape Europe with his parents to the United States. A story told to me in recollections by my friend Walter Littman, a math professor at the University of Minnesota. My submitted pop-up book was created as a prop for a children’s musical created and produced by rabbi and friend Sim Glaser (and staged in Minneapolis earlier this year). My commission was doubly challenging: to create a pop-up book (which I had never done before) and to create it at a scale that could be seen from every seat in the theater. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773868091365-HIXQEQKCYNXV5CABKBDZ/mcba-prize-2022-Kris-Prince-Young-Knight-Pop-Up-Book-4.jpg Entries & Jurors - 2022 Entries - Kris Prince Minneapolis, Minnesota “Young Knight Slays a Dragon” Pop-up Book (6 pop-ups) 2021–2022 Paper, Prismacolor Pencils, Winsor Newton Promarkers 44″ x 22″ x 20″ Artist Statement Creating this pop-up book presented engineering and dynamic challenges that I had not faced before in my 50+ years as a visual artist. I am indebted to Olli Johnson for her help in tackling these new challenges and the MCBA for connecting me with her in the early phases of this project. I have been a painter for most of my life and my art reflects my love for bright colors and natural fauna. My best works also include a spiritual component reflected in both form and color. For the last three decades much of my work has drawn on my Scandinavian roots and Jewish identity. In addition to two-dimensional painting, I am an accomplished seamstress and have created many pieces of ritual art using applique and fabric resist dyes on silk. Since receiving my BFA in painting from the University of Minnesota I have participated in various individual and group shows – including providing all of the two and three-dimensional works for a show about Hanukah at the Minneapolis ASI titled “Nordic Holidays – Celebrations of Light” from 11/12/16-1/8/17. Before this project my previous experience as a book artist included artwork for a 1999 Haggadah curated by Twin Cites poet Ruth Brin. I am presently working on a children’s picture book about the war-time experiences of a Jewish 5-year-old Austrian boy’s three-year journey to escape Europe with his parents to the United States. A story told to me in recollections by my friend Walter Littman, a math professor at the University of Minnesota. My submitted pop-up book was created as a prop for a children’s musical created and produced by rabbi and friend Sim Glaser (and staged in Minneapolis earlier this year). My commission was doubly challenging: to create a pop-up book (which I had never done before) and to create it at a scale that could be seen from every seat in the theater. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773868094971-MDTVNZZCGODEQF1O5PPP/mcba-prize-2022-Kris-Prince-Young-Knight-Pop-Up-Book-3.jpg Entries & Jurors - 2022 Entries - Kris Prince Minneapolis, Minnesota “Young Knight Slays a Dragon” Pop-up Book (6 pop-ups) 2021–2022 Paper, Prismacolor Pencils, Winsor Newton Promarkers 44″ x 22″ x 20″ Artist Statement Creating this pop-up book presented engineering and dynamic challenges that I had not faced before in my 50+ years as a visual artist. I am indebted to Olli Johnson for her help in tackling these new challenges and the MCBA for connecting me with her in the early phases of this project. I have been a painter for most of my life and my art reflects my love for bright colors and natural fauna. My best works also include a spiritual component reflected in both form and color. For the last three decades much of my work has drawn on my Scandinavian roots and Jewish identity. In addition to two-dimensional painting, I am an accomplished seamstress and have created many pieces of ritual art using applique and fabric resist dyes on silk. Since receiving my BFA in painting from the University of Minnesota I have participated in various individual and group shows – including providing all of the two and three-dimensional works for a show about Hanukah at the Minneapolis ASI titled “Nordic Holidays – Celebrations of Light” from 11/12/16-1/8/17. Before this project my previous experience as a book artist included artwork for a 1999 Haggadah curated by Twin Cites poet Ruth Brin. I am presently working on a children’s picture book about the war-time experiences of a Jewish 5-year-old Austrian boy’s three-year journey to escape Europe with his parents to the United States. A story told to me in recollections by my friend Walter Littman, a math professor at the University of Minnesota. My submitted pop-up book was created as a prop for a children’s musical created and produced by rabbi and friend Sim Glaser (and staged in Minneapolis earlier this year). My commission was doubly challenging: to create a pop-up book (which I had never done before) and to create it at a scale that could be seen from every seat in the theater. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773868094945-BJXQ4UY03IZRWG8GRQFQ/mcba-prize-2022-Kris-Prince-Young-Knight-Pop-Up-Book-2.jpg Entries & Jurors - 2022 Entries - Kris Prince Minneapolis, Minnesota “Young Knight Slays a Dragon” Pop-up Book (6 pop-ups) 2021–2022 Paper, Prismacolor Pencils, Winsor Newton Promarkers 44″ x 22″ x 20″ Artist Statement Creating this pop-up book presented engineering and dynamic challenges that I had not faced before in my 50+ years as a visual artist. I am indebted to Olli Johnson for her help in tackling these new challenges and the MCBA for connecting me with her in the early phases of this project. I have been a painter for most of my life and my art reflects my love for bright colors and natural fauna. My best works also include a spiritual component reflected in both form and color. For the last three decades much of my work has drawn on my Scandinavian roots and Jewish identity. In addition to two-dimensional painting, I am an accomplished seamstress and have created many pieces of ritual art using applique and fabric resist dyes on silk. Since receiving my BFA in painting from the University of Minnesota I have participated in various individual and group shows – including providing all of the two and three-dimensional works for a show about Hanukah at the Minneapolis ASI titled “Nordic Holidays – Celebrations of Light” from 11/12/16-1/8/17. Before this project my previous experience as a book artist included artwork for a 1999 Haggadah curated by Twin Cites poet Ruth Brin. I am presently working on a children’s picture book about the war-time experiences of a Jewish 5-year-old Austrian boy’s three-year journey to escape Europe with his parents to the United States. A story told to me in recollections by my friend Walter Littman, a math professor at the University of Minnesota. My submitted pop-up book was created as a prop for a children’s musical created and produced by rabbi and friend Sim Glaser (and staged in Minneapolis earlier this year). My commission was doubly challenging: to create a pop-up book (which I had never done before) and to create it at a scale that could be seen from every seat in the theater. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773868097584-W6GQHQNLDHQP2CX3U349/mcba-prize-2022-Kris-Prince-Young-Knight-Pop-Up-Book-1.jpg Entries & Jurors - 2022 Entries - Kris Prince Minneapolis, Minnesota “Young Knight Slays a Dragon” Pop-up Book (6 pop-ups) 2021–2022 Paper, Prismacolor Pencils, Winsor Newton Promarkers 44″ x 22″ x 20″ Artist Statement Creating this pop-up book presented engineering and dynamic challenges that I had not faced before in my 50+ years as a visual artist. I am indebted to Olli Johnson for her help in tackling these new challenges and the MCBA for connecting me with her in the early phases of this project. I have been a painter for most of my life and my art reflects my love for bright colors and natural fauna. My best works also include a spiritual component reflected in both form and color. For the last three decades much of my work has drawn on my Scandinavian roots and Jewish identity. In addition to two-dimensional painting, I am an accomplished seamstress and have created many pieces of ritual art using applique and fabric resist dyes on silk. Since receiving my BFA in painting from the University of Minnesota I have participated in various individual and group shows – including providing all of the two and three-dimensional works for a show about Hanukah at the Minneapolis ASI titled “Nordic Holidays – Celebrations of Light” from 11/12/16-1/8/17. Before this project my previous experience as a book artist included artwork for a 1999 Haggadah curated by Twin Cites poet Ruth Brin. I am presently working on a children’s picture book about the war-time experiences of a Jewish 5-year-old Austrian boy’s three-year journey to escape Europe with his parents to the United States. A story told to me in recollections by my friend Walter Littman, a math professor at the University of Minnesota. My submitted pop-up book was created as a prop for a children’s musical created and produced by rabbi and friend Sim Glaser (and staged in Minneapolis earlier this year). My commission was doubly challenging: to create a pop-up book (which I had never done before) and to create it at a scale that could be seen from every seat in the theater. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773868212711-J1S39ENBX36M9IXL8LQ3/mcba-prize-2022-Jacob-Wan-Overnight-5.jpg Entries & Jurors - 2022 Entries - Jacob Wan West Melbourne, Florida jacobzwan.com overnight 2020 painting, drawing, sewing, printing, letter stamp foil, vinyl on hand-dyed bedsheets 12′ x 12′ x 12″ picture, size varies base on the installation Artist Statement Growing up as a gay boy, the bed has become a utopia and comfort zone for hiding and avoiding the attention of hatreds; seeking and imagining the demands that are not allowed by society. Using bedsheets is inspired by the private experiences of avoiding reality. The bedsheet as the second skin, the closest layer to the body. Besides the psychological moments, the sheet also carries fragments of skin, hair, and body fluid, the physical evidence of the identity. It becomes a page that records time, thoughts, and dreams; demounting the protection, decompressing the tensions, and immersing into consciousness. The sheets were slept on, and the marks and histories were left on originally. I kept the sheets in faded red, a pinkish tone to express how the society has been trying to erase the existence of the LGBTQ+ identity, and a similar color that often reflected in gender stereotypes. The different colors of threads present different relations or identity, thoughts of love, family, and the ideal. Believing in the self is a power to continue and reduce harm from the outside. Through making overnight, I intend to deliver a message of the importance of having hopes and love the self. As a contemporary bookbinder and Chinese gay man, I craft conceptual books to explore identity, sexuality, and human relationships. My handbound books, book-alike objects, and book installations portray solitude, delineate intimacy, and evoke an immersive atmosphere. By experimenting with the materiality of the page, thread, and cover, I deploy personal memories to celebrate the importance of oneself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773868212438-BES22FA4FJ78FIP5O012/mcba-prize-2022-Jacob-Wan-Overnight-4.jpg Entries & Jurors - 2022 Entries - Jacob Wan West Melbourne, Florida jacobzwan.com overnight 2020 painting, drawing, sewing, printing, letter stamp foil, vinyl on hand-dyed bedsheets 12′ x 12′ x 12″ picture, size varies base on the installation Artist Statement Growing up as a gay boy, the bed has become a utopia and comfort zone for hiding and avoiding the attention of hatreds; seeking and imagining the demands that are not allowed by society. Using bedsheets is inspired by the private experiences of avoiding reality. The bedsheet as the second skin, the closest layer to the body. Besides the psychological moments, the sheet also carries fragments of skin, hair, and body fluid, the physical evidence of the identity. It becomes a page that records time, thoughts, and dreams; demounting the protection, decompressing the tensions, and immersing into consciousness. The sheets were slept on, and the marks and histories were left on originally. I kept the sheets in faded red, a pinkish tone to express how the society has been trying to erase the existence of the LGBTQ+ identity, and a similar color that often reflected in gender stereotypes. The different colors of threads present different relations or identity, thoughts of love, family, and the ideal. Believing in the self is a power to continue and reduce harm from the outside. Through making overnight, I intend to deliver a message of the importance of having hopes and love the self. As a contemporary bookbinder and Chinese gay man, I craft conceptual books to explore identity, sexuality, and human relationships. My handbound books, book-alike objects, and book installations portray solitude, delineate intimacy, and evoke an immersive atmosphere. By experimenting with the materiality of the page, thread, and cover, I deploy personal memories to celebrate the importance of oneself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773868215477-2411KKNSXT26XZ3VJGWX/mcba-prize-2022-Jacob-Wan-Overnight-3.jpg Entries & Jurors - 2022 Entries - Jacob Wan West Melbourne, Florida jacobzwan.com overnight 2020 painting, drawing, sewing, printing, letter stamp foil, vinyl on hand-dyed bedsheets 12′ x 12′ x 12″ picture, size varies base on the installation Artist Statement Growing up as a gay boy, the bed has become a utopia and comfort zone for hiding and avoiding the attention of hatreds; seeking and imagining the demands that are not allowed by society. Using bedsheets is inspired by the private experiences of avoiding reality. The bedsheet as the second skin, the closest layer to the body. Besides the psychological moments, the sheet also carries fragments of skin, hair, and body fluid, the physical evidence of the identity. It becomes a page that records time, thoughts, and dreams; demounting the protection, decompressing the tensions, and immersing into consciousness. The sheets were slept on, and the marks and histories were left on originally. I kept the sheets in faded red, a pinkish tone to express how the society has been trying to erase the existence of the LGBTQ+ identity, and a similar color that often reflected in gender stereotypes. The different colors of threads present different relations or identity, thoughts of love, family, and the ideal. Believing in the self is a power to continue and reduce harm from the outside. Through making overnight, I intend to deliver a message of the importance of having hopes and love the self. As a contemporary bookbinder and Chinese gay man, I craft conceptual books to explore identity, sexuality, and human relationships. My handbound books, book-alike objects, and book installations portray solitude, delineate intimacy, and evoke an immersive atmosphere. By experimenting with the materiality of the page, thread, and cover, I deploy personal memories to celebrate the importance of oneself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773868215088-BRI3S044E1IFDO11GLXQ/mcba-prize-2022-Jacob-Wan-Overnight-2.jpg Entries & Jurors - 2022 Entries - Jacob Wan West Melbourne, Florida jacobzwan.com overnight 2020 painting, drawing, sewing, printing, letter stamp foil, vinyl on hand-dyed bedsheets 12′ x 12′ x 12″ picture, size varies base on the installation Artist Statement Growing up as a gay boy, the bed has become a utopia and comfort zone for hiding and avoiding the attention of hatreds; seeking and imagining the demands that are not allowed by society. Using bedsheets is inspired by the private experiences of avoiding reality. The bedsheet as the second skin, the closest layer to the body. Besides the psychological moments, the sheet also carries fragments of skin, hair, and body fluid, the physical evidence of the identity. It becomes a page that records time, thoughts, and dreams; demounting the protection, decompressing the tensions, and immersing into consciousness. The sheets were slept on, and the marks and histories were left on originally. I kept the sheets in faded red, a pinkish tone to express how the society has been trying to erase the existence of the LGBTQ+ identity, and a similar color that often reflected in gender stereotypes. The different colors of threads present different relations or identity, thoughts of love, family, and the ideal. Believing in the self is a power to continue and reduce harm from the outside. Through making overnight, I intend to deliver a message of the importance of having hopes and love the self. As a contemporary bookbinder and Chinese gay man, I craft conceptual books to explore identity, sexuality, and human relationships. My handbound books, book-alike objects, and book installations portray solitude, delineate intimacy, and evoke an immersive atmosphere. By experimenting with the materiality of the page, thread, and cover, I deploy personal memories to celebrate the importance of oneself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773868217515-3HE9VHQMDV90HY615GM3/mcba-prize-2022-Jacob-Wan-Overnight-1.jpg Entries & Jurors - 2022 Entries - Jacob Wan West Melbourne, Florida jacobzwan.com overnight 2020 painting, drawing, sewing, printing, letter stamp foil, vinyl on hand-dyed bedsheets 12′ x 12′ x 12″ picture, size varies base on the installation Artist Statement Growing up as a gay boy, the bed has become a utopia and comfort zone for hiding and avoiding the attention of hatreds; seeking and imagining the demands that are not allowed by society. Using bedsheets is inspired by the private experiences of avoiding reality. The bedsheet as the second skin, the closest layer to the body. Besides the psychological moments, the sheet also carries fragments of skin, hair, and body fluid, the physical evidence of the identity. It becomes a page that records time, thoughts, and dreams; demounting the protection, decompressing the tensions, and immersing into consciousness. The sheets were slept on, and the marks and histories were left on originally. I kept the sheets in faded red, a pinkish tone to express how the society has been trying to erase the existence of the LGBTQ+ identity, and a similar color that often reflected in gender stereotypes. The different colors of threads present different relations or identity, thoughts of love, family, and the ideal. Believing in the self is a power to continue and reduce harm from the outside. Through making overnight, I intend to deliver a message of the importance of having hopes and love the self. As a contemporary bookbinder and Chinese gay man, I craft conceptual books to explore identity, sexuality, and human relationships. My handbound books, book-alike objects, and book installations portray solitude, delineate intimacy, and evoke an immersive atmosphere. By experimenting with the materiality of the page, thread, and cover, I deploy personal memories to celebrate the importance of oneself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773868405480-FNRE5ULDCC3VCROHKI5D/mcba-prize-2022-Richard-Zauft-For-This-Brief-Time-5.jpg Entries & Jurors - 2022 Entries - Richard Zauft Sudbury, MA RICHARDZAUFTEDITIONS.com For This Brief Time, selected poems by Ingeborg Bachmann 2022 Artist’s book; letterpress printed with ink-jet photographs housed in a slate slipcase Book is 12″ x 8.125″ x .25″. Slate slipcase is 15.25″ x 10″ x 1″. Artist Statement In making a book, I attempt to convey the mind of the writer. This is a practice conducted through design choices that evolve with experimentation. Integrating typography, images, materials, and structure is an exercise in respect and discovery that, if conducted successfully, amplify the writer’s intent and prove the book maker’s concept to be harmonious and compelling. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773868405105-4OJ2I8VCGN7PF0CUI45C/mcba-prize-2022-Richard-Zauft-For-This-Brief-Time-4.jpg Entries & Jurors - 2022 Entries - Richard Zauft Sudbury, MA RICHARDZAUFTEDITIONS.com For This Brief Time, selected poems by Ingeborg Bachmann 2022 Artist’s book; letterpress printed with ink-jet photographs housed in a slate slipcase Book is 12″ x 8.125″ x .25″. Slate slipcase is 15.25″ x 10″ x 1″. Artist Statement In making a book, I attempt to convey the mind of the writer. This is a practice conducted through design choices that evolve with experimentation. Integrating typography, images, materials, and structure is an exercise in respect and discovery that, if conducted successfully, amplify the writer’s intent and prove the book maker’s concept to be harmonious and compelling. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773868407490-XG3M1A8UE0892Z13I8NQ/mcba-prize-2022-Richard-Zauft-For-This-Brief-Time-3.jpg Entries & Jurors - 2022 Entries - Richard Zauft Sudbury, MA RICHARDZAUFTEDITIONS.com For This Brief Time, selected poems by Ingeborg Bachmann 2022 Artist’s book; letterpress printed with ink-jet photographs housed in a slate slipcase Book is 12″ x 8.125″ x .25″. Slate slipcase is 15.25″ x 10″ x 1″. Artist Statement In making a book, I attempt to convey the mind of the writer. This is a practice conducted through design choices that evolve with experimentation. Integrating typography, images, materials, and structure is an exercise in respect and discovery that, if conducted successfully, amplify the writer’s intent and prove the book maker’s concept to be harmonious and compelling. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773868408264-VI158YN3UKPZO69AR0ES/mcba-prize-2022-Richard-Zauft-For-This-Brief-Time-2.jpg Entries & Jurors - 2022 Entries - Richard Zauft Sudbury, MA RICHARDZAUFTEDITIONS.com For This Brief Time, selected poems by Ingeborg Bachmann 2022 Artist’s book; letterpress printed with ink-jet photographs housed in a slate slipcase Book is 12″ x 8.125″ x .25″. Slate slipcase is 15.25″ x 10″ x 1″. Artist Statement In making a book, I attempt to convey the mind of the writer. This is a practice conducted through design choices that evolve with experimentation. Integrating typography, images, materials, and structure is an exercise in respect and discovery that, if conducted successfully, amplify the writer’s intent and prove the book maker’s concept to be harmonious and compelling. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773868409749-OUL6H1OEWXE8BZ6HQ8SS/mcba-prize-2022-Richard-Zauft-For-This-Brief-Time-1.jpg Entries & Jurors - 2022 Entries - Richard Zauft Sudbury, MA RICHARDZAUFTEDITIONS.com For This Brief Time, selected poems by Ingeborg Bachmann 2022 Artist’s book; letterpress printed with ink-jet photographs housed in a slate slipcase Book is 12″ x 8.125″ x .25″. Slate slipcase is 15.25″ x 10″ x 1″. Artist Statement In making a book, I attempt to convey the mind of the writer. This is a practice conducted through design choices that evolve with experimentation. Integrating typography, images, materials, and structure is an exercise in respect and discovery that, if conducted successfully, amplify the writer’s intent and prove the book maker’s concept to be harmonious and compelling. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869098126-7UUR537K8B7AX6ECUX1Q/mcba-prize-2022-Sarah-Bryant-Fairmont-Color-Card-5.jpg Entries & Jurors - 2022 Entries - Sarah Bryant Tuscaloosa, AL bigjumppress.com Fairmont Color Card 2021 Techniques include: Letterpress printed text from handset Bembo type, textile, and foil blocking. Materials for the enclosure include binders board, Duo Bookcloth, and fabric. 9.5 x 3.5 x 1.75” Artist Statement Fairmont Color Card is a contemplation of the roles that color cards and fabric swatches have played in the origin story of landfill culture and planned obsolescence. Text for the project was culled from 1977-1978 Home Furnishing Color Card, produced by The Textile Color Card Association of the United States, Inc. and The Wastemakers, written by Vance Packard in 1960. Designed and produced between 2019 and 2021, the project began in one place and ended in another. Research on color cards was conducted at Yale University Birren Collection of Books on Color in 2019. This project includes a three-panel sample book and a series of seven collages. Materials for this project include my clothes and bedding, and thread color matched to these textile samples the walls, hair, and skin found in my home. Fairmont Color Card employs brochure structures and production techniques historically used for color cards and sample books, including thread winding, foil blocking, and die cutting. Produced in an edition of twenty copies, the fabric collages included in this project are all identical across the edition save for one, the card titled “the significance of these private worlds,” which is unique to each copy. Text Epigraph: “All fashion ends in excels” –Paul Poiret Text on back of sample book “Domestic Gathering: vest, pair of jeans, pink tank, hot weather dress, apron, wedding dress, interview shirt, blue tank, sheets, pajamas, accent colors: hair, skin, walls” “While the greatest care is exercised in the manufacturing of our color materials, we cannot guarantee or be held responsible for absolute matches in colors, as it is sometimes impossible to avoid slight variations. This may be a happy omen for the future, or become a threat to the serenity of life.” Titling text for collages: “We’ve got to keep them busy changing their hats” “educated & activated amid the conflicting vibrations of sight & sound” “Alter the proportions of the room.” “It was becoming increasingly hard to create a burning desire for things.” “They are optional or luxury items; rearrange them and see how their casts seem to shift” “a threatened overabundance, the menacing mood of the outside world” “the significance of these private worlds” Image List Image 1: View of complete project with enclosure Image 2: View of back side of sample book which includes a key to identify the textiles used in the collages Images 3 & 4: full view of color card collages Image 5: detail composite image of collages https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869098015-YH3YWYRJZUQJLDNQS9GM/mcba-prize-2022-Sarah-Bryant-Fairmont-Color-Card-4.jpg Entries & Jurors - 2022 Entries - Sarah Bryant Tuscaloosa, AL bigjumppress.com Fairmont Color Card 2021 Techniques include: Letterpress printed text from handset Bembo type, textile, and foil blocking. Materials for the enclosure include binders board, Duo Bookcloth, and fabric. 9.5 x 3.5 x 1.75” Artist Statement Fairmont Color Card is a contemplation of the roles that color cards and fabric swatches have played in the origin story of landfill culture and planned obsolescence. Text for the project was culled from 1977-1978 Home Furnishing Color Card, produced by The Textile Color Card Association of the United States, Inc. and The Wastemakers, written by Vance Packard in 1960. Designed and produced between 2019 and 2021, the project began in one place and ended in another. Research on color cards was conducted at Yale University Birren Collection of Books on Color in 2019. This project includes a three-panel sample book and a series of seven collages. Materials for this project include my clothes and bedding, and thread color matched to these textile samples the walls, hair, and skin found in my home. Fairmont Color Card employs brochure structures and production techniques historically used for color cards and sample books, including thread winding, foil blocking, and die cutting. Produced in an edition of twenty copies, the fabric collages included in this project are all identical across the edition save for one, the card titled “the significance of these private worlds,” which is unique to each copy. Text Epigraph: “All fashion ends in excels” –Paul Poiret Text on back of sample book “Domestic Gathering: vest, pair of jeans, pink tank, hot weather dress, apron, wedding dress, interview shirt, blue tank, sheets, pajamas, accent colors: hair, skin, walls” “While the greatest care is exercised in the manufacturing of our color materials, we cannot guarantee or be held responsible for absolute matches in colors, as it is sometimes impossible to avoid slight variations. This may be a happy omen for the future, or become a threat to the serenity of life.” Titling text for collages: “We’ve got to keep them busy changing their hats” “educated & activated amid the conflicting vibrations of sight & sound” “Alter the proportions of the room.” “It was becoming increasingly hard to create a burning desire for things.” “They are optional or luxury items; rearrange them and see how their casts seem to shift” “a threatened overabundance, the menacing mood of the outside world” “the significance of these private worlds” Image List Image 1: View of complete project with enclosure Image 2: View of back side of sample book which includes a key to identify the textiles used in the collages Images 3 & 4: full view of color card collages Image 5: detail composite image of collages https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869100813-60HIKBK7ATH5N1KQV9BT/mcba-prize-2022-Sarah-Bryant-Fairmont-Color-Card-3.jpg Entries & Jurors - 2022 Entries - Sarah Bryant Tuscaloosa, AL bigjumppress.com Fairmont Color Card 2021 Techniques include: Letterpress printed text from handset Bembo type, textile, and foil blocking. Materials for the enclosure include binders board, Duo Bookcloth, and fabric. 9.5 x 3.5 x 1.75” Artist Statement Fairmont Color Card is a contemplation of the roles that color cards and fabric swatches have played in the origin story of landfill culture and planned obsolescence. Text for the project was culled from 1977-1978 Home Furnishing Color Card, produced by The Textile Color Card Association of the United States, Inc. and The Wastemakers, written by Vance Packard in 1960. Designed and produced between 2019 and 2021, the project began in one place and ended in another. Research on color cards was conducted at Yale University Birren Collection of Books on Color in 2019. This project includes a three-panel sample book and a series of seven collages. Materials for this project include my clothes and bedding, and thread color matched to these textile samples the walls, hair, and skin found in my home. Fairmont Color Card employs brochure structures and production techniques historically used for color cards and sample books, including thread winding, foil blocking, and die cutting. Produced in an edition of twenty copies, the fabric collages included in this project are all identical across the edition save for one, the card titled “the significance of these private worlds,” which is unique to each copy. Text Epigraph: “All fashion ends in excels” –Paul Poiret Text on back of sample book “Domestic Gathering: vest, pair of jeans, pink tank, hot weather dress, apron, wedding dress, interview shirt, blue tank, sheets, pajamas, accent colors: hair, skin, walls” “While the greatest care is exercised in the manufacturing of our color materials, we cannot guarantee or be held responsible for absolute matches in colors, as it is sometimes impossible to avoid slight variations. This may be a happy omen for the future, or become a threat to the serenity of life.” Titling text for collages: “We’ve got to keep them busy changing their hats” “educated & activated amid the conflicting vibrations of sight & sound” “Alter the proportions of the room.” “It was becoming increasingly hard to create a burning desire for things.” “They are optional or luxury items; rearrange them and see how their casts seem to shift” “a threatened overabundance, the menacing mood of the outside world” “the significance of these private worlds” Image List Image 1: View of complete project with enclosure Image 2: View of back side of sample book which includes a key to identify the textiles used in the collages Images 3 & 4: full view of color card collages Image 5: detail composite image of collages https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869101199-48RISFOGHQ752134XYVD/mcba-prize-2022-Sarah-Bryant-Fairmont-Color-Card-2.jpg Entries & Jurors - 2022 Entries - Sarah Bryant Tuscaloosa, AL bigjumppress.com Fairmont Color Card 2021 Techniques include: Letterpress printed text from handset Bembo type, textile, and foil blocking. Materials for the enclosure include binders board, Duo Bookcloth, and fabric. 9.5 x 3.5 x 1.75” Artist Statement Fairmont Color Card is a contemplation of the roles that color cards and fabric swatches have played in the origin story of landfill culture and planned obsolescence. Text for the project was culled from 1977-1978 Home Furnishing Color Card, produced by The Textile Color Card Association of the United States, Inc. and The Wastemakers, written by Vance Packard in 1960. Designed and produced between 2019 and 2021, the project began in one place and ended in another. Research on color cards was conducted at Yale University Birren Collection of Books on Color in 2019. This project includes a three-panel sample book and a series of seven collages. Materials for this project include my clothes and bedding, and thread color matched to these textile samples the walls, hair, and skin found in my home. Fairmont Color Card employs brochure structures and production techniques historically used for color cards and sample books, including thread winding, foil blocking, and die cutting. Produced in an edition of twenty copies, the fabric collages included in this project are all identical across the edition save for one, the card titled “the significance of these private worlds,” which is unique to each copy. Text Epigraph: “All fashion ends in excels” –Paul Poiret Text on back of sample book “Domestic Gathering: vest, pair of jeans, pink tank, hot weather dress, apron, wedding dress, interview shirt, blue tank, sheets, pajamas, accent colors: hair, skin, walls” “While the greatest care is exercised in the manufacturing of our color materials, we cannot guarantee or be held responsible for absolute matches in colors, as it is sometimes impossible to avoid slight variations. This may be a happy omen for the future, or become a threat to the serenity of life.” Titling text for collages: “We’ve got to keep them busy changing their hats” “educated & activated amid the conflicting vibrations of sight & sound” “Alter the proportions of the room.” “It was becoming increasingly hard to create a burning desire for things.” “They are optional or luxury items; rearrange them and see how their casts seem to shift” “a threatened overabundance, the menacing mood of the outside world” “the significance of these private worlds” Image List Image 1: View of complete project with enclosure Image 2: View of back side of sample book which includes a key to identify the textiles used in the collages Images 3 & 4: full view of color card collages Image 5: detail composite image of collages https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869102677-71DMHAZZ5JD3IH0XS4AS/mcba-prize-2022-Sarah-Bryant-Fairmont-Color-Card-1.jpg Entries & Jurors - 2022 Entries - Sarah Bryant Tuscaloosa, AL bigjumppress.com Fairmont Color Card 2021 Techniques include: Letterpress printed text from handset Bembo type, textile, and foil blocking. Materials for the enclosure include binders board, Duo Bookcloth, and fabric. 9.5 x 3.5 x 1.75” Artist Statement Fairmont Color Card is a contemplation of the roles that color cards and fabric swatches have played in the origin story of landfill culture and planned obsolescence. Text for the project was culled from 1977-1978 Home Furnishing Color Card, produced by The Textile Color Card Association of the United States, Inc. and The Wastemakers, written by Vance Packard in 1960. Designed and produced between 2019 and 2021, the project began in one place and ended in another. Research on color cards was conducted at Yale University Birren Collection of Books on Color in 2019. This project includes a three-panel sample book and a series of seven collages. Materials for this project include my clothes and bedding, and thread color matched to these textile samples the walls, hair, and skin found in my home. Fairmont Color Card employs brochure structures and production techniques historically used for color cards and sample books, including thread winding, foil blocking, and die cutting. Produced in an edition of twenty copies, the fabric collages included in this project are all identical across the edition save for one, the card titled “the significance of these private worlds,” which is unique to each copy. Text Epigraph: “All fashion ends in excels” –Paul Poiret Text on back of sample book “Domestic Gathering: vest, pair of jeans, pink tank, hot weather dress, apron, wedding dress, interview shirt, blue tank, sheets, pajamas, accent colors: hair, skin, walls” “While the greatest care is exercised in the manufacturing of our color materials, we cannot guarantee or be held responsible for absolute matches in colors, as it is sometimes impossible to avoid slight variations. This may be a happy omen for the future, or become a threat to the serenity of life.” Titling text for collages: “We’ve got to keep them busy changing their hats” “educated & activated amid the conflicting vibrations of sight & sound” “Alter the proportions of the room.” “It was becoming increasingly hard to create a burning desire for things.” “They are optional or luxury items; rearrange them and see how their casts seem to shift” “a threatened overabundance, the menacing mood of the outside world” “the significance of these private worlds” Image List Image 1: View of complete project with enclosure Image 2: View of back side of sample book which includes a key to identify the textiles used in the collages Images 3 & 4: full view of color card collages Image 5: detail composite image of collages https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869237319-2OX6DOHUFDPMN1930O38/mcba-prize-2022-Shift-Lab-Multiple-Discovery-5.jpg Entries & Jurors - 2022 Entries - Shift Lab Sarah Bryant, Katie Baldwin, Denise Bookwalter, Macy Chadwick, & Tricia Treacy Tuscaloosa, AL Team website: shift-lab.org Multiple Discovery 2022 Processes Include Relief, Letterpress, Risograph, Foil Stamping. Papers include Zerkall Book, IBO, and Pergamenata. 11.5 x variable x .5″ Artist Statement Multiple Discovery occurs when innovations are made independently and simultaneously in different locations. In this project, a collective of five artists uses Multiple Discovery as a metaphor for our own remote, collaborative practice. Working with a common horizon line and color palette, we each developed imagery for this artist book in separate studios. Printed sheets were then exchanged in batches of ten. Individually, we wrote and printed text gathered from a shared collection of source material, then collated and folded our sheets into a unique set of ten copies. The resulting edition of fifty is made up of five variable sub-editions. This project was initiated in 2019 and completed in 2022. We originally intended to stage variable collations and bindings of the book at public events in different locations, but shifted our plans after the onset of the pandemic. Instead, each of us contemplated and organized the same material privately in our own studios. The resulting editions speak to our shared but variable experience during a time of isolation. Sources for text and imagery include: Birkeland, Kristian. The Norwegian Aurora Polaris Expedition 1902-1903. Norway: H. Aschelhoug & Company, 1908. Lemley, Mark A. “The Myth of the Sole Inventor.” Michigan Law Review, Volume 110. Issue 5 (2012) pp 710-760. Rovelli, Carlo. The Order of Time, New York: Riverhead Books, 2018. Solnit, Rebecca. River of Shadows, Eadweard Muybridge and the Technological Wild West, New York: Viking, 2003. Some images are “From The New York Public Library,” public domain collections. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869236980-Z6O2NHMYNCM01ZAEXHD9/mcba-prize-2022-Shift-Lab-Multiple-Discovery-4.jpg Entries & Jurors - 2022 Entries - Shift Lab Sarah Bryant, Katie Baldwin, Denise Bookwalter, Macy Chadwick, & Tricia Treacy Tuscaloosa, AL Team website: shift-lab.org Multiple Discovery 2022 Processes Include Relief, Letterpress, Risograph, Foil Stamping. Papers include Zerkall Book, IBO, and Pergamenata. 11.5 x variable x .5″ Artist Statement Multiple Discovery occurs when innovations are made independently and simultaneously in different locations. In this project, a collective of five artists uses Multiple Discovery as a metaphor for our own remote, collaborative practice. Working with a common horizon line and color palette, we each developed imagery for this artist book in separate studios. Printed sheets were then exchanged in batches of ten. Individually, we wrote and printed text gathered from a shared collection of source material, then collated and folded our sheets into a unique set of ten copies. The resulting edition of fifty is made up of five variable sub-editions. This project was initiated in 2019 and completed in 2022. We originally intended to stage variable collations and bindings of the book at public events in different locations, but shifted our plans after the onset of the pandemic. Instead, each of us contemplated and organized the same material privately in our own studios. The resulting editions speak to our shared but variable experience during a time of isolation. Sources for text and imagery include: Birkeland, Kristian. The Norwegian Aurora Polaris Expedition 1902-1903. Norway: H. Aschelhoug & Company, 1908. Lemley, Mark A. “The Myth of the Sole Inventor.” Michigan Law Review, Volume 110. Issue 5 (2012) pp 710-760. Rovelli, Carlo. The Order of Time, New York: Riverhead Books, 2018. Solnit, Rebecca. River of Shadows, Eadweard Muybridge and the Technological Wild West, New York: Viking, 2003. Some images are “From The New York Public Library,” public domain collections. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869239227-80LWYRQHEOMF1JQVT5K6/mcba-prize-2022-Shift-Lab-Multiple-Discovery-3.jpg Entries & Jurors - 2022 Entries - Shift Lab Sarah Bryant, Katie Baldwin, Denise Bookwalter, Macy Chadwick, & Tricia Treacy Tuscaloosa, AL Team website: shift-lab.org Multiple Discovery 2022 Processes Include Relief, Letterpress, Risograph, Foil Stamping. Papers include Zerkall Book, IBO, and Pergamenata. 11.5 x variable x .5″ Artist Statement Multiple Discovery occurs when innovations are made independently and simultaneously in different locations. In this project, a collective of five artists uses Multiple Discovery as a metaphor for our own remote, collaborative practice. Working with a common horizon line and color palette, we each developed imagery for this artist book in separate studios. Printed sheets were then exchanged in batches of ten. Individually, we wrote and printed text gathered from a shared collection of source material, then collated and folded our sheets into a unique set of ten copies. The resulting edition of fifty is made up of five variable sub-editions. This project was initiated in 2019 and completed in 2022. We originally intended to stage variable collations and bindings of the book at public events in different locations, but shifted our plans after the onset of the pandemic. Instead, each of us contemplated and organized the same material privately in our own studios. The resulting editions speak to our shared but variable experience during a time of isolation. Sources for text and imagery include: Birkeland, Kristian. The Norwegian Aurora Polaris Expedition 1902-1903. Norway: H. Aschelhoug & Company, 1908. Lemley, Mark A. “The Myth of the Sole Inventor.” Michigan Law Review, Volume 110. Issue 5 (2012) pp 710-760. Rovelli, Carlo. The Order of Time, New York: Riverhead Books, 2018. Solnit, Rebecca. River of Shadows, Eadweard Muybridge and the Technological Wild West, New York: Viking, 2003. Some images are “From The New York Public Library,” public domain collections. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869239760-GUZ01VCNOTMJNOMAZDV0/mcba-prize-2022-Shift-Lab-Multiple-Discovery-2.jpg Entries & Jurors - 2022 Entries - Shift Lab Sarah Bryant, Katie Baldwin, Denise Bookwalter, Macy Chadwick, & Tricia Treacy Tuscaloosa, AL Team website: shift-lab.org Multiple Discovery 2022 Processes Include Relief, Letterpress, Risograph, Foil Stamping. Papers include Zerkall Book, IBO, and Pergamenata. 11.5 x variable x .5″ Artist Statement Multiple Discovery occurs when innovations are made independently and simultaneously in different locations. In this project, a collective of five artists uses Multiple Discovery as a metaphor for our own remote, collaborative practice. Working with a common horizon line and color palette, we each developed imagery for this artist book in separate studios. Printed sheets were then exchanged in batches of ten. Individually, we wrote and printed text gathered from a shared collection of source material, then collated and folded our sheets into a unique set of ten copies. The resulting edition of fifty is made up of five variable sub-editions. This project was initiated in 2019 and completed in 2022. We originally intended to stage variable collations and bindings of the book at public events in different locations, but shifted our plans after the onset of the pandemic. Instead, each of us contemplated and organized the same material privately in our own studios. The resulting editions speak to our shared but variable experience during a time of isolation. Sources for text and imagery include: Birkeland, Kristian. The Norwegian Aurora Polaris Expedition 1902-1903. Norway: H. Aschelhoug & Company, 1908. Lemley, Mark A. “The Myth of the Sole Inventor.” Michigan Law Review, Volume 110. Issue 5 (2012) pp 710-760. Rovelli, Carlo. The Order of Time, New York: Riverhead Books, 2018. Solnit, Rebecca. River of Shadows, Eadweard Muybridge and the Technological Wild West, New York: Viking, 2003. Some images are “From The New York Public Library,” public domain collections. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869241302-H2ABVDIZVDM7YHNJSN4W/mcba-prize-2022-Shift-Lab-Multiple-Discovery-1.jpg Entries & Jurors - 2022 Entries - Shift Lab Sarah Bryant, Katie Baldwin, Denise Bookwalter, Macy Chadwick, & Tricia Treacy Tuscaloosa, AL Team website: shift-lab.org Multiple Discovery 2022 Processes Include Relief, Letterpress, Risograph, Foil Stamping. Papers include Zerkall Book, IBO, and Pergamenata. 11.5 x variable x .5″ Artist Statement Multiple Discovery occurs when innovations are made independently and simultaneously in different locations. In this project, a collective of five artists uses Multiple Discovery as a metaphor for our own remote, collaborative practice. Working with a common horizon line and color palette, we each developed imagery for this artist book in separate studios. Printed sheets were then exchanged in batches of ten. Individually, we wrote and printed text gathered from a shared collection of source material, then collated and folded our sheets into a unique set of ten copies. The resulting edition of fifty is made up of five variable sub-editions. This project was initiated in 2019 and completed in 2022. We originally intended to stage variable collations and bindings of the book at public events in different locations, but shifted our plans after the onset of the pandemic. Instead, each of us contemplated and organized the same material privately in our own studios. The resulting editions speak to our shared but variable experience during a time of isolation. Sources for text and imagery include: Birkeland, Kristian. The Norwegian Aurora Polaris Expedition 1902-1903. Norway: H. Aschelhoug & Company, 1908. Lemley, Mark A. “The Myth of the Sole Inventor.” Michigan Law Review, Volume 110. Issue 5 (2012) pp 710-760. Rovelli, Carlo. The Order of Time, New York: Riverhead Books, 2018. Solnit, Rebecca. River of Shadows, Eadweard Muybridge and the Technological Wild West, New York: Viking, 2003. Some images are “From The New York Public Library,” public domain collections. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869486672-ZF50612WFE8PXMGA7U04/mcba-prize-2022-Annie-Lee-Zimerle-Sleepless-Nights-4.jpg Entries & Jurors - 2022 Entries - Annie Lee-Zimerle Falmouth, ME lisemelhornboe.ca Sleepless Nights 2022 Accordion book – gouache on paper, marble paper, book board and cloth 18″ x 15″ x 1/2″ closed Artist Statement In 2021, I was asked to create several artists books for a local Jewish museum. The Sleepless Nights came out of that series of works – that consist of explorations of women from the Jewish Bible in contemporary book arts. When I read the story of Sarah, Abraham’s wife, in the Old Testament. I cannot help but think of her sleepless nights. She couldn’t have children for many years. She then gives her maid to Abraham so that he can have children. She however remains a strong and independent woman. I wanted to reflect my life of trying to be a perfect wife and mother, counting my sleepless nights. How I try to balance between work and home life. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869486524-EXQD6TD8FGHLVC9DTENT/mcba-prize-2022-Annie-Lee-Zimerle-Sleepless-Nights-3.jpg Entries & Jurors - 2022 Entries - Annie Lee-Zimerle Falmouth, ME lisemelhornboe.ca Sleepless Nights 2022 Accordion book – gouache on paper, marble paper, book board and cloth 18″ x 15″ x 1/2″ closed Artist Statement In 2021, I was asked to create several artists books for a local Jewish museum. The Sleepless Nights came out of that series of works – that consist of explorations of women from the Jewish Bible in contemporary book arts. When I read the story of Sarah, Abraham’s wife, in the Old Testament. I cannot help but think of her sleepless nights. She couldn’t have children for many years. She then gives her maid to Abraham so that he can have children. She however remains a strong and independent woman. I wanted to reflect my life of trying to be a perfect wife and mother, counting my sleepless nights. How I try to balance between work and home life. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869490347-7O7MJPM2A58AKI9ZPOEV/mcba-prize-2022-Annie-Lee-Zimerle-Sleepless-Nights-2.jpg Entries & Jurors - 2022 Entries - Annie Lee-Zimerle Falmouth, ME lisemelhornboe.ca Sleepless Nights 2022 Accordion book – gouache on paper, marble paper, book board and cloth 18″ x 15″ x 1/2″ closed Artist Statement In 2021, I was asked to create several artists books for a local Jewish museum. The Sleepless Nights came out of that series of works – that consist of explorations of women from the Jewish Bible in contemporary book arts. When I read the story of Sarah, Abraham’s wife, in the Old Testament. I cannot help but think of her sleepless nights. She couldn’t have children for many years. She then gives her maid to Abraham so that he can have children. She however remains a strong and independent woman. I wanted to reflect my life of trying to be a perfect wife and mother, counting my sleepless nights. How I try to balance between work and home life. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869491086-NOC23TYQ83HA2X1HIFC9/mcba-prize-2022-Annie-Lee-Zimerle-Sleepless-Nights-1.jpg Entries & Jurors - 2022 Entries - Annie Lee-Zimerle Falmouth, ME lisemelhornboe.ca Sleepless Nights 2022 Accordion book – gouache on paper, marble paper, book board and cloth 18″ x 15″ x 1/2″ closed Artist Statement In 2021, I was asked to create several artists books for a local Jewish museum. The Sleepless Nights came out of that series of works – that consist of explorations of women from the Jewish Bible in contemporary book arts. When I read the story of Sarah, Abraham’s wife, in the Old Testament. I cannot help but think of her sleepless nights. She couldn’t have children for many years. She then gives her maid to Abraham so that he can have children. She however remains a strong and independent woman. I wanted to reflect my life of trying to be a perfect wife and mother, counting my sleepless nights. How I try to balance between work and home life. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869581674-JS923ZIUO3VUZW54ALFQ/mcba-prize-2022-Jenny-Nellis-Familiar-Trees-3.jpg Entries & Jurors - 2022 Entries - Jenny Nellis Morris, MN Familiar Trees 2021 wood, leather, paper 8 3/4″ x 2 1/2″ x 11 1/2″ Artist Statement I am an object maker, a sculptor, a translator of ideas and things from one medium to another for consideration and contemplation. I work in a variety of materials and techniques, primarily three dimensionally. I like the tactile quality of forms and materials. I like the repetitive chip, chip, chipping away at wood, the malleability of clay and wax, the challenge of combining objects from nature with manmade objects. As an avid gardener, I like to focus on the textures, colors, forms, shapes, cycles, and potential found in nature. Observations in gardens and weed patches of tiny seeds, seedpods, leaf and flower buds, flower parts, plant fragments and insects inspire many of my current works. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869581613-MYET296I1I9ZJL9YO3G3/mcba-prize-2022-Jenny-Nellis-Familiar-Trees-2.jpg Entries & Jurors - 2022 Entries - Jenny Nellis Morris, MN Familiar Trees 2021 wood, leather, paper 8 3/4″ x 2 1/2″ x 11 1/2″ Artist Statement I am an object maker, a sculptor, a translator of ideas and things from one medium to another for consideration and contemplation. I work in a variety of materials and techniques, primarily three dimensionally. I like the tactile quality of forms and materials. I like the repetitive chip, chip, chipping away at wood, the malleability of clay and wax, the challenge of combining objects from nature with manmade objects. As an avid gardener, I like to focus on the textures, colors, forms, shapes, cycles, and potential found in nature. Observations in gardens and weed patches of tiny seeds, seedpods, leaf and flower buds, flower parts, plant fragments and insects inspire many of my current works. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869583213-HOV2MTACU9AHESUQN7EF/mcba-prize-2022-Jenny-Nellis-Familiar-Trees-1.jpg Entries & Jurors - 2022 Entries - Jenny Nellis Morris, MN Familiar Trees 2021 wood, leather, paper 8 3/4″ x 2 1/2″ x 11 1/2″ Artist Statement I am an object maker, a sculptor, a translator of ideas and things from one medium to another for consideration and contemplation. I work in a variety of materials and techniques, primarily three dimensionally. I like the tactile quality of forms and materials. I like the repetitive chip, chip, chipping away at wood, the malleability of clay and wax, the challenge of combining objects from nature with manmade objects. As an avid gardener, I like to focus on the textures, colors, forms, shapes, cycles, and potential found in nature. Observations in gardens and weed patches of tiny seeds, seedpods, leaf and flower buds, flower parts, plant fragments and insects inspire many of my current works. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869686354-RKXYC5CK7WPDEXJYD6K9/mcba-prize-2022-Lise-Melhorn-Boe-Like-the-Petite-Point-5.jpg Entries & Jurors - 2022 Entries - Lise Melhorn-Boe Kingston, Ontario, Canada lisemelhornboe.ca Like the Petit Point 2022 Bookwork: Screen printed linen and cotton fabric, knitted acrylic yarn, stitched petit point canvas, lace. 14″ x 8 1/2″ x 1 1/2″ Artist Statement Like the Petit Point is the most recent in a series of bookworks celebrating needlework and sewing. As text, I am using poems that refer to sewing or sewing tools. Except for one, entitled Sewing Pattern, the books are all made from fabric. I have been making artist’s books for over forty years, often political, touching on feminist issues around women’s body image, the roles of women in our society, the socialization of children, and a long series on how our environment affects our collective health. Over the years I have often used textiles in my work, as well as sewing for income. This current series of bookworks came about serendipitously, with an invitation by well-known Canadian poet Lorna Crozier to “play” with the poems in one of her volumes of poetry, A Compendium of Everyday Things. As a seamstress, I was drawn to the poems Button, Ironing Board, Needle, Scissors, and Zipper. Meeting another poet by chance in the store where I was employed led me to Hazel Hall, a Portland, Oregon poet who was also a seamstress, and who wrote about 35 poems that reference sewing and stitching. My Lorna Crozier series suddenly became The Sewing Poems series. I have had a wonderful time translating book structures normally made of paper into fabric, and inventing some of my own. One concept that came out of the environmental work I had done was a desire to work with materials on hand, or found materials. I have continued this practice into this current body of work. Bronwen Wallace was a Kingston poet who was an advocate for women’s rights. Her work focussed on feminist issues, especially domestic violence and sexual discrimination. I was delighted when I discovered this poem, as it is rich in imagery, and speaks beautifully about women’s friendship. Years ago, I learned a binding technique using a stick, but had never used it in my work. The poem’s reference to an unfinished sweater made me think of knitting needles, which became the spine. I scoured second-hand stores for knitting needles, yarn with which to knit the covers, and linen tablecloths upon which to print. I even managed to find a piece of 22-count needlepoint canvas second hand, and learned how to do petit point—never again!—how people find this a meditative practice I do not know. The text is screen printed with screens made on a Thermofax machine borrowed from a friend. The book also incorporates book covers of some seminal feminist books (alarmingly no longer available in my city’s public libraries) as well as those of collections of 1979’s poetry books, one of which belonged to my mother and the other to a deceased friend. Like the Needlepoint stitches together text, various skills—newly-learned and much-practiced—and many lives into a tactile and visual experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869686464-U7Q2LKZJ5KL7SY2IE1I6/mcba-prize-2022-Lise-Melhorn-Boe-Like-the-Petite-Point-4.jpg Entries & Jurors - 2022 Entries - Lise Melhorn-Boe Kingston, Ontario, Canada lisemelhornboe.ca Like the Petit Point 2022 Bookwork: Screen printed linen and cotton fabric, knitted acrylic yarn, stitched petit point canvas, lace. 14″ x 8 1/2″ x 1 1/2″ Artist Statement Like the Petit Point is the most recent in a series of bookworks celebrating needlework and sewing. As text, I am using poems that refer to sewing or sewing tools. Except for one, entitled Sewing Pattern, the books are all made from fabric. I have been making artist’s books for over forty years, often political, touching on feminist issues around women’s body image, the roles of women in our society, the socialization of children, and a long series on how our environment affects our collective health. Over the years I have often used textiles in my work, as well as sewing for income. This current series of bookworks came about serendipitously, with an invitation by well-known Canadian poet Lorna Crozier to “play” with the poems in one of her volumes of poetry, A Compendium of Everyday Things. As a seamstress, I was drawn to the poems Button, Ironing Board, Needle, Scissors, and Zipper. Meeting another poet by chance in the store where I was employed led me to Hazel Hall, a Portland, Oregon poet who was also a seamstress, and who wrote about 35 poems that reference sewing and stitching. My Lorna Crozier series suddenly became The Sewing Poems series. I have had a wonderful time translating book structures normally made of paper into fabric, and inventing some of my own. One concept that came out of the environmental work I had done was a desire to work with materials on hand, or found materials. I have continued this practice into this current body of work. Bronwen Wallace was a Kingston poet who was an advocate for women’s rights. Her work focussed on feminist issues, especially domestic violence and sexual discrimination. I was delighted when I discovered this poem, as it is rich in imagery, and speaks beautifully about women’s friendship. Years ago, I learned a binding technique using a stick, but had never used it in my work. The poem’s reference to an unfinished sweater made me think of knitting needles, which became the spine. I scoured second-hand stores for knitting needles, yarn with which to knit the covers, and linen tablecloths upon which to print. I even managed to find a piece of 22-count needlepoint canvas second hand, and learned how to do petit point—never again!—how people find this a meditative practice I do not know. The text is screen printed with screens made on a Thermofax machine borrowed from a friend. The book also incorporates book covers of some seminal feminist books (alarmingly no longer available in my city’s public libraries) as well as those of collections of 1979’s poetry books, one of which belonged to my mother and the other to a deceased friend. Like the Needlepoint stitches together text, various skills—newly-learned and much-practiced—and many lives into a tactile and visual experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869688498-G3B9IV26SJYHBT664XRO/mcba-prize-2022-Lise-Melhorn-Boe-Like-the-Petite-Point-3.jpg Entries & Jurors - 2022 Entries - Lise Melhorn-Boe Kingston, Ontario, Canada lisemelhornboe.ca Like the Petit Point 2022 Bookwork: Screen printed linen and cotton fabric, knitted acrylic yarn, stitched petit point canvas, lace. 14″ x 8 1/2″ x 1 1/2″ Artist Statement Like the Petit Point is the most recent in a series of bookworks celebrating needlework and sewing. As text, I am using poems that refer to sewing or sewing tools. Except for one, entitled Sewing Pattern, the books are all made from fabric. I have been making artist’s books for over forty years, often political, touching on feminist issues around women’s body image, the roles of women in our society, the socialization of children, and a long series on how our environment affects our collective health. Over the years I have often used textiles in my work, as well as sewing for income. This current series of bookworks came about serendipitously, with an invitation by well-known Canadian poet Lorna Crozier to “play” with the poems in one of her volumes of poetry, A Compendium of Everyday Things. As a seamstress, I was drawn to the poems Button, Ironing Board, Needle, Scissors, and Zipper. Meeting another poet by chance in the store where I was employed led me to Hazel Hall, a Portland, Oregon poet who was also a seamstress, and who wrote about 35 poems that reference sewing and stitching. My Lorna Crozier series suddenly became The Sewing Poems series. I have had a wonderful time translating book structures normally made of paper into fabric, and inventing some of my own. One concept that came out of the environmental work I had done was a desire to work with materials on hand, or found materials. I have continued this practice into this current body of work. Bronwen Wallace was a Kingston poet who was an advocate for women’s rights. Her work focussed on feminist issues, especially domestic violence and sexual discrimination. I was delighted when I discovered this poem, as it is rich in imagery, and speaks beautifully about women’s friendship. Years ago, I learned a binding technique using a stick, but had never used it in my work. The poem’s reference to an unfinished sweater made me think of knitting needles, which became the spine. I scoured second-hand stores for knitting needles, yarn with which to knit the covers, and linen tablecloths upon which to print. I even managed to find a piece of 22-count needlepoint canvas second hand, and learned how to do petit point—never again!—how people find this a meditative practice I do not know. The text is screen printed with screens made on a Thermofax machine borrowed from a friend. The book also incorporates book covers of some seminal feminist books (alarmingly no longer available in my city’s public libraries) as well as those of collections of 1979’s poetry books, one of which belonged to my mother and the other to a deceased friend. Like the Needlepoint stitches together text, various skills—newly-learned and much-practiced—and many lives into a tactile and visual experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869688876-CAMVQW7WCTPRULK9IR41/mcba-prize-2022-Lise-Melhorn-Boe-Like-the-Petite-Point-2.jpg Entries & Jurors - 2022 Entries - Lise Melhorn-Boe Kingston, Ontario, Canada lisemelhornboe.ca Like the Petit Point 2022 Bookwork: Screen printed linen and cotton fabric, knitted acrylic yarn, stitched petit point canvas, lace. 14″ x 8 1/2″ x 1 1/2″ Artist Statement Like the Petit Point is the most recent in a series of bookworks celebrating needlework and sewing. As text, I am using poems that refer to sewing or sewing tools. Except for one, entitled Sewing Pattern, the books are all made from fabric. I have been making artist’s books for over forty years, often political, touching on feminist issues around women’s body image, the roles of women in our society, the socialization of children, and a long series on how our environment affects our collective health. Over the years I have often used textiles in my work, as well as sewing for income. This current series of bookworks came about serendipitously, with an invitation by well-known Canadian poet Lorna Crozier to “play” with the poems in one of her volumes of poetry, A Compendium of Everyday Things. As a seamstress, I was drawn to the poems Button, Ironing Board, Needle, Scissors, and Zipper. Meeting another poet by chance in the store where I was employed led me to Hazel Hall, a Portland, Oregon poet who was also a seamstress, and who wrote about 35 poems that reference sewing and stitching. My Lorna Crozier series suddenly became The Sewing Poems series. I have had a wonderful time translating book structures normally made of paper into fabric, and inventing some of my own. One concept that came out of the environmental work I had done was a desire to work with materials on hand, or found materials. I have continued this practice into this current body of work. Bronwen Wallace was a Kingston poet who was an advocate for women’s rights. Her work focussed on feminist issues, especially domestic violence and sexual discrimination. I was delighted when I discovered this poem, as it is rich in imagery, and speaks beautifully about women’s friendship. Years ago, I learned a binding technique using a stick, but had never used it in my work. The poem’s reference to an unfinished sweater made me think of knitting needles, which became the spine. I scoured second-hand stores for knitting needles, yarn with which to knit the covers, and linen tablecloths upon which to print. I even managed to find a piece of 22-count needlepoint canvas second hand, and learned how to do petit point—never again!—how people find this a meditative practice I do not know. The text is screen printed with screens made on a Thermofax machine borrowed from a friend. The book also incorporates book covers of some seminal feminist books (alarmingly no longer available in my city’s public libraries) as well as those of collections of 1979’s poetry books, one of which belonged to my mother and the other to a deceased friend. Like the Needlepoint stitches together text, various skills—newly-learned and much-practiced—and many lives into a tactile and visual experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869690150-ASUL4SJ7O3SP0KWFDY71/mcba-prize-2022-Lise-Melhorn-Boe-Like-the-Petite-Point-1.jpg Entries & Jurors - 2022 Entries - Lise Melhorn-Boe Kingston, Ontario, Canada lisemelhornboe.ca Like the Petit Point 2022 Bookwork: Screen printed linen and cotton fabric, knitted acrylic yarn, stitched petit point canvas, lace. 14″ x 8 1/2″ x 1 1/2″ Artist Statement Like the Petit Point is the most recent in a series of bookworks celebrating needlework and sewing. As text, I am using poems that refer to sewing or sewing tools. Except for one, entitled Sewing Pattern, the books are all made from fabric. I have been making artist’s books for over forty years, often political, touching on feminist issues around women’s body image, the roles of women in our society, the socialization of children, and a long series on how our environment affects our collective health. Over the years I have often used textiles in my work, as well as sewing for income. This current series of bookworks came about serendipitously, with an invitation by well-known Canadian poet Lorna Crozier to “play” with the poems in one of her volumes of poetry, A Compendium of Everyday Things. As a seamstress, I was drawn to the poems Button, Ironing Board, Needle, Scissors, and Zipper. Meeting another poet by chance in the store where I was employed led me to Hazel Hall, a Portland, Oregon poet who was also a seamstress, and who wrote about 35 poems that reference sewing and stitching. My Lorna Crozier series suddenly became The Sewing Poems series. I have had a wonderful time translating book structures normally made of paper into fabric, and inventing some of my own. One concept that came out of the environmental work I had done was a desire to work with materials on hand, or found materials. I have continued this practice into this current body of work. Bronwen Wallace was a Kingston poet who was an advocate for women’s rights. Her work focussed on feminist issues, especially domestic violence and sexual discrimination. I was delighted when I discovered this poem, as it is rich in imagery, and speaks beautifully about women’s friendship. Years ago, I learned a binding technique using a stick, but had never used it in my work. The poem’s reference to an unfinished sweater made me think of knitting needles, which became the spine. I scoured second-hand stores for knitting needles, yarn with which to knit the covers, and linen tablecloths upon which to print. I even managed to find a piece of 22-count needlepoint canvas second hand, and learned how to do petit point—never again!—how people find this a meditative practice I do not know. The text is screen printed with screens made on a Thermofax machine borrowed from a friend. The book also incorporates book covers of some seminal feminist books (alarmingly no longer available in my city’s public libraries) as well as those of collections of 1979’s poetry books, one of which belonged to my mother and the other to a deceased friend. Like the Needlepoint stitches together text, various skills—newly-learned and much-practiced—and many lives into a tactile and visual experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869950227-77FJLY3RMXYUSA13LQOE/mcba-prize-2022-Karen-Kunc-Corruption-5.jpg Entries & Jurors - 2022 Entries - Karen Kunc Lincoln, NE karen-kunc.com Corruption 2021 Photopolymer relief plates and handset letterpress type on artist-made cotton paper with pulp painting. Folded pages are encased in covers of handmade paper with a woodblock printed blend, and bound with a long-stitch. 8 1/4” x 5 ¾” closed, 8 ¼” x 11 ½” open Artist Statement The poet’s voice weaves oral recitation into speculation on manuscript traditions and the inevitability of ephemeral life. The calligraphy and imagery presents ink over stain residue creating a palimpsest, derived from found book pages, which offers a poignancy and dry humor to the eternal cycle. These ideas contrast our own ephemeral materiality and the matter of the physical world. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole. I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869949844-NSJBM3KBXJGT0WMPK0SW/mcba-prize-2022-Karen-Kunc-Corruption-4.jpg Entries & Jurors - 2022 Entries - Karen Kunc Lincoln, NE karen-kunc.com Corruption 2021 Photopolymer relief plates and handset letterpress type on artist-made cotton paper with pulp painting. Folded pages are encased in covers of handmade paper with a woodblock printed blend, and bound with a long-stitch. 8 1/4” x 5 ¾” closed, 8 ¼” x 11 ½” open Artist Statement The poet’s voice weaves oral recitation into speculation on manuscript traditions and the inevitability of ephemeral life. The calligraphy and imagery presents ink over stain residue creating a palimpsest, derived from found book pages, which offers a poignancy and dry humor to the eternal cycle. These ideas contrast our own ephemeral materiality and the matter of the physical world. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole. I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869952333-L7IR3DV71IX7ETFRRN7G/mcba-prize-2022-Karen-Kunc-Corruption-3.jpg Entries & Jurors - 2022 Entries - Karen Kunc Lincoln, NE karen-kunc.com Corruption 2021 Photopolymer relief plates and handset letterpress type on artist-made cotton paper with pulp painting. Folded pages are encased in covers of handmade paper with a woodblock printed blend, and bound with a long-stitch. 8 1/4” x 5 ¾” closed, 8 ¼” x 11 ½” open Artist Statement The poet’s voice weaves oral recitation into speculation on manuscript traditions and the inevitability of ephemeral life. The calligraphy and imagery presents ink over stain residue creating a palimpsest, derived from found book pages, which offers a poignancy and dry humor to the eternal cycle. These ideas contrast our own ephemeral materiality and the matter of the physical world. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole. I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869952798-IHL1TWJZM6TZEFOE53HR/mcba-prize-2022-Karen-Kunc-Corruption-2.jpg Entries & Jurors - 2022 Entries - Karen Kunc Lincoln, NE karen-kunc.com Corruption 2021 Photopolymer relief plates and handset letterpress type on artist-made cotton paper with pulp painting. Folded pages are encased in covers of handmade paper with a woodblock printed blend, and bound with a long-stitch. 8 1/4” x 5 ¾” closed, 8 ¼” x 11 ½” open Artist Statement The poet’s voice weaves oral recitation into speculation on manuscript traditions and the inevitability of ephemeral life. The calligraphy and imagery presents ink over stain residue creating a palimpsest, derived from found book pages, which offers a poignancy and dry humor to the eternal cycle. These ideas contrast our own ephemeral materiality and the matter of the physical world. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole. I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773869954304-6BEMGUGZK3KP9QQ7FYPF/mcba-prize-2022-Karen-Kunc-Corruption-1.jpg Entries & Jurors - 2022 Entries - Karen Kunc Lincoln, NE karen-kunc.com Corruption 2021 Photopolymer relief plates and handset letterpress type on artist-made cotton paper with pulp painting. Folded pages are encased in covers of handmade paper with a woodblock printed blend, and bound with a long-stitch. 8 1/4” x 5 ¾” closed, 8 ¼” x 11 ½” open Artist Statement The poet’s voice weaves oral recitation into speculation on manuscript traditions and the inevitability of ephemeral life. The calligraphy and imagery presents ink over stain residue creating a palimpsest, derived from found book pages, which offers a poignancy and dry humor to the eternal cycle. These ideas contrast our own ephemeral materiality and the matter of the physical world. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole. I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870142218-R3FO3BYFDQEH6HTMSDF4/mcba-prize-2022-Karen-Kunc-Release-5.jpg Entries & Jurors - 2022 Entries - Karen Kunc Lincoln, NE karen-kunc.com Release 2020–2021 Etching, woodcut, and letterpress on various Japanese Nishinouchi papers, and artist-made blue kozo. Box of covered boards. Clamshell box with cradle 11.25 x 8 x 2.25″ closed. 7” x 4” folded, 7” x 56” open Artist Statement Release evokes the inexorable tension of our times and the realization of irrevocable change. This work is a visual metaphor of transition and a memorial to our loved ones passed. The book format provokes experiences on many sensual and spatial levels—the tactile qualities made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. The visual sensibilities transform the concepts of abiding life issues, on change, matter, time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870141882-B3FZ49V1HNGVCP5XSGIO/mcba-prize-2022-Karen-Kunc-Release-4.jpg Entries & Jurors - 2022 Entries - Karen Kunc Lincoln, NE karen-kunc.com Release 2020–2021 Etching, woodcut, and letterpress on various Japanese Nishinouchi papers, and artist-made blue kozo. Box of covered boards. Clamshell box with cradle 11.25 x 8 x 2.25″ closed. 7” x 4” folded, 7” x 56” open Artist Statement Release evokes the inexorable tension of our times and the realization of irrevocable change. This work is a visual metaphor of transition and a memorial to our loved ones passed. The book format provokes experiences on many sensual and spatial levels—the tactile qualities made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. The visual sensibilities transform the concepts of abiding life issues, on change, matter, time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870143250-R7UDN5YNG7CTMUUNZ9IB/mcba-prize-2022-Karen-Kunc-Release-3.jpg Entries & Jurors - 2022 Entries - Karen Kunc Lincoln, NE karen-kunc.com Release 2020–2021 Etching, woodcut, and letterpress on various Japanese Nishinouchi papers, and artist-made blue kozo. Box of covered boards. Clamshell box with cradle 11.25 x 8 x 2.25″ closed. 7” x 4” folded, 7” x 56” open Artist Statement Release evokes the inexorable tension of our times and the realization of irrevocable change. This work is a visual metaphor of transition and a memorial to our loved ones passed. The book format provokes experiences on many sensual and spatial levels—the tactile qualities made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. The visual sensibilities transform the concepts of abiding life issues, on change, matter, time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870143831-PCGFW4W9PFA9WI6NYOLV/mcba-prize-2022-Karen-Kunc-Release-2.jpg Entries & Jurors - 2022 Entries - Karen Kunc Lincoln, NE karen-kunc.com Release 2020–2021 Etching, woodcut, and letterpress on various Japanese Nishinouchi papers, and artist-made blue kozo. Box of covered boards. Clamshell box with cradle 11.25 x 8 x 2.25″ closed. 7” x 4” folded, 7” x 56” open Artist Statement Release evokes the inexorable tension of our times and the realization of irrevocable change. This work is a visual metaphor of transition and a memorial to our loved ones passed. The book format provokes experiences on many sensual and spatial levels—the tactile qualities made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. The visual sensibilities transform the concepts of abiding life issues, on change, matter, time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870145120-NO2E6JGOWHH118WMGI9H/mcba-prize-2022-Karen-Kunc-Release-1.jpg Entries & Jurors - 2022 Entries - Karen Kunc Lincoln, NE karen-kunc.com Release 2020–2021 Etching, woodcut, and letterpress on various Japanese Nishinouchi papers, and artist-made blue kozo. Box of covered boards. Clamshell box with cradle 11.25 x 8 x 2.25″ closed. 7” x 4” folded, 7” x 56” open Artist Statement Release evokes the inexorable tension of our times and the realization of irrevocable change. This work is a visual metaphor of transition and a memorial to our loved ones passed. The book format provokes experiences on many sensual and spatial levels—the tactile qualities made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. The visual sensibilities transform the concepts of abiding life issues, on change, matter, time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870273652-XMDTL9HPSQSD2DVSPM8L/mcba-prize-2022-Maria-Carolina-Ceballos-Un-Libro-5.jpg Entries & Jurors - 2022 Entries - María Carolina Ceballos Bogotá, Colombia mariacarolinaceballos.art Un Libro2021 Digital book design, photography, bookbinding, handmade paper. Clamshell box with cradle 11.25 x 8 x 2.25″ closed. Artist Statement María Carolina Ceballos, Canto Press Introducing Un Libro 2021 Un Libro is a book about the experience of being a woman bookbinder, book conservator and Colombian in the US. It has its own language; in the shape of a book, the printed content explains the process of bookmaking and conservation with words, lines of thread, pieces of paper, and lines of text made with pieces of languages. I started writing this book as I was learning bookbinding and working as a book conservation technician. There is a perfor[1]mative act when crafting something, in this case, a book. The book connects with our body by its craft but also by itself. To name a book and its parts, is to recognize ourselves in it, its body is a mirror of ours. My body changes to accommodate to the bookbinding practice, and the book changes too, showing itself and its weakness at the conservation lab: books age. The job of a book conservator is my way of taking care of others. I take care of history, memories, imagination and knowledge; all coming from the human body, all engraved in books that, too, live in time and degrade in their many layers of materials. This book is also part of a research about performance in the book arts. As a vocal performer myself, I introduce the voice of the bookbinder and their body in this piece. In terms of performance and notation, this book translates the !neness of the thread to the lightness of dancing bodies and fragmented voices and languages, the hybrid-language writing translates to a “uent constant shift in the interpretation of words. The book is 10 x 7.5’’ to speak to the traditional format for music scores, with 96 pages. It was published in February 2021, Iowa City, by Canto Press. The standard edition of 25 is handbound with a letterpress printed paper cover on a slotted tape binding. The deluxe edition of 5, comes with one !ne bound bradel binding book with digitally printed photographs on Japanese paper, and handmade paper, leather and thread in-lays and on-lays, and one copy of the standard edition in a clam shell box with cradle, to allow for future collaborative performances between readers and performers, box dimensions are 8 x 11.25 x 2.25 inches. This book was digitally printed on a laser printer on Classic Crest paper, text 80, smooth. To watch the first performance of this book, click here. To see this book and its box, click here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870273152-8XTWOKPFBWWCBGQRXI6B/mcba-prize-2022-Maria-Carolina-Ceballos-Un-Libro-4.jpg Entries & Jurors - 2022 Entries - María Carolina Ceballos Bogotá, Colombia mariacarolinaceballos.art Un Libro2021 Digital book design, photography, bookbinding, handmade paper. Clamshell box with cradle 11.25 x 8 x 2.25″ closed. Artist Statement María Carolina Ceballos, Canto Press Introducing Un Libro 2021 Un Libro is a book about the experience of being a woman bookbinder, book conservator and Colombian in the US. It has its own language; in the shape of a book, the printed content explains the process of bookmaking and conservation with words, lines of thread, pieces of paper, and lines of text made with pieces of languages. I started writing this book as I was learning bookbinding and working as a book conservation technician. There is a perfor[1]mative act when crafting something, in this case, a book. The book connects with our body by its craft but also by itself. To name a book and its parts, is to recognize ourselves in it, its body is a mirror of ours. My body changes to accommodate to the bookbinding practice, and the book changes too, showing itself and its weakness at the conservation lab: books age. The job of a book conservator is my way of taking care of others. I take care of history, memories, imagination and knowledge; all coming from the human body, all engraved in books that, too, live in time and degrade in their many layers of materials. This book is also part of a research about performance in the book arts. As a vocal performer myself, I introduce the voice of the bookbinder and their body in this piece. In terms of performance and notation, this book translates the !neness of the thread to the lightness of dancing bodies and fragmented voices and languages, the hybrid-language writing translates to a “uent constant shift in the interpretation of words. The book is 10 x 7.5’’ to speak to the traditional format for music scores, with 96 pages. It was published in February 2021, Iowa City, by Canto Press. The standard edition of 25 is handbound with a letterpress printed paper cover on a slotted tape binding. The deluxe edition of 5, comes with one !ne bound bradel binding book with digitally printed photographs on Japanese paper, and handmade paper, leather and thread in-lays and on-lays, and one copy of the standard edition in a clam shell box with cradle, to allow for future collaborative performances between readers and performers, box dimensions are 8 x 11.25 x 2.25 inches. This book was digitally printed on a laser printer on Classic Crest paper, text 80, smooth. To watch the first performance of this book, click here. To see this book and its box, click here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870274720-V232GBGHJ2KNAU99Q59C/mcba-prize-2022-Maria-Carolina-Ceballos-Un-Libro-3.jpg Entries & Jurors - 2022 Entries - María Carolina Ceballos Bogotá, Colombia mariacarolinaceballos.art Un Libro2021 Digital book design, photography, bookbinding, handmade paper. Clamshell box with cradle 11.25 x 8 x 2.25″ closed. Artist Statement María Carolina Ceballos, Canto Press Introducing Un Libro 2021 Un Libro is a book about the experience of being a woman bookbinder, book conservator and Colombian in the US. It has its own language; in the shape of a book, the printed content explains the process of bookmaking and conservation with words, lines of thread, pieces of paper, and lines of text made with pieces of languages. I started writing this book as I was learning bookbinding and working as a book conservation technician. There is a perfor[1]mative act when crafting something, in this case, a book. The book connects with our body by its craft but also by itself. To name a book and its parts, is to recognize ourselves in it, its body is a mirror of ours. My body changes to accommodate to the bookbinding practice, and the book changes too, showing itself and its weakness at the conservation lab: books age. The job of a book conservator is my way of taking care of others. I take care of history, memories, imagination and knowledge; all coming from the human body, all engraved in books that, too, live in time and degrade in their many layers of materials. This book is also part of a research about performance in the book arts. As a vocal performer myself, I introduce the voice of the bookbinder and their body in this piece. In terms of performance and notation, this book translates the !neness of the thread to the lightness of dancing bodies and fragmented voices and languages, the hybrid-language writing translates to a “uent constant shift in the interpretation of words. The book is 10 x 7.5’’ to speak to the traditional format for music scores, with 96 pages. It was published in February 2021, Iowa City, by Canto Press. The standard edition of 25 is handbound with a letterpress printed paper cover on a slotted tape binding. The deluxe edition of 5, comes with one !ne bound bradel binding book with digitally printed photographs on Japanese paper, and handmade paper, leather and thread in-lays and on-lays, and one copy of the standard edition in a clam shell box with cradle, to allow for future collaborative performances between readers and performers, box dimensions are 8 x 11.25 x 2.25 inches. This book was digitally printed on a laser printer on Classic Crest paper, text 80, smooth. To watch the first performance of this book, click here. To see this book and its box, click here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870275332-F9ZSYKIH1JH4QTQWST1Q/mcba-prize-2022-Maria-Carolina-Ceballos-Un-Libro-2.jpg Entries & Jurors - 2022 Entries - María Carolina Ceballos Bogotá, Colombia mariacarolinaceballos.art Un Libro2021 Digital book design, photography, bookbinding, handmade paper. Clamshell box with cradle 11.25 x 8 x 2.25″ closed. Artist Statement María Carolina Ceballos, Canto Press Introducing Un Libro 2021 Un Libro is a book about the experience of being a woman bookbinder, book conservator and Colombian in the US. It has its own language; in the shape of a book, the printed content explains the process of bookmaking and conservation with words, lines of thread, pieces of paper, and lines of text made with pieces of languages. I started writing this book as I was learning bookbinding and working as a book conservation technician. There is a perfor[1]mative act when crafting something, in this case, a book. The book connects with our body by its craft but also by itself. To name a book and its parts, is to recognize ourselves in it, its body is a mirror of ours. My body changes to accommodate to the bookbinding practice, and the book changes too, showing itself and its weakness at the conservation lab: books age. The job of a book conservator is my way of taking care of others. I take care of history, memories, imagination and knowledge; all coming from the human body, all engraved in books that, too, live in time and degrade in their many layers of materials. This book is also part of a research about performance in the book arts. As a vocal performer myself, I introduce the voice of the bookbinder and their body in this piece. In terms of performance and notation, this book translates the !neness of the thread to the lightness of dancing bodies and fragmented voices and languages, the hybrid-language writing translates to a “uent constant shift in the interpretation of words. The book is 10 x 7.5’’ to speak to the traditional format for music scores, with 96 pages. It was published in February 2021, Iowa City, by Canto Press. The standard edition of 25 is handbound with a letterpress printed paper cover on a slotted tape binding. The deluxe edition of 5, comes with one !ne bound bradel binding book with digitally printed photographs on Japanese paper, and handmade paper, leather and thread in-lays and on-lays, and one copy of the standard edition in a clam shell box with cradle, to allow for future collaborative performances between readers and performers, box dimensions are 8 x 11.25 x 2.25 inches. This book was digitally printed on a laser printer on Classic Crest paper, text 80, smooth. To watch the first performance of this book, click here. To see this book and its box, click here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870276398-HNVKAC88N6PKCYQTFSSM/mcba-prize-2022-Maria-Carolina-Ceballos-Un-Libro-1.jpg Entries & Jurors - 2022 Entries - María Carolina Ceballos Bogotá, Colombia mariacarolinaceballos.art Un Libro2021 Digital book design, photography, bookbinding, handmade paper. Clamshell box with cradle 11.25 x 8 x 2.25″ closed. Artist Statement María Carolina Ceballos, Canto Press Introducing Un Libro 2021 Un Libro is a book about the experience of being a woman bookbinder, book conservator and Colombian in the US. It has its own language; in the shape of a book, the printed content explains the process of bookmaking and conservation with words, lines of thread, pieces of paper, and lines of text made with pieces of languages. I started writing this book as I was learning bookbinding and working as a book conservation technician. There is a perfor[1]mative act when crafting something, in this case, a book. The book connects with our body by its craft but also by itself. To name a book and its parts, is to recognize ourselves in it, its body is a mirror of ours. My body changes to accommodate to the bookbinding practice, and the book changes too, showing itself and its weakness at the conservation lab: books age. The job of a book conservator is my way of taking care of others. I take care of history, memories, imagination and knowledge; all coming from the human body, all engraved in books that, too, live in time and degrade in their many layers of materials. This book is also part of a research about performance in the book arts. As a vocal performer myself, I introduce the voice of the bookbinder and their body in this piece. In terms of performance and notation, this book translates the !neness of the thread to the lightness of dancing bodies and fragmented voices and languages, the hybrid-language writing translates to a “uent constant shift in the interpretation of words. The book is 10 x 7.5’’ to speak to the traditional format for music scores, with 96 pages. It was published in February 2021, Iowa City, by Canto Press. The standard edition of 25 is handbound with a letterpress printed paper cover on a slotted tape binding. The deluxe edition of 5, comes with one !ne bound bradel binding book with digitally printed photographs on Japanese paper, and handmade paper, leather and thread in-lays and on-lays, and one copy of the standard edition in a clam shell box with cradle, to allow for future collaborative performances between readers and performers, box dimensions are 8 x 11.25 x 2.25 inches. This book was digitally printed on a laser printer on Classic Crest paper, text 80, smooth. To watch the first performance of this book, click here. To see this book and its box, click here. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870489235-KE2A7RT2FS9V81RAGU3T/mcba-prize-2022-Lanxuan-Liu-Intertwined-5.jpg Entries & Jurors - 2022 Entries - Lanxuan Liu Chicago, IL florenceliu.com Intertwined No.2 2021 handmade abaca paper, hair 24″ x 36″ x 1″ (when open), 24″ x 18″ (when closed) Artist Statement Intertwined No.2 is an edition of artist’s books that challenges the conventional way of reading by reformulating the book as a metaphor and extension of the human body. Each sheet of paper is handmade using Abaca pulp and inlaid with human hair that symbolizes layers of skins. The action of navigating through this book becomes an uncanny investigation of the body that reveals the vulnerable and the private. These artist’s books materialize the tactility of a book and highlight reading as a physical act of touch while revealing the layers within a body. The action of reading becomes a performative navigation between the reader and the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870489755-E4ZF7I2C3PW3J2ILL8P4/mcba-prize-2022-Lanxuan-Liu-Intertwined-4.jpg Entries & Jurors - 2022 Entries - Lanxuan Liu Chicago, IL florenceliu.com Intertwined No.2 2021 handmade abaca paper, hair 24″ x 36″ x 1″ (when open), 24″ x 18″ (when closed) Artist Statement Intertwined No.2 is an edition of artist’s books that challenges the conventional way of reading by reformulating the book as a metaphor and extension of the human body. Each sheet of paper is handmade using Abaca pulp and inlaid with human hair that symbolizes layers of skins. The action of navigating through this book becomes an uncanny investigation of the body that reveals the vulnerable and the private. These artist’s books materialize the tactility of a book and highlight reading as a physical act of touch while revealing the layers within a body. The action of reading becomes a performative navigation between the reader and the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870491879-M18GK1GVA8T4B03RKEOF/mcba-prize-2022-Lanxuan-Liu-Intertwined-3.jpg Entries & Jurors - 2022 Entries - Lanxuan Liu Chicago, IL florenceliu.com Intertwined No.2 2021 handmade abaca paper, hair 24″ x 36″ x 1″ (when open), 24″ x 18″ (when closed) Artist Statement Intertwined No.2 is an edition of artist’s books that challenges the conventional way of reading by reformulating the book as a metaphor and extension of the human body. Each sheet of paper is handmade using Abaca pulp and inlaid with human hair that symbolizes layers of skins. The action of navigating through this book becomes an uncanny investigation of the body that reveals the vulnerable and the private. These artist’s books materialize the tactility of a book and highlight reading as a physical act of touch while revealing the layers within a body. The action of reading becomes a performative navigation between the reader and the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870493740-Q0QKD7GH09UNCSOGR41U/mcba-prize-2022-Lanxuan-Liu-Intertwined-2.png Entries & Jurors - 2022 Entries - Lanxuan Liu Chicago, IL florenceliu.com Intertwined No.2 2021 handmade abaca paper, hair 24″ x 36″ x 1″ (when open), 24″ x 18″ (when closed) Artist Statement Intertwined No.2 is an edition of artist’s books that challenges the conventional way of reading by reformulating the book as a metaphor and extension of the human body. Each sheet of paper is handmade using Abaca pulp and inlaid with human hair that symbolizes layers of skins. The action of navigating through this book becomes an uncanny investigation of the body that reveals the vulnerable and the private. These artist’s books materialize the tactility of a book and highlight reading as a physical act of touch while revealing the layers within a body. The action of reading becomes a performative navigation between the reader and the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870495003-47B8XRKOL6VVUKPVBBO5/mcba-prize-2022-Lanxuan-Liu-Intertwined-1.png Entries & Jurors - 2022 Entries - Lanxuan Liu Chicago, IL florenceliu.com Intertwined No.2 2021 handmade abaca paper, hair 24″ x 36″ x 1″ (when open), 24″ x 18″ (when closed) Artist Statement Intertwined No.2 is an edition of artist’s books that challenges the conventional way of reading by reformulating the book as a metaphor and extension of the human body. Each sheet of paper is handmade using Abaca pulp and inlaid with human hair that symbolizes layers of skins. The action of navigating through this book becomes an uncanny investigation of the body that reveals the vulnerable and the private. These artist’s books materialize the tactility of a book and highlight reading as a physical act of touch while revealing the layers within a body. The action of reading becomes a performative navigation between the reader and the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870594841-HUUJ9AHUUML09VI5Y5FM/mcba-prize-2022-Iris-Wright-Quilt-5.jpg Entries & Jurors - 2022 Entries - Iris Wright Providence, RI iriswrite.com Quilt 2021 artist’s book 5″ x 5.25″ x 1″ Artist Statement Quilt is an artist’s book I made as a reflection on the surround of community during grief and the care that we grant our own lives and those we love. Its text is a poem in pieces, each line disconnected from the others until the final draft where I joined them into a progression of couplets. I wrote the poem in the imperative mood to serve as instruction in uncertainty. I chose the medium for its temporal qualities; moving through a book requires patient interaction, viewing one part of the whole at a time. Like a quilt, it is detailed in small stitches and carefully cut fabric, but here the components are isolated so they can be appreciated page-by-page. The content is presented in a pattern: fabric, text, stitching, text, fabric, and a blank page before the pattern repeats with new text and a different stitching design. The repetition becomes comfortable and navigable while the content is more open. Blank pages offer moments of quietude. Texture was important to me when choosing materials; the paper is linen, and the fabric and thread are cotton. It is soft to the touch and meant to be handled. Each stitch is made for fingers to trace over as one would feel a handmade quilt. The book is a Smythe sewn form with blue waxed linen thread which holds one fabric strip in each signature. The book cloth I made using the same fabric that is throughout the book. I handset the type and printed it on letterpress so even the words have tangible feeling. Quilt is, in part, a translation of its name, but it speaks of the flux that we inhabit, the depression of the unknowing, and, most importantly, the care we must impart to survive that ocean. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870594177-8AUBUSNS8IC6296TS937/mcba-prize-2022-Iris-Wright-Quilt-4.jpg Entries & Jurors - 2022 Entries - Iris Wright Providence, RI iriswrite.com Quilt 2021 artist’s book 5″ x 5.25″ x 1″ Artist Statement Quilt is an artist’s book I made as a reflection on the surround of community during grief and the care that we grant our own lives and those we love. Its text is a poem in pieces, each line disconnected from the others until the final draft where I joined them into a progression of couplets. I wrote the poem in the imperative mood to serve as instruction in uncertainty. I chose the medium for its temporal qualities; moving through a book requires patient interaction, viewing one part of the whole at a time. Like a quilt, it is detailed in small stitches and carefully cut fabric, but here the components are isolated so they can be appreciated page-by-page. The content is presented in a pattern: fabric, text, stitching, text, fabric, and a blank page before the pattern repeats with new text and a different stitching design. The repetition becomes comfortable and navigable while the content is more open. Blank pages offer moments of quietude. Texture was important to me when choosing materials; the paper is linen, and the fabric and thread are cotton. It is soft to the touch and meant to be handled. Each stitch is made for fingers to trace over as one would feel a handmade quilt. The book is a Smythe sewn form with blue waxed linen thread which holds one fabric strip in each signature. The book cloth I made using the same fabric that is throughout the book. I handset the type and printed it on letterpress so even the words have tangible feeling. Quilt is, in part, a translation of its name, but it speaks of the flux that we inhabit, the depression of the unknowing, and, most importantly, the care we must impart to survive that ocean. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870595791-PL9UI3W99IRKZOM59PNQ/mcba-prize-2022-Iris-Wright-Quilt-3.jpg Entries & Jurors - 2022 Entries - Iris Wright Providence, RI iriswrite.com Quilt 2021 artist’s book 5″ x 5.25″ x 1″ Artist Statement Quilt is an artist’s book I made as a reflection on the surround of community during grief and the care that we grant our own lives and those we love. Its text is a poem in pieces, each line disconnected from the others until the final draft where I joined them into a progression of couplets. I wrote the poem in the imperative mood to serve as instruction in uncertainty. I chose the medium for its temporal qualities; moving through a book requires patient interaction, viewing one part of the whole at a time. Like a quilt, it is detailed in small stitches and carefully cut fabric, but here the components are isolated so they can be appreciated page-by-page. The content is presented in a pattern: fabric, text, stitching, text, fabric, and a blank page before the pattern repeats with new text and a different stitching design. The repetition becomes comfortable and navigable while the content is more open. Blank pages offer moments of quietude. Texture was important to me when choosing materials; the paper is linen, and the fabric and thread are cotton. It is soft to the touch and meant to be handled. Each stitch is made for fingers to trace over as one would feel a handmade quilt. The book is a Smythe sewn form with blue waxed linen thread which holds one fabric strip in each signature. The book cloth I made using the same fabric that is throughout the book. I handset the type and printed it on letterpress so even the words have tangible feeling. Quilt is, in part, a translation of its name, but it speaks of the flux that we inhabit, the depression of the unknowing, and, most importantly, the care we must impart to survive that ocean. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870596187-KFM18VOH5O0ADYSQYMS4/mcba-prize-2022-Iris-Wright-Quilt-2.jpg Entries & Jurors - 2022 Entries - Iris Wright Providence, RI iriswrite.com Quilt 2021 artist’s book 5″ x 5.25″ x 1″ Artist Statement Quilt is an artist’s book I made as a reflection on the surround of community during grief and the care that we grant our own lives and those we love. Its text is a poem in pieces, each line disconnected from the others until the final draft where I joined them into a progression of couplets. I wrote the poem in the imperative mood to serve as instruction in uncertainty. I chose the medium for its temporal qualities; moving through a book requires patient interaction, viewing one part of the whole at a time. Like a quilt, it is detailed in small stitches and carefully cut fabric, but here the components are isolated so they can be appreciated page-by-page. The content is presented in a pattern: fabric, text, stitching, text, fabric, and a blank page before the pattern repeats with new text and a different stitching design. The repetition becomes comfortable and navigable while the content is more open. Blank pages offer moments of quietude. Texture was important to me when choosing materials; the paper is linen, and the fabric and thread are cotton. It is soft to the touch and meant to be handled. Each stitch is made for fingers to trace over as one would feel a handmade quilt. The book is a Smythe sewn form with blue waxed linen thread which holds one fabric strip in each signature. The book cloth I made using the same fabric that is throughout the book. I handset the type and printed it on letterpress so even the words have tangible feeling. Quilt is, in part, a translation of its name, but it speaks of the flux that we inhabit, the depression of the unknowing, and, most importantly, the care we must impart to survive that ocean. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870597429-DTSUGS1X8LFV4ZMORTOH/mcba-prize-2022-Iris-Wright-Quilt-1.jpg Entries & Jurors - 2022 Entries - Iris Wright Providence, RI iriswrite.com Quilt 2021 artist’s book 5″ x 5.25″ x 1″ Artist Statement Quilt is an artist’s book I made as a reflection on the surround of community during grief and the care that we grant our own lives and those we love. Its text is a poem in pieces, each line disconnected from the others until the final draft where I joined them into a progression of couplets. I wrote the poem in the imperative mood to serve as instruction in uncertainty. I chose the medium for its temporal qualities; moving through a book requires patient interaction, viewing one part of the whole at a time. Like a quilt, it is detailed in small stitches and carefully cut fabric, but here the components are isolated so they can be appreciated page-by-page. The content is presented in a pattern: fabric, text, stitching, text, fabric, and a blank page before the pattern repeats with new text and a different stitching design. The repetition becomes comfortable and navigable while the content is more open. Blank pages offer moments of quietude. Texture was important to me when choosing materials; the paper is linen, and the fabric and thread are cotton. It is soft to the touch and meant to be handled. Each stitch is made for fingers to trace over as one would feel a handmade quilt. The book is a Smythe sewn form with blue waxed linen thread which holds one fabric strip in each signature. The book cloth I made using the same fabric that is throughout the book. I handset the type and printed it on letterpress so even the words have tangible feeling. Quilt is, in part, a translation of its name, but it speaks of the flux that we inhabit, the depression of the unknowing, and, most importantly, the care we must impart to survive that ocean. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936609687-YWRUBT061Z0VEFLI3UFW/mcba-prize-2022-Peggy-Johnston-Having-A-Ball-Sherlock-Holmes-1.jpg.jpg Entries & Jurors - 2022 Entries - Peggy Johnston Des Moines, Iowa www.wavelandstudio.com Having a Ball with Sherlock Holmes—The Final Problem 2022 Cloth selvedge, paper, glue, leather and rivets. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936609877-EZ2K0ZLOXEVBY4F35L9N/mcba-prize-2022-Peggy-Johnston-Having-A-Ball-Sherlock-Holmes-2.jpg Entries & Jurors - 2022 Entries - Peggy Johnston Des Moines, Iowa www.wavelandstudio.com Having a Ball with Sherlock Holmes—The Final Problem 2022 Cloth selvedge, paper, glue, leather and rivets. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936610852-64OCZUP4CIMY6Q4EEBPI/mcba-prize-2022-Peggy-Johnston-Having-A-Ball-Sherlock-Holmes-3.jpg.jpg Entries & Jurors - 2022 Entries - Peggy Johnston Des Moines, Iowa www.wavelandstudio.com Having a Ball with Sherlock Holmes—The Final Problem 2022 Cloth selvedge, paper, glue, leather and rivets. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936611040-MDTMPEHRN4PK5OP59D4B/mcba-prize-2022-Peggy-Johnston-Having-A-Ball-Sherlock-Holmes-4.jpg.jpg Entries & Jurors - 2022 Entries - Peggy Johnston Des Moines, Iowa www.wavelandstudio.com Having a Ball with Sherlock Holmes—The Final Problem 2022 Cloth selvedge, paper, glue, leather and rivets. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870808053-HYZLIMCX36NBSEI3B7X2/mcba-prize-2022-Rebecca-Chamlee-Dreams-in-Flight-5.jpg Entries & Jurors - 2022 Entries - Rebecca Chamlee Simi Valley, CA pieintheskypress.com Dreams of Flight, the nesting season2022 hardbound, letterpress printed artist’s book 10 x 6 x .75″ Artist Statement During the long months of isolation in 2020 and 2021, I began documenting the many birds that came to my backyard feeders and noted their unique behaviors. With a telephoto lens, I was able to record detailed and intimate images of my avian visitors. As often happens, the passion I felt for the birds grew into the idea for an artist’s book. Dreams of Flight, the nesting season is an interconnected story of three different species of birds that nested in my suburban yard during the spring nesting seasons of 2020–21. The book was created entirely at home. Printed in the colors of the birds on the Vandercook Universal III power press in the living room studio using Deepdene and 20th Century type with assorted wood type from the Pie in the Sky Press collection. The original images were captured through the window over the press with a Nikkor 200-500mm f5.6 lens mounted on a Nikon D850 camera and printed with photo polymer plates made by Boxcar Press. The binding is a flutter book structure, a type of accordion where the fore-edges of the pages are pasted together but the spine is not. A magnetic spine supports the backbone of the book and can be removed for reading and display. Cotton cloud paper was handmade to order by Tom Balbo. The endsheets are Hahnemuhle Bugra. The text paper is Wa-Mix Kozo and Clairefontaine Simili Japon with sewn-in wings of cloud paper and colored Bugra to match the birds. The book is housed in a bookcloth-covered clamshell box and includes a suite of prints printed in four colors on 320gsm Izumi paper, enclosed in a handmade St. Armand paper folder. 24 pages, 6 x 10 x .75″ Prints, 8 x 10″ Box, 8.75 x 10.75 x 1.5″ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870807724-FFPZLCHADWSUZ0IJCU6U/mcba-prize-2022-Rebecca-Chamlee-Dreams-in-Flight-4.jpg Entries & Jurors - 2022 Entries - Rebecca Chamlee Simi Valley, CA pieintheskypress.com Dreams of Flight, the nesting season2022 hardbound, letterpress printed artist’s book 10 x 6 x .75″ Artist Statement During the long months of isolation in 2020 and 2021, I began documenting the many birds that came to my backyard feeders and noted their unique behaviors. With a telephoto lens, I was able to record detailed and intimate images of my avian visitors. As often happens, the passion I felt for the birds grew into the idea for an artist’s book. Dreams of Flight, the nesting season is an interconnected story of three different species of birds that nested in my suburban yard during the spring nesting seasons of 2020–21. The book was created entirely at home. Printed in the colors of the birds on the Vandercook Universal III power press in the living room studio using Deepdene and 20th Century type with assorted wood type from the Pie in the Sky Press collection. The original images were captured through the window over the press with a Nikkor 200-500mm f5.6 lens mounted on a Nikon D850 camera and printed with photo polymer plates made by Boxcar Press. The binding is a flutter book structure, a type of accordion where the fore-edges of the pages are pasted together but the spine is not. A magnetic spine supports the backbone of the book and can be removed for reading and display. Cotton cloud paper was handmade to order by Tom Balbo. The endsheets are Hahnemuhle Bugra. The text paper is Wa-Mix Kozo and Clairefontaine Simili Japon with sewn-in wings of cloud paper and colored Bugra to match the birds. The book is housed in a bookcloth-covered clamshell box and includes a suite of prints printed in four colors on 320gsm Izumi paper, enclosed in a handmade St. Armand paper folder. 24 pages, 6 x 10 x .75″ Prints, 8 x 10″ Box, 8.75 x 10.75 x 1.5″ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870809493-NNUNC4YY06WHHGHBUEZJ/mcba-prize-2022-Rebecca-Chamlee-Dreams-in-Flight-3.jpg Entries & Jurors - 2022 Entries - Rebecca Chamlee Simi Valley, CA pieintheskypress.com Dreams of Flight, the nesting season2022 hardbound, letterpress printed artist’s book 10 x 6 x .75″ Artist Statement During the long months of isolation in 2020 and 2021, I began documenting the many birds that came to my backyard feeders and noted their unique behaviors. With a telephoto lens, I was able to record detailed and intimate images of my avian visitors. As often happens, the passion I felt for the birds grew into the idea for an artist’s book. Dreams of Flight, the nesting season is an interconnected story of three different species of birds that nested in my suburban yard during the spring nesting seasons of 2020–21. The book was created entirely at home. Printed in the colors of the birds on the Vandercook Universal III power press in the living room studio using Deepdene and 20th Century type with assorted wood type from the Pie in the Sky Press collection. The original images were captured through the window over the press with a Nikkor 200-500mm f5.6 lens mounted on a Nikon D850 camera and printed with photo polymer plates made by Boxcar Press. The binding is a flutter book structure, a type of accordion where the fore-edges of the pages are pasted together but the spine is not. A magnetic spine supports the backbone of the book and can be removed for reading and display. Cotton cloud paper was handmade to order by Tom Balbo. The endsheets are Hahnemuhle Bugra. The text paper is Wa-Mix Kozo and Clairefontaine Simili Japon with sewn-in wings of cloud paper and colored Bugra to match the birds. The book is housed in a bookcloth-covered clamshell box and includes a suite of prints printed in four colors on 320gsm Izumi paper, enclosed in a handmade St. Armand paper folder. 24 pages, 6 x 10 x .75″ Prints, 8 x 10″ Box, 8.75 x 10.75 x 1.5″ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870810618-19S0XY1L0GKGZQVKENOA/mcba-prize-2022-Rebecca-Chamlee-Dreams-in-Flight-2.jpg Entries & Jurors - 2022 Entries - Rebecca Chamlee Simi Valley, CA pieintheskypress.com Dreams of Flight, the nesting season2022 hardbound, letterpress printed artist’s book 10 x 6 x .75″ Artist Statement During the long months of isolation in 2020 and 2021, I began documenting the many birds that came to my backyard feeders and noted their unique behaviors. With a telephoto lens, I was able to record detailed and intimate images of my avian visitors. As often happens, the passion I felt for the birds grew into the idea for an artist’s book. Dreams of Flight, the nesting season is an interconnected story of three different species of birds that nested in my suburban yard during the spring nesting seasons of 2020–21. The book was created entirely at home. Printed in the colors of the birds on the Vandercook Universal III power press in the living room studio using Deepdene and 20th Century type with assorted wood type from the Pie in the Sky Press collection. The original images were captured through the window over the press with a Nikkor 200-500mm f5.6 lens mounted on a Nikon D850 camera and printed with photo polymer plates made by Boxcar Press. The binding is a flutter book structure, a type of accordion where the fore-edges of the pages are pasted together but the spine is not. A magnetic spine supports the backbone of the book and can be removed for reading and display. Cotton cloud paper was handmade to order by Tom Balbo. The endsheets are Hahnemuhle Bugra. The text paper is Wa-Mix Kozo and Clairefontaine Simili Japon with sewn-in wings of cloud paper and colored Bugra to match the birds. The book is housed in a bookcloth-covered clamshell box and includes a suite of prints printed in four colors on 320gsm Izumi paper, enclosed in a handmade St. Armand paper folder. 24 pages, 6 x 10 x .75″ Prints, 8 x 10″ Box, 8.75 x 10.75 x 1.5″ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870811210-0QU30B68EVS6PCN1ELMB/mcba-prize-2022-Rebecca-Chamlee-Dreams-in-Flight-1.jpg Entries & Jurors - 2022 Entries - Rebecca Chamlee Simi Valley, CA pieintheskypress.com Dreams of Flight, the nesting season2022 hardbound, letterpress printed artist’s book 10 x 6 x .75″ Artist Statement During the long months of isolation in 2020 and 2021, I began documenting the many birds that came to my backyard feeders and noted their unique behaviors. With a telephoto lens, I was able to record detailed and intimate images of my avian visitors. As often happens, the passion I felt for the birds grew into the idea for an artist’s book. Dreams of Flight, the nesting season is an interconnected story of three different species of birds that nested in my suburban yard during the spring nesting seasons of 2020–21. The book was created entirely at home. Printed in the colors of the birds on the Vandercook Universal III power press in the living room studio using Deepdene and 20th Century type with assorted wood type from the Pie in the Sky Press collection. The original images were captured through the window over the press with a Nikkor 200-500mm f5.6 lens mounted on a Nikon D850 camera and printed with photo polymer plates made by Boxcar Press. The binding is a flutter book structure, a type of accordion where the fore-edges of the pages are pasted together but the spine is not. A magnetic spine supports the backbone of the book and can be removed for reading and display. Cotton cloud paper was handmade to order by Tom Balbo. The endsheets are Hahnemuhle Bugra. The text paper is Wa-Mix Kozo and Clairefontaine Simili Japon with sewn-in wings of cloud paper and colored Bugra to match the birds. The book is housed in a bookcloth-covered clamshell box and includes a suite of prints printed in four colors on 320gsm Izumi paper, enclosed in a handmade St. Armand paper folder. 24 pages, 6 x 10 x .75″ Prints, 8 x 10″ Box, 8.75 x 10.75 x 1.5″ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870991308-RQS2W69R97T6AIFM9GD4/mcba-prize-2022-Rachel-Simmons-Weather-Atlas-5.jpg Entries & Jurors - 2022 Entries - Rachel Simmons Orlando, FL rachelsimmons.net Weather Atlas 2022 Unique altered book with gesso, marker, colored pencil, found collage, adhesive vinyl, relief prints, screen prints & digital prints. Closed dimensions are 11.25” tall x 8.5” wide x 1.25” deep. Open dimensions are 11.25” tall x 17.75” wide x 1” deep Artist Statement As an artist, I’m always searching for new ways to share my personal experiences and express my concerns. As a writer, researcher and bibliophile, the artist’s book provides an expansive space for interaction, contemplation and experimentation. My books are a platform for education as well as a conduit for intimate connections between the artist and reader. Weather Atlas is an altered book that explores how climate change is impacting biodiversity. Collaged elements from an array of sources overlay the atlas’ original weather data maps from 1977 when an earlier wave of organized environmental protests were happening across the US. The narrative is layered; bracketed text cites contemporary scientific articles on biodiversity and climate change; simultaneously, a first person narrator reflects on common consumer worries and behaviors. With imagery taken from 20th century educational books, Weather Atlas juxtaposes images of industrial machines, fossil fuel technologies and extreme weather phenomena with animals & habitats under threat. The inherent critique is multifaceted; one can read the science which demands more conservation to protect biodiversity in the face of floods, forest fires and drought, but the insurmountable malaise and confusion of the human consumer is ever present. As with many of my altered books, the process started with finding the right book, but in this case I found 4 or 5 books. My main resources for images were Wild Animals of the World by Mary Baker and William Bridges (1948), What Makes the Wheels Go Round, by George E. Block (1935), The How and Why Wonder Book of Weather edited by Dr. Paul E. Blackwood (1960) and My Fun-to-Read Books: Life in the Forest, Life Along the Seashore and Birds in Summer published by the Southwestern Company in 1973 as well as the March 1955 edition of The Clemson Slipstick, a magazine for engineering students and alumni. Produced over the course of a year, Weather Atlas was a product of research, writing and cutting/reassembling material from existing books. I read scientific papers by leading climate scientists, quoting them alongside drawings of mammals cut out from Wild Animals of the World and layered over the atlas’ original pages. The book’s first person narrative is based closely on my experiences as a consumer who is trying to make good environmental choices, but feels frustrated by the global fossil fuel-based economy. My atlas both supports and undermines the practical function of the original; the maps and statistics are obscured by a cacophony of images and perspectives, showing the turmoil of our present moment. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870991868-C1T12CHP0EPI82Q5WPON/mcba-prize-2022-Rachel-Simmons-Weather-Atlas-4.jpg Entries & Jurors - 2022 Entries - Rachel Simmons Orlando, FL rachelsimmons.net Weather Atlas 2022 Unique altered book with gesso, marker, colored pencil, found collage, adhesive vinyl, relief prints, screen prints & digital prints. Closed dimensions are 11.25” tall x 8.5” wide x 1.25” deep. Open dimensions are 11.25” tall x 17.75” wide x 1” deep Artist Statement As an artist, I’m always searching for new ways to share my personal experiences and express my concerns. As a writer, researcher and bibliophile, the artist’s book provides an expansive space for interaction, contemplation and experimentation. My books are a platform for education as well as a conduit for intimate connections between the artist and reader. Weather Atlas is an altered book that explores how climate change is impacting biodiversity. Collaged elements from an array of sources overlay the atlas’ original weather data maps from 1977 when an earlier wave of organized environmental protests were happening across the US. The narrative is layered; bracketed text cites contemporary scientific articles on biodiversity and climate change; simultaneously, a first person narrator reflects on common consumer worries and behaviors. With imagery taken from 20th century educational books, Weather Atlas juxtaposes images of industrial machines, fossil fuel technologies and extreme weather phenomena with animals & habitats under threat. The inherent critique is multifaceted; one can read the science which demands more conservation to protect biodiversity in the face of floods, forest fires and drought, but the insurmountable malaise and confusion of the human consumer is ever present. As with many of my altered books, the process started with finding the right book, but in this case I found 4 or 5 books. My main resources for images were Wild Animals of the World by Mary Baker and William Bridges (1948), What Makes the Wheels Go Round, by George E. Block (1935), The How and Why Wonder Book of Weather edited by Dr. Paul E. Blackwood (1960) and My Fun-to-Read Books: Life in the Forest, Life Along the Seashore and Birds in Summer published by the Southwestern Company in 1973 as well as the March 1955 edition of The Clemson Slipstick, a magazine for engineering students and alumni. Produced over the course of a year, Weather Atlas was a product of research, writing and cutting/reassembling material from existing books. I read scientific papers by leading climate scientists, quoting them alongside drawings of mammals cut out from Wild Animals of the World and layered over the atlas’ original pages. The book’s first person narrative is based closely on my experiences as a consumer who is trying to make good environmental choices, but feels frustrated by the global fossil fuel-based economy. My atlas both supports and undermines the practical function of the original; the maps and statistics are obscured by a cacophony of images and perspectives, showing the turmoil of our present moment. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870993179-PIOV658L4PRX7XK50N7I/mcba-prize-2022-Rachel-Simmons-Weather-Atlas-3.jpg Entries & Jurors - 2022 Entries - Rachel Simmons Orlando, FL rachelsimmons.net Weather Atlas 2022 Unique altered book with gesso, marker, colored pencil, found collage, adhesive vinyl, relief prints, screen prints & digital prints. Closed dimensions are 11.25” tall x 8.5” wide x 1.25” deep. Open dimensions are 11.25” tall x 17.75” wide x 1” deep Artist Statement As an artist, I’m always searching for new ways to share my personal experiences and express my concerns. As a writer, researcher and bibliophile, the artist’s book provides an expansive space for interaction, contemplation and experimentation. My books are a platform for education as well as a conduit for intimate connections between the artist and reader. Weather Atlas is an altered book that explores how climate change is impacting biodiversity. Collaged elements from an array of sources overlay the atlas’ original weather data maps from 1977 when an earlier wave of organized environmental protests were happening across the US. The narrative is layered; bracketed text cites contemporary scientific articles on biodiversity and climate change; simultaneously, a first person narrator reflects on common consumer worries and behaviors. With imagery taken from 20th century educational books, Weather Atlas juxtaposes images of industrial machines, fossil fuel technologies and extreme weather phenomena with animals & habitats under threat. The inherent critique is multifaceted; one can read the science which demands more conservation to protect biodiversity in the face of floods, forest fires and drought, but the insurmountable malaise and confusion of the human consumer is ever present. As with many of my altered books, the process started with finding the right book, but in this case I found 4 or 5 books. My main resources for images were Wild Animals of the World by Mary Baker and William Bridges (1948), What Makes the Wheels Go Round, by George E. Block (1935), The How and Why Wonder Book of Weather edited by Dr. Paul E. Blackwood (1960) and My Fun-to-Read Books: Life in the Forest, Life Along the Seashore and Birds in Summer published by the Southwestern Company in 1973 as well as the March 1955 edition of The Clemson Slipstick, a magazine for engineering students and alumni. Produced over the course of a year, Weather Atlas was a product of research, writing and cutting/reassembling material from existing books. I read scientific papers by leading climate scientists, quoting them alongside drawings of mammals cut out from Wild Animals of the World and layered over the atlas’ original pages. The book’s first person narrative is based closely on my experiences as a consumer who is trying to make good environmental choices, but feels frustrated by the global fossil fuel-based economy. My atlas both supports and undermines the practical function of the original; the maps and statistics are obscured by a cacophony of images and perspectives, showing the turmoil of our present moment. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870994618-JIQ1XK1WQ1RWT3NSHMWW/mcba-prize-2022-Rachel-Simmons-Weather-Atlas-2.jpg Entries & Jurors - 2022 Entries - Rachel Simmons Orlando, FL rachelsimmons.net Weather Atlas 2022 Unique altered book with gesso, marker, colored pencil, found collage, adhesive vinyl, relief prints, screen prints & digital prints. Closed dimensions are 11.25” tall x 8.5” wide x 1.25” deep. Open dimensions are 11.25” tall x 17.75” wide x 1” deep Artist Statement As an artist, I’m always searching for new ways to share my personal experiences and express my concerns. As a writer, researcher and bibliophile, the artist’s book provides an expansive space for interaction, contemplation and experimentation. My books are a platform for education as well as a conduit for intimate connections between the artist and reader. Weather Atlas is an altered book that explores how climate change is impacting biodiversity. Collaged elements from an array of sources overlay the atlas’ original weather data maps from 1977 when an earlier wave of organized environmental protests were happening across the US. The narrative is layered; bracketed text cites contemporary scientific articles on biodiversity and climate change; simultaneously, a first person narrator reflects on common consumer worries and behaviors. With imagery taken from 20th century educational books, Weather Atlas juxtaposes images of industrial machines, fossil fuel technologies and extreme weather phenomena with animals & habitats under threat. The inherent critique is multifaceted; one can read the science which demands more conservation to protect biodiversity in the face of floods, forest fires and drought, but the insurmountable malaise and confusion of the human consumer is ever present. As with many of my altered books, the process started with finding the right book, but in this case I found 4 or 5 books. My main resources for images were Wild Animals of the World by Mary Baker and William Bridges (1948), What Makes the Wheels Go Round, by George E. Block (1935), The How and Why Wonder Book of Weather edited by Dr. Paul E. Blackwood (1960) and My Fun-to-Read Books: Life in the Forest, Life Along the Seashore and Birds in Summer published by the Southwestern Company in 1973 as well as the March 1955 edition of The Clemson Slipstick, a magazine for engineering students and alumni. Produced over the course of a year, Weather Atlas was a product of research, writing and cutting/reassembling material from existing books. I read scientific papers by leading climate scientists, quoting them alongside drawings of mammals cut out from Wild Animals of the World and layered over the atlas’ original pages. The book’s first person narrative is based closely on my experiences as a consumer who is trying to make good environmental choices, but feels frustrated by the global fossil fuel-based economy. My atlas both supports and undermines the practical function of the original; the maps and statistics are obscured by a cacophony of images and perspectives, showing the turmoil of our present moment. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773870995554-EBMZ880C0OQPYS6WB1UT/mcba-prize-2022-Rachel-Simmons-Weather-Atlas-1.jpg Entries & Jurors - 2022 Entries - Rachel Simmons Orlando, FL rachelsimmons.net Weather Atlas 2022 Unique altered book with gesso, marker, colored pencil, found collage, adhesive vinyl, relief prints, screen prints & digital prints. Closed dimensions are 11.25” tall x 8.5” wide x 1.25” deep. Open dimensions are 11.25” tall x 17.75” wide x 1” deep Artist Statement As an artist, I’m always searching for new ways to share my personal experiences and express my concerns. As a writer, researcher and bibliophile, the artist’s book provides an expansive space for interaction, contemplation and experimentation. My books are a platform for education as well as a conduit for intimate connections between the artist and reader. Weather Atlas is an altered book that explores how climate change is impacting biodiversity. Collaged elements from an array of sources overlay the atlas’ original weather data maps from 1977 when an earlier wave of organized environmental protests were happening across the US. The narrative is layered; bracketed text cites contemporary scientific articles on biodiversity and climate change; simultaneously, a first person narrator reflects on common consumer worries and behaviors. With imagery taken from 20th century educational books, Weather Atlas juxtaposes images of industrial machines, fossil fuel technologies and extreme weather phenomena with animals & habitats under threat. The inherent critique is multifaceted; one can read the science which demands more conservation to protect biodiversity in the face of floods, forest fires and drought, but the insurmountable malaise and confusion of the human consumer is ever present. As with many of my altered books, the process started with finding the right book, but in this case I found 4 or 5 books. My main resources for images were Wild Animals of the World by Mary Baker and William Bridges (1948), What Makes the Wheels Go Round, by George E. Block (1935), The How and Why Wonder Book of Weather edited by Dr. Paul E. Blackwood (1960) and My Fun-to-Read Books: Life in the Forest, Life Along the Seashore and Birds in Summer published by the Southwestern Company in 1973 as well as the March 1955 edition of The Clemson Slipstick, a magazine for engineering students and alumni. Produced over the course of a year, Weather Atlas was a product of research, writing and cutting/reassembling material from existing books. I read scientific papers by leading climate scientists, quoting them alongside drawings of mammals cut out from Wild Animals of the World and layered over the atlas’ original pages. The book’s first person narrative is based closely on my experiences as a consumer who is trying to make good environmental choices, but feels frustrated by the global fossil fuel-based economy. My atlas both supports and undermines the practical function of the original; the maps and statistics are obscured by a cacophony of images and perspectives, showing the turmoil of our present moment. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773933440030-MP4JQJB62ZSDGL4C4VKI/mcba-prize-2022-Dick-Hagner-To-Paint-a-Portrait-of-a-Bird-5.jpg Entries & Jurors - 2022 Entries - Dirk Hagner San Juan Capistrano, CA dirkhagner.com To Paint the Portrait of a Bird 2020 letterpress 12 x 20 x 1.5″ Artist Statement Because I arrived at making books from being a printmaker I find myself to be a book artist rather than a book binder. As an artist I have chosen printmaking as my medium. I get excited about ink and paper. The textures, the subtle build-up of sheen in successive ink layers, the gentle dimensionality impressions leave on the sheet, the feel of the printing blocks, the sounds and scents—it’s the whole mix. It is seductive, challenging, often surprising, and always exhilarating. Printmaking and book arts share the same birth mother. Artists books can beautifully showcase a suite of prints; types enrich the work graphically. Sometimes the work is type driven, which I often think of as mark-making. Books substantially aid me as printmaker, provide context, impart rhythm and a pulse, and provide a tangible dimensionality not commonly found in printmaking alone. In employing traditional and exploring new methods of image and book making the results connect us to our past and keep it relevant. It allows us to speak with a contemporary voice grounded in the human experience. This Project This book is the book art interpretation of Jacques Prevért’s poem “To Paint the Portrait of a Bird.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773933440025-LPWJ5G39RU4EHLV57TEF/mcba-prize-2022-Dick-Hagner-To-Paint-a-Portrait-of-a-Bird-4.jpg Entries & Jurors - 2022 Entries - Dirk Hagner San Juan Capistrano, CA dirkhagner.com To Paint the Portrait of a Bird 2020 letterpress 12 x 20 x 1.5″ Artist Statement Because I arrived at making books from being a printmaker I find myself to be a book artist rather than a book binder. As an artist I have chosen printmaking as my medium. I get excited about ink and paper. The textures, the subtle build-up of sheen in successive ink layers, the gentle dimensionality impressions leave on the sheet, the feel of the printing blocks, the sounds and scents—it’s the whole mix. It is seductive, challenging, often surprising, and always exhilarating. Printmaking and book arts share the same birth mother. Artists books can beautifully showcase a suite of prints; types enrich the work graphically. Sometimes the work is type driven, which I often think of as mark-making. Books substantially aid me as printmaker, provide context, impart rhythm and a pulse, and provide a tangible dimensionality not commonly found in printmaking alone. In employing traditional and exploring new methods of image and book making the results connect us to our past and keep it relevant. It allows us to speak with a contemporary voice grounded in the human experience. This Project This book is the book art interpretation of Jacques Prevért’s poem “To Paint the Portrait of a Bird.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773933441152-CCNR4O2JIOK11MEU1NHR/mcba-prize-2022-Dick-Hagner-To-Paint-a-Portrait-of-a-Bird-3.jpg Entries & Jurors - 2022 Entries - Dirk Hagner San Juan Capistrano, CA dirkhagner.com To Paint the Portrait of a Bird 2020 letterpress 12 x 20 x 1.5″ Artist Statement Because I arrived at making books from being a printmaker I find myself to be a book artist rather than a book binder. As an artist I have chosen printmaking as my medium. I get excited about ink and paper. The textures, the subtle build-up of sheen in successive ink layers, the gentle dimensionality impressions leave on the sheet, the feel of the printing blocks, the sounds and scents—it’s the whole mix. It is seductive, challenging, often surprising, and always exhilarating. Printmaking and book arts share the same birth mother. Artists books can beautifully showcase a suite of prints; types enrich the work graphically. Sometimes the work is type driven, which I often think of as mark-making. Books substantially aid me as printmaker, provide context, impart rhythm and a pulse, and provide a tangible dimensionality not commonly found in printmaking alone. In employing traditional and exploring new methods of image and book making the results connect us to our past and keep it relevant. It allows us to speak with a contemporary voice grounded in the human experience. This Project This book is the book art interpretation of Jacques Prevért’s poem “To Paint the Portrait of a Bird.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773933441264-135V41J31O6QRV10EDC6/mcba-prize-2022-Dick-Hagner-To-Paint-a-Portrait-of-a-Bird-2.jpg Entries & Jurors - 2022 Entries - Dirk Hagner San Juan Capistrano, CA dirkhagner.com To Paint the Portrait of a Bird 2020 letterpress 12 x 20 x 1.5″ Artist Statement Because I arrived at making books from being a printmaker I find myself to be a book artist rather than a book binder. As an artist I have chosen printmaking as my medium. I get excited about ink and paper. The textures, the subtle build-up of sheen in successive ink layers, the gentle dimensionality impressions leave on the sheet, the feel of the printing blocks, the sounds and scents—it’s the whole mix. It is seductive, challenging, often surprising, and always exhilarating. Printmaking and book arts share the same birth mother. Artists books can beautifully showcase a suite of prints; types enrich the work graphically. Sometimes the work is type driven, which I often think of as mark-making. Books substantially aid me as printmaker, provide context, impart rhythm and a pulse, and provide a tangible dimensionality not commonly found in printmaking alone. In employing traditional and exploring new methods of image and book making the results connect us to our past and keep it relevant. It allows us to speak with a contemporary voice grounded in the human experience. This Project This book is the book art interpretation of Jacques Prevért’s poem “To Paint the Portrait of a Bird.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773933442408-XEZ8CZHMSSMMG9O932XH/mcba-prize-2022-Dick-Hagner-To-Paint-a-Portrait-of-a-Bird-1.jpg Entries & Jurors - 2022 Entries - Dirk Hagner San Juan Capistrano, CA dirkhagner.com To Paint the Portrait of a Bird 2020 letterpress 12 x 20 x 1.5″ Artist Statement Because I arrived at making books from being a printmaker I find myself to be a book artist rather than a book binder. As an artist I have chosen printmaking as my medium. I get excited about ink and paper. The textures, the subtle build-up of sheen in successive ink layers, the gentle dimensionality impressions leave on the sheet, the feel of the printing blocks, the sounds and scents—it’s the whole mix. It is seductive, challenging, often surprising, and always exhilarating. Printmaking and book arts share the same birth mother. Artists books can beautifully showcase a suite of prints; types enrich the work graphically. Sometimes the work is type driven, which I often think of as mark-making. Books substantially aid me as printmaker, provide context, impart rhythm and a pulse, and provide a tangible dimensionality not commonly found in printmaking alone. In employing traditional and exploring new methods of image and book making the results connect us to our past and keep it relevant. It allows us to speak with a contemporary voice grounded in the human experience. This Project This book is the book art interpretation of Jacques Prevért’s poem “To Paint the Portrait of a Bird.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773934392041-21SUHX9FD78HS0QC3JOQ/mcba-prize-2022-Dick-Hagner-Systemic-Things-5.jpg Entries & Jurors - 2022 Entries - Dirk Hagner San Juan Capistrano, CA dirkhagner.com Systemic Things (Because things are the way they are they won’t stay the way they are) 2021 sculptural book/screen printing 13.25 x 6.5 x 6″ Artist Statement Because I arrived at making books from being a printmaker I find myself to be a book artist rather than a book binder. As an artist I have chosen printmaking as my medium. I get excited about ink and paper. The textures, the subtle build-up of sheen in successive ink layers, the gentle dimensionality impressions leave on the sheet, the feel of the printing blocks, the sounds and scents – it’s the whole mix. It is seductive, challenging, often surprising, and always exhilarating. Printmaking and book arts share the same birth mother. Artists books can beautifully showcase a suite of prints; types enrich the work graphically. Sometimes the work is type driven, which I often think of as mark-making. Books substantially aid me as printmaker, provide context, impart rhythm and a pulse, and provide a tangible dimensionality not commonly found in printmaking alone. In employing traditional and exploring new methods of image and book making the results connect us to our past and keep it relevant. It allows us to speak with a contemporary voice grounded in the human experience. This Project Systemic racism has been with our country before its independence. Not even to mention genocide and slavery. All these were part of the founder’s principles of thought and the foundation of our county’s economy from its start. Despite of a civil war fought and won against slavery, racism in the United States is rampant and ubiquitous. However, this is not only an American issue, it is a huge worldwide human problem. “Because things are the way they are they won’t stay the way they are.” It seems inevitable that it will change as tribalism and notions of any superiority, racial, religious, or otherwise, will die out – if the human race is to survive. It is not up to our reasoning, or any other human conceit or imagination—but evolution. There is only a slim sliver of hope for humanity to evolve in time. If not, we’re done. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773934391237-T6S072CEE4404N2Y0VPZ/mcba-prize-2022-Dick-Hagner-Systemic-Things-4.jpg Entries & Jurors - 2022 Entries - Dirk Hagner San Juan Capistrano, CA dirkhagner.com Systemic Things (Because things are the way they are they won’t stay the way they are) 2021 sculptural book/screen printing 13.25 x 6.5 x 6″ Artist Statement Because I arrived at making books from being a printmaker I find myself to be a book artist rather than a book binder. As an artist I have chosen printmaking as my medium. I get excited about ink and paper. The textures, the subtle build-up of sheen in successive ink layers, the gentle dimensionality impressions leave on the sheet, the feel of the printing blocks, the sounds and scents – it’s the whole mix. It is seductive, challenging, often surprising, and always exhilarating. Printmaking and book arts share the same birth mother. Artists books can beautifully showcase a suite of prints; types enrich the work graphically. Sometimes the work is type driven, which I often think of as mark-making. Books substantially aid me as printmaker, provide context, impart rhythm and a pulse, and provide a tangible dimensionality not commonly found in printmaking alone. In employing traditional and exploring new methods of image and book making the results connect us to our past and keep it relevant. It allows us to speak with a contemporary voice grounded in the human experience. This Project Systemic racism has been with our country before its independence. Not even to mention genocide and slavery. All these were part of the founder’s principles of thought and the foundation of our county’s economy from its start. Despite of a civil war fought and won against slavery, racism in the United States is rampant and ubiquitous. However, this is not only an American issue, it is a huge worldwide human problem. “Because things are the way they are they won’t stay the way they are.” It seems inevitable that it will change as tribalism and notions of any superiority, racial, religious, or otherwise, will die out – if the human race is to survive. It is not up to our reasoning, or any other human conceit or imagination—but evolution. There is only a slim sliver of hope for humanity to evolve in time. If not, we’re done. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773934392440-G4T08OGGRTROHNJ91HUG/mcba-prize-2022-Dick-Hagner-Systemic-Things-3.jpg Entries & Jurors - 2022 Entries - Dirk Hagner San Juan Capistrano, CA dirkhagner.com Systemic Things (Because things are the way they are they won’t stay the way they are) 2021 sculptural book/screen printing 13.25 x 6.5 x 6″ Artist Statement Because I arrived at making books from being a printmaker I find myself to be a book artist rather than a book binder. As an artist I have chosen printmaking as my medium. I get excited about ink and paper. The textures, the subtle build-up of sheen in successive ink layers, the gentle dimensionality impressions leave on the sheet, the feel of the printing blocks, the sounds and scents – it’s the whole mix. It is seductive, challenging, often surprising, and always exhilarating. Printmaking and book arts share the same birth mother. Artists books can beautifully showcase a suite of prints; types enrich the work graphically. Sometimes the work is type driven, which I often think of as mark-making. Books substantially aid me as printmaker, provide context, impart rhythm and a pulse, and provide a tangible dimensionality not commonly found in printmaking alone. In employing traditional and exploring new methods of image and book making the results connect us to our past and keep it relevant. It allows us to speak with a contemporary voice grounded in the human experience. This Project Systemic racism has been with our country before its independence. Not even to mention genocide and slavery. All these were part of the founder’s principles of thought and the foundation of our county’s economy from its start. Despite of a civil war fought and won against slavery, racism in the United States is rampant and ubiquitous. However, this is not only an American issue, it is a huge worldwide human problem. “Because things are the way they are they won’t stay the way they are.” It seems inevitable that it will change as tribalism and notions of any superiority, racial, religious, or otherwise, will die out – if the human race is to survive. It is not up to our reasoning, or any other human conceit or imagination—but evolution. There is only a slim sliver of hope for humanity to evolve in time. If not, we’re done. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773934394007-9C39WTOM4GP7G2JWWLO2/mcba-prize-2022-Dick-Hagner-Systemic-Things-2.jpg Entries & Jurors - 2022 Entries - Dirk Hagner San Juan Capistrano, CA dirkhagner.com Systemic Things (Because things are the way they are they won’t stay the way they are) 2021 sculptural book/screen printing 13.25 x 6.5 x 6″ Artist Statement Because I arrived at making books from being a printmaker I find myself to be a book artist rather than a book binder. As an artist I have chosen printmaking as my medium. I get excited about ink and paper. The textures, the subtle build-up of sheen in successive ink layers, the gentle dimensionality impressions leave on the sheet, the feel of the printing blocks, the sounds and scents – it’s the whole mix. It is seductive, challenging, often surprising, and always exhilarating. Printmaking and book arts share the same birth mother. Artists books can beautifully showcase a suite of prints; types enrich the work graphically. Sometimes the work is type driven, which I often think of as mark-making. Books substantially aid me as printmaker, provide context, impart rhythm and a pulse, and provide a tangible dimensionality not commonly found in printmaking alone. In employing traditional and exploring new methods of image and book making the results connect us to our past and keep it relevant. It allows us to speak with a contemporary voice grounded in the human experience. This Project Systemic racism has been with our country before its independence. Not even to mention genocide and slavery. All these were part of the founder’s principles of thought and the foundation of our county’s economy from its start. Despite of a civil war fought and won against slavery, racism in the United States is rampant and ubiquitous. However, this is not only an American issue, it is a huge worldwide human problem. “Because things are the way they are they won’t stay the way they are.” It seems inevitable that it will change as tribalism and notions of any superiority, racial, religious, or otherwise, will die out – if the human race is to survive. It is not up to our reasoning, or any other human conceit or imagination—but evolution. There is only a slim sliver of hope for humanity to evolve in time. If not, we’re done. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773934394808-3LCXWO03PE0KNUAI008X/mcba-prize-2022-Dick-Hagner-Systemic-Things-1.jpg Entries & Jurors - 2022 Entries - Dirk Hagner San Juan Capistrano, CA dirkhagner.com Systemic Things (Because things are the way they are they won’t stay the way they are) 2021 sculptural book/screen printing 13.25 x 6.5 x 6″ Artist Statement Because I arrived at making books from being a printmaker I find myself to be a book artist rather than a book binder. As an artist I have chosen printmaking as my medium. I get excited about ink and paper. The textures, the subtle build-up of sheen in successive ink layers, the gentle dimensionality impressions leave on the sheet, the feel of the printing blocks, the sounds and scents – it’s the whole mix. It is seductive, challenging, often surprising, and always exhilarating. Printmaking and book arts share the same birth mother. Artists books can beautifully showcase a suite of prints; types enrich the work graphically. Sometimes the work is type driven, which I often think of as mark-making. Books substantially aid me as printmaker, provide context, impart rhythm and a pulse, and provide a tangible dimensionality not commonly found in printmaking alone. In employing traditional and exploring new methods of image and book making the results connect us to our past and keep it relevant. It allows us to speak with a contemporary voice grounded in the human experience. This Project Systemic racism has been with our country before its independence. Not even to mention genocide and slavery. All these were part of the founder’s principles of thought and the foundation of our county’s economy from its start. Despite of a civil war fought and won against slavery, racism in the United States is rampant and ubiquitous. However, this is not only an American issue, it is a huge worldwide human problem. “Because things are the way they are they won’t stay the way they are.” It seems inevitable that it will change as tribalism and notions of any superiority, racial, religious, or otherwise, will die out – if the human race is to survive. It is not up to our reasoning, or any other human conceit or imagination—but evolution. There is only a slim sliver of hope for humanity to evolve in time. If not, we’re done. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773934755696-DXGBZEIK3M6SEXX9XI38/mcba-prize-2022-Hellen-Colman-Serendipity-5.jpg Entries & Jurors - 2022 Entries - Hellen Colman Chicago, IL hellencolman.com Serendipity2021 photography, papermaking, letterpress. 9 x 10″ Artist Statement Serendipity explores the nuances of the nature of remembering. Dipping into various mediums (photography, poetry, printmaking, bookbinding, paper making) this project offers a multifaceted exploration of cultural and personal memory. This book is the result of a collaboration between myself and the Uruguayan poet Horacio Cavallo (National Prize of Literature, 2015). It began when a fortuitous encounter with the poet set in motion a journey in search of repressed memories. I met my favorite writer by chance in a bookshop. We discovered that we had grown up in the same old neighborhood of Montevideo in the late seventies when the country was under the darkest dictatorship. Coincident and divergent recollections came to light as our conversation progressed: I created a photograph and he responded with a haiku, then I responded to his poem with a new photograph, and so on. We were then those secondary characters in the life of adults dealing with big problems. We want now to validate our “unimportant” childhood stories that were born and thrived under the tyranny. Sometimes resonances of that terror made their appearance in our memories and surreptitiously intruded on our child’s play. Each iteration is not an actual reenactment of a childhood memory but rather a poetic reconstruction of the lasting feeling. This visit to the past is at times vindication, at times denial and always questioning. The book contains all these different kinds of memories in various spaces within itself. It is covered outside with red cloth and inside with green paper, as the photographs themselves take us through the muted or luscious greens of childhood with splashes of unexpected red. It opens symmetrically to two accordions featuring the two voices in this dialog. As our memories themselves seemed interchangeable so are the different pairings between the image and the haikus that this structure enables. We can see one image and one haiku at the time or we can display the whole scroll of memory by completely open each accordion. Tacked in the inside of the cover there are yet more surprises: some essays are hidden at first sight, and when found they reveal yet another memory – a more ambiguous one, less precise, somehow floating between the deckle edges of the handmade paper. This book is bilingual, as many Uruguayans living elsewhere are. Original haikus in Spanish and original essays in English are printed in black. Translations are printed in grey. The presence of my father with his fingers eternally stained by ink pervades all these childhood memories. As a typographer who helped found the labor movement in Uruguay after World War II, he was specially persecuted, as all the printing trades workers were, during the dictatorship. All text in this book (haikus and essays) is hand set letterpress printed in tribute to him. Project description: https://www.hellencolman.com/casualidad Video of the book: https://youtu.be/3c-Ffo_zniA https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773934755777-K857LE84P10I4QXX222R/mcba-prize-2022-Hellen-Colman-Serendipity-4.jpg Entries & Jurors - 2022 Entries - Hellen Colman Chicago, IL hellencolman.com Serendipity2021 photography, papermaking, letterpress. 9 x 10″ Artist Statement Serendipity explores the nuances of the nature of remembering. Dipping into various mediums (photography, poetry, printmaking, bookbinding, paper making) this project offers a multifaceted exploration of cultural and personal memory. This book is the result of a collaboration between myself and the Uruguayan poet Horacio Cavallo (National Prize of Literature, 2015). It began when a fortuitous encounter with the poet set in motion a journey in search of repressed memories. I met my favorite writer by chance in a bookshop. We discovered that we had grown up in the same old neighborhood of Montevideo in the late seventies when the country was under the darkest dictatorship. Coincident and divergent recollections came to light as our conversation progressed: I created a photograph and he responded with a haiku, then I responded to his poem with a new photograph, and so on. We were then those secondary characters in the life of adults dealing with big problems. We want now to validate our “unimportant” childhood stories that were born and thrived under the tyranny. Sometimes resonances of that terror made their appearance in our memories and surreptitiously intruded on our child’s play. Each iteration is not an actual reenactment of a childhood memory but rather a poetic reconstruction of the lasting feeling. This visit to the past is at times vindication, at times denial and always questioning. The book contains all these different kinds of memories in various spaces within itself. It is covered outside with red cloth and inside with green paper, as the photographs themselves take us through the muted or luscious greens of childhood with splashes of unexpected red. It opens symmetrically to two accordions featuring the two voices in this dialog. As our memories themselves seemed interchangeable so are the different pairings between the image and the haikus that this structure enables. We can see one image and one haiku at the time or we can display the whole scroll of memory by completely open each accordion. Tacked in the inside of the cover there are yet more surprises: some essays are hidden at first sight, and when found they reveal yet another memory – a more ambiguous one, less precise, somehow floating between the deckle edges of the handmade paper. This book is bilingual, as many Uruguayans living elsewhere are. Original haikus in Spanish and original essays in English are printed in black. Translations are printed in grey. The presence of my father with his fingers eternally stained by ink pervades all these childhood memories. As a typographer who helped found the labor movement in Uruguay after World War II, he was specially persecuted, as all the printing trades workers were, during the dictatorship. All text in this book (haikus and essays) is hand set letterpress printed in tribute to him. Project description: https://www.hellencolman.com/casualidad Video of the book: https://youtu.be/3c-Ffo_zniA https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773934757149-CPURK4LJ50AO3M695HG6/mcba-prize-2022-Hellen-Colman-Serendipity-3.jpg Entries & Jurors - 2022 Entries - Hellen Colman Chicago, IL hellencolman.com Serendipity2021 photography, papermaking, letterpress. 9 x 10″ Artist Statement Serendipity explores the nuances of the nature of remembering. Dipping into various mediums (photography, poetry, printmaking, bookbinding, paper making) this project offers a multifaceted exploration of cultural and personal memory. This book is the result of a collaboration between myself and the Uruguayan poet Horacio Cavallo (National Prize of Literature, 2015). It began when a fortuitous encounter with the poet set in motion a journey in search of repressed memories. I met my favorite writer by chance in a bookshop. We discovered that we had grown up in the same old neighborhood of Montevideo in the late seventies when the country was under the darkest dictatorship. Coincident and divergent recollections came to light as our conversation progressed: I created a photograph and he responded with a haiku, then I responded to his poem with a new photograph, and so on. We were then those secondary characters in the life of adults dealing with big problems. We want now to validate our “unimportant” childhood stories that were born and thrived under the tyranny. Sometimes resonances of that terror made their appearance in our memories and surreptitiously intruded on our child’s play. Each iteration is not an actual reenactment of a childhood memory but rather a poetic reconstruction of the lasting feeling. This visit to the past is at times vindication, at times denial and always questioning. The book contains all these different kinds of memories in various spaces within itself. It is covered outside with red cloth and inside with green paper, as the photographs themselves take us through the muted or luscious greens of childhood with splashes of unexpected red. It opens symmetrically to two accordions featuring the two voices in this dialog. As our memories themselves seemed interchangeable so are the different pairings between the image and the haikus that this structure enables. We can see one image and one haiku at the time or we can display the whole scroll of memory by completely open each accordion. Tacked in the inside of the cover there are yet more surprises: some essays are hidden at first sight, and when found they reveal yet another memory – a more ambiguous one, less precise, somehow floating between the deckle edges of the handmade paper. This book is bilingual, as many Uruguayans living elsewhere are. Original haikus in Spanish and original essays in English are printed in black. Translations are printed in grey. The presence of my father with his fingers eternally stained by ink pervades all these childhood memories. As a typographer who helped found the labor movement in Uruguay after World War II, he was specially persecuted, as all the printing trades workers were, during the dictatorship. All text in this book (haikus and essays) is hand set letterpress printed in tribute to him. Project description: https://www.hellencolman.com/casualidad Video of the book: https://youtu.be/3c-Ffo_zniA https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773934756940-1I8T2UCMURVVE7ZV2LND/mcba-prize-2022-Hellen-Colman-Serendipity-2.jpg Entries & Jurors - 2022 Entries - Hellen Colman Chicago, IL hellencolman.com Serendipity2021 photography, papermaking, letterpress. 9 x 10″ Artist Statement Serendipity explores the nuances of the nature of remembering. Dipping into various mediums (photography, poetry, printmaking, bookbinding, paper making) this project offers a multifaceted exploration of cultural and personal memory. This book is the result of a collaboration between myself and the Uruguayan poet Horacio Cavallo (National Prize of Literature, 2015). It began when a fortuitous encounter with the poet set in motion a journey in search of repressed memories. I met my favorite writer by chance in a bookshop. We discovered that we had grown up in the same old neighborhood of Montevideo in the late seventies when the country was under the darkest dictatorship. Coincident and divergent recollections came to light as our conversation progressed: I created a photograph and he responded with a haiku, then I responded to his poem with a new photograph, and so on. We were then those secondary characters in the life of adults dealing with big problems. We want now to validate our “unimportant” childhood stories that were born and thrived under the tyranny. Sometimes resonances of that terror made their appearance in our memories and surreptitiously intruded on our child’s play. Each iteration is not an actual reenactment of a childhood memory but rather a poetic reconstruction of the lasting feeling. This visit to the past is at times vindication, at times denial and always questioning. The book contains all these different kinds of memories in various spaces within itself. It is covered outside with red cloth and inside with green paper, as the photographs themselves take us through the muted or luscious greens of childhood with splashes of unexpected red. It opens symmetrically to two accordions featuring the two voices in this dialog. As our memories themselves seemed interchangeable so are the different pairings between the image and the haikus that this structure enables. We can see one image and one haiku at the time or we can display the whole scroll of memory by completely open each accordion. Tacked in the inside of the cover there are yet more surprises: some essays are hidden at first sight, and when found they reveal yet another memory – a more ambiguous one, less precise, somehow floating between the deckle edges of the handmade paper. This book is bilingual, as many Uruguayans living elsewhere are. Original haikus in Spanish and original essays in English are printed in black. Translations are printed in grey. The presence of my father with his fingers eternally stained by ink pervades all these childhood memories. As a typographer who helped found the labor movement in Uruguay after World War II, he was specially persecuted, as all the printing trades workers were, during the dictatorship. All text in this book (haikus and essays) is hand set letterpress printed in tribute to him. Project description: https://www.hellencolman.com/casualidad Video of the book: https://youtu.be/3c-Ffo_zniA https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773934758059-WQIQ4I9STZSBPQGOF20F/mcba-prize-2022-Hellen-Colman-Serendipity-1.jpg Entries & Jurors - 2022 Entries - Hellen Colman Chicago, IL hellencolman.com Serendipity2021 photography, papermaking, letterpress. 9 x 10″ Artist Statement Serendipity explores the nuances of the nature of remembering. Dipping into various mediums (photography, poetry, printmaking, bookbinding, paper making) this project offers a multifaceted exploration of cultural and personal memory. This book is the result of a collaboration between myself and the Uruguayan poet Horacio Cavallo (National Prize of Literature, 2015). It began when a fortuitous encounter with the poet set in motion a journey in search of repressed memories. I met my favorite writer by chance in a bookshop. We discovered that we had grown up in the same old neighborhood of Montevideo in the late seventies when the country was under the darkest dictatorship. Coincident and divergent recollections came to light as our conversation progressed: I created a photograph and he responded with a haiku, then I responded to his poem with a new photograph, and so on. We were then those secondary characters in the life of adults dealing with big problems. We want now to validate our “unimportant” childhood stories that were born and thrived under the tyranny. Sometimes resonances of that terror made their appearance in our memories and surreptitiously intruded on our child’s play. Each iteration is not an actual reenactment of a childhood memory but rather a poetic reconstruction of the lasting feeling. This visit to the past is at times vindication, at times denial and always questioning. The book contains all these different kinds of memories in various spaces within itself. It is covered outside with red cloth and inside with green paper, as the photographs themselves take us through the muted or luscious greens of childhood with splashes of unexpected red. It opens symmetrically to two accordions featuring the two voices in this dialog. As our memories themselves seemed interchangeable so are the different pairings between the image and the haikus that this structure enables. We can see one image and one haiku at the time or we can display the whole scroll of memory by completely open each accordion. Tacked in the inside of the cover there are yet more surprises: some essays are hidden at first sight, and when found they reveal yet another memory – a more ambiguous one, less precise, somehow floating between the deckle edges of the handmade paper. This book is bilingual, as many Uruguayans living elsewhere are. Original haikus in Spanish and original essays in English are printed in black. Translations are printed in grey. The presence of my father with his fingers eternally stained by ink pervades all these childhood memories. As a typographer who helped found the labor movement in Uruguay after World War II, he was specially persecuted, as all the printing trades workers were, during the dictatorship. All text in this book (haikus and essays) is hand set letterpress printed in tribute to him. Project description: https://www.hellencolman.com/casualidad Video of the book: https://youtu.be/3c-Ffo_zniA https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773934926868-K8VLLQBAIDNNISBKJCLW/mcba-prize-2022-Logaine-Navascues-Away-A-Pilgrimage-5.jpg Entries & Jurors - 2022 Entries - Logaine Navascues Vancouver, BC, Canada peterwardprintmaker.com aWAY: a pilgrimage 2021 Stitched, collaged, embroidered and appliquéd fabrics with mirrors, ribbons and small objects. Handwritten texts and poems. 9.5″ (closed, 34.5″ open) x 1.5″ x 14″ Artist Statement aWAY was created as a response to the physical and symbolic distance of being an immigrant– away from my country of origin, Peru, my roots and my family, but also lost in a path of miscommunication, silence and hidden truths, especially upon realizing my sister was a victim of domestic abuse. The book was materialized in an attempt to find a way to deal with it all, while being away. Feeling misplaced, I started by retracing our tracks in the hopes that I would also find a way to bring us back together. As I mapped this voyage, I discovered many veiled feelings and emotions– camouflaged for decades– begging to be revealed. Words, images, small knick-knacks and personal artifacts I had been keeping for years suddenly became relevant, in an exercise of personal archaeology. Shapes, colours and textures guided me in a path of resignification and transformation. The creative process became my own pilgrimage, a place and space of healing. The mending and weaving of fabrics felt like an organic response to the materials and artifacts I had at hand: while I tied and untied bits and pieces of my family’s history, I was also trying to mend the broken bonds between us. In my desire to find a guiding light and a sense of direction, I included amulets to protect us in the journey ahead. I was inspired by the sacred images known as detentes in much of Catholic Latin America, tokens meant to stop negative influences and promote miracles, signaling good omens. But the book also takes shape from elements that remain closer to my heart and my spiritual beliefs: my inclination towards Buddhism, and my sister’s Hinduist practice. aWAY’s aesthetics combines these influences and the indelible mark of my own cultural heritage. Its foldable form resembles that of Tibetan prayer book bags, meant to carry sacred texts, while its transportable nature echoes that of the Cajón de San Marcos, a portable altar brought by the Spanish conquistadores in the 1500s and that evolved into what is now called the retablo Peruano, one of Peru’s most renowned crafts. The Andean ribbons pay homage to my country’s colorful weaving tradition, while the use of mirrors, Indian fabrics and embroidery are a tribute to this land’s textile history and craft, and a reflection of my sister’s and my own love of their culture. On the surface, aWAY creates a false sense of place through the use of map conventions: the unmistakable “I am here” and colour patterns establish an awareness of location. However, the combination of overlapping textures, shapes and materials reinforce the idea of being lost, while the flaps and secret compartments confirm the existence of a hidden reality, kept invisible but ready to be revealed. The complex, multilayered and often contradictory nature of grief, loss, love, nostalgia and hope are translated into a highly haptic experience, divided into three parts. The invocations appear in the form of the delicate detentes as the book unfolds, before encountering the map of the journey in its full extension. On the back, the incantations reveal small actions and affirmations that may serve as an oracle, a prayer, a mantra, or anything/everything in between. And while aWAY is my personal journey, it is rooted in universal feelings and experiences, affording the reader the possibility to embark on their own path of discovery. Behind the book’s aesthetic concerns and symbolic gestures lies the seed of another, broader interest that has become a constant of my artistic practice: to engage the audience in an immersive, playful experience that involves all of their senses. Provoking and empowering them into finding their own route, rhythm and pacing. By lifting flaps and uncovering secret messages, the reader becomes an active participant, zooming in and out of the story, getting closer or taking distance as needed. By appealing to their curiosity, they can start to look deeper. There is no established reading order, just as complex situations have no apparent order either. There is no particular way in or out. They too have to figure out their own way. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773934926896-FX0ZW49FYEKHPQDBLM8V/mcba-prize-2022-Logaine-Navascues-Away-A-Pilgrimage-4.jpeg Entries & Jurors - 2022 Entries - Logaine Navascues Vancouver, BC, Canada peterwardprintmaker.com aWAY: a pilgrimage 2021 Stitched, collaged, embroidered and appliquéd fabrics with mirrors, ribbons and small objects. Handwritten texts and poems. 9.5″ (closed, 34.5″ open) x 1.5″ x 14″ Artist Statement aWAY was created as a response to the physical and symbolic distance of being an immigrant– away from my country of origin, Peru, my roots and my family, but also lost in a path of miscommunication, silence and hidden truths, especially upon realizing my sister was a victim of domestic abuse. The book was materialized in an attempt to find a way to deal with it all, while being away. Feeling misplaced, I started by retracing our tracks in the hopes that I would also find a way to bring us back together. As I mapped this voyage, I discovered many veiled feelings and emotions– camouflaged for decades– begging to be revealed. Words, images, small knick-knacks and personal artifacts I had been keeping for years suddenly became relevant, in an exercise of personal archaeology. Shapes, colours and textures guided me in a path of resignification and transformation. The creative process became my own pilgrimage, a place and space of healing. The mending and weaving of fabrics felt like an organic response to the materials and artifacts I had at hand: while I tied and untied bits and pieces of my family’s history, I was also trying to mend the broken bonds between us. In my desire to find a guiding light and a sense of direction, I included amulets to protect us in the journey ahead. I was inspired by the sacred images known as detentes in much of Catholic Latin America, tokens meant to stop negative influences and promote miracles, signaling good omens. But the book also takes shape from elements that remain closer to my heart and my spiritual beliefs: my inclination towards Buddhism, and my sister’s Hinduist practice. aWAY’s aesthetics combines these influences and the indelible mark of my own cultural heritage. Its foldable form resembles that of Tibetan prayer book bags, meant to carry sacred texts, while its transportable nature echoes that of the Cajón de San Marcos, a portable altar brought by the Spanish conquistadores in the 1500s and that evolved into what is now called the retablo Peruano, one of Peru’s most renowned crafts. The Andean ribbons pay homage to my country’s colorful weaving tradition, while the use of mirrors, Indian fabrics and embroidery are a tribute to this land’s textile history and craft, and a reflection of my sister’s and my own love of their culture. On the surface, aWAY creates a false sense of place through the use of map conventions: the unmistakable “I am here” and colour patterns establish an awareness of location. However, the combination of overlapping textures, shapes and materials reinforce the idea of being lost, while the flaps and secret compartments confirm the existence of a hidden reality, kept invisible but ready to be revealed. The complex, multilayered and often contradictory nature of grief, loss, love, nostalgia and hope are translated into a highly haptic experience, divided into three parts. The invocations appear in the form of the delicate detentes as the book unfolds, before encountering the map of the journey in its full extension. On the back, the incantations reveal small actions and affirmations that may serve as an oracle, a prayer, a mantra, or anything/everything in between. And while aWAY is my personal journey, it is rooted in universal feelings and experiences, affording the reader the possibility to embark on their own path of discovery. Behind the book’s aesthetic concerns and symbolic gestures lies the seed of another, broader interest that has become a constant of my artistic practice: to engage the audience in an immersive, playful experience that involves all of their senses. Provoking and empowering them into finding their own route, rhythm and pacing. By lifting flaps and uncovering secret messages, the reader becomes an active participant, zooming in and out of the story, getting closer or taking distance as needed. By appealing to their curiosity, they can start to look deeper. There is no established reading order, just as complex situations have no apparent order either. There is no particular way in or out. They too have to figure out their own way. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773934928069-6CC3P9LHITNYTKIHCPGQ/mcba-prize-2022-Logaine-Navascues-Away-A-Pilgrimage-3.jpeg Entries & Jurors - 2022 Entries - Logaine Navascues Vancouver, BC, Canada peterwardprintmaker.com aWAY a pilgrimage 2021 Stitched, collaged, embroidered and appliquéd fabrics with mirrors, ribbons and small objects. Handwritten texts and poems. 9.5″ (closed, 34.5″ open) x 1.5″ x 14″ Artist Statement aWAY was created as a response to the physical and symbolic distance of being an immigrant– away from my country of origin, Peru, my roots and my family, but also lost in a path of miscommunication, silence and hidden truths, especially upon realizing my sister was a victim of domestic abuse. The book was materialized in an attempt to find a way to deal with it all, while being away. Feeling misplaced, I started by retracing our tracks in the hopes that I would also find a way to bring us back together. As I mapped this voyage, I discovered many veiled feelings and emotions– camouflaged for decades– begging to be revealed. Words, images, small knick-knacks and personal artifacts I had been keeping for years suddenly became relevant, in an exercise of personal archaeology. Shapes, colours and textures guided me in a path of resignification and transformation. The creative process became my own pilgrimage, a place and space of healing. The mending and weaving of fabrics felt like an organic response to the materials and artifacts I had at hand: while I tied and untied bits and pieces of my family’s history, I was also trying to mend the broken bonds between us. In my desire to find a guiding light and a sense of direction, I included amulets to protect us in the journey ahead. I was inspired by the sacred images known as detentes in much of Catholic Latin America, tokens meant to stop negative influences and promote miracles, signaling good omens. But the book also takes shape from elements that remain closer to my heart and my spiritual beliefs: my inclination towards Buddhism, and my sister’s Hinduist practice. aWAY’s aesthetics combines these influences and the indelible mark of my own cultural heritage. Its foldable form resembles that of Tibetan prayer book bags, meant to carry sacred texts, while its transportable nature echoes that of the Cajón de San Marcos, a portable altar brought by the Spanish conquistadores in the 1500s and that evolved into what is now called the retablo Peruano, one of Peru’s most renowned crafts. The Andean ribbons pay homage to my country’s colorful weaving tradition, while the use of mirrors, Indian fabrics and embroidery are a tribute to this land’s textile history and craft, and a reflection of my sister’s and my own love of their culture. On the surface, aWAY creates a false sense of place through the use of map conventions: the unmistakable “I am here” and colour patterns establish an awareness of location. However, the combination of overlapping textures, shapes and materials reinforce the idea of being lost, while the flaps and secret compartments confirm the existence of a hidden reality, kept invisible but ready to be revealed. The complex, multilayered and often contradictory nature of grief, loss, love, nostalgia and hope are translated into a highly haptic experience, divided into three parts. The invocations appear in the form of the delicate detentes as the book unfolds, before encountering the map of the journey in its full extension. On the back, the incantations reveal small actions and affirmations that may serve as an oracle, a prayer, a mantra, or anything/everything in between. And while aWAY is my personal journey, it is rooted in universal feelings and experiences, affording the reader the possibility to embark on their own path of discovery. Behind the book’s aesthetic concerns and symbolic gestures lies the seed of another, broader interest that has become a constant of my artistic practice: to engage the audience in an immersive, playful experience that involves all of their senses. Provoking and empowering them into finding their own route, rhythm and pacing. By lifting flaps and uncovering secret messages, the reader becomes an active participant, zooming in and out of the story, getting closer or taking distance as needed. By appealing to their curiosity, they can start to look deeper. There is no established reading order, just as complex situations have no apparent order either. There is no particular way in or out. They too have to figure out their own way. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773934928387-668CURMHAZTIZ9PDGSKM/mcba-prize-2022-Logaine-Navascues-Away-A-Pilgrimage-2.jpg Entries & Jurors - 2022 Entries - Logaine Navascues Vancouver, BC, Canada peterwardprintmaker.com aWAY: a pilgrimage 2021 Stitched, collaged, embroidered and appliquéd fabrics with mirrors, ribbons and small objects. Handwritten texts and poems. 9.5″ (closed, 34.5″ open) x 1.5″ x 14″ Artist Statement aWAY was created as a response to the physical and symbolic distance of being an immigrant– away from my country of origin, Peru, my roots and my family, but also lost in a path of miscommunication, silence and hidden truths, especially upon realizing my sister was a victim of domestic abuse. The book was materialized in an attempt to find a way to deal with it all, while being away. Feeling misplaced, I started by retracing our tracks in the hopes that I would also find a way to bring us back together. As I mapped this voyage, I discovered many veiled feelings and emotions– camouflaged for decades– begging to be revealed. Words, images, small knick-knacks and personal artifacts I had been keeping for years suddenly became relevant, in an exercise of personal archaeology. Shapes, colours and textures guided me in a path of resignification and transformation. The creative process became my own pilgrimage, a place and space of healing. The mending and weaving of fabrics felt like an organic response to the materials and artifacts I had at hand: while I tied and untied bits and pieces of my family’s history, I was also trying to mend the broken bonds between us. In my desire to find a guiding light and a sense of direction, I included amulets to protect us in the journey ahead. I was inspired by the sacred images known as detentes in much of Catholic Latin America, tokens meant to stop negative influences and promote miracles, signaling good omens. But the book also takes shape from elements that remain closer to my heart and my spiritual beliefs: my inclination towards Buddhism, and my sister’s Hinduist practice. aWAY’s aesthetics combines these influences and the indelible mark of my own cultural heritage. Its foldable form resembles that of Tibetan prayer book bags, meant to carry sacred texts, while its transportable nature echoes that of the Cajón de San Marcos, a portable altar brought by the Spanish conquistadores in the 1500s and that evolved into what is now called the retablo Peruano, one of Peru’s most renowned crafts. The Andean ribbons pay homage to my country’s colorful weaving tradition, while the use of mirrors, Indian fabrics and embroidery are a tribute to this land’s textile history and craft, and a reflection of my sister’s and my own love of their culture. On the surface, aWAY creates a false sense of place through the use of map conventions: the unmistakable “I am here” and colour patterns establish an awareness of location. However, the combination of overlapping textures, shapes and materials reinforce the idea of being lost, while the flaps and secret compartments confirm the existence of a hidden reality, kept invisible but ready to be revealed. The complex, multilayered and often contradictory nature of grief, loss, love, nostalgia and hope are translated into a highly haptic experience, divided into three parts. The invocations appear in the form of the delicate detentes as the book unfolds, before encountering the map of the journey in its full extension. On the back, the incantations reveal small actions and affirmations that may serve as an oracle, a prayer, a mantra, or anything/everything in between. And while aWAY is my personal journey, it is rooted in universal feelings and experiences, affording the reader the possibility to embark on their own path of discovery. Behind the book’s aesthetic concerns and symbolic gestures lies the seed of another, broader interest that has become a constant of my artistic practice: to engage the audience in an immersive, playful experience that involves all of their senses. Provoking and empowering them into finding their own route, rhythm and pacing. By lifting flaps and uncovering secret messages, the reader becomes an active participant, zooming in and out of the story, getting closer or taking distance as needed. By appealing to their curiosity, they can start to look deeper. There is no established reading order, just as complex situations have no apparent order either. There is no particular way in or out. They too have to figure out their own way. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773934929231-XFBITVBG7UK3SMGBYC4K/mcba-prize-2022-Logaine-Navascues-Away-A-Pilgrimage-1.jpg Entries & Jurors - 2022 Entries - Logaine Navascues Vancouver, BC, Canada peterwardprintmaker.com aWAY: a pilgrimage 2021 Stitched, collaged, embroidered and appliquéd fabrics with mirrors, ribbons and small objects. Handwritten texts and poems. 9.5″ (closed, 34.5″ open) x 1.5″ x 14″ Artist Statement aWAY was created as a response to the physical and symbolic distance of being an immigrant– away from my country of origin, Peru, my roots and my family, but also lost in a path of miscommunication, silence and hidden truths, especially upon realizing my sister was a victim of domestic abuse. The book was materialized in an attempt to find a way to deal with it all, while being away. Feeling misplaced, I started by retracing our tracks in the hopes that I would also find a way to bring us back together. As I mapped this voyage, I discovered many veiled feelings and emotions– camouflaged for decades– begging to be revealed. Words, images, small knick-knacks and personal artifacts I had been keeping for years suddenly became relevant, in an exercise of personal archaeology. Shapes, colours and textures guided me in a path of resignification and transformation. The creative process became my own pilgrimage, a place and space of healing. The mending and weaving of fabrics felt like an organic response to the materials and artifacts I had at hand: while I tied and untied bits and pieces of my family’s history, I was also trying to mend the broken bonds between us. In my desire to find a guiding light and a sense of direction, I included amulets to protect us in the journey ahead. I was inspired by the sacred images known as detentes in much of Catholic Latin America, tokens meant to stop negative influences and promote miracles, signaling good omens. But the book also takes shape from elements that remain closer to my heart and my spiritual beliefs: my inclination towards Buddhism, and my sister’s Hinduist practice. aWAY’s aesthetics combines these influences and the indelible mark of my own cultural heritage. Its foldable form resembles that of Tibetan prayer book bags, meant to carry sacred texts, while its transportable nature echoes that of the Cajón de San Marcos, a portable altar brought by the Spanish conquistadores in the 1500s and that evolved into what is now called the retablo Peruano, one of Peru’s most renowned crafts. The Andean ribbons pay homage to my country’s colorful weaving tradition, while the use of mirrors, Indian fabrics and embroidery are a tribute to this land’s textile history and craft, and a reflection of my sister’s and my own love of their culture. On the surface, aWAY creates a false sense of place through the use of map conventions: the unmistakable “I am here” and colour patterns establish an awareness of location. However, the combination of overlapping textures, shapes and materials reinforce the idea of being lost, while the flaps and secret compartments confirm the existence of a hidden reality, kept invisible but ready to be revealed. The complex, multilayered and often contradictory nature of grief, loss, love, nostalgia and hope are translated into a highly haptic experience, divided into three parts. The invocations appear in the form of the delicate detentes as the book unfolds, before encountering the map of the journey in its full extension. On the back, the incantations reveal small actions and affirmations that may serve as an oracle, a prayer, a mantra, or anything/everything in between. And while aWAY is my personal journey, it is rooted in universal feelings and experiences, affording the reader the possibility to embark on their own path of discovery. Behind the book’s aesthetic concerns and symbolic gestures lies the seed of another, broader interest that has become a constant of my artistic practice: to engage the audience in an immersive, playful experience that involves all of their senses. Provoking and empowering them into finding their own route, rhythm and pacing. By lifting flaps and uncovering secret messages, the reader becomes an active participant, zooming in and out of the story, getting closer or taking distance as needed. By appealing to their curiosity, they can start to look deeper. There is no established reading order, just as complex situations have no apparent order either. There is no particular way in or out. They too have to figure out their own way. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935118307-GUXRONC43TVVW5BX7YR5/mcba-prize-2022-Peter-Ward-Divining-the-Entrails-5.jpg Entries & Jurors - 2022 Entries - Peter Ward St. Albans Park, Australia peterwardprintmaker.com Divining The Entrails 2021 linocut 10″ x 11″ x 1″ (closed) 10″ x 110″ (fully open) Artist Statement Divining The Entrails is a concertina book in a limited edition of seven. When fully open it measures 25cm high by 280 cm long. Within its hardcovers are eighteen stark, black and white linocut prints describing a landscape of magical thinking, mythical monsters and omens. It’s visual narrative explores the rejection of science and critical thinking in favour of misinformation, fanciful conspiracies and superstitions. Society’s anxiety in the face of the existential threats of catastrophic climate change and global pandemic lie just below the surface of each image. Process underpins all my work. I begin with collages of seemingly random images and thoughts allowing the collage, as it coalesces, to play a part in developing the theme. Consequently a unique and personal visual vocabulary continues to be developed and preoccupations with despair over the state of our environment and fascination with images of magical thinking constantly reoccur. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935118672-7TM9CKBNYFZZQI0XUF44/mcba-prize-2022-Peter-Ward-Divining-the-Entrails-4.jpg Entries & Jurors - 2022 Entries - Peter Ward St. Albans Park, Australia peterwardprintmaker.com Divining The Entrails 2021 linocut 10″ x 11″ x 1″ (closed) 10″ x 110″ (fully open) Artist Statement Divining The Entrails is a concertina book in a limited edition of seven. When fully open it measures 25cm high by 280 cm long. Within its hardcovers are eighteen stark, black and white linocut prints describing a landscape of magical thinking, mythical monsters and omens. It’s visual narrative explores the rejection of science and critical thinking in favour of misinformation, fanciful conspiracies and superstitions. Society’s anxiety in the face of the existential threats of catastrophic climate change and global pandemic lie just below the surface of each image. Process underpins all my work. I begin with collages of seemingly random images and thoughts allowing the collage, as it coalesces, to play a part in developing the theme. Consequently a unique and personal visual vocabulary continues to be developed and preoccupations with despair over the state of our environment and fascination with images of magical thinking constantly reoccur. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935120720-IH79GL3RQI9A65LRTNPJ/mcba-prize-2022-Peter-Ward-Divining-the-Entrails-3.jpg Entries & Jurors - 2022 Entries - Peter Ward St. Albans Park, Australia peterwardprintmaker.com Divining The Entrails 2021 linocut 10″ x 11″ x 1″ (closed) 10″ x 110″ (fully open) Artist Statement Divining The Entrails is a concertina book in a limited edition of seven. When fully open it measures 25cm high by 280 cm long. Within its hardcovers are eighteen stark, black and white linocut prints describing a landscape of magical thinking, mythical monsters and omens. It’s visual narrative explores the rejection of science and critical thinking in favour of misinformation, fanciful conspiracies and superstitions. Society’s anxiety in the face of the existential threats of catastrophic climate change and global pandemic lie just below the surface of each image. Process underpins all my work. I begin with collages of seemingly random images and thoughts allowing the collage, as it coalesces, to play a part in developing the theme. Consequently a unique and personal visual vocabulary continues to be developed and preoccupations with despair over the state of our environment and fascination with images of magical thinking constantly reoccur. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935121820-4SUU8WK9QF2I143SDCJA/mcba-prize-2022-Peter-Ward-Divining-the-Entrails-2.jpg Entries & Jurors - 2022 Entries - Peter Ward St. Albans Park, Australia peterwardprintmaker.com Divining The Entrails 2021 linocut 10″ x 11″ x 1″ (closed) 10″ x 110″ (fully open) Artist Statement Divining The Entrails is a concertina book in a limited edition of seven. When fully open it measures 25cm high by 280 cm long. Within its hardcovers are eighteen stark, black and white linocut prints describing a landscape of magical thinking, mythical monsters and omens. It’s visual narrative explores the rejection of science and critical thinking in favour of misinformation, fanciful conspiracies and superstitions. Society’s anxiety in the face of the existential threats of catastrophic climate change and global pandemic lie just below the surface of each image. Process underpins all my work. I begin with collages of seemingly random images and thoughts allowing the collage, as it coalesces, to play a part in developing the theme. Consequently a unique and personal visual vocabulary continues to be developed and preoccupations with despair over the state of our environment and fascination with images of magical thinking constantly reoccur. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935123062-DSOFJBWAOI34695KH1FH/mcba-prize-2022-Peter-Ward-Divining-the-Entrails-1.jpg Entries & Jurors - 2022 Entries - Peter Ward St. Albans Park, Australia peterwardprintmaker.com Divining The Entrails 2021 linocut 10″ x 11″ x 1″ (closed) 10″ x 110″ (fully open) Artist Statement Divining The Entrails is a concertina book in a limited edition of seven. When fully open it measures 25cm high by 280 cm long. Within its hardcovers are eighteen stark, black and white linocut prints describing a landscape of magical thinking, mythical monsters and omens. It’s visual narrative explores the rejection of science and critical thinking in favour of misinformation, fanciful conspiracies and superstitions. Society’s anxiety in the face of the existential threats of catastrophic climate change and global pandemic lie just below the surface of each image. Process underpins all my work. I begin with collages of seemingly random images and thoughts allowing the collage, as it coalesces, to play a part in developing the theme. Consequently a unique and personal visual vocabulary continues to be developed and preoccupations with despair over the state of our environment and fascination with images of magical thinking constantly reoccur. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935253203-0IFOSH7HZP16JQ5F5M08/mcba-prize-2022-Monica-Ong-Star-Gazer-1.jpg Entries & Jurors - 2022 Entries - Monica Ong Trumbull, CT Artist: monicaong.com Micropress: proximavera.com The Star Gazer: Planisphere Poetry 2021 letterpress gold foil stamping on 1-ply flurry and navy cover stock 7.5 x 7.5″ Artist Statement Based on the Soochow Astronomical Chart of 1193, The Star Gazer offers unique poetry depending on the day and hour, designed as a planisphere depicting the Chinese night sky as seen from the northern hemisphere. To view the stars, turn the disc to align the desired date with the hour of night. Face south and hold the planisphere overhead with the corner marked North facing north. The map will reveal a celestial poem that awaits you among the asterisms. Readers become collaborators who are invited to let their eyes wander and make lyrical connections that feel most natural to them as they read the sky aloud to someone dear. The process of creating this piece involved recreating the historical start chart into a digital illustration and then transcribing the translations of the 253 asterisms in order to understand the celestial terrain of the Chinese night sky. From there, the author curated a selection of translations which were integrated with original poetry in order to create lyrical links among the stars. While maps of the heavens often create landscapes that center powerful men, such as the Great Emperor of Heaven, this interpretation seeks to center the reader. This poem was designed as an invitation to shared wonder, its interactivity intended to bring readers closer not only to poetry but to a personal place in the cosmos. The artist was responsible for the astral historical research, original poetry, typesetting, and graphic design of The Star Gazer. The letterpress gold foil stamping, die cutting, and assembly were done at Boxcar Press in Syracuse, NY. The Star Gazer was created as part of a broader exhibition, Planetaria, which is a collection of visual poetry broadsides, book arts, and installations that leverage the aesthetics of astronomy to explore feminist and non-Western star lore, boldly imagining new cosmographies where everyone belongs. Planetaria is on view at the Poetry Foundation in Chicago from April 21–June 30, 2022. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935252912-JWW5L34Y4RYOZA6HFCKA/mcba-prize-2022-Monica-Ong-Star-Gazer-2.jpg Entries & Jurors - 2022 Entries - Monica Ong Trumbull, CT Artist: monicaong.com Micropress: proximavera.com The Star Gazer: Planisphere Poetry 2021 letterpress gold foil stamping on 1-ply flurry and navy cover stock 7.5 x 7.5″ Artist Statement Based on the Soochow Astronomical Chart of 1193, The Star Gazer offers unique poetry depending on the day and hour, designed as a planisphere depicting the Chinese night sky as seen from the northern hemisphere. To view the stars, turn the disc to align the desired date with the hour of night. Face south and hold the planisphere overhead with the corner marked North facing north. The map will reveal a celestial poem that awaits you among the asterisms. Readers become collaborators who are invited to let their eyes wander and make lyrical connections that feel most natural to them as they read the sky aloud to someone dear. The process of creating this piece involved recreating the historical start chart into a digital illustration and then transcribing the translations of the 253 asterisms in order to understand the celestial terrain of the Chinese night sky. From there, the author curated a selection of translations which were integrated with original poetry in order to create lyrical links among the stars. While maps of the heavens often create landscapes that center powerful men, such as the Great Emperor of Heaven, this interpretation seeks to center the reader. This poem was designed as an invitation to shared wonder, its interactivity intended to bring readers closer not only to poetry but to a personal place in the cosmos. The artist was responsible for the astral historical research, original poetry, typesetting, and graphic design of The Star Gazer. The letterpress gold foil stamping, die cutting, and assembly were done at Boxcar Press in Syracuse, NY. The Star Gazer was created as part of a broader exhibition, Planetaria, which is a collection of visual poetry broadsides, book arts, and installations that leverage the aesthetics of astronomy to explore feminist and non-Western star lore, boldly imagining new cosmographies where everyone belongs. Planetaria is on view at the Poetry Foundation in Chicago from April 21–June 30, 2022. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935251810-EQBJ5MMKFKWLIVOA21XN/mcba-prize-2022-Monica-Ong-Star-Gazer-3.jpg Entries & Jurors - 2022 Entries - Monica Ong Trumbull, CT Artist: monicaong.com Micropress: proximavera.com The Star Gazer: Planisphere Poetry 2021 letterpress gold foil stamping on 1-ply flurry and navy cover stock 7.5 x 7.5″ Artist Statement Based on the Soochow Astronomical Chart of 1193, The Star Gazer offers unique poetry depending on the day and hour, designed as a planisphere depicting the Chinese night sky as seen from the northern hemisphere. To view the stars, turn the disc to align the desired date with the hour of night. Face south and hold the planisphere overhead with the corner marked North facing north. The map will reveal a celestial poem that awaits you among the asterisms. Readers become collaborators who are invited to let their eyes wander and make lyrical connections that feel most natural to them as they read the sky aloud to someone dear. The process of creating this piece involved recreating the historical start chart into a digital illustration and then transcribing the translations of the 253 asterisms in order to understand the celestial terrain of the Chinese night sky. From there, the author curated a selection of translations which were integrated with original poetry in order to create lyrical links among the stars. While maps of the heavens often create landscapes that center powerful men, such as the Great Emperor of Heaven, this interpretation seeks to center the reader. This poem was designed as an invitation to shared wonder, its interactivity intended to bring readers closer not only to poetry but to a personal place in the cosmos. The artist was responsible for the astral historical research, original poetry, typesetting, and graphic design of The Star Gazer. The letterpress gold foil stamping, die cutting, and assembly were done at Boxcar Press in Syracuse, NY. The Star Gazer was created as part of a broader exhibition, Planetaria, which is a collection of visual poetry broadsides, book arts, and installations that leverage the aesthetics of astronomy to explore feminist and non-Western star lore, boldly imagining new cosmographies where everyone belongs. Planetaria is on view at the Poetry Foundation in Chicago from April 21–June 30, 2022. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935251674-I7FTPIS3RFNY46RHUY1O/mcba-prize-2022-Monica-Ong-Star-Gazer-4.jpg Entries & Jurors - 2022 Entries - Monica Ong Trumbull, CT Artist: monicaong.com Micropress: proximavera.com The Star Gazer: Planisphere Poetry 2021 letterpress gold foil stamping on 1-ply flurry and navy cover stock 7.5 x 7.5″ Artist Statement Based on the Soochow Astronomical Chart of 1193, The Star Gazer offers unique poetry depending on the day and hour, designed as a planisphere depicting the Chinese night sky as seen from the northern hemisphere. To view the stars, turn the disc to align the desired date with the hour of night. Face south and hold the planisphere overhead with the corner marked North facing north. The map will reveal a celestial poem that awaits you among the asterisms. Readers become collaborators who are invited to let their eyes wander and make lyrical connections that feel most natural to them as they read the sky aloud to someone dear. The process of creating this piece involved recreating the historical start chart into a digital illustration and then transcribing the translations of the 253 asterisms in order to understand the celestial terrain of the Chinese night sky. From there, the author curated a selection of translations which were integrated with original poetry in order to create lyrical links among the stars. While maps of the heavens often create landscapes that center powerful men, such as the Great Emperor of Heaven, this interpretation seeks to center the reader. This poem was designed as an invitation to shared wonder, its interactivity intended to bring readers closer not only to poetry but to a personal place in the cosmos. The artist was responsible for the astral historical research, original poetry, typesetting, and graphic design of The Star Gazer. The letterpress gold foil stamping, die cutting, and assembly were done at Boxcar Press in Syracuse, NY. The Star Gazer was created as part of a broader exhibition, Planetaria, which is a collection of visual poetry broadsides, book arts, and installations that leverage the aesthetics of astronomy to explore feminist and non-Western star lore, boldly imagining new cosmographies where everyone belongs. Planetaria is on view at the Poetry Foundation in Chicago from April 21–June 30, 2022. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935540595-STSADCFUADQR40SWCXXG/mcba-prize-2022-Melanie-Hewitt-Grown-Ups-First-Alphabet-5.jpg Entries & Jurors - 2022 Entries - Melanie Hewitt Spokane Valley, WA melismaking.com Grown Up’s First Alphabet 2021 artist’s book 11.5″ x 14.5″ Artist Statement Around the turn of the 20th century, McLaughlin Bros publishing company printed Little Pets Linen ABC. A few years ago, a friend and local artist gifted me a copy. I was inspired by the long life this little book had lived and the character that showed through its colorful linen pages. The simplicity of the colors, and the focus on the words, defined by a picture, that is so quintessential to a child’s alphabet book, spoke to me as an adult. I missed how simply the world is presented to a child. I decided to make an alphabet book, but for adults, that highlights issues and topics that we face and presents it in the same simple, unassuming way. In a child’s alphabet book we don’t question if A is for Apple because the apple is green or red, it just is. It is my opinion that because of this, anyone can benefit from messaging being presented this way. The alphabet book is a universal form. Grown Up’s First Alphabet is meant for anyone who finds themselves on one side of an issue unable to see the other. It is for those who find themselves confused by the complexity of things in the world; and for those who maybe don’t see all the facets. The goal of the book is to view these topics honestly. Weighty and important topics to adults are presented in a manner to force perspective on the topic’s actual importance and complexity; to see them in their simplified form. It encourages us to ask whether the topic is actually as simple and universal as we claim or does it require more contemplation and awareness. Or maybe we should ask how a subject may have been overcomplicated due to a natural tendency to overcomplicate things. Grown Up’s First Alphabet is a hand bound linen book housed in a hand constructed full leather clamshell box. The pages and cover are bound together in pamphlet form with sewn linen thread. The book was printed on linen fabric using multi-block relief techniques with Gamblin Etching inks. Images were carved into MDF board with each page requiring three wood cuts. The clamshell box is covered in full with Harmatan goatskin leather Brown #23. Both blind and gold leaf tooling techniques were used to finish the box. The trays of the box are covered in marbled paper that I created myself in a very loose Spanish wave. Grown Up’s First Alphabet was printed and bound in an edition of 15. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935541710-SW6BVU2PVYZO3U7UBWHJ/mcba-prize-2022-Melanie-Hewitt-Grown-Ups-First-Alphabet-4.jpg Entries & Jurors - 2022 Entries - Melanie Hewitt Spokane Valley, WA melismaking.com Grown Up’s First Alphabet 2021 artist’s book 11.5″ x 14.5″ Artist Statement Around the turn of the 20th century, McLaughlin Bros publishing company printed Little Pets Linen ABC. A few years ago, a friend and local artist gifted me a copy. I was inspired by the long life this little book had lived and the character that showed through its colorful linen pages. The simplicity of the colors, and the focus on the words, defined by a picture, that is so quintessential to a child’s alphabet book, spoke to me as an adult. I missed how simply the world is presented to a child. I decided to make an alphabet book, but for adults, that highlights issues and topics that we face and presents it in the same simple, unassuming way. In a child’s alphabet book we don’t question if A is for Apple because the apple is green or red, it just is. It is my opinion that because of this, anyone can benefit from messaging being presented this way. The alphabet book is a universal form. Grown Up’s First Alphabet is meant for anyone who finds themselves on one side of an issue unable to see the other. It is for those who find themselves confused by the complexity of things in the world; and for those who maybe don’t see all the facets. The goal of the book is to view these topics honestly. Weighty and important topics to adults are presented in a manner to force perspective on the topic’s actual importance and complexity; to see them in their simplified form. It encourages us to ask whether the topic is actually as simple and universal as we claim or does it require more contemplation and awareness. Or maybe we should ask how a subject may have been overcomplicated due to a natural tendency to overcomplicate things. Grown Up’s First Alphabet is a hand bound linen book housed in a hand constructed full leather clamshell box. The pages and cover are bound together in pamphlet form with sewn linen thread. The book was printed on linen fabric using multi-block relief techniques with Gamblin Etching inks. Images were carved into MDF board with each page requiring three wood cuts. The clamshell box is covered in full with Harmatan goatskin leather Brown #23. Both blind and gold leaf tooling techniques were used to finish the box. The trays of the box are covered in marbled paper that I created myself in a very loose Spanish wave. Grown Up’s First Alphabet was printed and bound in an edition of 15. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935543414-RVVRPTE6CJ7TAM3IS4OU/mcba-prize-2022-Melanie-Hewitt-Grown-Ups-First-Alphabet-3.jpg Entries & Jurors - 2022 Entries - Melanie Hewitt Spokane Valley, WA melismaking.com Grown Up’s First Alphabet 2021 artist’s book 11.5″ x 14.5″ Artist Statement Around the turn of the 20th century, McLaughlin Bros publishing company printed Little Pets Linen ABC. A few years ago, a friend and local artist gifted me a copy. I was inspired by the long life this little book had lived and the character that showed through its colorful linen pages. The simplicity of the colors, and the focus on the words, defined by a picture, that is so quintessential to a child’s alphabet book, spoke to me as an adult. I missed how simply the world is presented to a child. I decided to make an alphabet book, but for adults, that highlights issues and topics that we face and presents it in the same simple, unassuming way. In a child’s alphabet book we don’t question if A is for Apple because the apple is green or red, it just is. It is my opinion that because of this, anyone can benefit from messaging being presented this way. The alphabet book is a universal form. Grown Up’s First Alphabet is meant for anyone who finds themselves on one side of an issue unable to see the other. It is for those who find themselves confused by the complexity of things in the world; and for those who maybe don’t see all the facets. The goal of the book is to view these topics honestly. Weighty and important topics to adults are presented in a manner to force perspective on the topic’s actual importance and complexity; to see them in their simplified form. It encourages us to ask whether the topic is actually as simple and universal as we claim or does it require more contemplation and awareness. Or maybe we should ask how a subject may have been overcomplicated due to a natural tendency to overcomplicate things. Grown Up’s First Alphabet is a hand bound linen book housed in a hand constructed full leather clamshell box. The pages and cover are bound together in pamphlet form with sewn linen thread. The book was printed on linen fabric using multi-block relief techniques with Gamblin Etching inks. Images were carved into MDF board with each page requiring three wood cuts. The clamshell box is covered in full with Harmatan goatskin leather Brown #23. Both blind and gold leaf tooling techniques were used to finish the box. The trays of the box are covered in marbled paper that I created myself in a very loose Spanish wave. Grown Up’s First Alphabet was printed and bound in an edition of 15. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935545146-QGT2R6KVL3Q6QM9323YH/mcba-prize-2022-Melanie-Hewitt-Grown-Ups-First-Alphabet-2.jpg Entries & Jurors - 2022 Entries - Melanie Hewitt Spokane Valley, WA melismaking.com Grown Up’s First Alphabet 2021 artist’s book 11.5″ x 14.5″ Artist Statement Around the turn of the 20th century, McLaughlin Bros publishing company printed Little Pets Linen ABC. A few years ago, a friend and local artist gifted me a copy. I was inspired by the long life this little book had lived and the character that showed through its colorful linen pages. The simplicity of the colors, and the focus on the words, defined by a picture, that is so quintessential to a child’s alphabet book, spoke to me as an adult. I missed how simply the world is presented to a child. I decided to make an alphabet book, but for adults, that highlights issues and topics that we face and presents it in the same simple, unassuming way. In a child’s alphabet book we don’t question if A is for Apple because the apple is green or red, it just is. It is my opinion that because of this, anyone can benefit from messaging being presented this way. The alphabet book is a universal form. Grown Up’s First Alphabet is meant for anyone who finds themselves on one side of an issue unable to see the other. It is for those who find themselves confused by the complexity of things in the world; and for those who maybe don’t see all the facets. The goal of the book is to view these topics honestly. Weighty and important topics to adults are presented in a manner to force perspective on the topic’s actual importance and complexity; to see them in their simplified form. It encourages us to ask whether the topic is actually as simple and universal as we claim or does it require more contemplation and awareness. Or maybe we should ask how a subject may have been overcomplicated due to a natural tendency to overcomplicate things. Grown Up’s First Alphabet is a hand bound linen book housed in a hand constructed full leather clamshell box. The pages and cover are bound together in pamphlet form with sewn linen thread. The book was printed on linen fabric using multi-block relief techniques with Gamblin Etching inks. Images were carved into MDF board with each page requiring three wood cuts. The clamshell box is covered in full with Harmatan goatskin leather Brown #23. Both blind and gold leaf tooling techniques were used to finish the box. The trays of the box are covered in marbled paper that I created myself in a very loose Spanish wave. Grown Up’s First Alphabet was printed and bound in an edition of 15. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935546367-1VJUDZF1NX6C361FBX12/mcba-prize-2022-Melanie-Hewitt-Grown-Ups-First-Alphabet-1.jpg Entries & Jurors - 2022 Entries - Melanie Hewitt Spokane Valley, WA melismaking.com Grown Up’s First Alphabet 2021 artist’s book 11.5″ x 14.5″ Artist Statement Around the turn of the 20th century, McLaughlin Bros publishing company printed Little Pets Linen ABC. A few years ago, a friend and local artist gifted me a copy. I was inspired by the long life this little book had lived and the character that showed through its colorful linen pages. The simplicity of the colors, and the focus on the words, defined by a picture, that is so quintessential to a child’s alphabet book, spoke to me as an adult. I missed how simply the world is presented to a child. I decided to make an alphabet book, but for adults, that highlights issues and topics that we face and presents it in the same simple, unassuming way. In a child’s alphabet book we don’t question if A is for Apple because the apple is green or red, it just is. It is my opinion that because of this, anyone can benefit from messaging being presented this way. The alphabet book is a universal form. Grown Up’s First Alphabet is meant for anyone who finds themselves on one side of an issue unable to see the other. It is for those who find themselves confused by the complexity of things in the world; and for those who maybe don’t see all the facets. The goal of the book is to view these topics honestly. Weighty and important topics to adults are presented in a manner to force perspective on the topic’s actual importance and complexity; to see them in their simplified form. It encourages us to ask whether the topic is actually as simple and universal as we claim or does it require more contemplation and awareness. Or maybe we should ask how a subject may have been overcomplicated due to a natural tendency to overcomplicate things. Grown Up’s First Alphabet is a hand bound linen book housed in a hand constructed full leather clamshell box. The pages and cover are bound together in pamphlet form with sewn linen thread. The book was printed on linen fabric using multi-block relief techniques with Gamblin Etching inks. Images were carved into MDF board with each page requiring three wood cuts. The clamshell box is covered in full with Harmatan goatskin leather Brown #23. Both blind and gold leaf tooling techniques were used to finish the box. The trays of the box are covered in marbled paper that I created myself in a very loose Spanish wave. Grown Up’s First Alphabet was printed and bound in an edition of 15. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935757357-4TWBUJWZ1ANRX9FZWEXQ/mcba-prize-2022-Sarah-Matthews-Lauren-Emeritz-Space-Known-Unknown-5.jpg Entries & Jurors - 2022 Entries - Sarah Matthews &amp; Lauren Emeritz Sarah Matthews (iamsarahmatthews.com) Lauren Emeritz (abstractorange.com) Columbia, MD SPACE: Known/Unknown 2022 letterpress/book arts various sizes Artist Statement Space: Known/Unknown is a collaborative project between Lauren Emeritz and Sarah Matthews. They explore the universe of book arts using “space” as a metaphor and immerse themselves in all the possibilities of letterpress and sculptural book techniques. Emeritz & Matthews (E&M) use the form and function of letterpress printing and book arts as a vehicle to express their creativity. They tapped into their existing bookbinding knowledge and explored other unknown book structures. E&M researched Galileo Galilei’s book called “Sidereus Nuncius.” Galileo’s charting and illustrating of the constellations inspired them. You can find the illustrations embedded within the letterpress prints that E&M designed and printed. E&M want to spark interest in letterpress, book arts, and all its possibilities. E&M intend to schedule a series of maker events to energize people around these mediums in conjunction with the exhibition. Lauren Emeritz’s work explores making things by hand. She combines traditional and modern techniques to create bright, colorful pieces to bring joy to the universe. Lauren’s favorite color is orange, and she incorporates it in everything she does. Sarah Matthews’s work documents the struggles of finding answers to long-standing questions about race, equality, and gender and breaking through barriers while shining a light on social injustice. She loves to layer multiple forms of printmaking and creates artist’s books from those prints. Sarah’s favorite color is yellow, and she was excited to incorporate it into this collaboration. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935757106-RIJ5UPVHTG4PJXTPW587/mcba-prize-2022-Sarah-Matthews-Lauren-Emeritz-Space-Known-Unknown-4.jpeg Entries & Jurors - 2022 Entries - Sarah Matthews &amp; Lauren Emeritz Sarah Matthews (iamsarahmatthews.com) Lauren Emeritz (abstractorange.com) Columbia, MD SPACE: Known/Unknown 2022 letterpress/book arts various sizes Artist Statement Space: Known/Unknown is a collaborative project between Lauren Emeritz and Sarah Matthews. They explore the universe of book arts using “space” as a metaphor and immerse themselves in all the possibilities of letterpress and sculptural book techniques. Emeritz & Matthews (E&M) use the form and function of letterpress printing and book arts as a vehicle to express their creativity. They tapped into their existing bookbinding knowledge and explored other unknown book structures. E&M researched Galileo Galilei’s book called “Sidereus Nuncius.” Galileo’s charting and illustrating of the constellations inspired them. You can find the illustrations embedded within the letterpress prints that E&M designed and printed. E&M want to spark interest in letterpress, book arts, and all its possibilities. E&M intend to schedule a series of maker events to energize people around these mediums in conjunction with the exhibition. Lauren Emeritz’s work explores making things by hand. She combines traditional and modern techniques to create bright, colorful pieces to bring joy to the universe. Lauren’s favorite color is orange, and she incorporates it in everything she does. Sarah Matthews’s work documents the struggles of finding answers to long-standing questions about race, equality, and gender and breaking through barriers while shining a light on social injustice. She loves to layer multiple forms of printmaking and creates artist’s books from those prints. Sarah’s favorite color is yellow, and she was excited to incorporate it into this collaboration. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935758151-3V39Q0Z6HG9I5AK0ZZ4P/mcba-prize-2022-Sarah-Matthews-Lauren-Emeritz-Space-Known-Unknown-3.jpeg Entries & Jurors - 2022 Entries - Sarah Matthews &amp; Lauren Emeritz Sarah Matthews (iamsarahmatthews.com) Lauren Emeritz (abstractorange.com) Columbia, MD SPACE: Known/Unknown 2022 letterpress/book arts various sizes Artist Statement Space: Known/Unknown is a collaborative project between Lauren Emeritz and Sarah Matthews. They explore the universe of book arts using “space” as a metaphor and immerse themselves in all the possibilities of letterpress and sculptural book techniques. Emeritz & Matthews (E&M) use the form and function of letterpress printing and book arts as a vehicle to express their creativity. They tapped into their existing bookbinding knowledge and explored other unknown book structures. E&M researched Galileo Galilei’s book called “Sidereus Nuncius.” Galileo’s charting and illustrating of the constellations inspired them. You can find the illustrations embedded within the letterpress prints that E&M designed and printed. E&M want to spark interest in letterpress, book arts, and all its possibilities. E&M intend to schedule a series of maker events to energize people around these mediums in conjunction with the exhibition. Lauren Emeritz’s work explores making things by hand. She combines traditional and modern techniques to create bright, colorful pieces to bring joy to the universe. Lauren’s favorite color is orange, and she incorporates it in everything she does. Sarah Matthews’s work documents the struggles of finding answers to long-standing questions about race, equality, and gender and breaking through barriers while shining a light on social injustice. She loves to layer multiple forms of printmaking and creates artist’s books from those prints. Sarah’s favorite color is yellow, and she was excited to incorporate it into this collaboration. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935759032-IV69F7ANP3K1KV9Z1VZ1/mcba-prize-2022-Sarah-Matthews-Lauren-Emeritz-Space-Known-Unknown-2.jpeg Entries & Jurors - 2022 Entries - Sarah Matthews &amp; Lauren Emeritz Sarah Matthews (iamsarahmatthews.com) Lauren Emeritz (abstractorange.com) Columbia, MD SPACE: Known/Unknown 2022 letterpress/book arts various sizes Artist Statement Space: Known/Unknown is a collaborative project between Lauren Emeritz and Sarah Matthews. They explore the universe of book arts using “space” as a metaphor and immerse themselves in all the possibilities of letterpress and sculptural book techniques. Emeritz & Matthews (E&M) use the form and function of letterpress printing and book arts as a vehicle to express their creativity. They tapped into their existing bookbinding knowledge and explored other unknown book structures. E&M researched Galileo Galilei’s book called “Sidereus Nuncius.” Galileo’s charting and illustrating of the constellations inspired them. You can find the illustrations embedded within the letterpress prints that E&M designed and printed. E&M want to spark interest in letterpress, book arts, and all its possibilities. E&M intend to schedule a series of maker events to energize people around these mediums in conjunction with the exhibition. Lauren Emeritz’s work explores making things by hand. She combines traditional and modern techniques to create bright, colorful pieces to bring joy to the universe. Lauren’s favorite color is orange, and she incorporates it in everything she does. Sarah Matthews’s work documents the struggles of finding answers to long-standing questions about race, equality, and gender and breaking through barriers while shining a light on social injustice. She loves to layer multiple forms of printmaking and creates artist’s books from those prints. Sarah’s favorite color is yellow, and she was excited to incorporate it into this collaboration. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935759221-E2I8AA3VBT12GF6131AO/mcba-prize-2022-Sarah-Matthews-Lauren-Emeritz-Space-Known-Unknown-1.jpeg Entries & Jurors - 2022 Entries - Sarah Matthews &amp; Lauren Emeritz Sarah Matthews (iamsarahmatthews.com) Lauren Emeritz (abstractorange.com) Columbia, MD SPACE: Known/Unknown 2022 letterpress/book arts various sizes Artist Statement Space: Known/Unknown is a collaborative project between Lauren Emeritz and Sarah Matthews. They explore the universe of book arts using “space” as a metaphor and immerse themselves in all the possibilities of letterpress and sculptural book techniques. Emeritz & Matthews (E&M) use the form and function of letterpress printing and book arts as a vehicle to express their creativity. They tapped into their existing bookbinding knowledge and explored other unknown book structures. E&M researched Galileo Galilei’s book called “Sidereus Nuncius.” Galileo’s charting and illustrating of the constellations inspired them. You can find the illustrations embedded within the letterpress prints that E&M designed and printed. E&M want to spark interest in letterpress, book arts, and all its possibilities. E&M intend to schedule a series of maker events to energize people around these mediums in conjunction with the exhibition. Lauren Emeritz’s work explores making things by hand. She combines traditional and modern techniques to create bright, colorful pieces to bring joy to the universe. Lauren’s favorite color is orange, and she incorporates it in everything she does. Sarah Matthews’s work documents the struggles of finding answers to long-standing questions about race, equality, and gender and breaking through barriers while shining a light on social injustice. She loves to layer multiple forms of printmaking and creates artist’s books from those prints. Sarah’s favorite color is yellow, and she was excited to incorporate it into this collaboration. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935898427-JT1DJQP22HZ08AE4X8M2/mcba-prize-2022-Allison-Parrish-James-Ryan-Wendit-Tnce-Inf-5.jpg Entries & Jurors - 2022 Entries - Allison Parrish &amp; James Ryan Allison Parrish (decontextualize.com) James Ryan (aleator.press) Minneapolis, MN Wendit Tnce Inf 2022 book 7 x 4.5 x 0.5″ Artist Statement The asemic prose poems in this book were generated with a suite of generative adversarial networks (GANs). A GAN is a kind of machine-learning model that learns to produce images that resemble, but are not identical to, the images in a training dataset. To create a new poem, my program first samples word images from the latent spaces of several GANs that I trained (from scratch) on distinct datasets of bitmap images of English words: lowercase words, words with trailing punctuation, words with an initial capital letter, and words in a second typeface. Essentially, the sampling generates new words pixel by pixel. My program then places these words on the page, one after another, line by line, mimicking the process of typesetting English prose. The goal is to produce visual forms that call attention to the conventional appearances and operations of text: forms that afford “reading,” while remaining unreadable. —Allison Parrish (poet) Since the early 1960s, artists have been using computers to create printed matter that could not have been produced by others means. These works employ diverse poetics, take a variety of material forms, and emerge from an assortment of artistic tendencies. I am the proprietor of Aleator Press, a Minneapolis publisher and archive that aims to showcase the computer-generated book as a material cultural form with a long history and undeniable staying power. I am particularly interested in exploring (and subverting) aesthetic configurations that juxtapose (and synergize) the digital and the material. With Wendit Tnce Inf, Allison and I have produced a print artifact that is: computational, yet handmade; automated, yet labor intensive; cutting-edge, yet traditional; readable, yet unreadable. She generated the book contents using state-of-the-art AI technology, which I letterpress-printed and bound by hand. —James Ryan (publisher, printer, binder) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935898936-3QLBSRCB73QOZTDZELCQ/mcba-prize-2022-Allison-Parrish-James-Ryan-Wendit-Tnce-Inf-4.jpg Entries & Jurors - 2022 Entries - Allison Parrish &amp; James Ryan Allison Parrish (decontextualize.com) James Ryan (aleator.press) Minneapolis, MN Wendit Tnce Inf 2022 book 7 x 4.5 x 0.5″ Artist Statement The asemic prose poems in this book were generated with a suite of generative adversarial networks (GANs). A GAN is a kind of machine-learning model that learns to produce images that resemble, but are not identical to, the images in a training dataset. To create a new poem, my program first samples word images from the latent spaces of several GANs that I trained (from scratch) on distinct datasets of bitmap images of English words: lowercase words, words with trailing punctuation, words with an initial capital letter, and words in a second typeface. Essentially, the sampling generates new words pixel by pixel. My program then places these words on the page, one after another, line by line, mimicking the process of typesetting English prose. The goal is to produce visual forms that call attention to the conventional appearances and operations of text: forms that afford “reading,” while remaining unreadable. —Allison Parrish (poet) Since the early 1960s, artists have been using computers to create printed matter that could not have been produced by others means. These works employ diverse poetics, take a variety of material forms, and emerge from an assortment of artistic tendencies. I am the proprietor of Aleator Press, a Minneapolis publisher and archive that aims to showcase the computer-generated book as a material cultural form with a long history and undeniable staying power. I am particularly interested in exploring (and subverting) aesthetic configurations that juxtapose (and synergize) the digital and the material. With Wendit Tnce Inf, Allison and I have produced a print artifact that is: computational, yet handmade; automated, yet labor intensive; cutting-edge, yet traditional; readable, yet unreadable. She generated the book contents using state-of-the-art AI technology, which I letterpress-printed and bound by hand. —James Ryan (publisher, printer, binder) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935899696-IB24HPC0XANEXL7Y8PBM/mcba-prize-2022-Allison-Parrish-James-Ryan-Wendit-Tnce-Inf-3.jpg Entries & Jurors - 2022 Entries - Allison Parrish &amp; James Ryan Allison Parrish (decontextualize.com) James Ryan (aleator.press) Minneapolis, MN Wendit Tnce Inf 2022 book 7 x 4.5 x 0.5″ Artist Statement The asemic prose poems in this book were generated with a suite of generative adversarial networks (GANs). A GAN is a kind of machine-learning model that learns to produce images that resemble, but are not identical to, the images in a training dataset. To create a new poem, my program first samples word images from the latent spaces of several GANs that I trained (from scratch) on distinct datasets of bitmap images of English words: lowercase words, words with trailing punctuation, words with an initial capital letter, and words in a second typeface. Essentially, the sampling generates new words pixel by pixel. My program then places these words on the page, one after another, line by line, mimicking the process of typesetting English prose. The goal is to produce visual forms that call attention to the conventional appearances and operations of text: forms that afford “reading,” while remaining unreadable. —Allison Parrish (poet) Since the early 1960s, artists have been using computers to create printed matter that could not have been produced by others means. These works employ diverse poetics, take a variety of material forms, and emerge from an assortment of artistic tendencies. I am the proprietor of Aleator Press, a Minneapolis publisher and archive that aims to showcase the computer-generated book as a material cultural form with a long history and undeniable staying power. I am particularly interested in exploring (and subverting) aesthetic configurations that juxtapose (and synergize) the digital and the material. With Wendit Tnce Inf, Allison and I have produced a print artifact that is: computational, yet handmade; automated, yet labor intensive; cutting-edge, yet traditional; readable, yet unreadable. She generated the book contents using state-of-the-art AI technology, which I letterpress-printed and bound by hand. —James Ryan (publisher, printer, binder) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935900302-S53HB64O7DCB7VYRSIYM/mcba-prize-2022-Allison-Parrish-James-Ryan-Wendit-Tnce-Inf-2.jpg Entries & Jurors - 2022 Entries - Allison Parrish &amp; James Ryan Allison Parrish (decontextualize.com) James Ryan (aleator.press) Minneapolis, MN Wendit Tnce Inf 2022 book 7 x 4.5 x 0.5″ Artist Statement The asemic prose poems in this book were generated with a suite of generative adversarial networks (GANs). A GAN is a kind of machine-learning model that learns to produce images that resemble, but are not identical to, the images in a training dataset. To create a new poem, my program first samples word images from the latent spaces of several GANs that I trained (from scratch) on distinct datasets of bitmap images of English words: lowercase words, words with trailing punctuation, words with an initial capital letter, and words in a second typeface. Essentially, the sampling generates new words pixel by pixel. My program then places these words on the page, one after another, line by line, mimicking the process of typesetting English prose. The goal is to produce visual forms that call attention to the conventional appearances and operations of text: forms that afford “reading,” while remaining unreadable. —Allison Parrish (poet) Since the early 1960s, artists have been using computers to create printed matter that could not have been produced by others means. These works employ diverse poetics, take a variety of material forms, and emerge from an assortment of artistic tendencies. I am the proprietor of Aleator Press, a Minneapolis publisher and archive that aims to showcase the computer-generated book as a material cultural form with a long history and undeniable staying power. I am particularly interested in exploring (and subverting) aesthetic configurations that juxtapose (and synergize) the digital and the material. With Wendit Tnce Inf, Allison and I have produced a print artifact that is: computational, yet handmade; automated, yet labor intensive; cutting-edge, yet traditional; readable, yet unreadable. She generated the book contents using state-of-the-art AI technology, which I letterpress-printed and bound by hand. —James Ryan (publisher, printer, binder) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773935901093-BU5MR99D0LD02Z8C20Z1/mcba-prize-2022-Allison-Parrish-James-Ryan-Wendit-Tnce-Inf-1.jpg Entries & Jurors - 2022 Entries - Allison Parrish &amp; James Ryan Allison Parrish (decontextualize.com) James Ryan (aleator.press) Minneapolis, MN Wendit Tnce Inf 2022 book 7 x 4.5 x 0.5″ Artist Statement The asemic prose poems in this book were generated with a suite of generative adversarial networks (GANs). A GAN is a kind of machine-learning model that learns to produce images that resemble, but are not identical to, the images in a training dataset. To create a new poem, my program first samples word images from the latent spaces of several GANs that I trained (from scratch) on distinct datasets of bitmap images of English words: lowercase words, words with trailing punctuation, words with an initial capital letter, and words in a second typeface. Essentially, the sampling generates new words pixel by pixel. My program then places these words on the page, one after another, line by line, mimicking the process of typesetting English prose. The goal is to produce visual forms that call attention to the conventional appearances and operations of text: forms that afford “reading,” while remaining unreadable. —Allison Parrish (poet) Since the early 1960s, artists have been using computers to create printed matter that could not have been produced by others means. These works employ diverse poetics, take a variety of material forms, and emerge from an assortment of artistic tendencies. I am the proprietor of Aleator Press, a Minneapolis publisher and archive that aims to showcase the computer-generated book as a material cultural form with a long history and undeniable staying power. I am particularly interested in exploring (and subverting) aesthetic configurations that juxtapose (and synergize) the digital and the material. With Wendit Tnce Inf, Allison and I have produced a print artifact that is: computational, yet handmade; automated, yet labor intensive; cutting-edge, yet traditional; readable, yet unreadable. She generated the book contents using state-of-the-art AI technology, which I letterpress-printed and bound by hand. —James Ryan (publisher, printer, binder) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936065824-VNYM3UA75NZWYK6GN8N0/mcba-prize-2022-Tiana-Krahn-Sarah-Press-Inconclusive-Manual-for-Unanswerable-Questions-2.jpg Entries & Jurors - 2022 Entries - Tiana Krahn &amp; Sara Press Tiana Krahn (tianakrahn.com) Sara Press (deeplygame.com) Penngrove, CA Inconclusive Manual for Unanswerable Questions 2022 case bound artist book & gypsum cement hand 5 x 7 x 1/2″ book with life sized hand Artist Statement What if there was a standard-issue handbook that resolved grief, discord, paradox and ancestral trauma? As young artists, we dreamed of a world where there were no rules, but in this time of internal & external chaos, we wish there were more definitive answers. During a particularly difficult year, we traded sketchbooks back and forth, completing each other’s empty hands with objects that communicated our struggles and sought solutions. We know nothing is simple, but we indulged ourselves with the fantasy that things could be. Our drawings, born from questions, would contain all the answers if seen in the right combinations. So we indexed them with the moral authority of any other handbook grasping at truths, and solved all the world’s problems. 5 x 7”, 84 pages. Letterpress (text) & Indigo Electroink (images) on Mohawk Superfine paper. Edition of 20 books plus 4 hors de commerce, each with a life-sized gypsum cement hand that cradles it for display in different ways. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936066816-2N6CN7RQTQQIMMEOL5UF/mcba-prize-2022-Tiana-Krahn-Sarah-Press-Inconclusive-Manual-for-Unanswerable-Questions-1.jpg Entries & Jurors - 2022 Entries - Tiana Krahn &amp; Sara Press Tiana Krahn (tianakrahn.com) Sara Press (deeplygame.com) Penngrove, CA Inconclusive Manual for Unanswerable Questions 2022 case bound artist book & gypsum cement hand 5 x 7 x 1/2″ book with life sized hand Artist Statement What if there was a standard-issue handbook that resolved grief, discord, paradox and ancestral trauma? As young artists, we dreamed of a world where there were no rules, but in this time of internal & external chaos, we wish there were more definitive answers. During a particularly difficult year, we traded sketchbooks back and forth, completing each other’s empty hands with objects that communicated our struggles and sought solutions. We know nothing is simple, but we indulged ourselves with the fantasy that things could be. Our drawings, born from questions, would contain all the answers if seen in the right combinations. So we indexed them with the moral authority of any other handbook grasping at truths, and solved all the world’s problems. 5 x 7”, 84 pages. Letterpress (text) & Indigo Electroink (images) on Mohawk Superfine paper. Edition of 20 books plus 4 hors de commerce, each with a life-sized gypsum cement hand that cradles it for display in different ways. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936063970-2X2XVI7E5VHUJIKI2IFO/mcba-prize-2022-Tiana-Krahn-Sarah-Press-Inconclusive-Manual-for-Unanswerable-Questions-5.jpg Entries & Jurors - 2022 Entries - Tiana Krahn &amp; Sara Press Tiana Krahn (tianakrahn.com) Sara Press (deeplygame.com) Penngrove, CA Inconclusive Manual for Unanswerable Questions 2022 case bound artist book & gypsum cement hand 5 x 7 x 1/2″ book with life sized hand Artist Statement What if there was a standard-issue handbook that resolved grief, discord, paradox and ancestral trauma? As young artists, we dreamed of a world where there were no rules, but in this time of internal & external chaos, we wish there were more definitive answers. During a particularly difficult year, we traded sketchbooks back and forth, completing each other’s empty hands with objects that communicated our struggles and sought solutions. We know nothing is simple, but we indulged ourselves with the fantasy that things could be. Our drawings, born from questions, would contain all the answers if seen in the right combinations. So we indexed them with the moral authority of any other handbook grasping at truths, and solved all the world’s problems. 5 x 7”, 84 pages. Letterpress (text) & Indigo Electroink (images) on Mohawk Superfine paper. Edition of 20 books plus 4 hors de commerce, each with a life-sized gypsum cement hand that cradles it for display in different ways. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936064318-L9HS0HWV7FN54VJQAFOY/mcba-prize-2022-Tiana-Krahn-Sarah-Press-Inconclusive-Manual-for-Unanswerable-Questions-4.jpg Entries & Jurors - 2022 Entries - Tiana Krahn &amp; Sara Press Tiana Krahn (tianakrahn.com) Sara Press (deeplygame.com) Penngrove, CA Inconclusive Manual for Unanswerable Questions 2022 case bound artist book & gypsum cement hand 5 x 7 x 1/2″ book with life sized hand Artist Statement What if there was a standard-issue handbook that resolved grief, discord, paradox and ancestral trauma? As young artists, we dreamed of a world where there were no rules, but in this time of internal & external chaos, we wish there were more definitive answers. During a particularly difficult year, we traded sketchbooks back and forth, completing each other’s empty hands with objects that communicated our struggles and sought solutions. We know nothing is simple, but we indulged ourselves with the fantasy that things could be. Our drawings, born from questions, would contain all the answers if seen in the right combinations. So we indexed them with the moral authority of any other handbook grasping at truths, and solved all the world’s problems. 5 x 7”, 84 pages. Letterpress (text) & Indigo Electroink (images) on Mohawk Superfine paper. Edition of 20 books plus 4 hors de commerce, each with a life-sized gypsum cement hand that cradles it for display in different ways. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936065193-D6GVPF5MNDJ2LMGZVY1B/mcba-prize-2022-Tiana-Krahn-Sarah-Press-Inconclusive-Manual-for-Unanswerable-Questions-3.jpg Entries & Jurors - 2022 Entries - Tiana Krahn &amp; Sara Press Tiana Krahn (tianakrahn.com) Sara Press (deeplygame.com) Penngrove, CA Inconclusive Manual for Unanswerable Questions 2022 case bound artist book & gypsum cement hand 5 x 7 x 1/2″ book with life sized hand Artist Statement What if there was a standard-issue handbook that resolved grief, discord, paradox and ancestral trauma? As young artists, we dreamed of a world where there were no rules, but in this time of internal & external chaos, we wish there were more definitive answers. During a particularly difficult year, we traded sketchbooks back and forth, completing each other’s empty hands with objects that communicated our struggles and sought solutions. We know nothing is simple, but we indulged ourselves with the fantasy that things could be. Our drawings, born from questions, would contain all the answers if seen in the right combinations. So we indexed them with the moral authority of any other handbook grasping at truths, and solved all the world’s problems. 5 x 7”, 84 pages. Letterpress (text) & Indigo Electroink (images) on Mohawk Superfine paper. Edition of 20 books plus 4 hors de commerce, each with a life-sized gypsum cement hand that cradles it for display in different ways. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936770152-CA6UOTOYZGRQZM7WAXHC/mcba-prize-2022-Theresa-Angelo-Jane-Ryan-A-Cursed-Tale-5.jpg Entries & Jurors - 2022 Entries - Theresa Angelo &amp; Jane Ryan lostandboundbooks.com A Cursed Tale 2021–2022 colored pencil, graphite, leather, papers, silk 9 x 12.5 x 1″ Artist Statement Two Northern Minnesota Artists blended their talents to create A Cursed Tale, a story—folklore or fact—loosely based on the Timpano Crypt of Hibbing, written and illustrated by Jane Ryan of Nisswa, designed and produced by book artist Theresa Angelo of Minneapolis. Jane This urban legend was told in my hometown for years and it always intrigued me. My niece and nephew also loved the story, so I decided to write and illustrate it in their honor, with a supernatural ending! It was great fun to write in poem form, which seemed to lighten the subject matter a bit. Also I enjoyed trying to illustrate the time period of the early 20th century, and also my own younger years. The first color illustration introduced the reader to the real world, but the change to graphite fit the mood and eeriness of the subject. I used some family members in the illustrations, even sneaked my niece into one of them, which gives the book a very personal touch. When I decided to pursue binding this story, I knew I wanted something not seen every day. By luck and coincidence, I contacted Theresa Angelo (also raised in Hibbing, my hometown) of Lost & Bound Books, and told her what I was thinking of. I gave her the poem and illustrated pages and basically said, here you go, do what you think would be different… she did not disappoint! She set all the copy just where I wanted it; she chose the unusual top binding of the art copies, which I never would have thought of. Theresa created 5 different leather bound copies of the story, each with different leather techniques, colors, end papers, custom foil stamped front logo, and different stitchings. Each book was thought out carefully and bound with great skill and an aesthetic sense of the spooky tone I wanted to convey. I feel that the project really came together collaborating with Theresa; our work complemented each other’s and the process was so interesting to work through and learn from. Theresa When Jane’s search for a book artist to produce her illustrated story, A Cursed Tale, landed with me, I was thrilled! The nature of the work as well as the timing were exactly what I needed to float me out of a creative dive. The content Jane provided was beautiful and familiar; perfect text for coursework I had recently planned at the American Academy of Bookbinding. During the autumn months of 2021 I began experimenting with various leather treatments adding color, texture and design – an endless experiment, without a doubt! During AAB classes I produced two 6 x 9” prototypes to give Jane, the writer/illustrator, options. Her response to the initial two books formed a framework for me to create five larger fine bindings laced onto boards with sewn in silk headbands – each with the feel of our Iron Range hometown graveyard. I’m grateful to Jane and so pleased with our work! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936770015-QZHXUPT8G3TMG2QB1ORU/mcba-prize-2022-Theresa-Angelo-Jane-Ryan-A-Cursed-Tale-4.jpg Entries & Jurors - 2022 Entries - Theresa Angelo &amp; Jane Ryan lostandboundbooks.com A Cursed Tale 2021–2022 colored pencil, graphite, leather, papers, silk 9 x 12.5 x 1″ Artist Statement Two Northern Minnesota Artists blended their talents to create A Cursed Tale, a story—folklore or fact—loosely based on the Timpano Crypt of Hibbing, written and illustrated by Jane Ryan of Nisswa, designed and produced by book artist Theresa Angelo of Minneapolis. Jane This urban legend was told in my hometown for years and it always intrigued me. My niece and nephew also loved the story, so I decided to write and illustrate it in their honor, with a supernatural ending! It was great fun to write in poem form, which seemed to lighten the subject matter a bit. Also I enjoyed trying to illustrate the time period of the early 20th century, and also my own younger years. The first color illustration introduced the reader to the real world, but the change to graphite fit the mood and eeriness of the subject. I used some family members in the illustrations, even sneaked my niece into one of them, which gives the book a very personal touch. When I decided to pursue binding this story, I knew I wanted something not seen every day. By luck and coincidence, I contacted Theresa Angelo (also raised in Hibbing, my hometown) of Lost & Bound Books, and told her what I was thinking of. I gave her the poem and illustrated pages and basically said, here you go, do what you think would be different… she did not disappoint! She set all the copy just where I wanted it; she chose the unusual top binding of the art copies, which I never would have thought of. Theresa created 5 different leather bound copies of the story, each with different leather techniques, colors, end papers, custom foil stamped front logo, and different stitchings. Each book was thought out carefully and bound with great skill and an aesthetic sense of the spooky tone I wanted to convey. I feel that the project really came together collaborating with Theresa; our work complemented each other’s and the process was so interesting to work through and learn from. Theresa When Jane’s search for a book artist to produce her illustrated story, A Cursed Tale, landed with me, I was thrilled! The nature of the work as well as the timing were exactly what I needed to float me out of a creative dive. The content Jane provided was beautiful and familiar; perfect text for coursework I had recently planned at the American Academy of Bookbinding. During the autumn months of 2021 I began experimenting with various leather treatments adding color, texture and design – an endless experiment, without a doubt! During AAB classes I produced two 6 x 9” prototypes to give Jane, the writer/illustrator, options. Her response to the initial two books formed a framework for me to create five larger fine bindings laced onto boards with sewn in silk headbands – each with the feel of our Iron Range hometown graveyard. I’m grateful to Jane and so pleased with our work! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936772196-SE9VZ8FMABTV7LEWQ303/mcba-prize-2022-Theresa-Angelo-Jane-Ryan-A-Cursed-Tale-3.jpg Entries & Jurors - 2022 Entries - Theresa Angelo &amp; Jane Ryan lostandboundbooks.com A Cursed Tale 2021–2022 colored pencil, graphite, leather, papers, silk 9 x 12.5 x 1″ Artist Statement Two Northern Minnesota Artists blended their talents to create A Cursed Tale, a story—folklore or fact—loosely based on the Timpano Crypt of Hibbing, written and illustrated by Jane Ryan of Nisswa, designed and produced by book artist Theresa Angelo of Minneapolis. Jane This urban legend was told in my hometown for years and it always intrigued me. My niece and nephew also loved the story, so I decided to write and illustrate it in their honor, with a supernatural ending! It was great fun to write in poem form, which seemed to lighten the subject matter a bit. Also I enjoyed trying to illustrate the time period of the early 20th century, and also my own younger years. The first color illustration introduced the reader to the real world, but the change to graphite fit the mood and eeriness of the subject. I used some family members in the illustrations, even sneaked my niece into one of them, which gives the book a very personal touch. When I decided to pursue binding this story, I knew I wanted something not seen every day. By luck and coincidence, I contacted Theresa Angelo (also raised in Hibbing, my hometown) of Lost & Bound Books, and told her what I was thinking of. I gave her the poem and illustrated pages and basically said, here you go, do what you think would be different… she did not disappoint! She set all the copy just where I wanted it; she chose the unusual top binding of the art copies, which I never would have thought of. Theresa created 5 different leather bound copies of the story, each with different leather techniques, colors, end papers, custom foil stamped front logo, and different stitchings. Each book was thought out carefully and bound with great skill and an aesthetic sense of the spooky tone I wanted to convey. I feel that the project really came together collaborating with Theresa; our work complemented each other’s and the process was so interesting to work through and learn from. Theresa When Jane’s search for a book artist to produce her illustrated story, A Cursed Tale, landed with me, I was thrilled! The nature of the work as well as the timing were exactly what I needed to float me out of a creative dive. The content Jane provided was beautiful and familiar; perfect text for coursework I had recently planned at the American Academy of Bookbinding. During the autumn months of 2021 I began experimenting with various leather treatments adding color, texture and design – an endless experiment, without a doubt! During AAB classes I produced two 6 x 9” prototypes to give Jane, the writer/illustrator, options. Her response to the initial two books formed a framework for me to create five larger fine bindings laced onto boards with sewn in silk headbands – each with the feel of our Iron Range hometown graveyard. I’m grateful to Jane and so pleased with our work! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936773315-B184P03DAJ2Q3BYFTRP8/mcba-prize-2022-Theresa-Angelo-Jane-Ryan-A-Cursed-Tale-2.jpg Entries & Jurors - 2022 Entries - Theresa Angelo &amp; Jane Ryan lostandboundbooks.com A Cursed Tale 2021–2022 colored pencil, graphite, leather, papers, silk 9 x 12.5 x 1″ Artist Statement Two Northern Minnesota Artists blended their talents to create A Cursed Tale, a story—folklore or fact—loosely based on the Timpano Crypt of Hibbing, written and illustrated by Jane Ryan of Nisswa, designed and produced by book artist Theresa Angelo of Minneapolis. Jane This urban legend was told in my hometown for years and it always intrigued me. My niece and nephew also loved the story, so I decided to write and illustrate it in their honor, with a supernatural ending! It was great fun to write in poem form, which seemed to lighten the subject matter a bit. Also I enjoyed trying to illustrate the time period of the early 20th century, and also my own younger years. The first color illustration introduced the reader to the real world, but the change to graphite fit the mood and eeriness of the subject. I used some family members in the illustrations, even sneaked my niece into one of them, which gives the book a very personal touch. When I decided to pursue binding this story, I knew I wanted something not seen every day. By luck and coincidence, I contacted Theresa Angelo (also raised in Hibbing, my hometown) of Lost & Bound Books, and told her what I was thinking of. I gave her the poem and illustrated pages and basically said, here you go, do what you think would be different… she did not disappoint! She set all the copy just where I wanted it; she chose the unusual top binding of the art copies, which I never would have thought of. Theresa created 5 different leather bound copies of the story, each with different leather techniques, colors, end papers, custom foil stamped front logo, and different stitchings. Each book was thought out carefully and bound with great skill and an aesthetic sense of the spooky tone I wanted to convey. I feel that the project really came together collaborating with Theresa; our work complemented each other’s and the process was so interesting to work through and learn from. Theresa When Jane’s search for a book artist to produce her illustrated story, A Cursed Tale, landed with me, I was thrilled! The nature of the work as well as the timing were exactly what I needed to float me out of a creative dive. The content Jane provided was beautiful and familiar; perfect text for coursework I had recently planned at the American Academy of Bookbinding. During the autumn months of 2021 I began experimenting with various leather treatments adding color, texture and design – an endless experiment, without a doubt! During AAB classes I produced two 6 x 9” prototypes to give Jane, the writer/illustrator, options. Her response to the initial two books formed a framework for me to create five larger fine bindings laced onto boards with sewn in silk headbands – each with the feel of our Iron Range hometown graveyard. I’m grateful to Jane and so pleased with our work! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936774759-J2EPHLC85QVJTJFKHMZ3/mcba-prize-2022-Theresa-Angelo-Jane-Ryan-A-Cursed-Tale-1.jpg Entries & Jurors - 2022 Entries - Theresa Angelo &amp; Jane Ryan lostandboundbooks.com A Cursed Tale 2021–2022 colored pencil, graphite, leather, papers, silk 9 x 12.5 x 1″ Artist Statement Two Northern Minnesota Artists blended their talents to create A Cursed Tale, a story—folklore or fact—loosely based on the Timpano Crypt of Hibbing, written and illustrated by Jane Ryan of Nisswa, designed and produced by book artist Theresa Angelo of Minneapolis. Jane This urban legend was told in my hometown for years and it always intrigued me. My niece and nephew also loved the story, so I decided to write and illustrate it in their honor, with a supernatural ending! It was great fun to write in poem form, which seemed to lighten the subject matter a bit. Also I enjoyed trying to illustrate the time period of the early 20th century, and also my own younger years. The first color illustration introduced the reader to the real world, but the change to graphite fit the mood and eeriness of the subject. I used some family members in the illustrations, even sneaked my niece into one of them, which gives the book a very personal touch. When I decided to pursue binding this story, I knew I wanted something not seen every day. By luck and coincidence, I contacted Theresa Angelo (also raised in Hibbing, my hometown) of Lost & Bound Books, and told her what I was thinking of. I gave her the poem and illustrated pages and basically said, here you go, do what you think would be different… she did not disappoint! She set all the copy just where I wanted it; she chose the unusual top binding of the art copies, which I never would have thought of. Theresa created 5 different leather bound copies of the story, each with different leather techniques, colors, end papers, custom foil stamped front logo, and different stitchings. Each book was thought out carefully and bound with great skill and an aesthetic sense of the spooky tone I wanted to convey. I feel that the project really came together collaborating with Theresa; our work complemented each other’s and the process was so interesting to work through and learn from. Theresa When Jane’s search for a book artist to produce her illustrated story, A Cursed Tale, landed with me, I was thrilled! The nature of the work as well as the timing were exactly what I needed to float me out of a creative dive. The content Jane provided was beautiful and familiar; perfect text for coursework I had recently planned at the American Academy of Bookbinding. During the autumn months of 2021 I began experimenting with various leather treatments adding color, texture and design – an endless experiment, without a doubt! During AAB classes I produced two 6 x 9” prototypes to give Jane, the writer/illustrator, options. Her response to the initial two books formed a framework for me to create five larger fine bindings laced onto boards with sewn in silk headbands – each with the feel of our Iron Range hometown graveyard. I’m grateful to Jane and so pleased with our work! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936962701-A61IQQODMTCILCUUY26V/mcba-prize-2022-Camden-Richard-Deborah-Sibony-Anne-Hege-Water-Calling-5.jpg Entries & Jurors - 2022 Entries - Camden Richards, Deborah Sibony, &amp; Anne Hege Camden Richards (liminal-press.com) Deborah Sibony (studio1509fineart.com) Anne Hege (annehege.com) Kensington, CA Water, Calling 2021 artist’s book 30″ x 6″ x .75″ Artist Statement Water, Calling is a collaborative artist book which explores the cyclical and omnipresent relationship of water and the self, inviting the reader to reflect upon water as more than a commodity, but rather as life giving: spirit, flesh and soul. Because water is evidence of all who came before us, it is a foretelling of all who will be; through it we are in conversation with our ancestors, our descendants, and with earth herself. Water, Calling traces these existential threads through waterscapes of text, image and sound, extending an invitation to enter more fully into a dialogue composed of acts requiring active listening, contemplative reading and deep seeing with the hope of inspiring sacred reciprocity. Water, Calling consists of text, water patterns, letterpress printing and binding by Camden M. Richards, cyanotype prints, image transfers and watercolors by Deborah Sibony, and a soundtrack by Anne Hege. The text throughout Water, Calling is a weaving of digitally printed scientific and historical facts with letterpress printed personal recollections and abstracted meditations on water. Richards writes: We must find a way to unlock our waters. We need wild shorelines, healthy watersheds. We need to know, and honor, where our water comes from. We must find a way of participating that is more present, with perception and intimacy at the forefront of action. Biodiversity is expressed as an orchestra of wild voices; we must listen to the world’s wild intelligence, we must amplify the voices of wild earth that are too silent to hear, we must internalize the voice of water with our own. Through excavations of memory and personal experience, I seek to honor the transcendental value of water to life, and I hope to inspire readers to join me as witness, worshipper, student, friend and ultimately one with water, the life blood of our earth. The artwork in Water, Calling is a series of cyanotype prints of original photographs, image transfers sourced from historical maps, and watercolor prints, inspired by the artist’s relationship with various western bodies of water—wild and managed, urban and rural—and how these relationships and bodies of water have evolved, over time. Sibony writes: Water is a powerful force of nature, traveling many paths through our existence and often serving as a source for healing and renewal. I have lived alongside large bodies of water for most of my life; the ocean and the horizon have always been external spaces that not only influence my work as an artist, but consistently move me to places of profound thought and internal calm. For this book, I created artwork using the cyanotype process, image transfers and watercolors. The compositions throughout the work represent the deep connections we have to water, from the physical ways in which we perceive water, to the intellectual ways in which we attempt to understand, organize and control it. My hope is that the art initiates a visual journey that ultimately inspires respect for water’s delicate beauty and fierce power. The music in Water, Calling is composed of water recordings, instrumentals and vocal incantations, providing an environmental soundscape upon which to absorb both word and image, thus immersing the reader in a full sensory experience. Hege writes: We understand water as an immersive experience. Our relationship to water is one that engages all of the senses. Whether it be “water” in utero, a bath, water we drink, the ocean we see, or the rain we hear, water is central to one’s lived experience. Inspired by this, a year of discussion about the project, and the text and images created by my collaborators, I used my hand-built, analog looping instrument, the tape machine, to create source material for large portions of the soundtrack. The tape machine imitates water cycles in the way that it records and plays back material, echoing itself. I then manipulated the source recordings to enhance the color and texture of the sound, and to elicit qualities of water—the way that it reflects and shimmers in light, its fluid weight and density, the way that sound moves through it and the way it filters harmonic frequencies. Using fragments of text from the book, the soundtrack weaves together discrete songs with recordings of water. Through this auditory exploration, the music transports the listener to a place of intention, enhances the collective experience of water, and creates the opportunity to engage in the interconnectedness of being. By concentrating on the physical qualities of our natural environments, we can access a cognitive state that humans have honed over millennia: one that was instinctive to those long ago but that has largely become lost to us today. Water, Calling is our liquid prayer: a love letter to water through which we hope to re-engage ancestral environmental connectivity and mobilize others in the face of climate change toward perception, intimacy and action. Berkeley & Kensington, California. 2021 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936962287-9MDHVFBUWGKGDOG1DZEA/mcba-prize-2022-Camden-Richard-Deborah-Sibony-Anne-Hege-Water-Calling-4.jpg Entries & Jurors - 2022 Entries - Camden Richards, Deborah Sibony, &amp; Anne Hege Camden Richards (liminal-press.com) Deborah Sibony (studio1509fineart.com) Anne Hege (annehege.com) Kensington, CA Water, Calling 2021 artist’s book 30″ x 6″ x .75″ Artist Statement Water, Calling is a collaborative artist book which explores the cyclical and omnipresent relationship of water and the self, inviting the reader to reflect upon water as more than a commodity, but rather as life giving: spirit, flesh and soul. Because water is evidence of all who came before us, it is a foretelling of all who will be; through it we are in conversation with our ancestors, our descendants, and with earth herself. Water, Calling traces these existential threads through waterscapes of text, image and sound, extending an invitation to enter more fully into a dialogue composed of acts requiring active listening, contemplative reading and deep seeing with the hope of inspiring sacred reciprocity. Water, Calling consists of text, water patterns, letterpress printing and binding by Camden M. Richards, cyanotype prints, image transfers and watercolors by Deborah Sibony, and a soundtrack by Anne Hege. The text throughout Water, Calling is a weaving of digitally printed scientific and historical facts with letterpress printed personal recollections and abstracted meditations on water. Richards writes: We must find a way to unlock our waters. We need wild shorelines, healthy watersheds. We need to know, and honor, where our water comes from. We must find a way of participating that is more present, with perception and intimacy at the forefront of action. Biodiversity is expressed as an orchestra of wild voices; we must listen to the world’s wild intelligence, we must amplify the voices of wild earth that are too silent to hear, we must internalize the voice of water with our own. Through excavations of memory and personal experience, I seek to honor the transcendental value of water to life, and I hope to inspire readers to join me as witness, worshipper, student, friend and ultimately one with water, the life blood of our earth. The artwork in Water, Calling is a series of cyanotype prints of original photographs, image transfers sourced from historical maps, and watercolor prints, inspired by the artist’s relationship with various western bodies of water—wild and managed, urban and rural—and how these relationships and bodies of water have evolved, over time. Sibony writes: Water is a powerful force of nature, traveling many paths through our existence and often serving as a source for healing and renewal. I have lived alongside large bodies of water for most of my life; the ocean and the horizon have always been external spaces that not only influence my work as an artist, but consistently move me to places of profound thought and internal calm. For this book, I created artwork using the cyanotype process, image transfers and watercolors. The compositions throughout the work represent the deep connections we have to water, from the physical ways in which we perceive water, to the intellectual ways in which we attempt to understand, organize and control it. My hope is that the art initiates a visual journey that ultimately inspires respect for water’s delicate beauty and fierce power. The music in Water, Calling is composed of water recordings, instrumentals and vocal incantations, providing an environmental soundscape upon which to absorb both word and image, thus immersing the reader in a full sensory experience. Hege writes: We understand water as an immersive experience. Our relationship to water is one that engages all of the senses. Whether it be “water” in utero, a bath, water we drink, the ocean we see, or the rain we hear, water is central to one’s lived experience. Inspired by this, a year of discussion about the project, and the text and images created by my collaborators, I used my hand-built, analog looping instrument, the tape machine, to create source material for large portions of the soundtrack. The tape machine imitates water cycles in the way that it records and plays back material, echoing itself. I then manipulated the source recordings to enhance the color and texture of the sound, and to elicit qualities of water—the way that it reflects and shimmers in light, its fluid weight and density, the way that sound moves through it and the way it filters harmonic frequencies. Using fragments of text from the book, the soundtrack weaves together discrete songs with recordings of water. Through this auditory exploration, the music transports the listener to a place of intention, enhances the collective experience of water, and creates the opportunity to engage in the interconnectedness of being. By concentrating on the physical qualities of our natural environments, we can access a cognitive state that humans have honed over millennia: one that was instinctive to those long ago but that has largely become lost to us today. Water, Calling is our liquid prayer: a love letter to water through which we hope to re-engage ancestral environmental connectivity and mobilize others in the face of climate change toward perception, intimacy and action. Berkeley & Kensington, California. 2021 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936963749-FQ8RS7L85HZQEM04KKSW/mcba-prize-2022-Camden-Richard-Deborah-Sibony-Anne-Hege-Water-Calling-3.jpg Entries & Jurors - 2022 Entries - Camden Richards, Deborah Sibony, &amp; Anne Hege Camden Richards (liminal-press.com) Deborah Sibony (studio1509fineart.com) Anne Hege (annehege.com) Kensington, CA Water, Calling 2021 artist’s book 30″ x 6″ x .75″ Artist Statement Water, Calling is a collaborative artist book which explores the cyclical and omnipresent relationship of water and the self, inviting the reader to reflect upon water as more than a commodity, but rather as life giving: spirit, flesh and soul. Because water is evidence of all who came before us, it is a foretelling of all who will be; through it we are in conversation with our ancestors, our descendants, and with earth herself. Water, Calling traces these existential threads through waterscapes of text, image and sound, extending an invitation to enter more fully into a dialogue composed of acts requiring active listening, contemplative reading and deep seeing with the hope of inspiring sacred reciprocity. Water, Calling consists of text, water patterns, letterpress printing and binding by Camden M. Richards, cyanotype prints, image transfers and watercolors by Deborah Sibony, and a soundtrack by Anne Hege. The text throughout Water, Calling is a weaving of digitally printed scientific and historical facts with letterpress printed personal recollections and abstracted meditations on water. Richards writes: We must find a way to unlock our waters. We need wild shorelines, healthy watersheds. We need to know, and honor, where our water comes from. We must find a way of participating that is more present, with perception and intimacy at the forefront of action. Biodiversity is expressed as an orchestra of wild voices; we must listen to the world’s wild intelligence, we must amplify the voices of wild earth that are too silent to hear, we must internalize the voice of water with our own. Through excavations of memory and personal experience, I seek to honor the transcendental value of water to life, and I hope to inspire readers to join me as witness, worshipper, student, friend and ultimately one with water, the life blood of our earth. The artwork in Water, Calling is a series of cyanotype prints of original photographs, image transfers sourced from historical maps, and watercolor prints, inspired by the artist’s relationship with various western bodies of water—wild and managed, urban and rural—and how these relationships and bodies of water have evolved, over time. Sibony writes: Water is a powerful force of nature, traveling many paths through our existence and often serving as a source for healing and renewal. I have lived alongside large bodies of water for most of my life; the ocean and the horizon have always been external spaces that not only influence my work as an artist, but consistently move me to places of profound thought and internal calm. For this book, I created artwork using the cyanotype process, image transfers and watercolors. The compositions throughout the work represent the deep connections we have to water, from the physical ways in which we perceive water, to the intellectual ways in which we attempt to understand, organize and control it. My hope is that the art initiates a visual journey that ultimately inspires respect for water’s delicate beauty and fierce power. The music in Water, Calling is composed of water recordings, instrumentals and vocal incantations, providing an environmental soundscape upon which to absorb both word and image, thus immersing the reader in a full sensory experience. Hege writes: We understand water as an immersive experience. Our relationship to water is one that engages all of the senses. Whether it be “water” in utero, a bath, water we drink, the ocean we see, or the rain we hear, water is central to one’s lived experience. Inspired by this, a year of discussion about the project, and the text and images created by my collaborators, I used my hand-built, analog looping instrument, the tape machine, to create source material for large portions of the soundtrack. The tape machine imitates water cycles in the way that it records and plays back material, echoing itself. I then manipulated the source recordings to enhance the color and texture of the sound, and to elicit qualities of water—the way that it reflects and shimmers in light, its fluid weight and density, the way that sound moves through it and the way it filters harmonic frequencies. Using fragments of text from the book, the soundtrack weaves together discrete songs with recordings of water. Through this auditory exploration, the music transports the listener to a place of intention, enhances the collective experience of water, and creates the opportunity to engage in the interconnectedness of being. By concentrating on the physical qualities of our natural environments, we can access a cognitive state that humans have honed over millennia: one that was instinctive to those long ago but that has largely become lost to us today. Water, Calling is our liquid prayer: a love letter to water through which we hope to re-engage ancestral environmental connectivity and mobilize others in the face of climate change toward perception, intimacy and action. Berkeley & Kensington, California. 2021 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936964314-VXK3887X1P27EZXNIRRO/mcba-prize-2022-Camden-Richard-Deborah-Sibony-Anne-Hege-Water-Calling-2.jpg Entries & Jurors - 2022 Entries - Camden Richards, Deborah Sibony, &amp; Anne Hege Camden Richards (liminal-press.com) Deborah Sibony (studio1509fineart.com) Anne Hege (annehege.com) Kensington, CA Water, Calling 2021 artist’s book 30″ x 6″ x .75″ Artist Statement Water, Calling is a collaborative artist book which explores the cyclical and omnipresent relationship of water and the self, inviting the reader to reflect upon water as more than a commodity, but rather as life giving: spirit, flesh and soul. Because water is evidence of all who came before us, it is a foretelling of all who will be; through it we are in conversation with our ancestors, our descendants, and with earth herself. Water, Calling traces these existential threads through waterscapes of text, image and sound, extending an invitation to enter more fully into a dialogue composed of acts requiring active listening, contemplative reading and deep seeing with the hope of inspiring sacred reciprocity. Water, Calling consists of text, water patterns, letterpress printing and binding by Camden M. Richards, cyanotype prints, image transfers and watercolors by Deborah Sibony, and a soundtrack by Anne Hege. The text throughout Water, Calling is a weaving of digitally printed scientific and historical facts with letterpress printed personal recollections and abstracted meditations on water. Richards writes: We must find a way to unlock our waters. We need wild shorelines, healthy watersheds. We need to know, and honor, where our water comes from. We must find a way of participating that is more present, with perception and intimacy at the forefront of action. Biodiversity is expressed as an orchestra of wild voices; we must listen to the world’s wild intelligence, we must amplify the voices of wild earth that are too silent to hear, we must internalize the voice of water with our own. Through excavations of memory and personal experience, I seek to honor the transcendental value of water to life, and I hope to inspire readers to join me as witness, worshipper, student, friend and ultimately one with water, the life blood of our earth. The artwork in Water, Calling is a series of cyanotype prints of original photographs, image transfers sourced from historical maps, and watercolor prints, inspired by the artist’s relationship with various western bodies of water—wild and managed, urban and rural—and how these relationships and bodies of water have evolved, over time. Sibony writes: Water is a powerful force of nature, traveling many paths through our existence and often serving as a source for healing and renewal. I have lived alongside large bodies of water for most of my life; the ocean and the horizon have always been external spaces that not only influence my work as an artist, but consistently move me to places of profound thought and internal calm. For this book, I created artwork using the cyanotype process, image transfers and watercolors. The compositions throughout the work represent the deep connections we have to water, from the physical ways in which we perceive water, to the intellectual ways in which we attempt to understand, organize and control it. My hope is that the art initiates a visual journey that ultimately inspires respect for water’s delicate beauty and fierce power. The music in Water, Calling is composed of water recordings, instrumentals and vocal incantations, providing an environmental soundscape upon which to absorb both word and image, thus immersing the reader in a full sensory experience. Hege writes: We understand water as an immersive experience. Our relationship to water is one that engages all of the senses. Whether it be “water” in utero, a bath, water we drink, the ocean we see, or the rain we hear, water is central to one’s lived experience. Inspired by this, a year of discussion about the project, and the text and images created by my collaborators, I used my hand-built, analog looping instrument, the tape machine, to create source material for large portions of the soundtrack. The tape machine imitates water cycles in the way that it records and plays back material, echoing itself. I then manipulated the source recordings to enhance the color and texture of the sound, and to elicit qualities of water—the way that it reflects and shimmers in light, its fluid weight and density, the way that sound moves through it and the way it filters harmonic frequencies. Using fragments of text from the book, the soundtrack weaves together discrete songs with recordings of water. Through this auditory exploration, the music transports the listener to a place of intention, enhances the collective experience of water, and creates the opportunity to engage in the interconnectedness of being. By concentrating on the physical qualities of our natural environments, we can access a cognitive state that humans have honed over millennia: one that was instinctive to those long ago but that has largely become lost to us today. Water, Calling is our liquid prayer: a love letter to water through which we hope to re-engage ancestral environmental connectivity and mobilize others in the face of climate change toward perception, intimacy and action. Berkeley & Kensington, California. 2021 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773936965972-DQTP003UGMML3AMJL8TD/mcba-prize-2022-Camden-Richard-Deborah-Sibony-Anne-Hege-Water-Calling-1.jpg Entries & Jurors - 2022 Entries - Camden Richards, Deborah Sibony, &amp; Anne Hege Camden Richards (liminal-press.com) Deborah Sibony (studio1509fineart.com) Anne Hege (annehege.com) Kensington, CA Water, Calling 2021 artist’s book 30″ x 6″ x .75″ Artist Statement Water, Calling is a collaborative artist book which explores the cyclical and omnipresent relationship of water and the self, inviting the reader to reflect upon water as more than a commodity, but rather as life giving: spirit, flesh and soul. Because water is evidence of all who came before us, it is a foretelling of all who will be; through it we are in conversation with our ancestors, our descendants, and with earth herself. Water, Calling traces these existential threads through waterscapes of text, image and sound, extending an invitation to enter more fully into a dialogue composed of acts requiring active listening, contemplative reading and deep seeing with the hope of inspiring sacred reciprocity. Water, Calling consists of text, water patterns, letterpress printing and binding by Camden M. Richards, cyanotype prints, image transfers and watercolors by Deborah Sibony, and a soundtrack by Anne Hege. The text throughout Water, Calling is a weaving of digitally printed scientific and historical facts with letterpress printed personal recollections and abstracted meditations on water. Richards writes: We must find a way to unlock our waters. We need wild shorelines, healthy watersheds. We need to know, and honor, where our water comes from. We must find a way of participating that is more present, with perception and intimacy at the forefront of action. Biodiversity is expressed as an orchestra of wild voices; we must listen to the world’s wild intelligence, we must amplify the voices of wild earth that are too silent to hear, we must internalize the voice of water with our own. Through excavations of memory and personal experience, I seek to honor the transcendental value of water to life, and I hope to inspire readers to join me as witness, worshipper, student, friend and ultimately one with water, the life blood of our earth. The artwork in Water, Calling is a series of cyanotype prints of original photographs, image transfers sourced from historical maps, and watercolor prints, inspired by the artist’s relationship with various western bodies of water—wild and managed, urban and rural—and how these relationships and bodies of water have evolved, over time. Sibony writes: Water is a powerful force of nature, traveling many paths through our existence and often serving as a source for healing and renewal. I have lived alongside large bodies of water for most of my life; the ocean and the horizon have always been external spaces that not only influence my work as an artist, but consistently move me to places of profound thought and internal calm. For this book, I created artwork using the cyanotype process, image transfers and watercolors. The compositions throughout the work represent the deep connections we have to water, from the physical ways in which we perceive water, to the intellectual ways in which we attempt to understand, organize and control it. My hope is that the art initiates a visual journey that ultimately inspires respect for water’s delicate beauty and fierce power. The music in Water, Calling is composed of water recordings, instrumentals and vocal incantations, providing an environmental soundscape upon which to absorb both word and image, thus immersing the reader in a full sensory experience. Hege writes: We understand water as an immersive experience. Our relationship to water is one that engages all of the senses. Whether it be “water” in utero, a bath, water we drink, the ocean we see, or the rain we hear, water is central to one’s lived experience. Inspired by this, a year of discussion about the project, and the text and images created by my collaborators, I used my hand-built, analog looping instrument, the tape machine, to create source material for large portions of the soundtrack. The tape machine imitates water cycles in the way that it records and plays back material, echoing itself. I then manipulated the source recordings to enhance the color and texture of the sound, and to elicit qualities of water—the way that it reflects and shimmers in light, its fluid weight and density, the way that sound moves through it and the way it filters harmonic frequencies. Using fragments of text from the book, the soundtrack weaves together discrete songs with recordings of water. Through this auditory exploration, the music transports the listener to a place of intention, enhances the collective experience of water, and creates the opportunity to engage in the interconnectedness of being. By concentrating on the physical qualities of our natural environments, we can access a cognitive state that humans have honed over millennia: one that was instinctive to those long ago but that has largely become lost to us today. Water, Calling is our liquid prayer: a love letter to water through which we hope to re-engage ancestral environmental connectivity and mobilize others in the face of climate change toward perception, intimacy and action. Berkeley & Kensington, California. 2021 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773937113525-173ZWRQDYYT7S5T9E5JJ/mcba-prize-2022-Joy-Monice-Malnar-Frank-Vodvarka-The-Unusual-View-of-the-usual-5.jpeg Entries & Jurors - 2022 Entries - Joy Monice Malnar &amp; Frank Vodvarka frankvodvarka.com Chicago, IL The [Unusual] View of the Usual 2021 glossy paper 11″ x 7″ x 1/4″ Artist Statement During a time when touch is in retreat, the act of holding and opening a book becomes more important, but is only the beginning of possible interactions. This is especially true of this handmade booklet, The View of the Usual, where simple manipulation alters the fundamental nature of the text. The perfectly aligned red circle sits on a bed of gold, but adjacent is a pull-tab that beckons the hand to participate. Pulling the tab separates the circle in the window revealing an isolated eye sitting on a bed of cotton, and a change in the title to The Unusual View of the Usual. The booklet can be held to focus attention on an individual assemblage and the short stories. It can then be fully unfolded to see the relationship of all of the assemblages. The small assemblages are primarily composed of discarded objects, typical during our time which has become known as the Age of Trash. They were fortunately rescued, brought together, to form new meanings. These new creations became the “Objects of Our Lives,” expressing our belief that objects “are the tangible, sensory repositories of experience.” Photographed and set next to their story in a booklet, they take on additional meanings. The short stories came together over time spent with the collection that increased as the pandemic stretched to years. The assemblages sat on shelves, where each day as I passed one would catch my attention. As I stopped to view them their unusual story evolved. It begins by engaging the hand to slide open the windows, and then unfolds to reveal the connections that lie within the parts of the collection, and between the artist and narrator. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773937113472-Q871ZN4XRHMF58W089ET/mcba-prize-2022-Joy-Monice-Malnar-Frank-Vodvarka-The-Unusual-View-of-the-usual-4.jpeg Entries & Jurors - 2022 Entries - Joy Monice Malnar &amp; Frank Vodvarka frankvodvarka.com Chicago, IL The [Unusual] View of the Usual 2021 glossy paper 11″ x 7″ x 1/4″ Artist Statement During a time when touch is in retreat, the act of holding and opening a book becomes more important, but is only the beginning of possible interactions. This is especially true of this handmade booklet, The View of the Usual, where simple manipulation alters the fundamental nature of the text. The perfectly aligned red circle sits on a bed of gold, but adjacent is a pull-tab that beckons the hand to participate. Pulling the tab separates the circle in the window revealing an isolated eye sitting on a bed of cotton, and a change in the title to The Unusual View of the Usual. The booklet can be held to focus attention on an individual assemblage and the short stories. It can then be fully unfolded to see the relationship of all of the assemblages. The small assemblages are primarily composed of discarded objects, typical during our time which has become known as the Age of Trash. They were fortunately rescued, brought together, to form new meanings. These new creations became the “Objects of Our Lives,” expressing our belief that objects “are the tangible, sensory repositories of experience.” Photographed and set next to their story in a booklet, they take on additional meanings. The short stories came together over time spent with the collection that increased as the pandemic stretched to years. The assemblages sat on shelves, where each day as I passed one would catch my attention. As I stopped to view them their unusual story evolved. It begins by engaging the hand to slide open the windows, and then unfolds to reveal the connections that lie within the parts of the collection, and between the artist and narrator. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773937114554-F47ZTZP7IXA8N9ESISFW/mcba-prize-2022-Joy-Monice-Malnar-Frank-Vodvarka-The-Unusual-View-of-the-usual-3.jpeg Entries & Jurors - 2022 Entries - Joy Monice Malnar &amp; Frank Vodvarka frankvodvarka.com Chicago, IL The [Unusual] View of the Usual 2021 glossy paper 11″ x 7″ x 1/4″ Artist Statement During a time when touch is in retreat, the act of holding and opening a book becomes more important, but is only the beginning of possible interactions. This is especially true of this handmade booklet, The View of the Usual, where simple manipulation alters the fundamental nature of the text. The perfectly aligned red circle sits on a bed of gold, but adjacent is a pull-tab that beckons the hand to participate. Pulling the tab separates the circle in the window revealing an isolated eye sitting on a bed of cotton, and a change in the title to The Unusual View of the Usual. The booklet can be held to focus attention on an individual assemblage and the short stories. It can then be fully unfolded to see the relationship of all of the assemblages. The small assemblages are primarily composed of discarded objects, typical during our time which has become known as the Age of Trash. They were fortunately rescued, brought together, to form new meanings. These new creations became the “Objects of Our Lives,” expressing our belief that objects “are the tangible, sensory repositories of experience.” Photographed and set next to their story in a booklet, they take on additional meanings. The short stories came together over time spent with the collection that increased as the pandemic stretched to years. The assemblages sat on shelves, where each day as I passed one would catch my attention. As I stopped to view them their unusual story evolved. It begins by engaging the hand to slide open the windows, and then unfolds to reveal the connections that lie within the parts of the collection, and between the artist and narrator. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773937114646-78NTGXIJVWB161L40JFA/mcba-prize-2022-Joy-Monice-Malnar-Frank-Vodvarka-The-Unusual-View-of-the-usual-2.jpeg Entries & Jurors - 2022 Entries - Joy Monice Malnar &amp; Frank Vodvarka frankvodvarka.com Chicago, IL The [Unusual] View of the Usual 2021 glossy paper 11″ x 7″ x 1/4″ Artist Statement During a time when touch is in retreat, the act of holding and opening a book becomes more important, but is only the beginning of possible interactions. This is especially true of this handmade booklet, The View of the Usual, where simple manipulation alters the fundamental nature of the text. The perfectly aligned red circle sits on a bed of gold, but adjacent is a pull-tab that beckons the hand to participate. Pulling the tab separates the circle in the window revealing an isolated eye sitting on a bed of cotton, and a change in the title to The Unusual View of the Usual. The booklet can be held to focus attention on an individual assemblage and the short stories. It can then be fully unfolded to see the relationship of all of the assemblages. The small assemblages are primarily composed of discarded objects, typical during our time which has become known as the Age of Trash. They were fortunately rescued, brought together, to form new meanings. These new creations became the “Objects of Our Lives,” expressing our belief that objects “are the tangible, sensory repositories of experience.” Photographed and set next to their story in a booklet, they take on additional meanings. The short stories came together over time spent with the collection that increased as the pandemic stretched to years. The assemblages sat on shelves, where each day as I passed one would catch my attention. As I stopped to view them their unusual story evolved. It begins by engaging the hand to slide open the windows, and then unfolds to reveal the connections that lie within the parts of the collection, and between the artist and narrator. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773937115696-9J8PQCR8QO88A1P99JCG/mcba-prize-2022-Joy-Monice-Malnar-Frank-Vodvarka-The-Unusual-View-of-the-usual-1.jpeg Entries & Jurors - 2022 Entries - Joy Monice Malnar &amp; Frank Vodvarka frankvodvarka.com Chicago, IL The [Unusual] View of the Usual 2021 glossy paper 11″ x 7″ x 1/4″ Artist Statement During a time when touch is in retreat, the act of holding and opening a book becomes more important, but is only the beginning of possible interactions. This is especially true of this handmade booklet, The View of the Usual, where simple manipulation alters the fundamental nature of the text. The perfectly aligned red circle sits on a bed of gold, but adjacent is a pull-tab that beckons the hand to participate. Pulling the tab separates the circle in the window revealing an isolated eye sitting on a bed of cotton, and a change in the title to The Unusual View of the Usual. The booklet can be held to focus attention on an individual assemblage and the short stories. It can then be fully unfolded to see the relationship of all of the assemblages. The small assemblages are primarily composed of discarded objects, typical during our time which has become known as the Age of Trash. They were fortunately rescued, brought together, to form new meanings. These new creations became the “Objects of Our Lives,” expressing our belief that objects “are the tangible, sensory repositories of experience.” Photographed and set next to their story in a booklet, they take on additional meanings. The short stories came together over time spent with the collection that increased as the pandemic stretched to years. The assemblages sat on shelves, where each day as I passed one would catch my attention. As I stopped to view them their unusual story evolved. It begins by engaging the hand to slide open the windows, and then unfolds to reveal the connections that lie within the parts of the collection, and between the artist and narrator. https://www.mcbaprize.org/mcba-prize/2022-mcba-prize-juror-megan-n-liberty monthly 0.5 2026-03-18 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/61d1976d-a0ab-435d-9e0c-080ade0f4323/Megan-Liberty-768x768.jpg Entries & Jurors - 2022 MCBA Prize Juror Bio: Megan N. Liberty - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.mcbaprize.org/mcba-prize/the-2022-mcba-prize-exhibition-r8bk5 monthly 0.5 2026-03-18 https://www.mcbaprize.org/mcba-prize/veronika-schpers-das-mssen-sie-mir-erst-einmal-beweisen-/-first-you-have-to-prove-it-to-me monthly 0.5 2026-03-18 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867944338-YKCX81NQ38LAL06X78NH/mcba-prize-2022-Veronika-Schapers-Das-Mussen-1.jpg Entries & Jurors - Veronika Schäpers, “Das müssen Sie mir erst einmal beweisen / First you have to prove it to me” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867946152-SIZUW4XHUYWE35IB9O43/mcba-prize-2022-Veronika-Schapers-Das-Mussen-5.jpg Entries & Jurors - Veronika Schäpers, “Das müssen Sie mir erst einmal beweisen / First you have to prove it to me” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867945218-6234C2IZETWOHV28SFIO/mcba-prize-2022-Veronika-Schapers-Das-Mussen-4.jpg Entries & Jurors - Veronika Schäpers, “Das müssen Sie mir erst einmal beweisen / First you have to prove it to me” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867945184-9602Z04SRL6CO8PGLUFW/mcba-prize-2022-Veronika-Schapers-Das-Mussen-3.jpg Entries & Jurors - Veronika Schäpers, “Das müssen Sie mir erst einmal beweisen / First you have to prove it to me” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867944339-UJW1HKBX3RYFSFJRXNUW/mcba-prize-2022-Veronika-Schapers-Das-Mussen-2.jpg Entries & Jurors - Veronika Schäpers, “Das müssen Sie mir erst einmal beweisen / First you have to prove it to me” https://www.mcbaprize.org/mcba-prize/joel-freeman-rhodes-falls monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867730373-9MFVPE202OD6W7O1DLME/mcba-prize-2022-Joel-Freeman-Rhodes-Falls-6.jpg Entries & Jurors - Joel Freeman, “Rhodes Falls” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867721397-KP6S624MPNCTWNC5P81N/mcba-prize-2022-Joel-Freeman-Rhodes-Falls-5.jpg Entries & Jurors - Joel Freeman, “Rhodes Falls” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867720436-INFLVR0A8HA1P24SS1XF/mcba-prize-2022-Joel-Freeman-Rhodes-Falls-4.jpg Entries & Jurors - Joel Freeman, “Rhodes Falls” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867720380-XO9ML6Y0SY80JD9XOH49/mcba-prize-2022-Joel-Freeman-Rhodes-Falls-3.jpg Entries & Jurors - Joel Freeman, “Rhodes Falls” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867719441-HHR8RLBYKWE7KHMANJ8V/mcba-prize-2022-Joel-Freeman-Rhodes-Falls-1.jpg Entries & Jurors - Joel Freeman, “Rhodes Falls” https://www.mcbaprize.org/mcba-prize/cathleen-casey-niki-nakayama-chef-owner-n/naka-restaurant monthly 0.5 2026-03-18 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867269872-JFPRDEQY4FGSWCUE2SWG/mcba-prize-2022-Cathleen-Casey-Niki-Nakayama-1.jpg Entries & Jurors - Cathleen Casey, “Niki Nakayama: Chef, owner n/naka restaurant” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867270768-JEM14X4304TFN0SVUPZ7/mcba-prize-2022-Cathleen-Casey-Niki-Nakayama-3.jpg Entries & Jurors - Cathleen Casey, “Niki Nakayama: Chef, owner n/naka restaurant” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773867269940-VX66HPXLGAMIJSF5R9I8/mcba-prize-2022-Cathleen-Casey-Niki-Nakayama-2.jpg Entries & Jurors - Cathleen Casey, “Niki Nakayama: Chef, owner n/naka restaurant” https://www.mcbaprize.org/mcba-prize/mary-v-marsh-here/hear-meta-data-mining monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772830196608-SDLSPSR71TKEB8W0YZST/mcba-prize-2022-mary-marsh-here-hear-meta-data-mining-1.jpg Entries & Jurors - Mary V. Marsh, “Here/Hear: Meta Data Mining” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772830196697-KUMV4GW83FYVSBXPQTBG/mcba-prize-2022-mary-marsh-here-hear-meta-data-mining-2.jpg Entries & Jurors - Mary V. Marsh, “Here/Hear: Meta Data Mining” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772830197800-U3D84HW0FULV3P1IHVPC/mcba-prize-2022-mary-marsh-here-hear-meta-data-mining-3.jpg Entries & Jurors - Mary V. Marsh, “Here/Hear: Meta Data Mining” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772830197923-W00KIYWZHGJAHBSYQ58A/mcba-prize-2022-mary-marsh-here-hear-meta-data-mining-4.jpg Entries & Jurors - Mary V. Marsh, “Here/Hear: Meta Data Mining” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772830198711-2QZCGMZSBC1Q6M0ESNC6/mcba-prize-2022-mary-marsh-here-hear-meta-data-mining-5.jpg Entries & Jurors - Mary V. Marsh, “Here/Hear: Meta Data Mining” https://www.mcbaprize.org/mcba-prize/brad-freeman-we-too monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772829981642-UPJINYKYGL87CR56ENXH/mcba-prize-2022-brad-freeman-we-too-1.jpg Entries & Jurors - Brad Freeman, “WE TOO” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772829981045-8HTSB2XJG68H0X1Q57TA/mcba-prize-2022-brad-freeman-we-too-2.jpg Entries & Jurors - Brad Freeman, “WE TOO” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772829982617-FAC4WLFA2N7RAKL8UCXB/mcba-prize-2022-brad-freeman-we-too-3.jpg Entries & Jurors - Brad Freeman, “WE TOO” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772829982766-V740DV63I6DAQRR01Q33/mcba-prize-2022-brad-freeman-we-too-4.jpg Entries & Jurors - Brad Freeman, “WE TOO” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772829984665-5XW4371GEX686BEWFXYD/mcba-prize-2022-brad-freeman-we-too-5.jpg Entries & Jurors - Brad Freeman, “WE TOO” https://www.mcbaprize.org/mcba-prize/wendy-fernstrum-enough-is-enough monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772829741015-Z9AOE08G722L8QYU1KRV/mcba-prize-2022-wendy-fernstrum-enough-is-enough-1.jpg Entries & Jurors - Wendy Fernstrum, “Enough Is Enough” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772829741018-MXSNFKDJKRB4RVGB8IUG/mcba-prize-2022-wendy-fernstrum-enough-is-enough-2.jpg Entries & Jurors - Wendy Fernstrum, “Enough Is Enough” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772829741943-2D2WAJTJR2MLJ2PWCBPH/mcba-prize-2022-wendy-fernstrum-enough-is-enough-3.jpg Entries & Jurors - Wendy Fernstrum, “Enough Is Enough” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772829742045-NGMVSJ1DMH1NPIGXD8KI/mcba-prize-2022-wendy-fernstrum-enough-is-enough-4.jpg Entries & Jurors - Wendy Fernstrum, “Enough Is Enough” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772829742837-JTANTV0975J3OVK6EJPH/mcba-prize-2022-wendy-fernstrum-enough-is-enough-5.jpg Entries & Jurors - Wendy Fernstrum, “Enough Is Enough” https://www.mcbaprize.org/mcba-prize/julia-heurling-nida-forest-sequences-1-7 monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772829525171-ZLHF6H14H7DL302V2O20/mcba-prize-2022-julia-heurling-nida-forest-sequences-1.jpg Entries & Jurors - Julia Heurling, “Nida Forest Sequences 1-7” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772829525201-CNLRTS8BTVES31DA0S7L/mcba-prize-2022-julia-heurling-nida-forest-sequences-2.jpg Entries & Jurors - Julia Heurling, “Nida Forest Sequences 1-7” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772829526125-GV8ECO7SDZ8CODF3BU9A/mcba-prize-2022-julia-heurling-nida-forest-sequences-3.jpg Entries & Jurors - Julia Heurling, “Nida Forest Sequences 1-7” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772829526320-VHSWN2RVA22EQKT7DGGR/mcba-prize-2022-julia-heurling-nida-forest-sequences-4.jpg Entries & Jurors - Julia Heurling, “Nida Forest Sequences 1-7” https://www.mcbaprize.org/mcba-prize/jacob-z-wan-secrettes monthly 0.5 2026-03-18 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772825411866-XALSX4YBYDLTQZ1YR7JX/Image_1_Secrettes-1024x683.jpg Entries & Jurors - Jacob Z. Wan, “Secrettes” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772825411887-BN3RNMNHWAJ5Y5A9VF3R/Image_2_Secrettes.jpg Entries & Jurors - Jacob Z. Wan, “Secrettes” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772825412848-226CFCOR806TVZSISRIU/Image_3_Secrettes-1024x1024.jpg Entries & Jurors - Jacob Z. Wan, “Secrettes” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772825413040-YC3MQ5EZT4V11VFEAPHU/Image_4_Secrettes-1024x872.jpg Entries & Jurors - Jacob Z. Wan, “Secrettes” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772825414023-8YFV0U3YLIGZYM8RUG4Z/Image_5_Secrettes-1024x808.jpg Entries & Jurors - Jacob Z. Wan, “Secrettes” https://www.mcbaprize.org/mcba-prize/savannah-bustillo-the-history-of-language monthly 0.5 2026-03-26 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772825050016-MGYXJC7SN9S8BI1O42EC/Image_1_History_of_Language-1024x437.jpg Entries & Jurors - Savannah Bustillo, “The History of Language” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772825050069-ZC5I1MN5WJDXDXLIUTLX/Image_2_History_of_Language-949x1024.jpg Entries & Jurors - Savannah Bustillo, “The History of Language” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772825050993-32B3PLV7DGHDU0ZEZ7HA/Image_3_History_of_Language-1024x823.jpg Entries & Jurors - Savannah Bustillo, “The History of Language” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772825051197-UKOOFV1ZJ31UDW8IGJZU/Image_4_History_of_Language-1024x941.jpg Entries & Jurors - Savannah Bustillo, “The History of Language” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772825052127-4XHIQPJ5O6MJL6OG6J5Q/Image_5_History_of_Language-1024x667.jpg Entries & Jurors - Savannah Bustillo, “The History of Language” https://www.mcbaprize.org/mcba-prize/daiber-a-brothers-keeper-or-so-i-thought monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772824692045-Q93ZZ8OI7K5DMRZCGIZ3/Brotherskeeper_1-1024x819.jpg Entries & Jurors - Steven Daiber, “A Brother’s Keeper or so I thought” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772824692042-R536Y6V3CSR9KT2Z9FW2/Brotherskeeper_2-1024x819.jpg Entries & Jurors - Steven Daiber, “A Brother’s Keeper or so I thought” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772824693269-RSB9Z3AFEKY9ELQXTCJW/Brotherskeeper_3-1-1024x793.jpg Entries & Jurors - Steven Daiber, “A Brother’s Keeper or so I thought” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772824694265-AJCZICBMO9P1TYZZCY9G/Brotherskeeper_5-1024x819.jpg Entries & Jurors - Steven Daiber, “A Brother’s Keeper or so I thought” https://www.mcbaprize.org/mcba-prize/erin-moore-personal monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772824254567-YP2S2DX5XWDMYXEZHVEI/Image_1_Personal_converted-708x1024.jpg Entries & Jurors - Erin Moore, “Personal” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772824254667-1BNK5HORSR7FNDXHMHYC/Image_2_Personal-973x1024.jpg Entries & Jurors - Erin Moore, “Personal” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772824255641-HJ9AF8V40SI0B7FXYS6M/Image_3_Personal_converted-1024x632.jpg Entries & Jurors - Erin Moore, “Personal” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772824255830-AQ8GKAEOMWW8EC5YRCMQ/Image_4_Personal-1024x683.jpg Entries & Jurors - Erin Moore, “Personal” https://www.mcbaprize.org/mcba-prize/colleen-mullins-expositions-are-the-timekeepers-of-progress monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820562928-DHBU4FVA58KFGCQC8QU2/mcba-prize-2022-colleen-mullins-expositions-are-the-time-keepers-of-progress-1.jpg Entries & Jurors - Colleen Mullins, “Expositions are the timekeepers of progress” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820562961-JM3673W7G51973REL7MD/mcba-prize-2022-colleen-mullins-expositions-are-the-time-keepers-of-progress-2.jpg Entries & Jurors - Colleen Mullins, “Expositions are the timekeepers of progress” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820563976-DWXMSEKFI1AL817QUCGI/mcba-prize-2022-colleen-mullins-expositions-are-the-time-keepers-of-progress-3.jpg Entries & Jurors - Colleen Mullins, “Expositions are the timekeepers of progress” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820564251-0MASDQQ42BVIVW9YPRCK/mcba-prize-2022-colleen-mullins-expositions-are-the-time-keepers-of-progress-4.jpg Entries & Jurors - Colleen Mullins, “Expositions are the timekeepers of progress” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820564945-ZCDXM3F3EURZILMBBHXQ/mcba-prize-2022-colleen-mullins-expositions-are-the-time-keepers-of-progress-5.jpg Entries & Jurors - Colleen Mullins, “Expositions are the timekeepers of progress” https://www.mcbaprize.org/mcba-prize/patricia-lagarde-moon-archive monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820243399-QUKIUA8XUB4BDCDVNN0E/mcba-prize-2022-patricia-lagarde-moon-archive-1.jpg Entries & Jurors - Patricia Lagarde, “MOON ARCHIVE” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820244388-09AQCDY261K1TIVCODHQ/mcba-prize-2022-patricia-lagarde-moon-archive-2.jpg Entries & Jurors - Patricia Lagarde, “MOON ARCHIVE” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820244457-A5M23A6QLOY9DFDCPFQE/mcba-prize-2022-patricia-lagarde-moon-archive-3.jpg Entries & Jurors - Patricia Lagarde, “MOON ARCHIVE” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820245476-HNPKYXBYLXWBX0DENDMP/mcba-prize-2022-patricia-lagarde-moon-archive-4.jpg Entries & Jurors - Patricia Lagarde, “MOON ARCHIVE” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820243462-ZCZ37RVKQ57ULYKDFEFQ/mcba-prize-2022-patricia-lagarde-moon-archive-5.jpg Entries & Jurors - Patricia Lagarde, “MOON ARCHIVE” https://www.mcbaprize.org/mcba-prize/ab-gorham-unidentified-found-object-song monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820001071-9OKR15TZSO3JYTXI0EWP/mcba-prize-2022-ab-gorham-unidentified-found-object-song-1.jpg Entries & Jurors - AB Gorham, “Unidentified Found Object Song” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820001109-CA5DIPXQAKW692Y8RHGI/mcba-prize-2022-ab-gorham-unidentified-found-object-song-2.jpg Entries & Jurors - AB Gorham, “Unidentified Found Object Song” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820002240-DGAUPND2RLZS09JIKXD1/mcba-prize-2022-ab-gorham-unidentified-found-object-song-3.jpg Entries & Jurors - AB Gorham, “Unidentified Found Object Song” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820003298-D3P059TSFTPX1JO0FC1S/mcba-prize-2022-ab-gorham-unidentified-found-object-song-5.jpg Entries & Jurors - AB Gorham, “Unidentified Found Object Song” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772820002346-9BN4IVLNMC34XD2857MV/mcba-prize-2022-ab-gorham-unidentified-found-object-song-4.jpg Entries & Jurors - AB Gorham, “Unidentified Found Object Song” https://www.mcbaprize.org/mcba-prize/rachel-phillips-ghost-light-theaters monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819785736-OLEKRUZUWB6T31POU6PX/mcba-prize-2022-rachel-phillips-ghost-light-theaters-1.jpg Entries & Jurors - Rachel Phillips, “Ghost Light Theaters” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819786835-SZIT0STD6H2QP0JGL7H4/mcba-prize-2022-rachel-phillips-ghost-light-theaters-2.jpg Entries & Jurors - Rachel Phillips, “Ghost Light Theaters” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819785724-FG3565Z8US97IITZCMPL/mcba-prize-2022-rachel-phillips-ghost-light-theaters-3.jpg Entries & Jurors - Rachel Phillips, “Ghost Light Theaters” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819786993-Y8YQPN6F03UFBPD41KL0/mcba-prize-2022-rachel-phillips-ghost-light-theaters-4.jpg Entries & Jurors - Rachel Phillips, “Ghost Light Theaters” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819787860-MLMHUGODV7SV4YB5GH0Z/mcba-prize-2022-rachel-phillips-ghost-light-theaters-5.jpg Entries & Jurors - Rachel Phillips, “Ghost Light Theaters” https://www.mcbaprize.org/mcba-prize/islam-aly-mare-nostrum-al-motawaset monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819571708-47TXEJ5WOJAUE8CCKQ6Y/mcba-prize-2022-islam-aly-mare-nostrum-al-motawaset-1.jpg Entries & Jurors - Islam Aly, “Mare Nostrum, Al Motawaset” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819571657-XWYBFQOOS06QWGFD3FYB/mcba-prize-2022-islam-aly-mare-nostrum-al-motawaset-2.jpg Entries & Jurors - Islam Aly, “Mare Nostrum, Al Motawaset” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819572584-QH1RYZN6EMP8YPV80H9J/mcba-prize-2022-islam-aly-mare-nostrum-al-motawaset-3.jpg Entries & Jurors - Islam Aly, “Mare Nostrum, Al Motawaset” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819572682-FKUBTQKD9OM7EIV6ZGHT/mcba-prize-2022-islam-aly-mare-nostrum-al-motawaset-4.jpg Entries & Jurors - Islam Aly, “Mare Nostrum, Al Motawaset” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819573577-9AKWN3ONM280DDE9P5SP/mcba-prize-2022-islam-aly-mare-nostrum-al-motawaset-5.jpg Entries & Jurors - Islam Aly, “Mare Nostrum, Al Motawaset” https://www.mcbaprize.org/mcba-prize/andie-nakahira-to-be-a-kid-in-mitsuwa monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819234021-KCR4IMZJMCX80OUT4HIO/mcba-prize-2022-andie-nakahira-to-be-a-kid-1.jpg Entries & Jurors - Andie Nakahira, “to be a kid (in Mitsuwa)” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819233926-MSDQSMQ2ZD74DAI7N093/mcba-prize-2022-andie-nakahira-to-be-a-kid-2.jpg Entries & Jurors - Andie Nakahira, “to be a kid (in Mitsuwa)” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819235376-R8YFTC2R4SEFAAE3YFBI/mcba-prize-2022-andie-nakahira-to-be-a-kid-3.jpg Entries & Jurors - Andie Nakahira, “to be a kid (in Mitsuwa)” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772819235543-LUWCLKSZVTSKPJA9W3AJ/mcba-prize-2022-andie-nakahira-to-be-a-kid-4.jpg Entries & Jurors - Andie Nakahira, “to be a kid (in Mitsuwa)” https://www.mcbaprize.org/mcba-prize/ravikumar-kashi-my-father-said monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818936387-YKL4O0FQQ8KKPUVH2D5D/mcba-prize-2022-ravikumar-kashi-my-father-said-1.jpg Entries & Jurors - Ravikumar Kashi, “My father said” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818936425-8BEXHDW5I6KBCI1OC921/mcba-prize-2022-ravikumar-kashi-my-father-said-2.jpg Entries & Jurors - Ravikumar Kashi, “My father said” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818937360-NL9OG1LW3QQOQMGUF4H2/mcba-prize-2022-ravikumar-kashi-my-father-said-3.jpg Entries & Jurors - Ravikumar Kashi, “My father said” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818937521-TLW1EI9PN928VB72DB7O/mcba-prize-2022-ravikumar-kashi-my-father-said-4.jpg Entries & Jurors - Ravikumar Kashi, “My father said” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818938397-AFWICV0FZGWNJJLWQ39P/mcba-prize-2022-ravikumar-kashi-my-father-said-5.jpg Entries & Jurors - Ravikumar Kashi, “My father said” https://www.mcbaprize.org/mcba-prize/maureen-cummins-newark-1967-a-narrative-in-black-and-white monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818620680-F97EJ2D0H58N48D5HZY6/mcba-prize-2022-maureen-cummins-newarks-1967-1.jpg Entries & Jurors - Maureen Cummins, “Newark 1967: A Narrative in Black and White” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818620730-HG2MIE30D6AMZQNIK5S9/mcba-prize-2022-maureen-cummins-newarks-1967-2.jpg Entries & Jurors - Maureen Cummins, “Newark 1967: A Narrative in Black and White” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818621687-XMI3VS8Z3W2G0UE00M9X/mcba-prize-2022-maureen-cummins-newarks-1967-3.jpg Entries & Jurors - Maureen Cummins, “Newark 1967: A Narrative in Black and White” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818621925-CJ9H0512E9V06GHQZMEJ/mcba-prize-2022-maureen-cummins-newarks-1967-4.jpg Entries & Jurors - Maureen Cummins, “Newark 1967: A Narrative in Black and White” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818622961-O9AI533CU4LX0CL8TQX5/mcba-prize-2022-maureen-cummins-newarks-1967-5.jpg Entries & Jurors - Maureen Cummins, “Newark 1967: A Narrative in Black and White” https://www.mcbaprize.org/mcba-prize/sara-press-our-specters monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818358143-2NN97TK7A93CDDVBF8TD/mcba-prize-2022-sara-press-our-specters-1.jpg Entries & Jurors - Sara Press, “Our Specters” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818358173-R24JCZE84VTDF6XX7ID7/Image_2_OurSpecters-1024x683.jpg Entries & Jurors - Sara Press, “Our Specters” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818359528-IEV8UEJBCQZ7OCK6R5IG/mcba-prize-2022-sara-press-our-specters-3.jpg Entries & Jurors - Sara Press, “Our Specters” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818359704-CG3K0YDBLEFICT5HFJSF/mcba-prize-2022-sara-press-our-specters-4.jpg Entries & Jurors - Sara Press, “Our Specters” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818360513-SOGQ1LZKGND8ZDMQ8KOF/mcba-prize-2022-sara-press-our-specters-5.jpg Entries & Jurors - Sara Press, “Our Specters” https://www.mcbaprize.org/mcba-prize/tom-virgin-denise-duhamel-maureen-seaton-mary-malm-questionnaire-for-two-pussies monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817899964-5S50RM2N2M3EQZK5JKW7/mcba-prize-2022-tom-denise-maureen-mary-questionnaire-for-two-pussies-1.jpg Entries & Jurors - Tom Virgin,&nbsp;Denise Duhamel, Maureen Seaton &amp; Mary Malm “Questionnaire for Two Pussies” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817899991-605TNS5MVGNHF20D4PHN/mcba-prize-2022-tom-denise-maureen-mary-questionnaire-for-two-pussies-2.jpg Entries & Jurors - Tom Virgin,&nbsp;Denise Duhamel, Maureen Seaton &amp; Mary Malm “Questionnaire for Two Pussies” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817900815-KX4NYOQ9YN1XEDUPM93K/mcba-prize-2022-tom-denise-maureen-mary-questionnaire-for-two-pussies-4.jpg Entries & Jurors - Tom Virgin,&nbsp;Denise Duhamel, Maureen Seaton &amp; Mary Malm “Questionnaire for Two Pussies” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817901044-JQUA5SZGRDCEATAM5LKR/mcba-prize-2022-tom-denise-maureen-mary-questionnaire-for-two-pussies-3.jpg Entries & Jurors - Tom Virgin,&nbsp;Denise Duhamel, Maureen Seaton &amp; Mary Malm “Questionnaire for Two Pussies” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817901741-ILY48Z3241KWOESV5P2N/mcba-prize-2022-tom-denise-maureen-mary-questionnaire-for-two-pussies-5.jpg Entries & Jurors - Tom Virgin,&nbsp;Denise Duhamel, Maureen Seaton &amp; Mary Malm “Questionnaire for Two Pussies” https://www.mcbaprize.org/mcba-prize/daniel-mellis-eugene-ostashevsky-tango-with-cows-translation-facsimile-and-commentary monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818044698-2WV6CCJUGMQ7ALFY9L7H/mcba-prize-2022-daniel-mellis-tango-with-cows-1.jpg Entries & Jurors - Daniel Mellis&nbsp;&amp; Eugene Ostashevsky, “Tango with Cows: Translation, Facsimile, and Commentary” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818044613-4AOJQVPDDJSKFG6MP0JZ/mcba-prize-2022-daniel-mellis-tango-with-cows-2.jpg Entries & Jurors - Daniel Mellis&nbsp;&amp; Eugene Ostashevsky, “Tango with Cows: Translation, Facsimile, and Commentary” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818045921-AYQEB6DMHXAUV4N8FDQ4/mcba-prize-2022-daniel-mellis-tango-with-cows-4.jpg Entries & Jurors - Daniel Mellis&nbsp;&amp; Eugene Ostashevsky, “Tango with Cows: Translation, Facsimile, and Commentary” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772818120008-VGQ5KZA7RA27WUR7YPE0/mcba-prize-2022-daniel-mellis-tango-with-cows-5.jpg Entries & Jurors - Daniel Mellis&nbsp;&amp; Eugene Ostashevsky, “Tango with Cows: Translation, Facsimile, and Commentary” https://www.mcbaprize.org/mcba-prize/colette-fu-womens-studio-workshop-golden-lotus monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817159601-5NIEMYV3MW7T5C67UFGC/mcba-prize-2022-colette-fu-WSW-golden-lotus-1.jpg Entries & Jurors - Colette Fu&nbsp;&amp; Women’s Studio Workshop, “Golden Lotus” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817159635-2IJCGKT6R21UZJYZHO2G/mcba-prize-2022-colette-fu-WSW-golden-lotus-2.jpg Entries & Jurors - Colette Fu&nbsp;&amp; Women’s Studio Workshop, “Golden Lotus” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817160683-4YLA9TDIYCL3FYDDYP9V/mcba-prize-2022-colette-fu-WSW-golden-lotus-3.jpg Entries & Jurors - Colette Fu&nbsp;&amp; Women’s Studio Workshop, “Golden Lotus” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817160815-EW95DD4OIZ19YOV0RFRS/mcba-prize-2022-colette-fu-WSW-golden-lotus-4.jpg Entries & Jurors - Colette Fu&nbsp;&amp; Women’s Studio Workshop, “Golden Lotus” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772817161731-2GWHK21LTGPJ7DGRXPV2/mcba-prize-2022-colette-fu-WSW-golden-lotus-5.jpg Entries & Jurors - Colette Fu&nbsp;&amp; Women’s Studio Workshop, “Golden Lotus” https://www.mcbaprize.org/mcba-prize/the-2022-mcba-prize-exhibition monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/e0632e75-6229-4290-9312-f4dd3ec71262/2022-MCBA-Prize-postcard-FINAL_front-1024x663.jpg Entries & Jurors - The 2022 MCBA Prize Exhibition - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.mcbaprize.org/mcba-prize/keri-miki-lani-schroeder-if-you-need-anything monthly 0.5 2026-03-06 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770730329467-WPRV04W7DFE98829NL8O/keri-miki-lani-schroeder-if-you-need-anything-mcba-prize-winner-2022-5.jpg Entries & Jurors - Keri Miki-Lani Schroeder, “If You Need Anything” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770730328507-0U3SU3W0DJO8ABTNF2YI/keri-miki-lani-schroeder-if-you-need-anything-mcba-prize-winner-2022-3.jpg Entries & Jurors - Keri Miki-Lani Schroeder, “If You Need Anything” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770730328516-X4Y3UZRC2VMB9A7SS0LK/keri-miki-lani-schroeder-if-you-need-anything-mcba-prize-winner-2022-4.jpg Entries & Jurors - Keri Miki-Lani Schroeder, “If You Need Anything” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770730327397-CPQWD0N97MTSY2LTNOI0/keri-miki-lani-schroeder-if-you-need-anything-mcba-prize-winner-2022-2.jpg Entries & Jurors - Keri Miki-Lani Schroeder, “If You Need Anything” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1770730327391-AM86H4HXM8FJB9MJFGLW/keri-miki-lani-schroeder-if-you-need-anything-mcba-prize-winner-2022-1.jpg Entries & Jurors - Keri Miki-Lani Schroeder, “If You Need Anything” https://www.mcbaprize.org/mcba-prize/aly-inception monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772776524229-CUOWBFU8C8J9LZFA99MN/mcba-prize-2020-aly-inception-01.jpg Entries & Jurors - Islam Aly, “Inception” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772776547828-QWWR3PSU0QE16HXE4YYQ/mcba-prize-2020-aly-inception-02.jpg Entries & Jurors - Islam Aly, “Inception” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772776547835-C8ZVTKAJC1QDFHBOVTZR/mcba-prize-2020-aly-inception-03.jpg Entries & Jurors - Islam Aly, “Inception” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772776548942-DDN74LRZWIX2NJU6MD2N/mcba-prize-2020-aly-inception-04.jpg Entries & Jurors - Islam Aly, “Inception” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772776549044-OVPH52PY2TC4JMRB7P9K/mcba-prize-2020-aly-inception.jpg Entries & Jurors - Islam Aly, “Inception” https://www.mcbaprize.org/mcba-prize/https/wu-xu-arriving-ashore monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772775200547-DRRT8PYPI9OBR8F0HKQA/mcba-prize-2020-wu-xu-arriving-ashore.jpg Entries & Jurors - Peng Wu and Jammo Xu, “Arriving Ashore – a memorial for the lives lost in the forceful migrations” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772775199401-GPSE7HUUCE6QGB9UJ2SG/mcba-prize-2020-wu-xu-arriving-ashore-02.jpg Entries & Jurors - Peng Wu and Jammo Xu, “Arriving Ashore – a memorial for the lives lost in the forceful migrations” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772775199447-MQHMKDKDX5KXICMZZ470/mcba-prize-2020-wu-xu-arriving-ashore-03.jpg Entries & Jurors - Peng Wu and Jammo Xu, “Arriving Ashore – a memorial for the lives lost in the forceful migrations” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772775200401-W8QCWCM4JJQ0MTY5424Q/mcba-prize-2020-wu-xu-arriving-ashore-04.jpg Entries & Jurors - Peng Wu and Jammo Xu, “Arriving Ashore – a memorial for the lives lost in the forceful migrations” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772775201773-CAPUFIZ7LW9E8YMYNOIN/mcba-prize-2020-wu-xu-arriving-ashore-01.jpg Entries & Jurors - Peng Wu and Jammo Xu, “Arriving Ashore – a memorial for the lives lost in the forceful migrations” https://www.mcbaprize.org/mcba-prize/schapers-a-darkened-boat monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772774280403-E0AKWALUGH6M7CR0EVF5/mcba-prize-2020-Schapers-A-Darkened-Boat.jpg Entries & Jurors - Veronika Schäpers, “A Darkened Boat” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772774280476-L47LIN2XJZ0EO0XPPTMY/mcba-prize-2020-Schapers-A-Darkened-Boat-01.jpg Entries & Jurors - Veronika Schäpers, “A Darkened Boat” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772774281396-4CZAUHZLF29O58RZ5GMF/mcba-prize-2020-Schapers-A-Darkened-Boat-02.jpg Entries & Jurors - Veronika Schäpers, “A Darkened Boat” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772774281420-8L0K694BAC2791VYS9XM/mcba-prize-2020-Schapers-A-Darkened-Boat-03.jpg Entries & Jurors - Veronika Schäpers, “A Darkened Boat” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772774282303-WY25E0DG19ZVKT100ABT/mcba-prize-2020-Schapers-A-Darkened-Boat-04.jpg Entries & Jurors - Veronika Schäpers, “A Darkened Boat” https://www.mcbaprize.org/mcba-prize/kashi-everything-will-be-remembered monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772773578739-TEFD1OJ57QR22AV6A6WK/mcba-prize-2020-kashi-everything-will-be-remembered.jpg Entries & Jurors - Ravikumar Kashi, “‘Everything will be remembered’ a palimpsest.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772773578693-HM6FOXS9ZZ48GDAZTX2V/mcba-prize-2020-kashi-everything-will-be-remembered-01.jpg Entries & Jurors - Ravikumar Kashi, “‘Everything will be remembered’ a palimpsest.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772773579697-ES7598X0MOKHWQWCWGK9/mcba-prize-2020-kashi-everything-will-be-remembered-02.jpg Entries & Jurors - Ravikumar Kashi, “‘Everything will be remembered’ a palimpsest.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772773579870-4ZQ6C65PQV2E3SS2DDHK/mcba-prize-2020-kashi-everything-will-be-remembered-03.jpg Entries & Jurors - Ravikumar Kashi, “‘Everything will be remembered’ a palimpsest.” https://www.mcbaprize.org/mcba-prize/jang-urtod monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772772965790-YVURGEZ5TTLCRG268BHQ/mcba-prize-2020-jang-urtod-04.jpg Entries & Jurors - Hyewon Jang, “Urtod” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772772965734-79HV2M8OKMIVO8P68I5E/mcba-prize-2020-jang-urtod.jpg Entries & Jurors - Hyewon Jang, “Urtod” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772772966647-Q9O49M7O3UP4O0HAFJAF/mcba-prize-2020-jang-urtod-01.jpg Entries & Jurors - Hyewon Jang, “Urtod” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772772966853-IQCQKCO5IUV5Z3EI3U9Q/mcba-prize-2020-jang-urtod-02.jpg Entries & Jurors - Hyewon Jang, “Urtod” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1772772967663-3JAR7PZVGB6XCCQJZP7B/mcba-prize-2020-jang-urtod-03.jpg Entries & Jurors - Hyewon Jang, “Urtod” https://www.mcbaprize.org/mcba-prize/sara-langworthy-sidereal monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773696229287-P9YOQZJ1A6C56K557DBT/mcba-prize-2020-sara-langworthy-sidereal-1.jpg Entries & Jurors - Sara Langworthy, “Sidereal” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773696229284-4TIXHWKTCHYIA8G33ZFJ/mcba-prize-2020-sara-langworthy-sidereal-2.jpg Entries & Jurors - Sara Langworthy, “Sidereal” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773696230279-XN99Z2U2K9G2MOF3YWLD/mcba-prize-2020-sara-langworthy-sidereal-3.jpg Entries & Jurors - Sara Langworthy, “Sidereal” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773696230473-WGDR0MZGL43PRJUV3I6N/mcba-prize-2020-sara-langworthy-sidereal-4.jpg Entries & Jurors - Sara Langworthy, “Sidereal” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773696231369-ULS0BNMAAIM8OSWS2ZGH/mcba-prize-2020-sara-langworthy-sidereal-5.jpg Entries & Jurors - Sara Langworthy, “Sidereal” https://www.mcbaprize.org/mcba-prize/sarah-hulsey-a-universal-lexicon monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171535417-O7XXSM8HER0SPKTR3XK8/mcba-prize-2020-sarah-hulsey-a-universal-lexicon-1.jpg Entries & Jurors - Sarah Hulsey, “A Universal Lexicon” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171535304-LY2GY1YVOYEJB83UQ8N2/mcba-prize-2020-sarah-hulsey-a-universal-lexicon-2.jpg Entries & Jurors - Sarah Hulsey, “A Universal Lexicon” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171536329-1QSP93K9V3XJRBD2YLZ9/mcba-prize-2020-sarah-hulsey-a-universal-lexicon-3.jpg Entries & Jurors - Sarah Hulsey, “A Universal Lexicon” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171536496-VRVHQNL3R6TPHM3G434K/mcba-prize-2020-sarah-hulsey-a-universal-lexicon-4.jpg Entries & Jurors - Sarah Hulsey, “A Universal Lexicon” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171537299-U116OD3F2ITYFO7FW9CP/mcba-prize-2020-sarah-hulsey-a-universal-lexicon-5.jpg Entries & Jurors - Sarah Hulsey, “A Universal Lexicon” https://www.mcbaprize.org/mcba-prize/yazmn-hidalgo-the-discovery-/-el-descubrimiento monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773170505404-EEY3J8ZMHFP70U0E8E2Z/mcba-prize-2020-yasmin-hidalgol-the-discovery-1.jpg Entries & Jurors - Yazmín Hidalgo, “The Discovery / El Descubrimiento” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773170505339-BJQG68S85DOPWFQ49UUV/mcba-prize-2020-yasmin-hidalgol-the-discovery-2.jpg Entries & Jurors - Yazmín Hidalgo, “The Discovery / El Descubrimiento” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773170506232-RFFLSGO78QUZZPSYEOVY/mcba-prize-2020-yasmin-hidalgol-the-discovery-3.jpg Entries & Jurors - Yazmín Hidalgo, “The Discovery / El Descubrimiento” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773170506367-SMFMBDJ91ITA2509K55A/mcba-prize-2020-yasmin-hidalgol-the-discovery-4.jpg Entries & Jurors - Yazmín Hidalgo, “The Discovery / El Descubrimiento” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773170507158-S3YCPBWRVNSGPQZCF073/mcba-prize-2020-yasmin-hidalgol-the-discovery-5.jpg Entries & Jurors - Yazmín Hidalgo, “The Discovery / El Descubrimiento” https://www.mcbaprize.org/mcba-prize/casey-gardner-avalanche-safety monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773091736734-1AONNYM9AF0FTEZ7C1V1/mcba-prize-2020-casey-gardner-avalenche-safety-1.jpg Entries & Jurors - Casey Gardner, “Avalanche Safety” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773091736623-LQ6IVDINHZVJPBT56GD9/mcba-prize-2020-casey-gardner-avalenche-safety-2.jpg Entries & Jurors - Casey Gardner, “Avalanche Safety” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773091737631-844CUS8SI4WBM8AA2N07/mcba-prize-2020-casey-gardner-avalenche-safety-3.jpg Entries & Jurors - Casey Gardner, “Avalanche Safety” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773091737812-J3HYF94ZNJXKIZ3W3U51/mcba-prize-2020-casey-gardner-avalenche-safety-4.jpg Entries & Jurors - Casey Gardner, “Avalanche Safety” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773091738790-OXISY9OSFI795U67VTZS/mcba-prize-2020-casey-gardner-avalenche-safety-5.jpg Entries & Jurors - Casey Gardner, “Avalanche Safety” https://www.mcbaprize.org/mcba-prize/colette-fu-luoma-yi-tiger-festival monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773091452358-P7X7A6DT4AKIK4VGN0AY/mcba-prize-2020-colette-fu-luoma-yi-tiger-festival-1.jpg Entries & Jurors - Colette Fu, “Luoma, Yi Tiger Festival” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773091452290-CKP5DQHYI2WQGRQE2JDD/mcba-prize-2020-colette-fu-luoma-yi-tiger-festival-2.jpg Entries & Jurors - Colette Fu, “Luoma, Yi Tiger Festival” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773091453483-6L69E9LL09LX0UL5ROMS/mcba-prize-2020-colette-fu-luoma-yi-tiger-festival-3.jpg Entries & Jurors - Colette Fu, “Luoma, Yi Tiger Festival” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773091453730-0KDTZK5IAOTEJTQIKVMJ/mcba-prize-2020-colette-fu-luoma-yi-tiger-festival-4.jpg Entries & Jurors - Colette Fu, “Luoma, Yi Tiger Festival” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773091455223-OZ4H1GMMX5JN8OJC303X/mcba-prize-2020-colette-fu-luoma-yi-tiger-festival-5.jpg Entries & Jurors - Colette Fu, “Luoma, Yi Tiger Festival” https://www.mcbaprize.org/mcba-prize/2020-mcba-prize-betty-bright monthly 0.5 2026-03-18 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/ade350c2-5d06-4100-9586-2d2733989cfd/imgi_6_betty-home2.jpg Entries & Jurors - 2020 MCBA Prize Juror Bio: Betty Bright - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.mcbaprize.org/mcba-prize/zhu-yingchun-the-annals-of-bugs monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773177229338-ZDCBSK2X2G854SDVB0AD/mcba-prize-2020-yingchun-zhu-the-annals-of-bugs-1.jpg Entries & Jurors - Zhu Yingchun, “The Annals of Bugs” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773177229339-8Y6PNC5680EHZZH83EDS/mcba-prize-2020-yingchun-zhu-the-annals-of-bugs-2.jpg Entries & Jurors - Zhu Yingchun, “The Annals of Bugs” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773177230382-LTF2I2ISIEZNOG9W4SSV/mcba-prize-2020-yingchun-zhu-the-annals-of-bugs-3.jpg Entries & Jurors - Zhu Yingchun, “The Annals of Bugs” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773177230636-FDIWMKW4E27OWHK6B5LB/mcba-prize-2020-yingchun-zhu-the-annals-of-bugs-4.jpg Entries & Jurors - Zhu Yingchun, “The Annals of Bugs” https://www.mcbaprize.org/mcba-prize/kyung-eun-you-where-are-we-now monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176983176-4PIDZUJ669MV43F1M2ZS/mcba-prize-2020-kyung-eun-you-where-are-you-now-1.jpg Entries & Jurors - Kyung Eun You, “where are we now” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176983233-EMKP7T0LVL7GK5ZFYRPN/mcba-prize-2020-kyung-eun-you-where-are-you-now-2.jpg Entries & Jurors - Kyung Eun You, “where are we now” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176984309-2S55WSO9R910KSROL9IB/mcba-prize-2020-kyung-eun-you-where-are-you-now-3.jpg Entries & Jurors - Kyung Eun You, “where are we now” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176984457-YORWO5JOC7H1N3E2BVBT/mcba-prize-2020-kyung-eun-you-where-are-you-now-4.jpg Entries & Jurors - Kyung Eun You, “where are we now” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176985220-VKUU75QRVN15U1FAQ9N3/mcba-prize-2020-kyung-eun-you-where-are-you-now-5.jpg Entries & Jurors - Kyung Eun You, “where are we now” https://www.mcbaprize.org/mcba-prize/wendy-fernstrum-she-tore-her-clothes-in-sorrow monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773091216059-M94YZ5LUJU2KVRK6XUP1/mcba-prize-2020-wendy-fermstrum-she-tore-her-clothes-in-sorrow-1.jpg Entries & Jurors - Wendy Fernstrum, “She Tore Her Clothes in Sorrow” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773091215698-TF4Q2VFNQFIZ16K839F0/mcba-prize-2020-wendy-fermstrum-she-tore-her-clothes-in-sorrow-2.jpg Entries & Jurors - Wendy Fernstrum, “She Tore Her Clothes in Sorrow” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773091216822-OWGIB8KLDP3R0WQVK10F/mcba-prize-2020-wendy-fermstrum-she-tore-her-clothes-in-sorrow-3.jpg Entries & Jurors - Wendy Fernstrum, “She Tore Her Clothes in Sorrow” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773091217016-6MMGEZU6UFGHFQ1Y24YT/mcba-prize-2020-wendy-fermstrum-she-tore-her-clothes-in-sorrow-4.jpg Entries & Jurors - Wendy Fernstrum, “She Tore Her Clothes in Sorrow” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773091217839-XXSHHORCFJKLS3YT5I7Q/mcba-prize-2020-wendy-fermstrum-she-tore-her-clothes-in-sorrow-5.jpg Entries & Jurors - Wendy Fernstrum, “She Tore Her Clothes in Sorrow” https://www.mcbaprize.org/mcba-prize/sonia-farmer-a-true-exact-history monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090915793-UNB4T98SOVIK1HKV4TYB/mcba-prize-2020-sonia-farmer-a-true-and-exact-history-1.jpg Entries & Jurors - Sonia Farmer, “A True &amp; Exact History” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090915763-QTTA0J9J0DN87NZ1SMNI/mcba-prize-2020-sonia-farmer-a-true-and-exact-history-2.jpg Entries & Jurors - Sonia Farmer, “A True &amp; Exact History” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090916749-ELUDGX4EB91N4G7KE96M/mcba-prize-2020-sonia-farmer-a-true-and-exact-history-3.jpg Entries & Jurors - Sonia Farmer, “A True &amp; Exact History” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090917817-8G0WFK6PYZ4YBIJ9JJCO/mcba-prize-2020-sonia-farmer-a-true-and-exact-history-4.jpg Entries & Jurors - Sonia Farmer, “A True &amp; Exact History” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090917180-R4JM7GEOYYQYZFZQSKOA/mcba-prize-2020-sonia-farmer-a-true-and-exact-history-5.jpg Entries & Jurors - Sonia Farmer, “A True &amp; Exact History” https://www.mcbaprize.org/mcba-prize/steven-daiber-donde-esta-el-cristal monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090620763-LIMEJ5SYZ0QIV2RPKHS9/mcba-prize-2020-steven-daiber-donde-esta-el-cristal-1.jpg Entries & Jurors - Steven Daiber, “Donde esta el Cristal?” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090620972-N8WNFTC63RYK378W7G4G/mcba-prize-2020-steven-daiber-donde-esta-el-cristal-2.jpg Entries & Jurors - Steven Daiber, “Donde esta el Cristal?” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090621919-3OCNEBIJ2BBH0CYY5RD9/mcba-prize-2020-steven-daiber-donde-esta-el-cristal-3.jpg Entries & Jurors - Steven Daiber, “Donde esta el Cristal?” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090622181-AWG5JPRJ0QD6BRQWYXDR/mcba-prize-2020-steven-daiber-donde-esta-el-cristal-4.jpg Entries & Jurors - Steven Daiber, “Donde esta el Cristal?” https://www.mcbaprize.org/mcba-prize/anne-covell-sea-change monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090384254-A6HZOXYF2F5NH6KKRVK5/mcba-prize-2020-anne-covell-sea-change-1.jpg Entries & Jurors - Anne Covell, “Sea Change” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090384255-J1X9JPFB74LH0CJDOK7N/mcba-prize-2020-anne-covell-sea-change-2.jpg Entries & Jurors - Anne Covell, “Sea Change” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090385226-KWM5PRMWCWPUQC341X62/mcba-prize-2020-anne-covell-sea-change-3.jpg Entries & Jurors - Anne Covell, “Sea Change” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090385389-WG9ULV6WWXZ5MK52REDC/mcba-prize-2020-anne-covell-sea-change-4.jpg Entries & Jurors - Anne Covell, “Sea Change” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090386236-0T8UGBUP6GNCL2X6AJJG/mcba-prize-2020-anne-covell-sea-change-5.jpg Entries & Jurors - Anne Covell, “Sea Change” https://www.mcbaprize.org/mcba-prize/ana-cordeiro-body-of-evidence monthly 0.5 2026-03-09 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090025429-4Y7AEG37YW6ZEU3JY4TL/mcba-prize-2020-ana-cordeiro-body-of-evidence-1.jpg Entries & Jurors - Ana Cordeiro, “Body of Evidence” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090025436-4UOJFHQP54P4JGCMFRSU/mcba-prize-2020-ana-cordeiro-body-of-evidence-2.jpg Entries & Jurors - Ana Cordeiro, “Body of Evidence” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090026534-UD5T2U3GH2LZDK8JR6O7/mcba-prize-2020-ana-cordeiro-body-of-evidence-3.jpg Entries & Jurors - Ana Cordeiro, “Body of Evidence” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090026637-F5SKSLB1W6QQVK2X9J3I/mcba-prize-2020-ana-cordeiro-body-of-evidence-4.jpg Entries & Jurors - Ana Cordeiro, “Body of Evidence” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773090027595-EOVYQHFAUJDTDPXBSM4K/mcba-prize-2020-ana-cordeiro-body-of-evidence-5.jpg Entries & Jurors - Ana Cordeiro, “Body of Evidence” https://www.mcbaprize.org/mcba-prize/jennifer-rose-wolken-in-anticipation-of-a-rare-event monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176742304-H40Q7ZH22T4OO4G2MW6Z/mcba-prize-2020-jennifer-rose-wolken-in-anticipation-of-a-rare-event-1.jpg Entries & Jurors - Jennifer Rose Wolken, “…in anticipation of a rare event.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176741689-VM1ZLCHJS4PFMYVKAQ0U/mcba-prize-2020-jennifer-rose-wolken-in-anticipation-of-a-rare-event-2.jpg Entries & Jurors - Jennifer Rose Wolken, “…in anticipation of a rare event.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176742869-B2USYKE7LNVQ21QJS19G/mcba-prize-2020-jennifer-rose-wolken-in-anticipation-of-a-rare-event-3.jpg Entries & Jurors - Jennifer Rose Wolken, “…in anticipation of a rare event.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176743455-35M9XJU6V5RPZBORLXCH/mcba-prize-2020-jennifer-rose-wolken-in-anticipation-of-a-rare-event-4.jpg Entries & Jurors - Jennifer Rose Wolken, “…in anticipation of a rare event.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176743892-UVYVJ6J4WLL9CSAOOHJ4/mcba-prize-2020-jennifer-rose-wolken-in-anticipation-of-a-rare-event-5.jpg Entries & Jurors - Jennifer Rose Wolken, “…in anticipation of a rare event.” https://www.mcbaprize.org/mcba-prize/jody-williams-for-now monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176446984-VDX62SHZW6JSNU7MR1JR/mcba-prize-2020-jody-williams-for-now-1.jpg Entries & Jurors - Jody Williams, “For Now” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176446727-Z9NYDTPE9AQYCDJXEF5H/mcba-prize-2020-jody-williams-for-now-2.jpg Entries & Jurors - Jody Williams, “For Now” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176447673-6FNL3X5C8T40YE0B5B6A/mcba-prize-2020-jody-williams-for-now-3.jpg Entries & Jurors - Jody Williams, “For Now” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176447932-TX2MZAIWOOL0NWIV67WK/mcba-prize-2020-jody-williams-for-now-4.jpg Entries & Jurors - Jody Williams, “For Now” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176448684-N1VZL9G2U629XKRF01Z8/mcba-prize-2020-jody-williams-for-now-5.jpg Entries & Jurors - Jody Williams, “For Now” https://www.mcbaprize.org/mcba-prize/ines-von-ketelhodt-mienenspiel monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176236636-Y88V715C0Z3WEU54SZWI/mcba-prize-2020-ines-von-ketelhodt-mienenspiel-1.jpg Entries & Jurors - Ines von Ketelhodt, “Mienenspiel” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176236841-7FWN3TJWIA45OTZUQ0F1/mcba-prize-2020-ines-von-ketelhodt-mienenspiel-2.jpg Entries & Jurors - Ines von Ketelhodt, “Mienenspiel” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176237835-O2X8B6CFLYGC8A97UEK2/mcba-prize-2020-ines-von-ketelhodt-mienenspiel-3.jpg Entries & Jurors - Ines von Ketelhodt, “Mienenspiel” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176238266-X17N28RNN8IAMFKXAY5G/mcba-prize-2020-ines-von-ketelhodt-mienenspiel-4.jpg Entries & Jurors - Ines von Ketelhodt, “Mienenspiel” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176239193-DN2JSW7AZZMERJF7RV20/mcba-prize-2020-ines-von-ketelhodt-mienenspiel-5.jpg Entries & Jurors - Ines von Ketelhodt, “Mienenspiel” https://www.mcbaprize.org/mcba-prize/maro-vandorou-a-book-of-whispers monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176046382-5AQ5M5GB294LZF6S1DZL/mcba-prize-2020-maro-vandorou--a-book-of-whispers-1.jpg Entries & Jurors - Maro Vandorou, “a book of whispers” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176046506-4HRSODDAGYCU34MTJQCR/mcba-prize-2020-maro-vandorou--a-book-of-whispers-2.jpg Entries & Jurors - Maro Vandorou, “a book of whispers” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176047439-1G1PK1GKOA3SHDYFFTOR/mcba-prize-2020-maro-vandorou--a-book-of-whispers-3.jpg Entries & Jurors - Maro Vandorou, “a book of whispers” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176047515-A2X8XUKDBHL0YPDYA2RX/mcba-prize-2020-maro-vandorou--a-book-of-whispers-4.jpg Entries & Jurors - Maro Vandorou, “a book of whispers” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773176048367-8VAM3MWG8FYEGCHW06JD/mcba-prize-2020-maro-vandorou--a-book-of-whispers-5.jpg Entries & Jurors - Maro Vandorou, “a book of whispers” https://www.mcbaprize.org/mcba-prize/todd-thyberg-the-miskatonic-papers monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175665813-B20HL390TDVGK3H5OEYB/mcba-prize-2020-todd-thyberg-the-miskatonic-papers-1.jpg Entries & Jurors - Todd Thyberg, “The Miskatonic Papers” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175665903-3ZH5HG5JQIRD1DPYGH99/mcba-prize-2020-todd-thyberg-the-miskatonic-papers-2.jpg Entries & Jurors - Todd Thyberg, “The Miskatonic Papers” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175666879-4F0PVL7YAGZP9L7E6F6R/mcba-prize-2020-todd-thyberg-the-miskatonic-papers-3.jpg Entries & Jurors - Todd Thyberg, “The Miskatonic Papers” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175667018-RPIXNHJ9NIFI1HUCJKQD/mcba-prize-2020-todd-thyberg-the-miskatonic-papers-4.jpg Entries & Jurors - Todd Thyberg, “The Miskatonic Papers” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175667908-9F7XR85T5PZATIWSFSCA/mcba-prize-2020-todd-thyberg-the-miskatonic-papers-5.jpg Entries & Jurors - Todd Thyberg, “The Miskatonic Papers” https://www.mcbaprize.org/mcba-prize/carolyn-thompson-after-capote-when-truman-met-marlon monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175423754-GDCHJM7XN5S2W8Y0UOGG/mcba-prize-2020-carolyn-thompson-after-capote-when-truman-met-marlon-1.jpg Entries & Jurors - Carolyn Thompson, “After Capote: When Truman met Marlon” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175423936-D2033WNRL7OUKCMZV87V/mcba-prize-2020-carolyn-thompson-after-capote-when-truman-met-marlon-2.jpg Entries & Jurors - Carolyn Thompson, “After Capote: When Truman met Marlon” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175425267-EW5HOLYD1QIZ5QVRAXZK/mcba-prize-2020-carolyn-thompson-after-capote-when-truman-met-marlon-3.jpg Entries & Jurors - Carolyn Thompson, “After Capote: When Truman met Marlon” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175425483-2SAN4HQXZT2IVSUA46WP/mcba-prize-2020-carolyn-thompson-after-capote-when-truman-met-marlon-4.jpg Entries & Jurors - Carolyn Thompson, “After Capote: When Truman met Marlon” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773175426397-RFWMFA6Q58RMVHTTWY5A/mcba-prize-2020-carolyn-thompson-after-capote-when-truman-met-marlon-5.jpg Entries & Jurors - Carolyn Thompson, “After Capote: When Truman met Marlon” https://www.mcbaprize.org/mcba-prize/barbara-tetenbaum-portland/living monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773174025686-XROHU77MDIRTNIE7HQ1A/mcba-prize-2020-barbara-tetenbaum-portland-living-1.jpg Entries & Jurors - Barbara Tetenbaum, “Portland/Living” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773174025670-59MGNMHQRK0ZBVPX9NXT/mcba-prize-2020-barbara-tetenbaum-portland-living-2.jpg Entries & Jurors - Barbara Tetenbaum, “Portland/Living” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773174026530-QK3ESSTDD29LSGEQ7FZZ/mcba-prize-2020-barbara-tetenbaum-portland-living-3.jpg Entries & Jurors - Barbara Tetenbaum, “Portland/Living” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773174026714-YOO6QD5FF2TLS6E1ZUZA/mcba-prize-2020-barbara-tetenbaum-portland-living-4.jpg Entries & Jurors - Barbara Tetenbaum, “Portland/Living” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773174027464-WH7C71WAT0T39EAFLGRV/mcba-prize-2020-barbara-tetenbaum-portland-living-5.jpg Entries & Jurors - Barbara Tetenbaum, “Portland/Living” https://www.mcbaprize.org/mcba-prize/haein-song-pain-memory monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173772044-FW7WFEJIM5C239C0G5FE/mcba-prize-2020-haein-song-pain-memory-1.jpg Entries & Jurors - Haein Song, “Pain Memory” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173772080-OIVUKV5QPAJZOP4LU2TG/mcba-prize-2020-haein-song-pain-memory-2.jpg Entries & Jurors - Haein Song, “Pain Memory” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173773015-CD0OVRANDQ78959WDNVL/mcba-prize-2020-haein-song-pain-memory-3.jpg Entries & Jurors - Haein Song, “Pain Memory” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173773144-H1EWKI2LIJRR4VANF1B3/mcba-prize-2020-haein-song-pain-memory-4.jpg Entries & Jurors - Haein Song, “Pain Memory” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173774038-1HPXDNCJ3VZXBQIKHADG/mcba-prize-2020-haein-song-pain-memory-5.jpg Entries & Jurors - Haein Song, “Pain Memory” https://www.mcbaprize.org/mcba-prize/felicia-rice-borderbus monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173578505-8Z2Y2VELBW8HNLFVYGO7/mcba-prize-2020-felicia-rice-borderbus-1.jpg Entries & Jurors - Felicia Rice, “BORDERBUS” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173578432-V5JWA9M7LFKQ7A19PLZR/mcba-prize-2020-felicia-rice-borderbus-2.jpg Entries & Jurors - Felicia Rice, “BORDERBUS” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173579484-YVZLKGAIC8FB7Q4VXP2S/mcba-prize-2020-felicia-rice-borderbus-3.jpg Entries & Jurors - Felicia Rice, “BORDERBUS” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173579583-8P0FAE2ITMFTRVZ4CPBL/mcba-prize-2020-felicia-rice-borderbus-4.jpg Entries & Jurors - Felicia Rice, “BORDERBUS” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773173580526-8HOQRCL15OBWCRHJAN1R/mcba-prize-2020-felicia-rice-borderbus-5.jpg Entries & Jurors - Felicia Rice, “BORDERBUS” https://www.mcbaprize.org/mcba-prize/michelle-moode-fielding-questions-a-guide-to-748-specimens-of-rare-and-common-occurrence monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172768099-AQZ2A32YMYGENJVMN0XC/mcba-prize-2020-michelle-moode-fielding-questions-1.jpg Entries & Jurors - Michelle Moode, “Fielding Questions: A Guide to 748 Specimens of Rare and Common Occurrence” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172768070-QSIS5ZL7SHQVX686ZU25/mcba-prize-2020-michelle-moode-fielding-questions-2.jpg Entries & Jurors - Michelle Moode, “Fielding Questions: A Guide to 748 Specimens of Rare and Common Occurrence” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172769019-ZTRUHSH8C9TDPBDQ3EXZ/mcba-prize-2020-michelle-moode-fielding-questions-3.jpg Entries & Jurors - Michelle Moode, “Fielding Questions: A Guide to 748 Specimens of Rare and Common Occurrence” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172769115-XRVXK7VYDG0O8K783ROH/mcba-prize-2020-michelle-moode-fielding-questions-4.jpg Entries & Jurors - Michelle Moode, “Fielding Questions: A Guide to 748 Specimens of Rare and Common Occurrence” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172770007-CKZCWMM2EDG3JP9BDS31/mcba-prize-2020-michelle-moode-fielding-questions-5.jpg Entries & Jurors - Michelle Moode, “Fielding Questions: A Guide to 748 Specimens of Rare and Common Occurrence” https://www.mcbaprize.org/mcba-prize/emily-martin-the-tragedy-of-king-lear monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172475678-BWM831HYQXUN7U93OT4R/mcba-prize-2020-emily-martin-the-tragedy-of-king-lear-1.jpg Entries & Jurors - Emily Martin, “The Tragedy of King Lear” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172475601-BE36HD9OGNMRNPB784MG/mcba-prize-2020-emily-martin-the-tragedy-of-king-lear-2.jpg Entries & Jurors - Emily Martin, “The Tragedy of King Lear” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172476639-CA8VDJQV076RFW66N200/mcba-prize-2020-emily-martin-the-tragedy-of-king-lear-3.jpg Entries & Jurors - Emily Martin, “The Tragedy of King Lear” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172477290-KW6AXPPKH7UG0HZK5QNT/mcba-prize-2020-emily-martin-the-tragedy-of-king-lear-4.jpg Entries & Jurors - Emily Martin, “The Tragedy of King Lear” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172477607-9Y7ZPWIBW8OV996H573V/mcba-prize-2020-emily-martin-the-tragedy-of-king-lear-5.jpg Entries & Jurors - Emily Martin, “The Tragedy of King Lear” https://www.mcbaprize.org/mcba-prize/peter-malutzki-giorgio-manganelli-irrlufe-hundert-centuria-one-hundred monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172218830-5V6LOSI5JM72LKADGGMN/mcba-prize-2020-peter-malutzki-giorgio-manganelli-irralaufe-1.jpg Entries & Jurors - Peter Malutzki, “Giorgio Manganelli, Irrläufe: Hundert – Centuria: One Hundred” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172218868-MQUD05A2FB3AEEWWUOVW/mcba-prize-2020-peter-malutzki-giorgio-manganelli-irralaufe-2.jpg Entries & Jurors - Peter Malutzki, “Giorgio Manganelli, Irrläufe: Hundert – Centuria: One Hundred” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172219883-6P3W6R568WB4SHIATM0Z/mcba-prize-2020-peter-malutzki-giorgio-manganelli-irralaufe-3.jpg Entries & Jurors - Peter Malutzki, “Giorgio Manganelli, Irrläufe: Hundert – Centuria: One Hundred” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172219989-2VPCLA2UVWIMBYBEHIOP/mcba-prize-2020-peter-malutzki-giorgio-manganelli-irralaufe-4.jpg Entries & Jurors - Peter Malutzki, “Giorgio Manganelli, Irrläufe: Hundert – Centuria: One Hundred” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773172220859-JKYAJIWHF9LFPXP9FW3D/mcba-prize-2020-peter-malutzki-giorgio-manganelli-irralaufe-5.jpg Entries & Jurors - Peter Malutzki, “Giorgio Manganelli, Irrläufe: Hundert – Centuria: One Hundred” https://www.mcbaprize.org/mcba-prize/ellen-knudson-intrusion monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171959531-EKIKMBBDH0WLHIFVJYR6/mcba-prize-2020-ellen-knudson-intrusion-1.jpg Entries & Jurors - Ellen Knudson, “Intrusion” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171959471-XXKQXD88LWAISE3AQHGB/mcba-prize-2020-ellen-knudson-intrusion-2.jpg Entries & Jurors - Ellen Knudson, “Intrusion” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171960697-9Z5UCWE9LJ22LC747WZ9/mcba-prize-2020-ellen-knudson-intrusion-3.jpg Entries & Jurors - Ellen Knudson, “Intrusion” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171960812-E57VFZLVJJ8ZB1YQD0H7/mcba-prize-2020-ellen-knudson-intrusion-4.jpg Entries & Jurors - Ellen Knudson, “Intrusion” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171962191-PA2MPTNR6SAAGKIFRYK2/mcba-prize-2020-ellen-knudson-intrusion-5.jpg Entries & Jurors - Ellen Knudson, “Intrusion” https://www.mcbaprize.org/mcba-prize/artist-name-work-name-6p356 monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171753212-CIMXTJ67DPSP3YJ291TY/mcba-prize-2020-hyewon-jang-grow-1.jpg Entries & Jurors - Hyewon Jang, “grow” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171753262-3S90XHK74FS4YS27XK4K/mcba-prize-2020-hyewon-jang-grow-2.jpg Entries & Jurors - Hyewon Jang, “grow” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171754265-YVNQSCYYLC06B9293KOF/mcba-prize-2020-hyewon-jang-grow-3.jpg Entries & Jurors - Hyewon Jang, “grow” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171755438-E5VRMTU9J89DVY0OCVNO/mcba-prize-2020-hyewon-jang-grow-4.jpg Entries & Jurors - Hyewon Jang, “grow” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773171756384-B2NYJ2F56VNNM0LBF8IL/mcba-prize-2020-hyewon-jang-grow-5.jpg Entries & Jurors - Hyewon Jang, “grow” https://www.mcbaprize.org/mcba-prize/2020-prize-winner-annoucement monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/d826b9d9-adf3-4893-9b6d-55a824eafaf3/mcba-prize-2020-Winner-Annoucement.jpg Entries & Jurors - 2020 MCBA Prize Winner Announcement - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/903d5153-7663-40ba-ab94-24dfe88bdf74/mcba-prize-2020-Virtual-Reveal-Graphic.jpg Entries & Jurors - 2020 MCBA Prize Winner Announcement - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.mcbaprize.org/mcba-prize/julie-chen-wayfinding monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773081057266-35F0UX5M89Q94Y5GNB8G/mcba-prize-2020-julie-chen-wayfinding-1.jpg Entries & Jurors - Julie Chen, “Wayfinding” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773081057098-5Q9LRNRD9D48KAJTQXJZ/mcba-prize-2020-julie-chen-wayfinding-2.jpg Entries & Jurors - Julie Chen, “Wayfinding” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773081058085-FVA0LR9RMAVP5R9PJCQT/mcba-prize-2020-julie-chen-wayfinding-3.jpg Entries & Jurors - Julie Chen, “Wayfinding” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773081058243-FG5GQORSGRVRPMI5RRRD/mcba-prize-2020-julie-chen-wayfinding-4.jpg Entries & Jurors - Julie Chen, “Wayfinding” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773081059112-QVMBDMO3P3FKWP37GQCK/mcba-prize-2020-julie-chen-wayfinding-5.jpg Entries & Jurors - Julie Chen, “Wayfinding” https://www.mcbaprize.org/mcba-prize/sarah-bryant-the-radiant-republic monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773080792545-FGHF7D7M1C0P2VHBETHZ/mcba-prize-2020-sarah-bryant-the-radiant-republic-1.jpg Entries & Jurors - Sarah Bryant, “The Radiant Republic” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773080792502-E16BFDD9JGT7AWL0SQWV/mcba-prize-2020-sarah-bryant-the-radiant-republic-2.jpg Entries & Jurors - Sarah Bryant, “The Radiant Republic” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773080793645-XJQYROXV02QKFAJCPLY4/mcba-prize-2020-sarah-bryant-the-radiant-republic-3.jpg Entries & Jurors - Sarah Bryant, “The Radiant Republic” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773080793526-BLS3Q9NSRBXMZWE5VMCR/mcba-prize-2020-sarah-bryant-the-radiant-republic-4.jpg Entries & Jurors - Sarah Bryant, “The Radiant Republic” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773080794524-TBKXB7XUCALTG9WD0WZE/mcba-prize-2020-sarah-bryant-the-radiant-republic-5.jpg Entries & Jurors - Sarah Bryant, “The Radiant Republic” https://www.mcbaprize.org/mcba-prize/inge-bruggeman-deposits monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773080530978-X6NAU60TRAB7G1GTWRLO/mcba-prize-2020-inge-bruggeman-deposits-1.jpg Entries & Jurors - Inge Bruggeman, “Deposits” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773080530699-9QHMA8HH3GN52CQJQP18/mcba-prize-2020-inge-bruggeman-deposits-2.jpg Entries & Jurors - Inge Bruggeman, “Deposits” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773080531935-5HU5Y3JSNB7AWU2XNECY/mcba-prize-2020-inge-bruggeman-deposits-3.jpg Entries & Jurors - Inge Bruggeman, “Deposits” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773080532060-ETXSLDAX8F1MF5EUR0VI/mcba-prize-2020-inge-bruggeman-deposits-4.jpg Entries & Jurors - Inge Bruggeman, “Deposits” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773080533071-WH133TODC8H10QI8B46N/mcba-prize-2020-inge-bruggeman-deposits-5.jpg Entries & Jurors - Inge Bruggeman, “Deposits” https://www.mcbaprize.org/mcba-prize/mandy-bonnell-bethany-grasses monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773080185664-8RE9Q1SFNBC05JMH92RT/mcba-prize-2020-mandy-bonnell-bethany-grasses-1.jpg Entries & Jurors - Mandy Bonnell, “Bethany Grasses” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773080185653-PR5LUSSVJF7B5KIMNUQJ/mcba-prize-2020-mandy-bonnell-bethany-grasses-2.jpg Entries & Jurors - Mandy Bonnell, “Bethany Grasses” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773080186563-A6TGTFDL0K01OD1ZZ2L6/mcba-prize-2020-mandy-bonnell-bethany-grasses-3.jpg Entries & Jurors - Mandy Bonnell, “Bethany Grasses” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773080186678-IF77QIC17VSY5TQUJ9J1/mcba-prize-2020-mandy-bonnell-bethany-grasses-4.jpg Entries & Jurors - Mandy Bonnell, “Bethany Grasses” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773080187559-WBL1Z5JW9EOL0H8VB3F6/mcba-prize-2020-mandy-bonnell-bethany-grasses-5.jpg Entries & Jurors - Mandy Bonnell, “Bethany Grasses” https://www.mcbaprize.org/mcba-prize/the-asian-american-literary-review-aalr-book-of-curses monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773079912778-MHLE98ID67FYOL22OLY6/mcba-prize-2020-the-asian-american-literary-review-AALR-book-of-curses-1.jpg Entries & Jurors - The Asian American Literary Review, “AALR BOOK of CURSES” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773079912989-MSNGTTEJAEPJ2OSG5Q99/mcba-prize-2020-the-asian-american-literary-review-AALR-book-of-curses-2.jpg Entries & Jurors - The Asian American Literary Review, “AALR BOOK of CURSES” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773079913928-7VZQ92316FJ3GG3K1SD2/mcba-prize-2020-the-asian-american-literary-review-AALR-book-of-curses-3.jpg Entries & Jurors - The Asian American Literary Review, “AALR BOOK of CURSES” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773079915201-BSGJP09YLDLT3SSA0NU5/mcba-prize-2020-the-asian-american-literary-review-AALR-book-of-curses-4.jpg Entries & Jurors - The Asian American Literary Review, “AALR BOOK of CURSES” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773079914059-AF5ERNH5P8C3D43CH5FX/mcba-prize-2020-the-asian-american-literary-review-AALR-book-of-curses-5.jpg Entries & Jurors - The Asian American Literary Review, “AALR BOOK of CURSES” https://www.mcbaprize.org/mcba-prize/rhiannon-alpers-finding-her-place-the-woman-behind-the-naturalist monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773079652303-USVWJ3BL8GHSBL8QKAXP/mcba-prize-2020-rhiannon-alpers-finding-her-place-the-woman-behind-the-naturalist-1.jpg Entries & Jurors - Rhiannon Alpers, “FINDING HER PLACE: THE WOMAN BEHIND THE NATURALIST” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773079652160-4ZSKFNREB9EZ3XP4EKVS/mcba-prize-2020-rhiannon-alpers-finding-her-place-the-woman-behind-the-naturalist-2.jpg Entries & Jurors - Rhiannon Alpers, “FINDING HER PLACE: THE WOMAN BEHIND THE NATURALIST” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773079653422-OIV9Z3NZIB89DZM0EJU7/mcba-prize-2020-rhiannon-alpers-finding-her-place-the-woman-behind-the-naturalist-3.jpg Entries & Jurors - Rhiannon Alpers, “FINDING HER PLACE: THE WOMAN BEHIND THE NATURALIST” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773079653553-Q2NHMTWLQN00YU2LAQFQ/mcba-prize-2020-rhiannon-alpers-finding-her-place-the-woman-behind-the-naturalist-5.jpg Entries & Jurors - Rhiannon Alpers, “FINDING HER PLACE: THE WOMAN BEHIND THE NATURALIST” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773079654487-FITLDVULJ903I9N85OWV/mcba-prize-2020-rhiannon-alpers-finding-her-place-the-woman-behind-the-naturalist-4.jpg Entries & Jurors - Rhiannon Alpers, “FINDING HER PLACE: THE WOMAN BEHIND THE NATURALIST” https://www.mcbaprize.org/mcba-prize/2020-entries monthly 0.5 2026-04-03 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298722997-PY4DG5VC8NE5QNHG66I5/mcba-prize-2020-Ioannis-Anastasiou-Majka-Dokudowicz-Faded-Future-Archive-1.jpg Entries & Jurors - 2020 Entries - Ioannis Anastasiou &amp; Majka Dokudowicz Wroclaw, Poland Faded Future Archive 2020 Artists’ book :artists’ made box, gum bichromate contact prints on Fabriano Rosaspina 220gsm/ Arches 300gsm/ Hahnemuhle Bamboo, commercial and handmade stamps. Folders: serigraphy, Favini Remake 180gsm, Arjowiggins CLK 280gsm 7.5 x 9.7 x 9.7” Artist Statement The Faded Future Archive is a work reminiscent of an archive drawer. Inside it, the 3 boxes present contain archival folders with prints mounted on photographic cards. The archive / repository we created is a compilation of photos showing ruins of buildings from areas of intense conflict, from World War I to the present day. Apart from its form, it is quite a peculiar archive – without exact dates, descriptions, details; not arranged chronologically or geographically, with illegible and hidden information, random numbers and inaccurate dates. Our search for images was very broad; Belarus, Bosnia, France, Germany, Poland, Italy, Russia, Kuwait, Lebanon, Grenada, Indonesia, Irak, Japan, Libya, Saudi Arabia, Syria, UK, USA, Spain, Belgium, Hungary, Denmark, Gaza, Serbia. But the country does not matter. On the contrary, in the Faded Future Archive one can browse through the whole world’s ruins without considering their origin and geographical location. The importance does not fall neither on the photographic reproduction or strict representation of the place and landscape, nor its place on the timeline of human history. All images are presented with uniform characteristics, the same technique, the same washed out aesthetic. In a way, we built a chaotic collection of constantly recurring todays; timeless ruins as eternally repeating products of human presence. Our book reflects on the concept of a beautiful future; is it as alluring as we imagine? The Faded Future Archive contains more than 100 images, hand printed by the artists by means of gum bichromate contact printing. The prints are made on Fabriano Rosaspina 220gsm, Arches 300gsm and Hahnemuhle Bamboo papers. The mounting cards are printed via the serigraphy process. Commercial and hand cut stamps were used. Other materials: cardboard, bookbinding fabric, paper, ribbon, metal closure, archival glue, Favini Remake 180gsm paper, Arjowiggins CLK 280gsm paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298723108-79S3AHPS85X00EJ2DPET/mcba-prize-2020-Ioannis-Anastasiou-Majka-Dokudowicz-Faded-Future-Archive-2.jpg Entries & Jurors - 2020 Entries - Ioannis Anastasiou &amp; Majka Dokudowicz Wroclaw, Poland Faded Future Archive 2020 Artists’ book :artists’ made box, gum bichromate contact prints on Fabriano Rosaspina 220gsm/ Arches 300gsm/ Hahnemuhle Bamboo, commercial and handmade stamps. Folders: serigraphy, Favini Remake 180gsm, Arjowiggins CLK 280gsm 7.5 x 9.7 x 9.7” Artist Statement The Faded Future Archive is a work reminiscent of an archive drawer. Inside it, the 3 boxes present contain archival folders with prints mounted on photographic cards. The archive / repository we created is a compilation of photos showing ruins of buildings from areas of intense conflict, from World War I to the present day. Apart from its form, it is quite a peculiar archive – without exact dates, descriptions, details; not arranged chronologically or geographically, with illegible and hidden information, random numbers and inaccurate dates. Our search for images was very broad; Belarus, Bosnia, France, Germany, Poland, Italy, Russia, Kuwait, Lebanon, Grenada, Indonesia, Irak, Japan, Libya, Saudi Arabia, Syria, UK, USA, Spain, Belgium, Hungary, Denmark, Gaza, Serbia. But the country does not matter. On the contrary, in the Faded Future Archive one can browse through the whole world’s ruins without considering their origin and geographical location. The importance does not fall neither on the photographic reproduction or strict representation of the place and landscape, nor its place on the timeline of human history. All images are presented with uniform characteristics, the same technique, the same washed out aesthetic. In a way, we built a chaotic collection of constantly recurring todays; timeless ruins as eternally repeating products of human presence. Our book reflects on the concept of a beautiful future; is it as alluring as we imagine? The Faded Future Archive contains more than 100 images, hand printed by the artists by means of gum bichromate contact printing. The prints are made on Fabriano Rosaspina 220gsm, Arches 300gsm and Hahnemuhle Bamboo papers. The mounting cards are printed via the serigraphy process. Commercial and hand cut stamps were used. Other materials: cardboard, bookbinding fabric, paper, ribbon, metal closure, archival glue, Favini Remake 180gsm paper, Arjowiggins CLK 280gsm paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298724346-QXE5UB6B4Y8M9T3RKTH0/mcba-prize-2020-Ioannis-Anastasiou-Majka-Dokudowicz-Faded-Future-Archive-3.jpg Entries & Jurors - 2020 Entries - Ioannis Anastasiou &amp; Majka Dokudowicz Wroclaw, Poland Faded Future Archive 2020 Artists’ book :artists’ made box, gum bichromate contact prints on Fabriano Rosaspina 220gsm/ Arches 300gsm/ Hahnemuhle Bamboo, commercial and handmade stamps. Folders: serigraphy, Favini Remake 180gsm, Arjowiggins CLK 280gsm 7.5 x 9.7 x 9.7” Artist Statement The Faded Future Archive is a work reminiscent of an archive drawer. Inside it, the 3 boxes present contain archival folders with prints mounted on photographic cards. The archive / repository we created is a compilation of photos showing ruins of buildings from areas of intense conflict, from World War I to the present day. Apart from its form, it is quite a peculiar archive – without exact dates, descriptions, details; not arranged chronologically or geographically, with illegible and hidden information, random numbers and inaccurate dates. Our search for images was very broad; Belarus, Bosnia, France, Germany, Poland, Italy, Russia, Kuwait, Lebanon, Grenada, Indonesia, Irak, Japan, Libya, Saudi Arabia, Syria, UK, USA, Spain, Belgium, Hungary, Denmark, Gaza, Serbia. But the country does not matter. On the contrary, in the Faded Future Archive one can browse through the whole world’s ruins without considering their origin and geographical location. The importance does not fall neither on the photographic reproduction or strict representation of the place and landscape, nor its place on the timeline of human history. All images are presented with uniform characteristics, the same technique, the same washed out aesthetic. In a way, we built a chaotic collection of constantly recurring todays; timeless ruins as eternally repeating products of human presence. Our book reflects on the concept of a beautiful future; is it as alluring as we imagine? The Faded Future Archive contains more than 100 images, hand printed by the artists by means of gum bichromate contact printing. The prints are made on Fabriano Rosaspina 220gsm, Arches 300gsm and Hahnemuhle Bamboo papers. The mounting cards are printed via the serigraphy process. Commercial and hand cut stamps were used. Other materials: cardboard, bookbinding fabric, paper, ribbon, metal closure, archival glue, Favini Remake 180gsm paper, Arjowiggins CLK 280gsm paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298725059-VU5YOQV7A7C1FGQYX59Z/mcba-prize-2020-Ioannis-Anastasiou-Majka-Dokudowicz-Faded-Future-Archive-4.jpg Entries & Jurors - 2020 Entries - Ioannis Anastasiou &amp; Majka Dokudowicz Wroclaw, Poland Faded Future Archive 2020 Artists’ book :artists’ made box, gum bichromate contact prints on Fabriano Rosaspina 220gsm/ Arches 300gsm/ Hahnemuhle Bamboo, commercial and handmade stamps. Folders: serigraphy, Favini Remake 180gsm, Arjowiggins CLK 280gsm 7.5 x 9.7 x 9.7” Artist Statement The Faded Future Archive is a work reminiscent of an archive drawer. Inside it, the 3 boxes present contain archival folders with prints mounted on photographic cards. The archive / repository we created is a compilation of photos showing ruins of buildings from areas of intense conflict, from World War I to the present day. Apart from its form, it is quite a peculiar archive – without exact dates, descriptions, details; not arranged chronologically or geographically, with illegible and hidden information, random numbers and inaccurate dates. Our search for images was very broad; Belarus, Bosnia, France, Germany, Poland, Italy, Russia, Kuwait, Lebanon, Grenada, Indonesia, Irak, Japan, Libya, Saudi Arabia, Syria, UK, USA, Spain, Belgium, Hungary, Denmark, Gaza, Serbia. But the country does not matter. On the contrary, in the Faded Future Archive one can browse through the whole world’s ruins without considering their origin and geographical location. The importance does not fall neither on the photographic reproduction or strict representation of the place and landscape, nor its place on the timeline of human history. All images are presented with uniform characteristics, the same technique, the same washed out aesthetic. In a way, we built a chaotic collection of constantly recurring todays; timeless ruins as eternally repeating products of human presence. Our book reflects on the concept of a beautiful future; is it as alluring as we imagine? The Faded Future Archive contains more than 100 images, hand printed by the artists by means of gum bichromate contact printing. The prints are made on Fabriano Rosaspina 220gsm, Arches 300gsm and Hahnemuhle Bamboo papers. The mounting cards are printed via the serigraphy process. Commercial and hand cut stamps were used. Other materials: cardboard, bookbinding fabric, paper, ribbon, metal closure, archival glue, Favini Remake 180gsm paper, Arjowiggins CLK 280gsm paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298726113-1B2YI7PSUPZT8XW29US7/mcba-prize-2020-Ioannis-Anastasiou-Majka-Dokudowicz-Faded-Future-Archive-5.jpg Entries & Jurors - 2020 Entries - Ioannis Anastasiou &amp; Majka Dokudowicz Wroclaw, Poland Faded Future Archive 2020 Artists’ book :artists’ made box, gum bichromate contact prints on Fabriano Rosaspina 220gsm/ Arches 300gsm/ Hahnemuhle Bamboo, commercial and handmade stamps. Folders: serigraphy, Favini Remake 180gsm, Arjowiggins CLK 280gsm 7.5 x 9.7 x 9.7” Artist Statement The Faded Future Archive is a work reminiscent of an archive drawer. Inside it, the 3 boxes present contain archival folders with prints mounted on photographic cards. The archive / repository we created is a compilation of photos showing ruins of buildings from areas of intense conflict, from World War I to the present day. Apart from its form, it is quite a peculiar archive – without exact dates, descriptions, details; not arranged chronologically or geographically, with illegible and hidden information, random numbers and inaccurate dates. Our search for images was very broad; Belarus, Bosnia, France, Germany, Poland, Italy, Russia, Kuwait, Lebanon, Grenada, Indonesia, Irak, Japan, Libya, Saudi Arabia, Syria, UK, USA, Spain, Belgium, Hungary, Denmark, Gaza, Serbia. But the country does not matter. On the contrary, in the Faded Future Archive one can browse through the whole world’s ruins without considering their origin and geographical location. The importance does not fall neither on the photographic reproduction or strict representation of the place and landscape, nor its place on the timeline of human history. All images are presented with uniform characteristics, the same technique, the same washed out aesthetic. In a way, we built a chaotic collection of constantly recurring todays; timeless ruins as eternally repeating products of human presence. Our book reflects on the concept of a beautiful future; is it as alluring as we imagine? The Faded Future Archive contains more than 100 images, hand printed by the artists by means of gum bichromate contact printing. The prints are made on Fabriano Rosaspina 220gsm, Arches 300gsm and Hahnemuhle Bamboo papers. The mounting cards are printed via the serigraphy process. Commercial and hand cut stamps were used. Other materials: cardboard, bookbinding fabric, paper, ribbon, metal closure, archival glue, Favini Remake 180gsm paper, Arjowiggins CLK 280gsm paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298592250-JF8HULI1LHXSDHYX579M/mcba-prize-2020-Camilo-Aguirre-Minimum-Movements-1.jpg Entries & Jurors - 2020 Entries - Camilo Aguirre Minneapolis, Minnesota camilo-aguirre.wixsite.com Minimum Movements 2019 digital prints 11 x 9″ Artist Statement Camilo Aguirre is a Colombian artist whose practice shifts between comics and fine arts. In his comics Camilo uses the elements of documentary format to tell non-fictional stories, implementing anecdotes and interviews from his immediate context, addressing the asking how his own subjectivity is constructed from the Colombian context, and reflecting on this context towards the ideas of globalization and belonging. Camilo has been the author of graphic novels such as Ciervos de Bronce (Bronze Deers, 2014), Calidez Aislada (Isolated Warmth, 2012) and has been coauthor of graphic novels such as Caminos Condenados (Condemned Paths, 2016) and La Palizua (2018). During his career in comics Camilo has been able to implement social research while working with communities in Colombia, in projects that involve addressing dispossession, violent conflict, historic memory and symbolic reparation. In the fine arts field Camilo approaches drawing as a series of strategies more than a medium, including the association of ideas and the relationships between material, formalization and context as drawing tools. In his long term project Ciervos de Bronce (2011–), Camilo has developed a personal archive of letters, photography, interviews, paintings, comics, animations and photocopies documenting his father’s participation in the union activism during the nineties and addressing the state violent persecution towards union activists in Colombia. In his project In Blood (2014,2016) Camilo addresses the political implications in his family history by highlighting chapters of Colombia’s history through his great grandmother (Toni y la hacienda, 2014) and inserting his great grand uncle’s reimagined history in Colombia’s independence Museum: Casa del Florero (Radical, 2016). Camilo Aguirre studied his MFA degree in Visual Studies at the Minneapolis College of Art and Design (2018-2020). In Minneapolis, Camilo curated the Suitcase Gallery at MCAD and carried out projects like Distant Letters (2018-2019), in which he exchanged images that were shown simultaneously in different countries through printmaking means. Camilo has also participated in the Mobile Printing Unit project at MCAD and made a graphic novel titled What Remains (2020) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298592178-I9WMFWBWNHJUQIJR7Q34/mcba-prize-2020-Camilo-Aguirre-Minimum-Movements-2.jpg Entries & Jurors - 2020 Entries - Camilo Aguirre Minneapolis, Minnesota camilo-aguirre.wixsite.com Minimum Movements 2019 digital prints 11 x 9″ Artist Statement Camilo Aguirre is a Colombian artist whose practice shifts between comics and fine arts. In his comics Camilo uses the elements of documentary format to tell non-fictional stories, implementing anecdotes and interviews from his immediate context, addressing the asking how his own subjectivity is constructed from the Colombian context, and reflecting on this context towards the ideas of globalization and belonging. Camilo has been the author of graphic novels such as Ciervos de Bronce (Bronze Deers, 2014), Calidez Aislada (Isolated Warmth, 2012) and has been coauthor of graphic novels such as Caminos Condenados (Condemned Paths, 2016) and La Palizua (2018). During his career in comics Camilo has been able to implement social research while working with communities in Colombia, in projects that involve addressing dispossession, violent conflict, historic memory and symbolic reparation. In the fine arts field Camilo approaches drawing as a series of strategies more than a medium, including the association of ideas and the relationships between material, formalization and context as drawing tools. In his long term project Ciervos de Bronce (2011–), Camilo has developed a personal archive of letters, photography, interviews, paintings, comics, animations and photocopies documenting his father’s participation in the union activism during the nineties and addressing the state violent persecution towards union activists in Colombia. In his project In Blood (2014,2016) Camilo addresses the political implications in his family history by highlighting chapters of Colombia’s history through his great grandmother (Toni y la hacienda, 2014) and inserting his great grand uncle’s reimagined history in Colombia’s independence Museum: Casa del Florero (Radical, 2016). Camilo Aguirre studied his MFA degree in Visual Studies at the Minneapolis College of Art and Design (2018-2020). In Minneapolis, Camilo curated the Suitcase Gallery at MCAD and carried out projects like Distant Letters (2018-2019), in which he exchanged images that were shown simultaneously in different countries through printmaking means. Camilo has also participated in the Mobile Printing Unit project at MCAD and made a graphic novel titled What Remains (2020) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298593428-9CU0IMKAQN03ECTKRL01/mcba-prize-2020-Camilo-Aguirre-Minimum-Movements-3.jpg Entries & Jurors - 2020 Entries - Camilo Aguirre Minneapolis, Minnesota camilo-aguirre.wixsite.com Minimum Movements 2019 digital prints 11 x 9″ Artist Statement Camilo Aguirre is a Colombian artist whose practice shifts between comics and fine arts. In his comics Camilo uses the elements of documentary format to tell non-fictional stories, implementing anecdotes and interviews from his immediate context, addressing the asking how his own subjectivity is constructed from the Colombian context, and reflecting on this context towards the ideas of globalization and belonging. Camilo has been the author of graphic novels such as Ciervos de Bronce (Bronze Deers, 2014), Calidez Aislada (Isolated Warmth, 2012) and has been coauthor of graphic novels such as Caminos Condenados (Condemned Paths, 2016) and La Palizua (2018). During his career in comics Camilo has been able to implement social research while working with communities in Colombia, in projects that involve addressing dispossession, violent conflict, historic memory and symbolic reparation. In the fine arts field Camilo approaches drawing as a series of strategies more than a medium, including the association of ideas and the relationships between material, formalization and context as drawing tools. In his long term project Ciervos de Bronce (2011–), Camilo has developed a personal archive of letters, photography, interviews, paintings, comics, animations and photocopies documenting his father’s participation in the union activism during the nineties and addressing the state violent persecution towards union activists in Colombia. In his project In Blood (2014,2016) Camilo addresses the political implications in his family history by highlighting chapters of Colombia’s history through his great grandmother (Toni y la hacienda, 2014) and inserting his great grand uncle’s reimagined history in Colombia’s independence Museum: Casa del Florero (Radical, 2016). Camilo Aguirre studied his MFA degree in Visual Studies at the Minneapolis College of Art and Design (2018-2020). In Minneapolis, Camilo curated the Suitcase Gallery at MCAD and carried out projects like Distant Letters (2018-2019), in which he exchanged images that were shown simultaneously in different countries through printmaking means. Camilo has also participated in the Mobile Printing Unit project at MCAD and made a graphic novel titled What Remains (2020) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298593997-SP5A7X13TGUOZCIDW1WH/mcba-prize-2020-Camilo-Aguirre-Minimum-Movements-4.jpg Entries & Jurors - 2020 Entries - Camilo Aguirre Minneapolis, Minnesota camilo-aguirre.wixsite.com Minimum Movements 2019 digital prints 11 x 9″ Artist Statement Camilo Aguirre is a Colombian artist whose practice shifts between comics and fine arts. In his comics Camilo uses the elements of documentary format to tell non-fictional stories, implementing anecdotes and interviews from his immediate context, addressing the asking how his own subjectivity is constructed from the Colombian context, and reflecting on this context towards the ideas of globalization and belonging. Camilo has been the author of graphic novels such as Ciervos de Bronce (Bronze Deers, 2014), Calidez Aislada (Isolated Warmth, 2012) and has been coauthor of graphic novels such as Caminos Condenados (Condemned Paths, 2016) and La Palizua (2018). During his career in comics Camilo has been able to implement social research while working with communities in Colombia, in projects that involve addressing dispossession, violent conflict, historic memory and symbolic reparation. In the fine arts field Camilo approaches drawing as a series of strategies more than a medium, including the association of ideas and the relationships between material, formalization and context as drawing tools. In his long term project Ciervos de Bronce (2011–), Camilo has developed a personal archive of letters, photography, interviews, paintings, comics, animations and photocopies documenting his father’s participation in the union activism during the nineties and addressing the state violent persecution towards union activists in Colombia. In his project In Blood (2014,2016) Camilo addresses the political implications in his family history by highlighting chapters of Colombia’s history through his great grandmother (Toni y la hacienda, 2014) and inserting his great grand uncle’s reimagined history in Colombia’s independence Museum: Casa del Florero (Radical, 2016). Camilo Aguirre studied his MFA degree in Visual Studies at the Minneapolis College of Art and Design (2018-2020). In Minneapolis, Camilo curated the Suitcase Gallery at MCAD and carried out projects like Distant Letters (2018-2019), in which he exchanged images that were shown simultaneously in different countries through printmaking means. Camilo has also participated in the Mobile Printing Unit project at MCAD and made a graphic novel titled What Remains (2020) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298594977-FITIKCXHF840ZYRWLT6V/mcba-prize-2020-Camilo-Aguirre-Minimum-Movements-5.jpg Entries & Jurors - 2020 Entries - Camilo Aguirre Minneapolis, Minnesota camilo-aguirre.wixsite.com Minimum Movements 2019 digital prints 11 x 9″ Artist Statement Camilo Aguirre is a Colombian artist whose practice shifts between comics and fine arts. In his comics Camilo uses the elements of documentary format to tell non-fictional stories, implementing anecdotes and interviews from his immediate context, addressing the asking how his own subjectivity is constructed from the Colombian context, and reflecting on this context towards the ideas of globalization and belonging. Camilo has been the author of graphic novels such as Ciervos de Bronce (Bronze Deers, 2014), Calidez Aislada (Isolated Warmth, 2012) and has been coauthor of graphic novels such as Caminos Condenados (Condemned Paths, 2016) and La Palizua (2018). During his career in comics Camilo has been able to implement social research while working with communities in Colombia, in projects that involve addressing dispossession, violent conflict, historic memory and symbolic reparation. In the fine arts field Camilo approaches drawing as a series of strategies more than a medium, including the association of ideas and the relationships between material, formalization and context as drawing tools. In his long term project Ciervos de Bronce (2011–), Camilo has developed a personal archive of letters, photography, interviews, paintings, comics, animations and photocopies documenting his father’s participation in the union activism during the nineties and addressing the state violent persecution towards union activists in Colombia. In his project In Blood (2014,2016) Camilo addresses the political implications in his family history by highlighting chapters of Colombia’s history through his great grandmother (Toni y la hacienda, 2014) and inserting his great grand uncle’s reimagined history in Colombia’s independence Museum: Casa del Florero (Radical, 2016). Camilo Aguirre studied his MFA degree in Visual Studies at the Minneapolis College of Art and Design (2018-2020). In Minneapolis, Camilo curated the Suitcase Gallery at MCAD and carried out projects like Distant Letters (2018-2019), in which he exchanged images that were shown simultaneously in different countries through printmaking means. Camilo has also participated in the Mobile Printing Unit project at MCAD and made a graphic novel titled What Remains (2020) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774368105064-2OSO2DQI85MWNEI2I10X/mcba-prize-2020-Sonia-Farmer-The-Red-Thread-Cycle-5.jpg Entries & Jurors - 2020 Entries - Sonia Farmer Nassau, Bahamas sonia-farmer.com The Red Thread Cycle 2019 Letterpress printed books collected in Tyvek envelopes and a handmade file box 10.5×3.25×7.5″ Artist Statement The Red Thread Cycle (2019) provides gut-wrenching witness to the realities of sexual assault in the Caribbean region. The starting point for this work is a series of seven poems by Trinidadian writer Shivanee Ramlochan that appear in her first book of poetry, Everyone Knows I Am a Haunting (Peepal Tree Press, 2017). I felt a powerful connection with what she calls the “spine” of this collection that catalogues seven experiences of sexual assault and their aftermath, The Red Thread Cycle. Even though the series is rooted in the cultural space of Trinidad, the poems nevertheless remind their reader of the violence that disproportionately affects our region of the world. They are hard poems to digest, but we must be open to what the pain of these poems teaches us about trauma and survival in the Caribbean. We have to look. That realization, or command, or mantra—we have to look—became my guide for engaging meaningfully with the poems through an artist’s book that demands from its readers this same careful but sustained engagement with such trauma and survival. Each poem deserves its own consideration of form, pacing, and reading, so I used a different folding structure for each one, allowing the seven different voices in the poems to share their own individual encounters within the overall experience of sexual trauma. These books reinterpret their original linear poetic forms, each structure inhabiting the individual voice of the poem to refract and reflect its narrative, allowing the reader to access its core emotional complexity as they engage with each piece. For example, Book I, On the Third Anniversary of the Rape, uses an “ox-plow” structure to locate the reader within the labyrinthine environment of the poem, and Book VI, Public Holiday, uses a blizzard book to conceal and reveal text to explore alternative narratives about a sexual encounter. Though they have different structures, these books are linked by medium (letterpress-printing), typeface (Centaur), materials (Rives Lightweight), color palette (red, black, and warm grey), propor- tions, and most importantly, repetitive imagery. These images, made through pressure printing and experimental platemaking techniques with often unpredictable outcomes, create a necessary raw aes- thetic to accompany the prose, which is layered and repeated throughout the books to take on multiple meanings in their fragmented silhouettes and abstract forms. Presented as a rape kit, each book is stored in a black Tyvek envelope with its corresponding number letterpress-printed on the outside flap, and the first line of the poem on the inside of the flap, as if they are catalogued pieces of evidence. The reader encounters a red stain on the inside when they lift the flap to remove the book. Housed in a handmade filing box, the set also includes an envelope con- taining an audio recording of Shivanee reading all seven poems to provide readers with an immersive experience of listening as well as engaging, a total confrontation of the senses that readers must find the willingness to endure for all of the rewards that such witness can hold. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774368105591-UX14B5CG0BUBVNM7YVJA/mcba-prize-2020-Sonia-Farmer-The-Red-Thread-Cycle-4.jpg Entries & Jurors - 2020 Entries - Sonia Farmer Nassau, Bahamas sonia-farmer.com The Red Thread Cycle 2019 Letterpress printed books collected in Tyvek envelopes and a handmade file box 10.5×3.25×7.5″ Artist Statement The Red Thread Cycle (2019) provides gut-wrenching witness to the realities of sexual assault in the Caribbean region. The starting point for this work is a series of seven poems by Trinidadian writer Shivanee Ramlochan that appear in her first book of poetry, Everyone Knows I Am a Haunting (Peepal Tree Press, 2017). I felt a powerful connection with what she calls the “spine” of this collection that catalogues seven experiences of sexual assault and their aftermath, The Red Thread Cycle. Even though the series is rooted in the cultural space of Trinidad, the poems nevertheless remind their reader of the violence that disproportionately affects our region of the world. They are hard poems to digest, but we must be open to what the pain of these poems teaches us about trauma and survival in the Caribbean. We have to look. That realization, or command, or mantra—we have to look—became my guide for engaging meaningfully with the poems through an artist’s book that demands from its readers this same careful but sustained engagement with such trauma and survival. Each poem deserves its own consideration of form, pacing, and reading, so I used a different folding structure for each one, allowing the seven different voices in the poems to share their own individual encounters within the overall experience of sexual trauma. These books reinterpret their original linear poetic forms, each structure inhabiting the individual voice of the poem to refract and reflect its narrative, allowing the reader to access its core emotional complexity as they engage with each piece. For example, Book I, On the Third Anniversary of the Rape, uses an “ox-plow” structure to locate the reader within the labyrinthine environment of the poem, and Book VI, Public Holiday, uses a blizzard book to conceal and reveal text to explore alternative narratives about a sexual encounter. Though they have different structures, these books are linked by medium (letterpress-printing), typeface (Centaur), materials (Rives Lightweight), color palette (red, black, and warm grey), propor- tions, and most importantly, repetitive imagery. These images, made through pressure printing and experimental platemaking techniques with often unpredictable outcomes, create a necessary raw aes- thetic to accompany the prose, which is layered and repeated throughout the books to take on multiple meanings in their fragmented silhouettes and abstract forms. Presented as a rape kit, each book is stored in a black Tyvek envelope with its corresponding number letterpress-printed on the outside flap, and the first line of the poem on the inside of the flap, as if they are catalogued pieces of evidence. The reader encounters a red stain on the inside when they lift the flap to remove the book. Housed in a handmade filing box, the set also includes an envelope con- taining an audio recording of Shivanee reading all seven poems to provide readers with an immersive experience of listening as well as engaging, a total confrontation of the senses that readers must find the willingness to endure for all of the rewards that such witness can hold. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774368107014-NI48FZZTCIFAK5ZPFUWR/mcba-prize-2020-Sonia-Farmer-The-Red-Thread-Cycle-3.jpg Entries & Jurors - 2020 Entries - Sonia Farmer Nassau, Bahamas sonia-farmer.com The Red Thread Cycle 2019 Letterpress printed books collected in Tyvek envelopes and a handmade file box 10.5×3.25×7.5″ Artist Statement The Red Thread Cycle (2019) provides gut-wrenching witness to the realities of sexual assault in the Caribbean region. The starting point for this work is a series of seven poems by Trinidadian writer Shivanee Ramlochan that appear in her first book of poetry, Everyone Knows I Am a Haunting (Peepal Tree Press, 2017). I felt a powerful connection with what she calls the “spine” of this collection that catalogues seven experiences of sexual assault and their aftermath, The Red Thread Cycle. Even though the series is rooted in the cultural space of Trinidad, the poems nevertheless remind their reader of the violence that disproportionately affects our region of the world. They are hard poems to digest, but we must be open to what the pain of these poems teaches us about trauma and survival in the Caribbean. We have to look. That realization, or command, or mantra—we have to look—became my guide for engaging meaningfully with the poems through an artist’s book that demands from its readers this same careful but sustained engagement with such trauma and survival. Each poem deserves its own consideration of form, pacing, and reading, so I used a different folding structure for each one, allowing the seven different voices in the poems to share their own individual encounters within the overall experience of sexual trauma. These books reinterpret their original linear poetic forms, each structure inhabiting the individual voice of the poem to refract and reflect its narrative, allowing the reader to access its core emotional complexity as they engage with each piece. For example, Book I, On the Third Anniversary of the Rape, uses an “ox-plow” structure to locate the reader within the labyrinthine environment of the poem, and Book VI, Public Holiday, uses a blizzard book to conceal and reveal text to explore alternative narratives about a sexual encounter. Though they have different structures, these books are linked by medium (letterpress-printing), typeface (Centaur), materials (Rives Lightweight), color palette (red, black, and warm grey), propor- tions, and most importantly, repetitive imagery. These images, made through pressure printing and experimental platemaking techniques with often unpredictable outcomes, create a necessary raw aes- thetic to accompany the prose, which is layered and repeated throughout the books to take on multiple meanings in their fragmented silhouettes and abstract forms. Presented as a rape kit, each book is stored in a black Tyvek envelope with its corresponding number letterpress-printed on the outside flap, and the first line of the poem on the inside of the flap, as if they are catalogued pieces of evidence. The reader encounters a red stain on the inside when they lift the flap to remove the book. Housed in a handmade filing box, the set also includes an envelope con- taining an audio recording of Shivanee reading all seven poems to provide readers with an immersive experience of listening as well as engaging, a total confrontation of the senses that readers must find the willingness to endure for all of the rewards that such witness can hold. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774368108371-C9LVI02L0MQK14RAE80C/mcba-prize-2020-Sonia-Farmer-The-Red-Thread-Cycle-2.jpg Entries & Jurors - 2020 Entries - Sonia Farmer Nassau, Bahamas sonia-farmer.com The Red Thread Cycle 2019 Letterpress printed books collected in Tyvek envelopes and a handmade file box 10.5×3.25×7.5″ Artist Statement The Red Thread Cycle (2019) provides gut-wrenching witness to the realities of sexual assault in the Caribbean region. The starting point for this work is a series of seven poems by Trinidadian writer Shivanee Ramlochan that appear in her first book of poetry, Everyone Knows I Am a Haunting (Peepal Tree Press, 2017). I felt a powerful connection with what she calls the “spine” of this collection that catalogues seven experiences of sexual assault and their aftermath, The Red Thread Cycle. Even though the series is rooted in the cultural space of Trinidad, the poems nevertheless remind their reader of the violence that disproportionately affects our region of the world. They are hard poems to digest, but we must be open to what the pain of these poems teaches us about trauma and survival in the Caribbean. We have to look. That realization, or command, or mantra—we have to look—became my guide for engaging meaningfully with the poems through an artist’s book that demands from its readers this same careful but sustained engagement with such trauma and survival. Each poem deserves its own consideration of form, pacing, and reading, so I used a different folding structure for each one, allowing the seven different voices in the poems to share their own individual encounters within the overall experience of sexual trauma. These books reinterpret their original linear poetic forms, each structure inhabiting the individual voice of the poem to refract and reflect its narrative, allowing the reader to access its core emotional complexity as they engage with each piece. For example, Book I, On the Third Anniversary of the Rape, uses an “ox-plow” structure to locate the reader within the labyrinthine environment of the poem, and Book VI, Public Holiday, uses a blizzard book to conceal and reveal text to explore alternative narratives about a sexual encounter. Though they have different structures, these books are linked by medium (letterpress-printing), typeface (Centaur), materials (Rives Lightweight), color palette (red, black, and warm grey), propor- tions, and most importantly, repetitive imagery. These images, made through pressure printing and experimental platemaking techniques with often unpredictable outcomes, create a necessary raw aes- thetic to accompany the prose, which is layered and repeated throughout the books to take on multiple meanings in their fragmented silhouettes and abstract forms. Presented as a rape kit, each book is stored in a black Tyvek envelope with its corresponding number letterpress-printed on the outside flap, and the first line of the poem on the inside of the flap, as if they are catalogued pieces of evidence. The reader encounters a red stain on the inside when they lift the flap to remove the book. Housed in a handmade filing box, the set also includes an envelope con- taining an audio recording of Shivanee reading all seven poems to provide readers with an immersive experience of listening as well as engaging, a total confrontation of the senses that readers must find the willingness to endure for all of the rewards that such witness can hold. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774368109522-HKJDZDLYO8RYYKG6NCJF/mcba-prize-2020-Sonia-Farmer-The-Red-Thread-Cycle-1.jpg Entries & Jurors - 2020 Entries - Sonia Farmer Nassau, Bahamas sonia-farmer.com The Red Thread Cycle 2019 Letterpress printed books collected in Tyvek envelopes and a handmade file box 10.5×3.25×7.5″ Artist Statement The Red Thread Cycle (2019) provides gut-wrenching witness to the realities of sexual assault in the Caribbean region. The starting point for this work is a series of seven poems by Trinidadian writer Shivanee Ramlochan that appear in her first book of poetry, Everyone Knows I Am a Haunting (Peepal Tree Press, 2017). I felt a powerful connection with what she calls the “spine” of this collection that catalogues seven experiences of sexual assault and their aftermath, The Red Thread Cycle. Even though the series is rooted in the cultural space of Trinidad, the poems nevertheless remind their reader of the violence that disproportionately affects our region of the world. They are hard poems to digest, but we must be open to what the pain of these poems teaches us about trauma and survival in the Caribbean. We have to look. That realization, or command, or mantra—we have to look—became my guide for engaging meaningfully with the poems through an artist’s book that demands from its readers this same careful but sustained engagement with such trauma and survival. Each poem deserves its own consideration of form, pacing, and reading, so I used a different folding structure for each one, allowing the seven different voices in the poems to share their own individual encounters within the overall experience of sexual trauma. These books reinterpret their original linear poetic forms, each structure inhabiting the individual voice of the poem to refract and reflect its narrative, allowing the reader to access its core emotional complexity as they engage with each piece. For example, Book I, On the Third Anniversary of the Rape, uses an “ox-plow” structure to locate the reader within the labyrinthine environment of the poem, and Book VI, Public Holiday, uses a blizzard book to conceal and reveal text to explore alternative narratives about a sexual encounter. Though they have different structures, these books are linked by medium (letterpress-printing), typeface (Centaur), materials (Rives Lightweight), color palette (red, black, and warm grey), propor- tions, and most importantly, repetitive imagery. These images, made through pressure printing and experimental platemaking techniques with often unpredictable outcomes, create a necessary raw aes- thetic to accompany the prose, which is layered and repeated throughout the books to take on multiple meanings in their fragmented silhouettes and abstract forms. Presented as a rape kit, each book is stored in a black Tyvek envelope with its corresponding number letterpress-printed on the outside flap, and the first line of the poem on the inside of the flap, as if they are catalogued pieces of evidence. The reader encounters a red stain on the inside when they lift the flap to remove the book. Housed in a handmade filing box, the set also includes an envelope con- taining an audio recording of Shivanee reading all seven poems to provide readers with an immersive experience of listening as well as engaging, a total confrontation of the senses that readers must find the willingness to endure for all of the rewards that such witness can hold. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298861323-C17D7S9I5FF69QQK6HW4/mcba-prize-2020-Hannah-Antalek-Inside-Joke-1.jpg Entries & Jurors - 2020 Entries - Hannah Antalek Brooklyn, New York hannahantalek.com Inside Joke 2019 acrylic, collage, colored pencil, graphite, ink, marker and oil pastel on composition notebook 10 x 7.5 x .5″ Artist Statement “Inside Joke” is an artist book conceived as an extension of my painting practice. My paintings and drawings begin by sifting through my large archive of family photo albums, childhood sketchbooks, cartoon stills, and “90’s nostalgia” Pinterest boards. I am interested in the fallibility of memory as I grapple with these images as evidence of events, actions, entertainment, and consumer products that defined a specific time of my childhood. Revisiting this era in my early development has served as a biographical and cultural lens to analyze my current inclinations towards art- making. This process also offers respite to simpler times by quelling the anxieties of the present brought on by current-day political, social and economic stresses. In Marcel Proust’s novel In Search of Lost Time, the narrator, (an autofictional version of the author) famously eats a madeleine cookie and is transported through sensory experience back to a vivid remembering of his childhood. Unlike Proust, my source material has lead me further from the reality of time passed. Conjuring completely unrelated or adjacent memories, I collage disparate images together, both narratively and physically, within the drawings. “Inside Joke” is a catalog of personal imagery (a birthday cake, my bedside table, a love note or my dinner) and the personally symbolic (Halloween, insects, animals, smiley faces). The manner of making the drawings is honest and straightforward yet the subject matter oscillates between secretive and sentimental. On one page a benign hot dog swaddled in a checkered picnic blanket upends the seriousness of another drawing depicting a gravestone underneath a rainbow, while on another page ants devour a rose encircled by a studded collar; an illegible surrealist symbol. Humor, anxiety, importance, meaninglessness and tragedy are aspects that overlap through the stream of conscious nature through which the drawings are made. By combining fragments of divergent memories, both personal and cultural, my work belies the notion that memory is something pure, intact and unchanging – something that can be neatly summoned at will. “Inside Joke” is a book about nostalgia, however not in the standard definition as having a sentimentality for the past, but rather to have a sentimentality towards a utopian memory that never existed. The work tells a diaristic fiction based on true, deeply personal events while still inviting the viewer in with the universality of everyday events and objects reflective of a middle class American upbringing at the end of the 20th century. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298861438-NDHRVLWW75Q9JXRFCLKX/mcba-prize-2020-Hannah-Antalek-Inside-Joke-2.jpg Entries & Jurors - 2020 Entries - Hannah Antalek Brooklyn, New York hannahantalek.com Inside Joke 2019 acrylic, collage, colored pencil, graphite, ink, marker and oil pastel on composition notebook 10 x 7.5 x .5″ Artist Statement “Inside Joke” is an artist book conceived as an extension of my painting practice. My paintings and drawings begin by sifting through my large archive of family photo albums, childhood sketchbooks, cartoon stills, and “90’s nostalgia” Pinterest boards. I am interested in the fallibility of memory as I grapple with these images as evidence of events, actions, entertainment, and consumer products that defined a specific time of my childhood. Revisiting this era in my early development has served as a biographical and cultural lens to analyze my current inclinations towards art- making. This process also offers respite to simpler times by quelling the anxieties of the present brought on by current-day political, social and economic stresses. In Marcel Proust’s novel In Search of Lost Time, the narrator, (an autofictional version of the author) famously eats a madeleine cookie and is transported through sensory experience back to a vivid remembering of his childhood. Unlike Proust, my source material has lead me further from the reality of time passed. Conjuring completely unrelated or adjacent memories, I collage disparate images together, both narratively and physically, within the drawings. “Inside Joke” is a catalog of personal imagery (a birthday cake, my bedside table, a love note or my dinner) and the personally symbolic (Halloween, insects, animals, smiley faces). The manner of making the drawings is honest and straightforward yet the subject matter oscillates between secretive and sentimental. On one page a benign hot dog swaddled in a checkered picnic blanket upends the seriousness of another drawing depicting a gravestone underneath a rainbow, while on another page ants devour a rose encircled by a studded collar; an illegible surrealist symbol. Humor, anxiety, importance, meaninglessness and tragedy are aspects that overlap through the stream of conscious nature through which the drawings are made. By combining fragments of divergent memories, both personal and cultural, my work belies the notion that memory is something pure, intact and unchanging – something that can be neatly summoned at will. “Inside Joke” is a book about nostalgia, however not in the standard definition as having a sentimentality for the past, but rather to have a sentimentality towards a utopian memory that never existed. The work tells a diaristic fiction based on true, deeply personal events while still inviting the viewer in with the universality of everyday events and objects reflective of a middle class American upbringing at the end of the 20th century. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298863485-BZ99GQ44H7X1L1S5M5PB/mcba-prize-2020-Hannah-Antalek-Inside-Joke-3.jpg Entries & Jurors - 2020 Entries - Hannah Antalek Brooklyn, New York hannahantalek.com Inside Joke 2019 acrylic, collage, colored pencil, graphite, ink, marker and oil pastel on composition notebook 10 x 7.5 x .5″ Artist Statement “Inside Joke” is an artist book conceived as an extension of my painting practice. My paintings and drawings begin by sifting through my large archive of family photo albums, childhood sketchbooks, cartoon stills, and “90’s nostalgia” Pinterest boards. I am interested in the fallibility of memory as I grapple with these images as evidence of events, actions, entertainment, and consumer products that defined a specific time of my childhood. Revisiting this era in my early development has served as a biographical and cultural lens to analyze my current inclinations towards art- making. This process also offers respite to simpler times by quelling the anxieties of the present brought on by current-day political, social and economic stresses. In Marcel Proust’s novel In Search of Lost Time, the narrator, (an autofictional version of the author) famously eats a madeleine cookie and is transported through sensory experience back to a vivid remembering of his childhood. Unlike Proust, my source material has lead me further from the reality of time passed. Conjuring completely unrelated or adjacent memories, I collage disparate images together, both narratively and physically, within the drawings. “Inside Joke” is a catalog of personal imagery (a birthday cake, my bedside table, a love note or my dinner) and the personally symbolic (Halloween, insects, animals, smiley faces). The manner of making the drawings is honest and straightforward yet the subject matter oscillates between secretive and sentimental. On one page a benign hot dog swaddled in a checkered picnic blanket upends the seriousness of another drawing depicting a gravestone underneath a rainbow, while on another page ants devour a rose encircled by a studded collar; an illegible surrealist symbol. Humor, anxiety, importance, meaninglessness and tragedy are aspects that overlap through the stream of conscious nature through which the drawings are made. By combining fragments of divergent memories, both personal and cultural, my work belies the notion that memory is something pure, intact and unchanging – something that can be neatly summoned at will. “Inside Joke” is a book about nostalgia, however not in the standard definition as having a sentimentality for the past, but rather to have a sentimentality towards a utopian memory that never existed. The work tells a diaristic fiction based on true, deeply personal events while still inviting the viewer in with the universality of everyday events and objects reflective of a middle class American upbringing at the end of the 20th century. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298864011-ZV4L2WGLCF5RUR4RPJ77/mcba-prize-2020-Hannah-Antalek-Inside-Joke-4.jpg Entries & Jurors - 2020 Entries - Hannah Antalek Brooklyn, New York hannahantalek.com Inside Joke 2019 acrylic, collage, colored pencil, graphite, ink, marker and oil pastel on composition notebook 10 x 7.5 x .5″ Artist Statement “Inside Joke” is an artist book conceived as an extension of my painting practice. My paintings and drawings begin by sifting through my large archive of family photo albums, childhood sketchbooks, cartoon stills, and “90’s nostalgia” Pinterest boards. I am interested in the fallibility of memory as I grapple with these images as evidence of events, actions, entertainment, and consumer products that defined a specific time of my childhood. Revisiting this era in my early development has served as a biographical and cultural lens to analyze my current inclinations towards art- making. This process also offers respite to simpler times by quelling the anxieties of the present brought on by current-day political, social and economic stresses. In Marcel Proust’s novel In Search of Lost Time, the narrator, (an autofictional version of the author) famously eats a madeleine cookie and is transported through sensory experience back to a vivid remembering of his childhood. Unlike Proust, my source material has lead me further from the reality of time passed. Conjuring completely unrelated or adjacent memories, I collage disparate images together, both narratively and physically, within the drawings. “Inside Joke” is a catalog of personal imagery (a birthday cake, my bedside table, a love note or my dinner) and the personally symbolic (Halloween, insects, animals, smiley faces). The manner of making the drawings is honest and straightforward yet the subject matter oscillates between secretive and sentimental. On one page a benign hot dog swaddled in a checkered picnic blanket upends the seriousness of another drawing depicting a gravestone underneath a rainbow, while on another page ants devour a rose encircled by a studded collar; an illegible surrealist symbol. Humor, anxiety, importance, meaninglessness and tragedy are aspects that overlap through the stream of conscious nature through which the drawings are made. By combining fragments of divergent memories, both personal and cultural, my work belies the notion that memory is something pure, intact and unchanging – something that can be neatly summoned at will. “Inside Joke” is a book about nostalgia, however not in the standard definition as having a sentimentality for the past, but rather to have a sentimentality towards a utopian memory that never existed. The work tells a diaristic fiction based on true, deeply personal events while still inviting the viewer in with the universality of everyday events and objects reflective of a middle class American upbringing at the end of the 20th century. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298865364-VEPIIL3X86PIXOUR8QOZ/mcba-prize-2020-Hannah-Antalek-Inside-Joke-5.jpg Entries & Jurors - 2020 Entries - Hannah Antalek Brooklyn, New York hannahantalek.com Inside Joke 2019 acrylic, collage, colored pencil, graphite, ink, marker and oil pastel on composition notebook 10 x 7.5 x .5″ Artist Statement “Inside Joke” is an artist book conceived as an extension of my painting practice. My paintings and drawings begin by sifting through my large archive of family photo albums, childhood sketchbooks, cartoon stills, and “90’s nostalgia” Pinterest boards. I am interested in the fallibility of memory as I grapple with these images as evidence of events, actions, entertainment, and consumer products that defined a specific time of my childhood. Revisiting this era in my early development has served as a biographical and cultural lens to analyze my current inclinations towards art- making. This process also offers respite to simpler times by quelling the anxieties of the present brought on by current-day political, social and economic stresses. In Marcel Proust’s novel In Search of Lost Time, the narrator, (an autofictional version of the author) famously eats a madeleine cookie and is transported through sensory experience back to a vivid remembering of his childhood. Unlike Proust, my source material has lead me further from the reality of time passed. Conjuring completely unrelated or adjacent memories, I collage disparate images together, both narratively and physically, within the drawings. “Inside Joke” is a catalog of personal imagery (a birthday cake, my bedside table, a love note or my dinner) and the personally symbolic (Halloween, insects, animals, smiley faces). The manner of making the drawings is honest and straightforward yet the subject matter oscillates between secretive and sentimental. On one page a benign hot dog swaddled in a checkered picnic blanket upends the seriousness of another drawing depicting a gravestone underneath a rainbow, while on another page ants devour a rose encircled by a studded collar; an illegible surrealist symbol. Humor, anxiety, importance, meaninglessness and tragedy are aspects that overlap through the stream of conscious nature through which the drawings are made. By combining fragments of divergent memories, both personal and cultural, my work belies the notion that memory is something pure, intact and unchanging – something that can be neatly summoned at will. “Inside Joke” is a book about nostalgia, however not in the standard definition as having a sentimentality for the past, but rather to have a sentimentality towards a utopian memory that never existed. The work tells a diaristic fiction based on true, deeply personal events while still inviting the viewer in with the universality of everyday events and objects reflective of a middle class American upbringing at the end of the 20th century. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298961008-4CEGD3XVJ7XJYC1FN1VN/mcba-prize-2020-Lizzy-Arden-Sweet-Talk-1.jpg Entries & Jurors - 2020 Entries - Lizzy Arden La Mesa, California lizzyarden.com Sweet-Talk 2019 inkjet printing, screen printing, Vandyke brown prints on pulp-painted abaca, monotypes, and letterpress printing 11 x 1 x 9″ Artist Statement Women coming of age in the early twenty-first century advocate for themselves in areas of inequality that the civil rights movements of 60s and 70s did not fully achieve. In particular, my work directly engages with the problem’s women face with respect to body image and beauty standards. As a visual artist, I feel compelled to make work about these persistent issues and the challenges that have resulted from them. Specifically, my work explores some of the psychological issues that affect women’s self-images and personal relationships, as well as the consequences women face when deviating from perceived societal norms. I combine text and visual images that relate to these struggles, focusing, in particular, on my own individual experiences with and perspectives on these matters. I self-consciously combine media as well as elements of text to critique gendered prejudices related to the body for my prints and artist books. I move freely between non-silver processes, such as Vandyke brown, and other techniques such as papermaking, printmaking, and letterpress printed elements. I often introduce new methods and mediums, working across artistic disciplines and in layers, analogous to the stratification of emotions that run deep within us. By exposing and covering, excavating and burying through the layers of my work, I explore my own vulnerabilities as an index of larger, universal insecurities plaguing all women. I likewise consider how emotions intermix with other memories and feelings to create something unique and irrational, a concept I aim to expose in my artwork. In my artist book Sweet-Talk, it focuses on the objectification of women by women. Sweet-Talk, discusses the idea that not only do men objectify women, but that women are taught to objectify themselves and are continuing the cycle. The book uses an excerpt from John Berger’s, Ways of Seeing, as the main text of the book. It is important to note that this was written by a man in 1972. Although my book is about contemporary women, I feel that his essay on the female nude is still very relevant and needs to be part of the feminist conversation. He argues that in Western art and then present-day media, women are shown and treated as objects and that the gaze is for the pleasure of a male. He argues that not only do men do this, but that women are taught to view themselves in this manner and that they are subconsciously always aware of the viewer. Sweet-Talk asserts the idea that, as women, many of us still struggle to alter this way of thought of objectifying ourselves. In Sweet-Talk, I broke up the text through a series of photographs and prints that switch back and forth between bright posed colored photographs on soft Japanese Mulberry paper, and somber monochromatic photos on rigid transparent abaca paper. Each photo is accompanied by a larger word that is used to describe the female such as “luminous,” “mesmeric,” “domineering,” “sullen,” and “noxious.” These words are directed at females either as desires, fears, or common labels. This book shows the split between the two selves of a women, exposing a picture-perfect performative side as well as a vulnerable, dark side of women that no one usually sees. This book puts the reader in the surveyor’s position, seeing all perspectives of a woman, as an object and as a subject, highlighting how a woman may act differently for others, how she wants to be seen, how she views herself in private, how she can be viewed in a positive way or negative way, and how she is aware of all of these perspectives, at all times. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298960305-3UG5IRPWH28XSJJ5WN5D/mcba-prize-2020-Lizzy-Arden-Sweet-Talk-2.jpg Entries & Jurors - 2020 Entries - Lizzy Arden La Mesa, California lizzyarden.com Sweet-Talk 2019 inkjet printing, screen printing, Vandyke brown prints on pulp-painted abaca, monotypes, and letterpress printing 11 x 1 x 9″ Artist Statement Women coming of age in the early twenty-first century advocate for themselves in areas of inequality that the civil rights movements of 60s and 70s did not fully achieve. In particular, my work directly engages with the problem’s women face with respect to body image and beauty standards. As a visual artist, I feel compelled to make work about these persistent issues and the challenges that have resulted from them. Specifically, my work explores some of the psychological issues that affect women’s self-images and personal relationships, as well as the consequences women face when deviating from perceived societal norms. I combine text and visual images that relate to these struggles, focusing, in particular, on my own individual experiences with and perspectives on these matters. I self-consciously combine media as well as elements of text to critique gendered prejudices related to the body for my prints and artist books. I move freely between non-silver processes, such as Vandyke brown, and other techniques such as papermaking, printmaking, and letterpress printed elements. I often introduce new methods and mediums, working across artistic disciplines and in layers, analogous to the stratification of emotions that run deep within us. By exposing and covering, excavating and burying through the layers of my work, I explore my own vulnerabilities as an index of larger, universal insecurities plaguing all women. I likewise consider how emotions intermix with other memories and feelings to create something unique and irrational, a concept I aim to expose in my artwork. In my artist book Sweet-Talk, it focuses on the objectification of women by women. Sweet-Talk, discusses the idea that not only do men objectify women, but that women are taught to objectify themselves and are continuing the cycle. The book uses an excerpt from John Berger’s, Ways of Seeing, as the main text of the book. It is important to note that this was written by a man in 1972. Although my book is about contemporary women, I feel that his essay on the female nude is still very relevant and needs to be part of the feminist conversation. He argues that in Western art and then present-day media, women are shown and treated as objects and that the gaze is for the pleasure of a male. He argues that not only do men do this, but that women are taught to view themselves in this manner and that they are subconsciously always aware of the viewer. Sweet-Talk asserts the idea that, as women, many of us still struggle to alter this way of thought of objectifying ourselves. In Sweet-Talk, I broke up the text through a series of photographs and prints that switch back and forth between bright posed colored photographs on soft Japanese Mulberry paper, and somber monochromatic photos on rigid transparent abaca paper. Each photo is accompanied by a larger word that is used to describe the female such as “luminous,” “mesmeric,” “domineering,” “sullen,” and “noxious.” These words are directed at females either as desires, fears, or common labels. This book shows the split between the two selves of a women, exposing a picture-perfect performative side as well as a vulnerable, dark side of women that no one usually sees. This book puts the reader in the surveyor’s position, seeing all perspectives of a woman, as an object and as a subject, highlighting how a woman may act differently for others, how she wants to be seen, how she views herself in private, how she can be viewed in a positive way or negative way, and how she is aware of all of these perspectives, at all times. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298961904-H7DZDRNT4D64XHB4DETH/mcba-prize-2020-Lizzy-Arden-Sweet-Talk-3.jpg Entries & Jurors - 2020 Entries - Lizzy Arden La Mesa, California lizzyarden.com Sweet-Talk 2019 inkjet printing, screen printing, Vandyke brown prints on pulp-painted abaca, monotypes, and letterpress printing 11 x 1 x 9″ Artist Statement Women coming of age in the early twenty-first century advocate for themselves in areas of inequality that the civil rights movements of 60s and 70s did not fully achieve. In particular, my work directly engages with the problem’s women face with respect to body image and beauty standards. As a visual artist, I feel compelled to make work about these persistent issues and the challenges that have resulted from them. Specifically, my work explores some of the psychological issues that affect women’s self-images and personal relationships, as well as the consequences women face when deviating from perceived societal norms. I combine text and visual images that relate to these struggles, focusing, in particular, on my own individual experiences with and perspectives on these matters. I self-consciously combine media as well as elements of text to critique gendered prejudices related to the body for my prints and artist books. I move freely between non-silver processes, such as Vandyke brown, and other techniques such as papermaking, printmaking, and letterpress printed elements. I often introduce new methods and mediums, working across artistic disciplines and in layers, analogous to the stratification of emotions that run deep within us. By exposing and covering, excavating and burying through the layers of my work, I explore my own vulnerabilities as an index of larger, universal insecurities plaguing all women. I likewise consider how emotions intermix with other memories and feelings to create something unique and irrational, a concept I aim to expose in my artwork. In my artist book Sweet-Talk, it focuses on the objectification of women by women. Sweet-Talk, discusses the idea that not only do men objectify women, but that women are taught to objectify themselves and are continuing the cycle. The book uses an excerpt from John Berger’s, Ways of Seeing, as the main text of the book. It is important to note that this was written by a man in 1972. Although my book is about contemporary women, I feel that his essay on the female nude is still very relevant and needs to be part of the feminist conversation. He argues that in Western art and then present-day media, women are shown and treated as objects and that the gaze is for the pleasure of a male. He argues that not only do men do this, but that women are taught to view themselves in this manner and that they are subconsciously always aware of the viewer. Sweet-Talk asserts the idea that, as women, many of us still struggle to alter this way of thought of objectifying ourselves. In Sweet-Talk, I broke up the text through a series of photographs and prints that switch back and forth between bright posed colored photographs on soft Japanese Mulberry paper, and somber monochromatic photos on rigid transparent abaca paper. Each photo is accompanied by a larger word that is used to describe the female such as “luminous,” “mesmeric,” “domineering,” “sullen,” and “noxious.” These words are directed at females either as desires, fears, or common labels. This book shows the split between the two selves of a women, exposing a picture-perfect performative side as well as a vulnerable, dark side of women that no one usually sees. This book puts the reader in the surveyor’s position, seeing all perspectives of a woman, as an object and as a subject, highlighting how a woman may act differently for others, how she wants to be seen, how she views herself in private, how she can be viewed in a positive way or negative way, and how she is aware of all of these perspectives, at all times. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298962526-4HG7ZCNSQG2HG86CKD52/mcba-prize-2020-Lizzy-Arden-Sweet-Talk-4.jpg Entries & Jurors - 2020 Entries - Lizzy Arden La Mesa, California lizzyarden.com Sweet-Talk 2019 inkjet printing, screen printing, Vandyke brown prints on pulp-painted abaca, monotypes, and letterpress printing 11 x 1 x 9″ Artist Statement Women coming of age in the early twenty-first century advocate for themselves in areas of inequality that the civil rights movements of 60s and 70s did not fully achieve. In particular, my work directly engages with the problem’s women face with respect to body image and beauty standards. As a visual artist, I feel compelled to make work about these persistent issues and the challenges that have resulted from them. Specifically, my work explores some of the psychological issues that affect women’s self-images and personal relationships, as well as the consequences women face when deviating from perceived societal norms. I combine text and visual images that relate to these struggles, focusing, in particular, on my own individual experiences with and perspectives on these matters. I self-consciously combine media as well as elements of text to critique gendered prejudices related to the body for my prints and artist books. I move freely between non-silver processes, such as Vandyke brown, and other techniques such as papermaking, printmaking, and letterpress printed elements. I often introduce new methods and mediums, working across artistic disciplines and in layers, analogous to the stratification of emotions that run deep within us. By exposing and covering, excavating and burying through the layers of my work, I explore my own vulnerabilities as an index of larger, universal insecurities plaguing all women. I likewise consider how emotions intermix with other memories and feelings to create something unique and irrational, a concept I aim to expose in my artwork. In my artist book Sweet-Talk, it focuses on the objectification of women by women. Sweet-Talk, discusses the idea that not only do men objectify women, but that women are taught to objectify themselves and are continuing the cycle. The book uses an excerpt from John Berger’s, Ways of Seeing, as the main text of the book. It is important to note that this was written by a man in 1972. Although my book is about contemporary women, I feel that his essay on the female nude is still very relevant and needs to be part of the feminist conversation. He argues that in Western art and then present-day media, women are shown and treated as objects and that the gaze is for the pleasure of a male. He argues that not only do men do this, but that women are taught to view themselves in this manner and that they are subconsciously always aware of the viewer. Sweet-Talk asserts the idea that, as women, many of us still struggle to alter this way of thought of objectifying ourselves. In Sweet-Talk, I broke up the text through a series of photographs and prints that switch back and forth between bright posed colored photographs on soft Japanese Mulberry paper, and somber monochromatic photos on rigid transparent abaca paper. Each photo is accompanied by a larger word that is used to describe the female such as “luminous,” “mesmeric,” “domineering,” “sullen,” and “noxious.” These words are directed at females either as desires, fears, or common labels. This book shows the split between the two selves of a women, exposing a picture-perfect performative side as well as a vulnerable, dark side of women that no one usually sees. This book puts the reader in the surveyor’s position, seeing all perspectives of a woman, as an object and as a subject, highlighting how a woman may act differently for others, how she wants to be seen, how she views herself in private, how she can be viewed in a positive way or negative way, and how she is aware of all of these perspectives, at all times. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774298963467-BPDJL6BTISZEEPNK9WK0/mcba-prize-2020-Lizzy-Arden-Sweet-Talk-5.jpg Entries & Jurors - 2020 Entries - Lizzy Arden La Mesa, California lizzyarden.com Sweet-Talk 2019 inkjet printing, screen printing, Vandyke brown prints on pulp-painted abaca, monotypes, and letterpress printing 11 x 1 x 9″ Artist Statement Women coming of age in the early twenty-first century advocate for themselves in areas of inequality that the civil rights movements of 60s and 70s did not fully achieve. In particular, my work directly engages with the problem’s women face with respect to body image and beauty standards. As a visual artist, I feel compelled to make work about these persistent issues and the challenges that have resulted from them. Specifically, my work explores some of the psychological issues that affect women’s self-images and personal relationships, as well as the consequences women face when deviating from perceived societal norms. I combine text and visual images that relate to these struggles, focusing, in particular, on my own individual experiences with and perspectives on these matters. I self-consciously combine media as well as elements of text to critique gendered prejudices related to the body for my prints and artist books. I move freely between non-silver processes, such as Vandyke brown, and other techniques such as papermaking, printmaking, and letterpress printed elements. I often introduce new methods and mediums, working across artistic disciplines and in layers, analogous to the stratification of emotions that run deep within us. By exposing and covering, excavating and burying through the layers of my work, I explore my own vulnerabilities as an index of larger, universal insecurities plaguing all women. I likewise consider how emotions intermix with other memories and feelings to create something unique and irrational, a concept I aim to expose in my artwork. In my artist book Sweet-Talk, it focuses on the objectification of women by women. Sweet-Talk, discusses the idea that not only do men objectify women, but that women are taught to objectify themselves and are continuing the cycle. The book uses an excerpt from John Berger’s, Ways of Seeing, as the main text of the book. It is important to note that this was written by a man in 1972. Although my book is about contemporary women, I feel that his essay on the female nude is still very relevant and needs to be part of the feminist conversation. He argues that in Western art and then present-day media, women are shown and treated as objects and that the gaze is for the pleasure of a male. He argues that not only do men do this, but that women are taught to view themselves in this manner and that they are subconsciously always aware of the viewer. Sweet-Talk asserts the idea that, as women, many of us still struggle to alter this way of thought of objectifying ourselves. In Sweet-Talk, I broke up the text through a series of photographs and prints that switch back and forth between bright posed colored photographs on soft Japanese Mulberry paper, and somber monochromatic photos on rigid transparent abaca paper. Each photo is accompanied by a larger word that is used to describe the female such as “luminous,” “mesmeric,” “domineering,” “sullen,” and “noxious.” These words are directed at females either as desires, fears, or common labels. This book shows the split between the two selves of a women, exposing a picture-perfect performative side as well as a vulnerable, dark side of women that no one usually sees. This book puts the reader in the surveyor’s position, seeing all perspectives of a woman, as an object and as a subject, highlighting how a woman may act differently for others, how she wants to be seen, how she views herself in private, how she can be viewed in a positive way or negative way, and how she is aware of all of these perspectives, at all times. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299084455-Z5RWUAK7N2TG70KWRQHD/mcba-prize-2020-Madeleine-Hope-Arthurs-White-Rhino-1.jpg Entries & Jurors - 2020 Entries - Madeleine Hope Arthurs New York City, New York White Rhino 2019 ink, gouache, watercolor, and collage 61″ open x 9″ x 12.5″ Artist Statement My artwork combines human and animal figures in ways that emphasize their similarities, their common needs and wants, their dependence on each other and on the Earth. I hope, in making this work, to create empathy for animals, for all living creatures, and for the planet. To get started I create quick sketches to record the images that are in my head. Then, I do research about the animals, their habitats and their habits. Finally I draw images that show the joint journey of humans and other living creatures. White Rhino, the artist book I am submitting, is about endangered white rhinoceros that are disappearing due to poaching. I create figures that combine animals and humans to illustrate their closeness, and to bring attention to the sad consequences of that closeness, that nearness, when humans are uncaring or unknowing. My artist books are one-of-a-kind handmade accordion books with hand-drawn half human/half animal creatures in them. The accordion book format allows me to express more than one picture can. Viewers engage with the books, intimately holding them in their hands, gradually opening them and seeing how the pages unfold – not just as a landscape, but as a non-verbal story. I use black ink to capture the details and textures, the intricacies and similarities, of the creatures. I also like to collage paper on top of paper to create a raised surface that brings attention to specific images within the drawings; an example is the dragonfly on the cover of “Prey for You.” I am motivated and moved by the diversity of animal life, and by the importance to humans of that variety and beauty in our world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299084209-QJ8T748LE9WVGL6P0VD2/mcba-prize-2020-Madeleine-Hope-Arthurs-White-Rhino-2.jpg Entries & Jurors - 2020 Entries - Madeleine Hope Arthurs New York City, New York White Rhino 2019 ink, gouache, watercolor, and collage 61″ open x 9″ x 12.5″ Artist Statement My artwork combines human and animal figures in ways that emphasize their similarities, their common needs and wants, their dependence on each other and on the Earth. I hope, in making this work, to create empathy for animals, for all living creatures, and for the planet. To get started I create quick sketches to record the images that are in my head. Then, I do research about the animals, their habitats and their habits. Finally I draw images that show the joint journey of humans and other living creatures. White Rhino, the artist book I am submitting, is about endangered white rhinoceros that are disappearing due to poaching. I create figures that combine animals and humans to illustrate their closeness, and to bring attention to the sad consequences of that closeness, that nearness, when humans are uncaring or unknowing. My artist books are one-of-a-kind handmade accordion books with hand-drawn half human/half animal creatures in them. The accordion book format allows me to express more than one picture can. Viewers engage with the books, intimately holding them in their hands, gradually opening them and seeing how the pages unfold – not just as a landscape, but as a non-verbal story. I use black ink to capture the details and textures, the intricacies and similarities, of the creatures. I also like to collage paper on top of paper to create a raised surface that brings attention to specific images within the drawings; an example is the dragonfly on the cover of “Prey for You.” I am motivated and moved by the diversity of animal life, and by the importance to humans of that variety and beauty in our world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299085306-VYQQW3MI8MD21FXNFXUV/mcba-prize-2020-Madeleine-Hope-Arthurs-White-Rhino-3.jpg Entries & Jurors - 2020 Entries - Madeleine Hope Arthurs New York City, New York White Rhino 2019 ink, gouache, watercolor, and collage 61″ open x 9″ x 12.5″ Artist Statement My artwork combines human and animal figures in ways that emphasize their similarities, their common needs and wants, their dependence on each other and on the Earth. I hope, in making this work, to create empathy for animals, for all living creatures, and for the planet. To get started I create quick sketches to record the images that are in my head. Then, I do research about the animals, their habitats and their habits. Finally I draw images that show the joint journey of humans and other living creatures. White Rhino, the artist book I am submitting, is about endangered white rhinoceros that are disappearing due to poaching. I create figures that combine animals and humans to illustrate their closeness, and to bring attention to the sad consequences of that closeness, that nearness, when humans are uncaring or unknowing. My artist books are one-of-a-kind handmade accordion books with hand-drawn half human/half animal creatures in them. The accordion book format allows me to express more than one picture can. Viewers engage with the books, intimately holding them in their hands, gradually opening them and seeing how the pages unfold – not just as a landscape, but as a non-verbal story. I use black ink to capture the details and textures, the intricacies and similarities, of the creatures. I also like to collage paper on top of paper to create a raised surface that brings attention to specific images within the drawings; an example is the dragonfly on the cover of “Prey for You.” I am motivated and moved by the diversity of animal life, and by the importance to humans of that variety and beauty in our world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299085534-VU6RZOGUUG0U56IYGHW6/mcba-prize-2020-Madeleine-Hope-Arthurs-White-Rhino-4.jpg Entries & Jurors - 2020 Entries - Madeleine Hope Arthurs New York City, New York White Rhino 2019 ink, gouache, watercolor, and collage 61″ open x 9″ x 12.5″ Artist Statement My artwork combines human and animal figures in ways that emphasize their similarities, their common needs and wants, their dependence on each other and on the Earth. I hope, in making this work, to create empathy for animals, for all living creatures, and for the planet. To get started I create quick sketches to record the images that are in my head. Then, I do research about the animals, their habitats and their habits. Finally I draw images that show the joint journey of humans and other living creatures. White Rhino, the artist book I am submitting, is about endangered white rhinoceros that are disappearing due to poaching. I create figures that combine animals and humans to illustrate their closeness, and to bring attention to the sad consequences of that closeness, that nearness, when humans are uncaring or unknowing. My artist books are one-of-a-kind handmade accordion books with hand-drawn half human/half animal creatures in them. The accordion book format allows me to express more than one picture can. Viewers engage with the books, intimately holding them in their hands, gradually opening them and seeing how the pages unfold – not just as a landscape, but as a non-verbal story. I use black ink to capture the details and textures, the intricacies and similarities, of the creatures. I also like to collage paper on top of paper to create a raised surface that brings attention to specific images within the drawings; an example is the dragonfly on the cover of “Prey for You.” I am motivated and moved by the diversity of animal life, and by the importance to humans of that variety and beauty in our world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299086446-AQQT6Z1REYTVHHKZGCH8/mcba-prize-2020-Madeleine-Hope-Arthurs-White-Rhino-5.jpg Entries & Jurors - 2020 Entries - Madeleine Hope Arthurs New York City, New York White Rhino 2019 ink, gouache, watercolor, and collage 61″ open x 9″ x 12.5″ Artist Statement My artwork combines human and animal figures in ways that emphasize their similarities, their common needs and wants, their dependence on each other and on the Earth. I hope, in making this work, to create empathy for animals, for all living creatures, and for the planet. To get started I create quick sketches to record the images that are in my head. Then, I do research about the animals, their habitats and their habits. Finally I draw images that show the joint journey of humans and other living creatures. White Rhino, the artist book I am submitting, is about endangered white rhinoceros that are disappearing due to poaching. I create figures that combine animals and humans to illustrate their closeness, and to bring attention to the sad consequences of that closeness, that nearness, when humans are uncaring or unknowing. My artist books are one-of-a-kind handmade accordion books with hand-drawn half human/half animal creatures in them. The accordion book format allows me to express more than one picture can. Viewers engage with the books, intimately holding them in their hands, gradually opening them and seeing how the pages unfold – not just as a landscape, but as a non-verbal story. I use black ink to capture the details and textures, the intricacies and similarities, of the creatures. I also like to collage paper on top of paper to create a raised surface that brings attention to specific images within the drawings; an example is the dragonfly on the cover of “Prey for You.” I am motivated and moved by the diversity of animal life, and by the importance to humans of that variety and beauty in our world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299197873-WHITF6J8A24WT22FL7IC/mcba-prize-2020-At-Bay-Press-Winnipeg-Graffiti-1.jpg Entries & Jurors - 2020 Entries - At Bay Press At Bay Press (Mattew Joudry, Matthew McMillan, Lisa Medis, Chris Macalino) Winnipeg, Ontario, Canada atbaypress.com Winnipeg Graffiti 2019 paper and glass 5.5 x 0.5 x 8.5″ Artist Statement Materials: glass, handmade Lokta with coloured hemp inclusions, archival cream Mayfair, archival white Mayfair, acid-free recycled 20 lb concrete Rolland, archival foam core, 4-ply wax Irish linen thread, Hydrus watercolour pigments, black Brad. Print run: 25 Published: December, 2019 “Why a book made of glass?” This was a question I was asked countless times, from initial concept development to book launch event. As a publisher, writer, graphic designer and a book artist, I have had my share of concern regarding the longevity of books and writing, particularly in printed form. In this instance, glass felt like the epitome of fragility. I agonized over this concept. I readily shared my anxieties with my partners on this project including glass artist Matthew McMillan, screen printer Lisa Mendis, and street poet Chris Macalino. To start, I had to ensure that the glass concept and design was physically possible to create. Weighing 1.13 lbs per glass plate, I needed to ensure that each of these 25 books would not be torn apart by the terrific weight of the book once assembled. The solution: creating a foam core cushion to act as a reinforcing back cover to the book, elegantly hidden by a series of unique folds within clean, cream Mayfair. While the design of each glass plate needed to be perfectly replicated 25 times over, a discerning eye would be able to call out the uniqueness of each plate due to the colour application, variable etching of typeface into the glass, unknown air particles and, lest we forget, the unpredictable firing process in the kiln. Matthew McMillan brought these designs to life and produced plates beyond my already unreasonable expectations. Lisa Mendis at Martha Street Studio produced the simply perfect “double window” screen prints for the interior window tile and cover page. Famed local open mic and street poet Chris Macalino freely formed a narrative that captured the city of Winnipeg through his eyes, weaving a yarn of an eccentric populace and spirit that could only belong to our unique prairie town. Graffiti was a most fitting connection between the voice of the poet and the language of the street. This somewhat hardened, aggressive motif was juxtaposed with the need to handle the glass with such delicate care. The creation of this book allows the reader to engage in an experience that spans multiple artistic disciplines and hopefully shares a truth about the vulnerability and tenderness of the printed, written word. And in case you’re wondering, the answer is no, I didn’t break any of them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299198030-R52ZFPKCVM9BA77HG0G7/mcba-prize-2020-At-Bay-Press-Winnipeg-Graffiti-2.jpg Entries & Jurors - 2020 Entries - At Bay Press At Bay Press (Mattew Joudry, Matthew McMillan, Lisa Medis, Chris Macalino) Winnipeg, Ontario, Canada atbaypress.com Winnipeg Graffiti 2019 paper and glass 5.5 x 0.5 x 8.5″ Artist Statement Materials: glass, handmade Lokta with coloured hemp inclusions, archival cream Mayfair, archival white Mayfair, acid-free recycled 20 lb concrete Rolland, archival foam core, 4-ply wax Irish linen thread, Hydrus watercolour pigments, black Brad. Print run: 25 Published: December, 2019 “Why a book made of glass?” This was a question I was asked countless times, from initial concept development to book launch event. As a publisher, writer, graphic designer and a book artist, I have had my share of concern regarding the longevity of books and writing, particularly in printed form. In this instance, glass felt like the epitome of fragility. I agonized over this concept. I readily shared my anxieties with my partners on this project including glass artist Matthew McMillan, screen printer Lisa Mendis, and street poet Chris Macalino. To start, I had to ensure that the glass concept and design was physically possible to create. Weighing 1.13 lbs per glass plate, I needed to ensure that each of these 25 books would not be torn apart by the terrific weight of the book once assembled. The solution: creating a foam core cushion to act as a reinforcing back cover to the book, elegantly hidden by a series of unique folds within clean, cream Mayfair. While the design of each glass plate needed to be perfectly replicated 25 times over, a discerning eye would be able to call out the uniqueness of each plate due to the colour application, variable etching of typeface into the glass, unknown air particles and, lest we forget, the unpredictable firing process in the kiln. Matthew McMillan brought these designs to life and produced plates beyond my already unreasonable expectations. Lisa Mendis at Martha Street Studio produced the simply perfect “double window” screen prints for the interior window tile and cover page. Famed local open mic and street poet Chris Macalino freely formed a narrative that captured the city of Winnipeg through his eyes, weaving a yarn of an eccentric populace and spirit that could only belong to our unique prairie town. Graffiti was a most fitting connection between the voice of the poet and the language of the street. This somewhat hardened, aggressive motif was juxtaposed with the need to handle the glass with such delicate care. The creation of this book allows the reader to engage in an experience that spans multiple artistic disciplines and hopefully shares a truth about the vulnerability and tenderness of the printed, written word. And in case you’re wondering, the answer is no, I didn’t break any of them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299200824-581F922XD9J4Z7DZRP9A/mcba-prize-2020-At-Bay-Press-Winnipeg-Graffiti-3.jpg Entries & Jurors - 2020 Entries - At Bay Press At Bay Press (Mattew Joudry, Matthew McMillan, Lisa Medis, Chris Macalino) Winnipeg, Ontario, Canada atbaypress.com Winnipeg Graffiti 2019 paper and glass 5.5 x 0.5 x 8.5″ Artist Statement Materials: glass, handmade Lokta with coloured hemp inclusions, archival cream Mayfair, archival white Mayfair, acid-free recycled 20 lb concrete Rolland, archival foam core, 4-ply wax Irish linen thread, Hydrus watercolour pigments, black Brad. Print run: 25 Published: December, 2019 “Why a book made of glass?” This was a question I was asked countless times, from initial concept development to book launch event. As a publisher, writer, graphic designer and a book artist, I have had my share of concern regarding the longevity of books and writing, particularly in printed form. In this instance, glass felt like the epitome of fragility. I agonized over this concept. I readily shared my anxieties with my partners on this project including glass artist Matthew McMillan, screen printer Lisa Mendis, and street poet Chris Macalino. To start, I had to ensure that the glass concept and design was physically possible to create. Weighing 1.13 lbs per glass plate, I needed to ensure that each of these 25 books would not be torn apart by the terrific weight of the book once assembled. The solution: creating a foam core cushion to act as a reinforcing back cover to the book, elegantly hidden by a series of unique folds within clean, cream Mayfair. While the design of each glass plate needed to be perfectly replicated 25 times over, a discerning eye would be able to call out the uniqueness of each plate due to the colour application, variable etching of typeface into the glass, unknown air particles and, lest we forget, the unpredictable firing process in the kiln. Matthew McMillan brought these designs to life and produced plates beyond my already unreasonable expectations. Lisa Mendis at Martha Street Studio produced the simply perfect “double window” screen prints for the interior window tile and cover page. Famed local open mic and street poet Chris Macalino freely formed a narrative that captured the city of Winnipeg through his eyes, weaving a yarn of an eccentric populace and spirit that could only belong to our unique prairie town. Graffiti was a most fitting connection between the voice of the poet and the language of the street. This somewhat hardened, aggressive motif was juxtaposed with the need to handle the glass with such delicate care. The creation of this book allows the reader to engage in an experience that spans multiple artistic disciplines and hopefully shares a truth about the vulnerability and tenderness of the printed, written word. And in case you’re wondering, the answer is no, I didn’t break any of them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299200661-LVN7WE22OSCH3LO0VY14/mcba-prize-2020-At-Bay-Press-Winnipeg-Graffiti-4.jpg Entries & Jurors - 2020 Entries - At Bay Press At Bay Press (Mattew Joudry, Matthew McMillan, Lisa Medis, Chris Macalino) Winnipeg, Ontario, Canada atbaypress.com Winnipeg Graffiti 2019 paper and glass 5.5 x 0.5 x 8.5″ Artist Statement Materials: glass, handmade Lokta with coloured hemp inclusions, archival cream Mayfair, archival white Mayfair, acid-free recycled 20 lb concrete Rolland, archival foam core, 4-ply wax Irish linen thread, Hydrus watercolour pigments, black Brad. Print run: 25 Published: December, 2019 “Why a book made of glass?” This was a question I was asked countless times, from initial concept development to book launch event. As a publisher, writer, graphic designer and a book artist, I have had my share of concern regarding the longevity of books and writing, particularly in printed form. In this instance, glass felt like the epitome of fragility. I agonized over this concept. I readily shared my anxieties with my partners on this project including glass artist Matthew McMillan, screen printer Lisa Mendis, and street poet Chris Macalino. To start, I had to ensure that the glass concept and design was physically possible to create. Weighing 1.13 lbs per glass plate, I needed to ensure that each of these 25 books would not be torn apart by the terrific weight of the book once assembled. The solution: creating a foam core cushion to act as a reinforcing back cover to the book, elegantly hidden by a series of unique folds within clean, cream Mayfair. While the design of each glass plate needed to be perfectly replicated 25 times over, a discerning eye would be able to call out the uniqueness of each plate due to the colour application, variable etching of typeface into the glass, unknown air particles and, lest we forget, the unpredictable firing process in the kiln. Matthew McMillan brought these designs to life and produced plates beyond my already unreasonable expectations. Lisa Mendis at Martha Street Studio produced the simply perfect “double window” screen prints for the interior window tile and cover page. Famed local open mic and street poet Chris Macalino freely formed a narrative that captured the city of Winnipeg through his eyes, weaving a yarn of an eccentric populace and spirit that could only belong to our unique prairie town. Graffiti was a most fitting connection between the voice of the poet and the language of the street. This somewhat hardened, aggressive motif was juxtaposed with the need to handle the glass with such delicate care. The creation of this book allows the reader to engage in an experience that spans multiple artistic disciplines and hopefully shares a truth about the vulnerability and tenderness of the printed, written word. And in case you’re wondering, the answer is no, I didn’t break any of them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299202570-F5XPAUNND848P38UNXRN/mcba-prize-2020-At-Bay-Press-Winnipeg-Graffiti-5.jpg Entries & Jurors - 2020 Entries - At Bay Press At Bay Press (Mattew Joudry, Matthew McMillan, Lisa Medis, Chris Macalino) Winnipeg, Ontario, Canada atbaypress.com Winnipeg Graffiti 2019 paper and glass 5.5 x 0.5 x 8.5″ Artist Statement Materials: glass, handmade Lokta with coloured hemp inclusions, archival cream Mayfair, archival white Mayfair, acid-free recycled 20 lb concrete Rolland, archival foam core, 4-ply wax Irish linen thread, Hydrus watercolour pigments, black Brad. Print run: 25 Published: December, 2019 “Why a book made of glass?” This was a question I was asked countless times, from initial concept development to book launch event. As a publisher, writer, graphic designer and a book artist, I have had my share of concern regarding the longevity of books and writing, particularly in printed form. In this instance, glass felt like the epitome of fragility. I agonized over this concept. I readily shared my anxieties with my partners on this project including glass artist Matthew McMillan, screen printer Lisa Mendis, and street poet Chris Macalino. To start, I had to ensure that the glass concept and design was physically possible to create. Weighing 1.13 lbs per glass plate, I needed to ensure that each of these 25 books would not be torn apart by the terrific weight of the book once assembled. The solution: creating a foam core cushion to act as a reinforcing back cover to the book, elegantly hidden by a series of unique folds within clean, cream Mayfair. While the design of each glass plate needed to be perfectly replicated 25 times over, a discerning eye would be able to call out the uniqueness of each plate due to the colour application, variable etching of typeface into the glass, unknown air particles and, lest we forget, the unpredictable firing process in the kiln. Matthew McMillan brought these designs to life and produced plates beyond my already unreasonable expectations. Lisa Mendis at Martha Street Studio produced the simply perfect “double window” screen prints for the interior window tile and cover page. Famed local open mic and street poet Chris Macalino freely formed a narrative that captured the city of Winnipeg through his eyes, weaving a yarn of an eccentric populace and spirit that could only belong to our unique prairie town. Graffiti was a most fitting connection between the voice of the poet and the language of the street. This somewhat hardened, aggressive motif was juxtaposed with the need to handle the glass with such delicate care. The creation of this book allows the reader to engage in an experience that spans multiple artistic disciplines and hopefully shares a truth about the vulnerability and tenderness of the printed, written word. And in case you’re wondering, the answer is no, I didn’t break any of them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299341044-B7P30O1GZZGNO2KKPNLH/mcba-prize-2020-Roelof-Bakker-The-Spots-That-Never-Went-1.jpg Entries & Jurors - 2020 Entries - Roelof Bakker Cambridgeshire, Great Britain rbakker.com (artist’s website) neg-press.com (Negative Press website) The Spots That Never Went 2018 tabloid newspaper with Xerox insert, broadsheet print, polypropylene pocket Pocket – contains all elements: 22cm x 30cm Inside pocket: tabloid newspaper, 38cm x 28.9cm; broadsheet print, 50cm x 35cm Artist Statement The Spots That Never Went is a personal reflection on the devastation of AIDS and the lasting impact on a generation, presented as a tabloid newspaper with a broadsheet print collated in an archival pocket. Remembering the lurid reporting about AIDS and gay men by UK tabloid newspapers in the 1980s, I set out to explore the tabloid newspaper form and subvert its code, forcing my own self-definition on both paper and form. Opposing the shouty, bold, cluttered tabloid design ethos, I devised an understated, minimal design with space to allow room for reflection. In the newspaper, short sentences are personal memories about life during the AIDS crisis as a young man living in London. Each sentence starts with the words, ‘I remember a time’, for example: ‘I remember a time of coloured lights, naked flesh and thick clouds of cigarette smoke’ and ‘I remember a time when I was young and other young men got ill and soon after they died.’ The Spots That Never Went is also an investigation into the potential of a single photograph to illustrate an entire publication. Sentences face abstract mono images, halftoned fragments generated from one Polaroid print. The coarse black and white halftone dots explore notions of remembering and forgetting, of darkness and light, of hope and fear, of being HIV positive or HIV negative, of presence and absence, of life and death. The centrefold functions as a visual break and shows a double page image, glued onto which is a reproduction at actual size of the original colour Polaroid photograph, introducing transparency to the approach of image making. Presented in a polypropylene pocket, the tabloid newspaper comes with a broadsheet insert, a mono halftone reproduction of the entire Polaroid photograph reproduced larger than life, functioning as a paper memorial, a monument to attach to a wall. Unlike the friends and lovers who perished, the paper will age and deteriorate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299340576-ZJ0VGTHC0SHFQWCY51N0/mcba-prize-2020-Roelof-Bakker-The-Spots-That-Never-Went-2.jpg Entries & Jurors - 2020 Entries - Roelof Bakker Cambridgeshire, Great Britain rbakker.com (artist’s website) neg-press.com (Negative Press website) The Spots That Never Went 2018 tabloid newspaper with Xerox insert, broadsheet print, polypropylene pocket Pocket – contains all elements: 22cm x 30cm Inside pocket: tabloid newspaper, 38cm x 28.9cm; broadsheet print, 50cm x 35cm Artist Statement The Spots That Never Went is a personal reflection on the devastation of AIDS and the lasting impact on a generation, presented as a tabloid newspaper with a broadsheet print collated in an archival pocket. Remembering the lurid reporting about AIDS and gay men by UK tabloid newspapers in the 1980s, I set out to explore the tabloid newspaper form and subvert its code, forcing my own self-definition on both paper and form. Opposing the shouty, bold, cluttered tabloid design ethos, I devised an understated, minimal design with space to allow room for reflection. In the newspaper, short sentences are personal memories about life during the AIDS crisis as a young man living in London. Each sentence starts with the words, ‘I remember a time’, for example: ‘I remember a time of coloured lights, naked flesh and thick clouds of cigarette smoke’ and ‘I remember a time when I was young and other young men got ill and soon after they died.’ The Spots That Never Went is also an investigation into the potential of a single photograph to illustrate an entire publication. Sentences face abstract mono images, halftoned fragments generated from one Polaroid print. The coarse black and white halftone dots explore notions of remembering and forgetting, of darkness and light, of hope and fear, of being HIV positive or HIV negative, of presence and absence, of life and death. The centrefold functions as a visual break and shows a double page image, glued onto which is a reproduction at actual size of the original colour Polaroid photograph, introducing transparency to the approach of image making. Presented in a polypropylene pocket, the tabloid newspaper comes with a broadsheet insert, a mono halftone reproduction of the entire Polaroid photograph reproduced larger than life, functioning as a paper memorial, a monument to attach to a wall. Unlike the friends and lovers who perished, the paper will age and deteriorate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299343130-77FQ16BS1BRHXLHNO2XY/mcba-prize-2020-Roelof-Bakker-The-Spots-That-Never-Went-3.jpg Entries & Jurors - 2020 Entries - Roelof Bakker Cambridgeshire, Great Britain rbakker.com (artist’s website) neg-press.com (Negative Press website) The Spots That Never Went 2018 tabloid newspaper with Xerox insert, broadsheet print, polypropylene pocket Pocket – contains all elements: 22cm x 30cm Inside pocket: tabloid newspaper, 38cm x 28.9cm; broadsheet print, 50cm x 35cm Artist Statement The Spots That Never Went is a personal reflection on the devastation of AIDS and the lasting impact on a generation, presented as a tabloid newspaper with a broadsheet print collated in an archival pocket. Remembering the lurid reporting about AIDS and gay men by UK tabloid newspapers in the 1980s, I set out to explore the tabloid newspaper form and subvert its code, forcing my own self-definition on both paper and form. Opposing the shouty, bold, cluttered tabloid design ethos, I devised an understated, minimal design with space to allow room for reflection. In the newspaper, short sentences are personal memories about life during the AIDS crisis as a young man living in London. Each sentence starts with the words, ‘I remember a time’, for example: ‘I remember a time of coloured lights, naked flesh and thick clouds of cigarette smoke’ and ‘I remember a time when I was young and other young men got ill and soon after they died.’ The Spots That Never Went is also an investigation into the potential of a single photograph to illustrate an entire publication. Sentences face abstract mono images, halftoned fragments generated from one Polaroid print. The coarse black and white halftone dots explore notions of remembering and forgetting, of darkness and light, of hope and fear, of being HIV positive or HIV negative, of presence and absence, of life and death. The centrefold functions as a visual break and shows a double page image, glued onto which is a reproduction at actual size of the original colour Polaroid photograph, introducing transparency to the approach of image making. Presented in a polypropylene pocket, the tabloid newspaper comes with a broadsheet insert, a mono halftone reproduction of the entire Polaroid photograph reproduced larger than life, functioning as a paper memorial, a monument to attach to a wall. Unlike the friends and lovers who perished, the paper will age and deteriorate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299343542-4LS88XCJX120R5QTNBQ4/mcba-prize-2020-Roelof-Bakker-The-Spots-That-Never-Went-4.jpg Entries & Jurors - 2020 Entries - Roelof Bakker Cambridgeshire, Great Britain rbakker.com (artist’s website) neg-press.com (Negative Press website) The Spots That Never Went 2018 tabloid newspaper with Xerox insert, broadsheet print, polypropylene pocket Pocket – contains all elements: 22cm x 30cm Inside pocket: tabloid newspaper, 38cm x 28.9cm; broadsheet print, 50cm x 35cm Artist Statement The Spots That Never Went is a personal reflection on the devastation of AIDS and the lasting impact on a generation, presented as a tabloid newspaper with a broadsheet print collated in an archival pocket. Remembering the lurid reporting about AIDS and gay men by UK tabloid newspapers in the 1980s, I set out to explore the tabloid newspaper form and subvert its code, forcing my own self-definition on both paper and form. Opposing the shouty, bold, cluttered tabloid design ethos, I devised an understated, minimal design with space to allow room for reflection. In the newspaper, short sentences are personal memories about life during the AIDS crisis as a young man living in London. Each sentence starts with the words, ‘I remember a time’, for example: ‘I remember a time of coloured lights, naked flesh and thick clouds of cigarette smoke’ and ‘I remember a time when I was young and other young men got ill and soon after they died.’ The Spots That Never Went is also an investigation into the potential of a single photograph to illustrate an entire publication. Sentences face abstract mono images, halftoned fragments generated from one Polaroid print. The coarse black and white halftone dots explore notions of remembering and forgetting, of darkness and light, of hope and fear, of being HIV positive or HIV negative, of presence and absence, of life and death. The centrefold functions as a visual break and shows a double page image, glued onto which is a reproduction at actual size of the original colour Polaroid photograph, introducing transparency to the approach of image making. Presented in a polypropylene pocket, the tabloid newspaper comes with a broadsheet insert, a mono halftone reproduction of the entire Polaroid photograph reproduced larger than life, functioning as a paper memorial, a monument to attach to a wall. Unlike the friends and lovers who perished, the paper will age and deteriorate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299346867-ZIMVVYEW8J9HXLTTSVJU/mcba-prize-2020-Roelof-Bakker-The-Spots-That-Never-Went-5.jpg Entries & Jurors - 2020 Entries - Roelof Bakker Cambridgeshire, Great Britain rbakker.com (artist’s website) neg-press.com (Negative Press website) The Spots That Never Went 2018 tabloid newspaper with Xerox insert, broadsheet print, polypropylene pocket Pocket – contains all elements: 22cm x 30cm Inside pocket: tabloid newspaper, 38cm x 28.9cm; broadsheet print, 50cm x 35cm Artist Statement The Spots That Never Went is a personal reflection on the devastation of AIDS and the lasting impact on a generation, presented as a tabloid newspaper with a broadsheet print collated in an archival pocket. Remembering the lurid reporting about AIDS and gay men by UK tabloid newspapers in the 1980s, I set out to explore the tabloid newspaper form and subvert its code, forcing my own self-definition on both paper and form. Opposing the shouty, bold, cluttered tabloid design ethos, I devised an understated, minimal design with space to allow room for reflection. In the newspaper, short sentences are personal memories about life during the AIDS crisis as a young man living in London. Each sentence starts with the words, ‘I remember a time’, for example: ‘I remember a time of coloured lights, naked flesh and thick clouds of cigarette smoke’ and ‘I remember a time when I was young and other young men got ill and soon after they died.’ The Spots That Never Went is also an investigation into the potential of a single photograph to illustrate an entire publication. Sentences face abstract mono images, halftoned fragments generated from one Polaroid print. The coarse black and white halftone dots explore notions of remembering and forgetting, of darkness and light, of hope and fear, of being HIV positive or HIV negative, of presence and absence, of life and death. The centrefold functions as a visual break and shows a double page image, glued onto which is a reproduction at actual size of the original colour Polaroid photograph, introducing transparency to the approach of image making. Presented in a polypropylene pocket, the tabloid newspaper comes with a broadsheet insert, a mono halftone reproduction of the entire Polaroid photograph reproduced larger than life, functioning as a paper memorial, a monument to attach to a wall. Unlike the friends and lovers who perished, the paper will age and deteriorate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299482872-J3KMQ98XZ18AR0WLBZ7W/mcba-prize-2020-Javier-Barrera-Mamie-Chicago-1.jpg Entries & Jurors - 2020 Entries - Javier Barrera Miami Beach, Florida javierbarrera.net Mamie/Chicago 2018 artist book with intaglio on Yatsuo Japanese paper, letterpress and USB drive on BFK Rives paper 11.625″ x 9.625″ x 1.75″ Artist Statement “Who would want to save these raggedy old buildings?” was a question often posed by Wardell Yotaghan, leader of the Coalition to Protect Public Housing in Chicago. He would quickly answer his own question by saying, “We don’t want to save these buildings in their present condition. We want these buildings rehabbed or new units built to meet the needs of all the people.” Mamie Rogers grew up in public housing at the Jane Addams Homes on the south side of Chicago. Although she no longer lives there, she still calls this place home. Most of these buildings were demolished for new developments that displaced the people in those neighborhoods. Video stills and photographs from this project were made into etchings that tell her story and underscore the alienated setting and vanishing buildings. Five editions of this artist book include 10 aquatint etchings on Yatsuo Japanese paper mounted on BFK Rives paper measuring 10.5” x 8”. The title page includes a USB drive with a 3:13 minute video of an interview conducted with Mamie Rogers while she tours her former home. The video can be screened alongside the book on a loop as a supplement to the project. To watch the video, please visit: https://www.javierbarrera.net/mamie-chicago ————— About Javier Barrera My artwork is an interdisciplinary form of documentary and personal reportage in which narratives are revisited through a visual language. My ideas lean toward socially-inspired content and present-day issues. In projects created through extensive research and experimentation, I try to uncover layers of meaning—turning to image-making as a means of conveying shared stories. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299483033-OVOOKZKK0VWYFX2VCENV/mcba-prize-2020-Javier-Barrera-Mamie-Chicago-2.jpg Entries & Jurors - 2020 Entries - Javier Barrera Miami Beach, Florida javierbarrera.net Mamie/Chicago 2018 artist book with intaglio on Yatsuo Japanese paper, letterpress and USB drive on BFK Rives paper 11.625″ x 9.625″ x 1.75″ Artist Statement “Who would want to save these raggedy old buildings?” was a question often posed by Wardell Yotaghan, leader of the Coalition to Protect Public Housing in Chicago. He would quickly answer his own question by saying, “We don’t want to save these buildings in their present condition. We want these buildings rehabbed or new units built to meet the needs of all the people.” Mamie Rogers grew up in public housing at the Jane Addams Homes on the south side of Chicago. Although she no longer lives there, she still calls this place home. Most of these buildings were demolished for new developments that displaced the people in those neighborhoods. Video stills and photographs from this project were made into etchings that tell her story and underscore the alienated setting and vanishing buildings. Five editions of this artist book include 10 aquatint etchings on Yatsuo Japanese paper mounted on BFK Rives paper measuring 10.5” x 8”. The title page includes a USB drive with a 3:13 minute video of an interview conducted with Mamie Rogers while she tours her former home. The video can be screened alongside the book on a loop as a supplement to the project. To watch the video, please visit: https://www.javierbarrera.net/mamie-chicago ————— About Javier Barrera My artwork is an interdisciplinary form of documentary and personal reportage in which narratives are revisited through a visual language. My ideas lean toward socially-inspired content and present-day issues. In projects created through extensive research and experimentation, I try to uncover layers of meaning—turning to image-making as a means of conveying shared stories. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299485499-E7QB810HRXFZI3LY7IAY/mcba-prize-2020-Javier-Barrera-Mamie-Chicago-3.jpg Entries & Jurors - 2020 Entries - Javier Barrera Miami Beach, Florida javierbarrera.net Mamie/Chicago 2018 artist book with intaglio on Yatsuo Japanese paper, letterpress and USB drive on BFK Rives paper 11.625″ x 9.625″ x 1.75″ Artist Statement “Who would want to save these raggedy old buildings?” was a question often posed by Wardell Yotaghan, leader of the Coalition to Protect Public Housing in Chicago. He would quickly answer his own question by saying, “We don’t want to save these buildings in their present condition. We want these buildings rehabbed or new units built to meet the needs of all the people.” Mamie Rogers grew up in public housing at the Jane Addams Homes on the south side of Chicago. Although she no longer lives there, she still calls this place home. Most of these buildings were demolished for new developments that displaced the people in those neighborhoods. Video stills and photographs from this project were made into etchings that tell her story and underscore the alienated setting and vanishing buildings. Five editions of this artist book include 10 aquatint etchings on Yatsuo Japanese paper mounted on BFK Rives paper measuring 10.5” x 8”. The title page includes a USB drive with a 3:13 minute video of an interview conducted with Mamie Rogers while she tours her former home. The video can be screened alongside the book on a loop as a supplement to the project. To watch the video, please visit: https://www.javierbarrera.net/mamie-chicago ————— About Javier Barrera My artwork is an interdisciplinary form of documentary and personal reportage in which narratives are revisited through a visual language. My ideas lean toward socially-inspired content and present-day issues. In projects created through extensive research and experimentation, I try to uncover layers of meaning—turning to image-making as a means of conveying shared stories. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299486062-VY806WPGBA0HDBGEUOX9/mcba-prize-2020-Javier-Barrera-Mamie-Chicago-4.jpg Entries & Jurors - 2020 Entries - Javier Barrera Miami Beach, Florida javierbarrera.net Mamie/Chicago 2018 artist book with intaglio on Yatsuo Japanese paper, letterpress and USB drive on BFK Rives paper 11.625″ x 9.625″ x 1.75″ Artist Statement “Who would want to save these raggedy old buildings?” was a question often posed by Wardell Yotaghan, leader of the Coalition to Protect Public Housing in Chicago. He would quickly answer his own question by saying, “We don’t want to save these buildings in their present condition. We want these buildings rehabbed or new units built to meet the needs of all the people.” Mamie Rogers grew up in public housing at the Jane Addams Homes on the south side of Chicago. Although she no longer lives there, she still calls this place home. Most of these buildings were demolished for new developments that displaced the people in those neighborhoods. Video stills and photographs from this project were made into etchings that tell her story and underscore the alienated setting and vanishing buildings. Five editions of this artist book include 10 aquatint etchings on Yatsuo Japanese paper mounted on BFK Rives paper measuring 10.5” x 8”. The title page includes a USB drive with a 3:13 minute video of an interview conducted with Mamie Rogers while she tours her former home. The video can be screened alongside the book on a loop as a supplement to the project. To watch the video, please visit: https://www.javierbarrera.net/mamie-chicago ————— About Javier Barrera My artwork is an interdisciplinary form of documentary and personal reportage in which narratives are revisited through a visual language. My ideas lean toward socially-inspired content and present-day issues. In projects created through extensive research and experimentation, I try to uncover layers of meaning—turning to image-making as a means of conveying shared stories. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299487412-3BG6FCXGMGB408ZHQFDN/mcba-prize-2020-Javier-Barrera-Mamie-Chicago-5.jpg Entries & Jurors - 2020 Entries - Javier Barrera Miami Beach, Florida javierbarrera.net Mamie/Chicago 2018 artist book with intaglio on Yatsuo Japanese paper, letterpress and USB drive on BFK Rives paper 11.625″ x 9.625″ x 1.75″ Artist Statement “Who would want to save these raggedy old buildings?” was a question often posed by Wardell Yotaghan, leader of the Coalition to Protect Public Housing in Chicago. He would quickly answer his own question by saying, “We don’t want to save these buildings in their present condition. We want these buildings rehabbed or new units built to meet the needs of all the people.” Mamie Rogers grew up in public housing at the Jane Addams Homes on the south side of Chicago. Although she no longer lives there, she still calls this place home. Most of these buildings were demolished for new developments that displaced the people in those neighborhoods. Video stills and photographs from this project were made into etchings that tell her story and underscore the alienated setting and vanishing buildings. Five editions of this artist book include 10 aquatint etchings on Yatsuo Japanese paper mounted on BFK Rives paper measuring 10.5” x 8”. The title page includes a USB drive with a 3:13 minute video of an interview conducted with Mamie Rogers while she tours her former home. The video can be screened alongside the book on a loop as a supplement to the project. To watch the video, please visit: https://www.javierbarrera.net/mamie-chicago ————— About Javier Barrera My artwork is an interdisciplinary form of documentary and personal reportage in which narratives are revisited through a visual language. My ideas lean toward socially-inspired content and present-day issues. In projects created through extensive research and experimentation, I try to uncover layers of meaning—turning to image-making as a means of conveying shared stories. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299728335-XAUHIETD4T8J9K8BUPDO/mcba-prize-2020-Amparo-Berenguer-Wieden-Letras-1.jpg Entries & Jurors - 2020 Entries - Amparo Berenguer Wieden Valencia, Spain Letras 2019 letraset on old photographic paper, rustic paper cloth binding 21 x 30 x 1.5 cm Artist Statement I think artist’s books are a complete work of art because they include inside most of the graphic elements. This work is dedicated to typography as a graphic and playful element of art. This is a tribute and claim of the letter and the word pure and simple. I wanted to highlight the letters as an indispensable element of the creation of rhythms and forms. I want with this book to focus on the shape of the letter, the fonts and the texture of the letter and the possibility the possibility to play with meaning. I would like to highlighting their imperfections and their craftsmanship, their willingness to become words, images, paths, shapes, textures… In any case, show that they are alive, and they play in front of our eyes and under my hands. This book is made of letters of “lettarsset” and old photographic paper. They came to me some time ago. They rested in the studio for a while, until without knowing very well how, they start to make sense. I started playing with word, some time they make sense, some times, they were just letters that become forms. As they grow up in the paper, they become a book. Because that’s what they mean to be. The result is this artist’s book, this game, my way to look at typography with passion. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299728171-DC4OVY2BSY1FLJTK2BGA/mcba-prize-2020-Amparo-Berenguer-Wieden-Letras-2.jpg Entries & Jurors - 2020 Entries - Amparo Berenguer Wieden Valencia, Spain Letras 2019 letraset on old photographic paper, rustic paper cloth binding 21 x 30 x 1.5 cm Artist Statement I think artist’s books are a complete work of art because they include inside most of the graphic elements. This work is dedicated to typography as a graphic and playful element of art. This is a tribute and claim of the letter and the word pure and simple. I wanted to highlight the letters as an indispensable element of the creation of rhythms and forms. I want with this book to focus on the shape of the letter, the fonts and the texture of the letter and the possibility the possibility to play with meaning. I would like to highlighting their imperfections and their craftsmanship, their willingness to become words, images, paths, shapes, textures… In any case, show that they are alive, and they play in front of our eyes and under my hands. This book is made of letters of “lettarsset” and old photographic paper. They came to me some time ago. They rested in the studio for a while, until without knowing very well how, they start to make sense. I started playing with word, some time they make sense, some times, they were just letters that become forms. As they grow up in the paper, they become a book. Because that’s what they mean to be. The result is this artist’s book, this game, my way to look at typography with passion. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299730612-EEK272YPBYNJBD2YHQ00/mcba-prize-2020-Amparo-Berenguer-Wieden-Letras-3.jpg Entries & Jurors - 2020 Entries - Amparo Berenguer Wieden Valencia, Spain Letras 2019 letraset on old photographic paper, rustic paper cloth binding 21 x 30 x 1.5 cm Artist Statement I think artist’s books are a complete work of art because they include inside most of the graphic elements. This work is dedicated to typography as a graphic and playful element of art. This is a tribute and claim of the letter and the word pure and simple. I wanted to highlight the letters as an indispensable element of the creation of rhythms and forms. I want with this book to focus on the shape of the letter, the fonts and the texture of the letter and the possibility the possibility to play with meaning. I would like to highlighting their imperfections and their craftsmanship, their willingness to become words, images, paths, shapes, textures… In any case, show that they are alive, and they play in front of our eyes and under my hands. This book is made of letters of “lettarsset” and old photographic paper. They came to me some time ago. They rested in the studio for a while, until without knowing very well how, they start to make sense. I started playing with word, some time they make sense, some times, they were just letters that become forms. As they grow up in the paper, they become a book. Because that’s what they mean to be. The result is this artist’s book, this game, my way to look at typography with passion. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299730834-YQWZ3J9MMMV4UEOYLBX1/mcba-prize-2020-Amparo-Berenguer-Wieden-Letras-4.jpg Entries & Jurors - 2020 Entries - Amparo Berenguer Wieden Valencia, Spain Letras 2019 letraset on old photographic paper, rustic paper cloth binding 21 x 30 x 1.5 cm Artist Statement I think artist’s books are a complete work of art because they include inside most of the graphic elements. This work is dedicated to typography as a graphic and playful element of art. This is a tribute and claim of the letter and the word pure and simple. I wanted to highlight the letters as an indispensable element of the creation of rhythms and forms. I want with this book to focus on the shape of the letter, the fonts and the texture of the letter and the possibility the possibility to play with meaning. I would like to highlighting their imperfections and their craftsmanship, their willingness to become words, images, paths, shapes, textures… In any case, show that they are alive, and they play in front of our eyes and under my hands. This book is made of letters of “lettarsset” and old photographic paper. They came to me some time ago. They rested in the studio for a while, until without knowing very well how, they start to make sense. I started playing with word, some time they make sense, some times, they were just letters that become forms. As they grow up in the paper, they become a book. Because that’s what they mean to be. The result is this artist’s book, this game, my way to look at typography with passion. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299894036-A8M8KB9M837VVMOL6IJO/mcba-prize-2020-Simon-Blake-George-Wallace-Dalt-Wonk-Lonely-Voyagers-1.jpg Entries & Jurors - 2020 Entries - Simon Blake, George Wallace, &amp; Dalt Wonk Simon Blake (simonblakestudio.com) George Wallace (lunapress.com) Dalt Wonk (daltwonk.com) New Orleans, Louisiana Lonely Voyagers 2019 hardcover book 10 x 12.5 x 1″ Artist Statement LONELY VOYAGERS A new book with images by Simon Blake and text by Dalt Wonk. Luna Press is proud to announce another beautifully produced book, Lonely Voyagers, with images by Simon Blake and text by Dalt Wonk. The book features Blake’s collages that are assembled from images taken from “La Nature”, a 19th century French magazine. Blake meticulously dissects the illustrations from this magazine with carbon scissors and surgical scalpels. He then pastes these pieces together to form new original imaginative pictures. “Word and image combine seamlessly to bring to life a fantastic world. An alluring journey. A beautiful sense of bewilderment.” —David Gordon Green Lonely Voyagers Images by Simon Blake, text by Dalt Wonk Hardcover, 10 x 12 1/2 inches, 56 pages, 26 images Smythe sewn binding Fine 170 gr Kamiro Shira paper Published by Luna Press, 2019 Printed by Oddi Printing Corporation ISBN 978-0-9896095-9-3 $30 Dalt Wonk is a writer of plays, poems, and fiction. He lives in New Orleans, which has inspired many of his works – such as French Quarter Fables, The Riddles of Existence, and his children’s book, The Laughing Lady (all of which he also illustrated). His plays have been produced in New York, London, Munich, San Francisco, and elsewhere. He has collaborated with R&B musician Charles Neville (of The Neville Brothers), and jazz composers Alvin Batiste and Julius Hemphill (of the World Saxophone Quartet). Wonk taught creative writing to maximum- security inmates at the Orleans Parish Prison, and was drama critic for Gambit Weekly and WWNO, the New Orleans National Public Radio station. Simon Blake is a renowned mixed-media artist who works with film, graphics and animation. Originally hailing from London, he has designed titles for feature films, collaborated on major projects for the BBC, and directed commercials and short films with many leading American and English companies. His imaginative, witty collages are sought by collectors and are available as prints as well. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299893983-SORTDYWNNYLUA8MHPSVS/mcba-prize-2020-Simon-Blake-George-Wallace-Dalt-Wonk-Lonely-Voyagers-2.jpg Entries & Jurors - 2020 Entries - Simon Blake, George Wallace, &amp; Dalt Wonk Simon Blake (simonblakestudio.com) George Wallace (lunapress.com) Dalt Wonk (daltwonk.com) New Orleans, Louisiana Lonely Voyagers 2019 hardcover book 10 x 12.5 x 1″ Artist Statement LONELY VOYAGERS A new book with images by Simon Blake and text by Dalt Wonk. Luna Press is proud to announce another beautifully produced book, Lonely Voyagers, with images by Simon Blake and text by Dalt Wonk. The book features Blake’s collages that are assembled from images taken from “La Nature”, a 19th century French magazine. Blake meticulously dissects the illustrations from this magazine with carbon scissors and surgical scalpels. He then pastes these pieces together to form new original imaginative pictures. “Word and image combine seamlessly to bring to life a fantastic world. An alluring journey. A beautiful sense of bewilderment.” —David Gordon Green Lonely Voyagers Images by Simon Blake, text by Dalt Wonk Hardcover, 10 x 12 1/2 inches, 56 pages, 26 images Smythe sewn binding Fine 170 gr Kamiro Shira paper Published by Luna Press, 2019 Printed by Oddi Printing Corporation ISBN 978-0-9896095-9-3 $30 Dalt Wonk is a writer of plays, poems, and fiction. He lives in New Orleans, which has inspired many of his works – such as French Quarter Fables, The Riddles of Existence, and his children’s book, The Laughing Lady (all of which he also illustrated). His plays have been produced in New York, London, Munich, San Francisco, and elsewhere. He has collaborated with R&B musician Charles Neville (of The Neville Brothers), and jazz composers Alvin Batiste and Julius Hemphill (of the World Saxophone Quartet). Wonk taught creative writing to maximum- security inmates at the Orleans Parish Prison, and was drama critic for Gambit Weekly and WWNO, the New Orleans National Public Radio station. Simon Blake is a renowned mixed-media artist who works with film, graphics and animation. Originally hailing from London, he has designed titles for feature films, collaborated on major projects for the BBC, and directed commercials and short films with many leading American and English companies. His imaginative, witty collages are sought by collectors and are available as prints as well. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299895968-CZCV3K1U55OE1SD5VL8J/mcba-prize-2020-Simon-Blake-George-Wallace-Dalt-Wonk-Lonely-Voyagers-3.jpg Entries & Jurors - 2020 Entries - Simon Blake, George Wallace, &amp; Dalt Wonk Simon Blake (simonblakestudio.com) George Wallace (lunapress.com) Dalt Wonk (daltwonk.com) New Orleans, Louisiana Lonely Voyagers 2019 hardcover book 10 x 12.5 x 1″ Artist Statement LONELY VOYAGERS A new book with images by Simon Blake and text by Dalt Wonk. Luna Press is proud to announce another beautifully produced book, Lonely Voyagers, with images by Simon Blake and text by Dalt Wonk. The book features Blake’s collages that are assembled from images taken from “La Nature”, a 19th century French magazine. Blake meticulously dissects the illustrations from this magazine with carbon scissors and surgical scalpels. He then pastes these pieces together to form new original imaginative pictures. “Word and image combine seamlessly to bring to life a fantastic world. An alluring journey. A beautiful sense of bewilderment.” —David Gordon Green Lonely Voyagers Images by Simon Blake, text by Dalt Wonk Hardcover, 10 x 12 1/2 inches, 56 pages, 26 images Smythe sewn binding Fine 170 gr Kamiro Shira paper Published by Luna Press, 2019 Printed by Oddi Printing Corporation ISBN 978-0-9896095-9-3 $30 Dalt Wonk is a writer of plays, poems, and fiction. He lives in New Orleans, which has inspired many of his works – such as French Quarter Fables, The Riddles of Existence, and his children’s book, The Laughing Lady (all of which he also illustrated). His plays have been produced in New York, London, Munich, San Francisco, and elsewhere. He has collaborated with R&B musician Charles Neville (of The Neville Brothers), and jazz composers Alvin Batiste and Julius Hemphill (of the World Saxophone Quartet). Wonk taught creative writing to maximum- security inmates at the Orleans Parish Prison, and was drama critic for Gambit Weekly and WWNO, the New Orleans National Public Radio station. Simon Blake is a renowned mixed-media artist who works with film, graphics and animation. Originally hailing from London, he has designed titles for feature films, collaborated on major projects for the BBC, and directed commercials and short films with many leading American and English companies. His imaginative, witty collages are sought by collectors and are available as prints as well. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299896347-S0IAJOEOUHG8EULOR982/mcba-prize-2020-Simon-Blake-George-Wallace-Dalt-Wonk-Lonely-Voyagers-4.jpg Entries & Jurors - 2020 Entries - Simon Blake, George Wallace, &amp; Dalt Wonk Simon Blake (simonblakestudio.com) George Wallace (lunapress.com) Dalt Wonk (daltwonk.com) New Orleans, Louisiana Lonely Voyagers 2019 hardcover book 10 x 12.5 x 1″ Artist Statement LONELY VOYAGERS A new book with images by Simon Blake and text by Dalt Wonk. Luna Press is proud to announce another beautifully produced book, Lonely Voyagers, with images by Simon Blake and text by Dalt Wonk. The book features Blake’s collages that are assembled from images taken from “La Nature”, a 19th century French magazine. Blake meticulously dissects the illustrations from this magazine with carbon scissors and surgical scalpels. He then pastes these pieces together to form new original imaginative pictures. “Word and image combine seamlessly to bring to life a fantastic world. An alluring journey. A beautiful sense of bewilderment.” —David Gordon Green Lonely Voyagers Images by Simon Blake, text by Dalt Wonk Hardcover, 10 x 12 1/2 inches, 56 pages, 26 images Smythe sewn binding Fine 170 gr Kamiro Shira paper Published by Luna Press, 2019 Printed by Oddi Printing Corporation ISBN 978-0-9896095-9-3 $30 Dalt Wonk is a writer of plays, poems, and fiction. He lives in New Orleans, which has inspired many of his works – such as French Quarter Fables, The Riddles of Existence, and his children’s book, The Laughing Lady (all of which he also illustrated). His plays have been produced in New York, London, Munich, San Francisco, and elsewhere. He has collaborated with R&B musician Charles Neville (of The Neville Brothers), and jazz composers Alvin Batiste and Julius Hemphill (of the World Saxophone Quartet). Wonk taught creative writing to maximum- security inmates at the Orleans Parish Prison, and was drama critic for Gambit Weekly and WWNO, the New Orleans National Public Radio station. Simon Blake is a renowned mixed-media artist who works with film, graphics and animation. Originally hailing from London, he has designed titles for feature films, collaborated on major projects for the BBC, and directed commercials and short films with many leading American and English companies. His imaginative, witty collages are sought by collectors and are available as prints as well. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774299898910-TNY3E1LY8BZSGE2RO0L3/mcba-prize-2020-Simon-Blake-George-Wallace-Dalt-Wonk-Lonely-Voyagers-5.jpg Entries & Jurors - 2020 Entries - Simon Blake, George Wallace, &amp; Dalt Wonk Simon Blake (simonblakestudio.com) George Wallace (lunapress.com) Dalt Wonk (daltwonk.com) New Orleans, Louisiana Lonely Voyagers 2019 hardcover book 10 x 12.5 x 1″ Artist Statement LONELY VOYAGERS A new book with images by Simon Blake and text by Dalt Wonk. Luna Press is proud to announce another beautifully produced book, Lonely Voyagers, with images by Simon Blake and text by Dalt Wonk. The book features Blake’s collages that are assembled from images taken from “La Nature”, a 19th century French magazine. Blake meticulously dissects the illustrations from this magazine with carbon scissors and surgical scalpels. He then pastes these pieces together to form new original imaginative pictures. “Word and image combine seamlessly to bring to life a fantastic world. An alluring journey. A beautiful sense of bewilderment.” —David Gordon Green Lonely Voyagers Images by Simon Blake, text by Dalt Wonk Hardcover, 10 x 12 1/2 inches, 56 pages, 26 images Smythe sewn binding Fine 170 gr Kamiro Shira paper Published by Luna Press, 2019 Printed by Oddi Printing Corporation ISBN 978-0-9896095-9-3 $30 Dalt Wonk is a writer of plays, poems, and fiction. He lives in New Orleans, which has inspired many of his works – such as French Quarter Fables, The Riddles of Existence, and his children’s book, The Laughing Lady (all of which he also illustrated). His plays have been produced in New York, London, Munich, San Francisco, and elsewhere. He has collaborated with R&B musician Charles Neville (of The Neville Brothers), and jazz composers Alvin Batiste and Julius Hemphill (of the World Saxophone Quartet). Wonk taught creative writing to maximum- security inmates at the Orleans Parish Prison, and was drama critic for Gambit Weekly and WWNO, the New Orleans National Public Radio station. Simon Blake is a renowned mixed-media artist who works with film, graphics and animation. Originally hailing from London, he has designed titles for feature films, collaborated on major projects for the BBC, and directed commercials and short films with many leading American and English companies. His imaginative, witty collages are sought by collectors and are available as prints as well. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300088190-ZIXP4N1MFCMU8IN7OXF4/mcba-prize-2020-Elizabeth-Bradfield-Antonia-Contro-Theorem-1.jpg Entries & Jurors - 2020 Entries - Elizabeth Bradfield &amp; Antonia Contro Elizabeth Bradfield (ebradfield.com) Antonia Contro (antoniacontro.com) Chicago, Illinois Theorem 2019 Letterpress printed on Canaletto Grana Grossa Bianco paper on an Indigo 12000HD and a Vandercook press. Embossed, silkscreened, and foil stamped cover with embedded magnets. Cloth cover wrap. Hand-treated and collaged pages by Antonia Contro; writing by Elizabeth Bradfield 12.5 x 12.5 x 1.125″ Artist Statement Theorem, by poet Elizabeth Bradfield and artist Antonia Contro, was conceived out of a deep artistic friendship and long history of shared aesthetic exploration. Bradfield and Contro began their collaboration on Cape Cod, where Bradfield lives, in the summer of 2017 when Contro, a Chicago-based artist, was there on an artist retreat. Over the course of two years, they worked separately and together to develop, design, and publish Theorem. Hand constructed and letterpressed, Theorem was published in November, 2019 by Candor Arts in a limited edition of 30 (candorarts.com/goods/theorem). Bradfield and Contro submitted a fully designed mockup of the book to Candor. Working hand in glove with their team to produce the edition, Theorem has been acquired by private collectors, the Poetry Center at the University of Arizona, and Brandeis University’s Special Collections. In Theorem, distilled images and lyric narrative investigate the geometry of secrets and trace a legacy of silences initiated in childhood and carried forward through a lifetime. Images and text are not descriptive or illustrative of each other but progress independently, while in dynamic relationship. The reader is invited to pause with an image, turn a page, and then pause with text. This pacing continues throughout, urging the reader to consider the reverberation between text and image, each opening new resonance in the other, page after page. Only at key heightened moments do text and image share a page. The unique aspects of Theorem’ s construction are integral to its emotional and aesthetic expression. The book is presented in a hand-stitched red fabric wrap, lightly attached to the cover by hidden magnets, with a hand-woven ribbon accenting its closure. Opening the wrap becomes a ritualized entry into the book’s private space. A spare cover with an embossed line (which runs across, around the spine, and to the back) foreshadows a pivotal moment in the book. Theorem is comprised of five sections, and the pages of each section diminish in size, beginning at 12” x 12” and ending at only 6.5”w x 8”h. In essence and in construction, Theorem is five books within one. The design is tied to the arc of the book’s story, which is about winnowing and the perspective of distance. When fully opened to the last spread (included in our images), the pages on the left and right are all black, and the effect is of a concentrated brightness seen from a vast remove. An afterword tucked into the back cover becomes a final discovery for the reader. Certain pages of Theorem have been hand worked, whether with collage, cutouts, or other elements. Our decisions were guided by both the images and the narrative moments in the text. Of Theorem, Martha Tedeschi, director of the Harvard Art Museums, says “Theorem is more than a beautiful book—it is also the opportunity to experience a profound and generous collaboration between an artist and a writer. Images and words reference each other in nuanced ways, creating pathways of discovery that work both backwards and forward across the span of pages.” Poet and critic John Yau writes, “In Theorem… the revelation is not in arriving at a destination but in beginning to map the journey, as well as in recognizing that one’s perspective of past events changes as time goes by… This is the enigma of being alive and alert. This is what Theorem offers the willing reader—a place to return to in order to set out again and see that the book has changed. Indeed, we feel ourselves changed by this collaboration as artists.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300088158-L0KRCDZ0E8CUZOH7JDQF/mcba-prize-2020-Elizabeth-Bradfield-Antonia-Contro-Theorem-2.jpg Entries & Jurors - 2020 Entries - Elizabeth Bradfield &amp; Antonia Contro Elizabeth Bradfield (ebradfield.com) Antonia Contro (antoniacontro.com) Chicago, Illinois Theorem 2019 Letterpress printed on Canaletto Grana Grossa Bianco paper on an Indigo 12000HD and a Vandercook press. Embossed, silkscreened, and foil stamped cover with embedded magnets. Cloth cover wrap. Hand-treated and collaged pages by Antonia Contro; writing by Elizabeth Bradfield 12.5 x 12.5 x 1.125″ Artist Statement Theorem, by poet Elizabeth Bradfield and artist Antonia Contro, was conceived out of a deep artistic friendship and long history of shared aesthetic exploration. Bradfield and Contro began their collaboration on Cape Cod, where Bradfield lives, in the summer of 2017 when Contro, a Chicago-based artist, was there on an artist retreat. Over the course of two years, they worked separately and together to develop, design, and publish Theorem. Hand constructed and letterpressed, Theorem was published in November, 2019 by Candor Arts in a limited edition of 30 (candorarts.com/goods/theorem). Bradfield and Contro submitted a fully designed mockup of the book to Candor. Working hand in glove with their team to produce the edition, Theorem has been acquired by private collectors, the Poetry Center at the University of Arizona, and Brandeis University’s Special Collections. In Theorem, distilled images and lyric narrative investigate the geometry of secrets and trace a legacy of silences initiated in childhood and carried forward through a lifetime. Images and text are not descriptive or illustrative of each other but progress independently, while in dynamic relationship. The reader is invited to pause with an image, turn a page, and then pause with text. This pacing continues throughout, urging the reader to consider the reverberation between text and image, each opening new resonance in the other, page after page. Only at key heightened moments do text and image share a page. The unique aspects of Theorem’ s construction are integral to its emotional and aesthetic expression. The book is presented in a hand-stitched red fabric wrap, lightly attached to the cover by hidden magnets, with a hand-woven ribbon accenting its closure. Opening the wrap becomes a ritualized entry into the book’s private space. A spare cover with an embossed line (which runs across, around the spine, and to the back) foreshadows a pivotal moment in the book. Theorem is comprised of five sections, and the pages of each section diminish in size, beginning at 12” x 12” and ending at only 6.5”w x 8”h. In essence and in construction, Theorem is five books within one. The design is tied to the arc of the book’s story, which is about winnowing and the perspective of distance. When fully opened to the last spread (included in our images), the pages on the left and right are all black, and the effect is of a concentrated brightness seen from a vast remove. An afterword tucked into the back cover becomes a final discovery for the reader. Certain pages of Theorem have been hand worked, whether with collage, cutouts, or other elements. Our decisions were guided by both the images and the narrative moments in the text. Of Theorem, Martha Tedeschi, director of the Harvard Art Museums, says “Theorem is more than a beautiful book—it is also the opportunity to experience a profound and generous collaboration between an artist and a writer. Images and words reference each other in nuanced ways, creating pathways of discovery that work both backwards and forward across the span of pages.” Poet and critic John Yau writes, “In Theorem… the revelation is not in arriving at a destination but in beginning to map the journey, as well as in recognizing that one’s perspective of past events changes as time goes by… This is the enigma of being alive and alert. This is what Theorem offers the willing reader—a place to return to in order to set out again and see that the book has changed. Indeed, we feel ourselves changed by this collaboration as artists.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300089932-0EQWA4BWANLSHCHK7M7E/mcba-prize-2020-Elizabeth-Bradfield-Antonia-Contro-Theorem-3.jpg Entries & Jurors - 2020 Entries - Elizabeth Bradfield &amp; Antonia Contro Elizabeth Bradfield (ebradfield.com) Antonia Contro (antoniacontro.com) Chicago, Illinois Theorem 2019 Letterpress printed on Canaletto Grana Grossa Bianco paper on an Indigo 12000HD and a Vandercook press. Embossed, silkscreened, and foil stamped cover with embedded magnets. Cloth cover wrap. Hand-treated and collaged pages by Antonia Contro; writing by Elizabeth Bradfield 12.5 x 12.5 x 1.125″ Artist Statement Theorem, by poet Elizabeth Bradfield and artist Antonia Contro, was conceived out of a deep artistic friendship and long history of shared aesthetic exploration. Bradfield and Contro began their collaboration on Cape Cod, where Bradfield lives, in the summer of 2017 when Contro, a Chicago-based artist, was there on an artist retreat. Over the course of two years, they worked separately and together to develop, design, and publish Theorem. Hand constructed and letterpressed, Theorem was published in November, 2019 by Candor Arts in a limited edition of 30 (candorarts.com/goods/theorem). Bradfield and Contro submitted a fully designed mockup of the book to Candor. Working hand in glove with their team to produce the edition, Theorem has been acquired by private collectors, the Poetry Center at the University of Arizona, and Brandeis University’s Special Collections. In Theorem, distilled images and lyric narrative investigate the geometry of secrets and trace a legacy of silences initiated in childhood and carried forward through a lifetime. Images and text are not descriptive or illustrative of each other but progress independently, while in dynamic relationship. The reader is invited to pause with an image, turn a page, and then pause with text. This pacing continues throughout, urging the reader to consider the reverberation between text and image, each opening new resonance in the other, page after page. Only at key heightened moments do text and image share a page. The unique aspects of Theorem’ s construction are integral to its emotional and aesthetic expression. The book is presented in a hand-stitched red fabric wrap, lightly attached to the cover by hidden magnets, with a hand-woven ribbon accenting its closure. Opening the wrap becomes a ritualized entry into the book’s private space. A spare cover with an embossed line (which runs across, around the spine, and to the back) foreshadows a pivotal moment in the book. Theorem is comprised of five sections, and the pages of each section diminish in size, beginning at 12” x 12” and ending at only 6.5”w x 8”h. In essence and in construction, Theorem is five books within one. The design is tied to the arc of the book’s story, which is about winnowing and the perspective of distance. When fully opened to the last spread (included in our images), the pages on the left and right are all black, and the effect is of a concentrated brightness seen from a vast remove. An afterword tucked into the back cover becomes a final discovery for the reader. Certain pages of Theorem have been hand worked, whether with collage, cutouts, or other elements. Our decisions were guided by both the images and the narrative moments in the text. Of Theorem, Martha Tedeschi, director of the Harvard Art Museums, says “Theorem is more than a beautiful book—it is also the opportunity to experience a profound and generous collaboration between an artist and a writer. Images and words reference each other in nuanced ways, creating pathways of discovery that work both backwards and forward across the span of pages.” Poet and critic John Yau writes, “In Theorem… the revelation is not in arriving at a destination but in beginning to map the journey, as well as in recognizing that one’s perspective of past events changes as time goes by… This is the enigma of being alive and alert. This is what Theorem offers the willing reader—a place to return to in order to set out again and see that the book has changed. Indeed, we feel ourselves changed by this collaboration as artists.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300090275-371VV8NSOO7N913H4JG5/mcba-prize-2020-Elizabeth-Bradfield-Antonia-Contro-Theorem-4.jpg Entries & Jurors - 2020 Entries - Elizabeth Bradfield &amp; Antonia Contro Elizabeth Bradfield (ebradfield.com) Antonia Contro (antoniacontro.com) Chicago, Illinois Theorem 2019 Letterpress printed on Canaletto Grana Grossa Bianco paper on an Indigo 12000HD and a Vandercook press. Embossed, silkscreened, and foil stamped cover with embedded magnets. Cloth cover wrap. Hand-treated and collaged pages by Antonia Contro; writing by Elizabeth Bradfield 12.5 x 12.5 x 1.125″ Artist Statement Theorem, by poet Elizabeth Bradfield and artist Antonia Contro, was conceived out of a deep artistic friendship and long history of shared aesthetic exploration. Bradfield and Contro began their collaboration on Cape Cod, where Bradfield lives, in the summer of 2017 when Contro, a Chicago-based artist, was there on an artist retreat. Over the course of two years, they worked separately and together to develop, design, and publish Theorem. Hand constructed and letterpressed, Theorem was published in November, 2019 by Candor Arts in a limited edition of 30 (candorarts.com/goods/theorem). Bradfield and Contro submitted a fully designed mockup of the book to Candor. Working hand in glove with their team to produce the edition, Theorem has been acquired by private collectors, the Poetry Center at the University of Arizona, and Brandeis University’s Special Collections. In Theorem, distilled images and lyric narrative investigate the geometry of secrets and trace a legacy of silences initiated in childhood and carried forward through a lifetime. Images and text are not descriptive or illustrative of each other but progress independently, while in dynamic relationship. The reader is invited to pause with an image, turn a page, and then pause with text. This pacing continues throughout, urging the reader to consider the reverberation between text and image, each opening new resonance in the other, page after page. Only at key heightened moments do text and image share a page. The unique aspects of Theorem’ s construction are integral to its emotional and aesthetic expression. The book is presented in a hand-stitched red fabric wrap, lightly attached to the cover by hidden magnets, with a hand-woven ribbon accenting its closure. Opening the wrap becomes a ritualized entry into the book’s private space. A spare cover with an embossed line (which runs across, around the spine, and to the back) foreshadows a pivotal moment in the book. Theorem is comprised of five sections, and the pages of each section diminish in size, beginning at 12” x 12” and ending at only 6.5”w x 8”h. In essence and in construction, Theorem is five books within one. The design is tied to the arc of the book’s story, which is about winnowing and the perspective of distance. When fully opened to the last spread (included in our images), the pages on the left and right are all black, and the effect is of a concentrated brightness seen from a vast remove. An afterword tucked into the back cover becomes a final discovery for the reader. Certain pages of Theorem have been hand worked, whether with collage, cutouts, or other elements. Our decisions were guided by both the images and the narrative moments in the text. Of Theorem, Martha Tedeschi, director of the Harvard Art Museums, says “Theorem is more than a beautiful book—it is also the opportunity to experience a profound and generous collaboration between an artist and a writer. Images and words reference each other in nuanced ways, creating pathways of discovery that work both backwards and forward across the span of pages.” Poet and critic John Yau writes, “In Theorem… the revelation is not in arriving at a destination but in beginning to map the journey, as well as in recognizing that one’s perspective of past events changes as time goes by… This is the enigma of being alive and alert. This is what Theorem offers the willing reader—a place to return to in order to set out again and see that the book has changed. Indeed, we feel ourselves changed by this collaboration as artists.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300091404-T3PSBEN4413KOCEC4KXF/mcba-prize-2020-Elizabeth-Bradfield-Antonia-Contro-Theorem-5.jpg Entries & Jurors - 2020 Entries - Elizabeth Bradfield &amp; Antonia Contro Elizabeth Bradfield (ebradfield.com) Antonia Contro (antoniacontro.com) Chicago, Illinois Theorem 2019 Letterpress printed on Canaletto Grana Grossa Bianco paper on an Indigo 12000HD and a Vandercook press. Embossed, silkscreened, and foil stamped cover with embedded magnets. Cloth cover wrap. Hand-treated and collaged pages by Antonia Contro; writing by Elizabeth Bradfield 12.5 x 12.5 x 1.125″ Artist Statement Theorem, by poet Elizabeth Bradfield and artist Antonia Contro, was conceived out of a deep artistic friendship and long history of shared aesthetic exploration. Bradfield and Contro began their collaboration on Cape Cod, where Bradfield lives, in the summer of 2017 when Contro, a Chicago-based artist, was there on an artist retreat. Over the course of two years, they worked separately and together to develop, design, and publish Theorem. Hand constructed and letterpressed, Theorem was published in November, 2019 by Candor Arts in a limited edition of 30 (candorarts.com/goods/theorem). Bradfield and Contro submitted a fully designed mockup of the book to Candor. Working hand in glove with their team to produce the edition, Theorem has been acquired by private collectors, the Poetry Center at the University of Arizona, and Brandeis University’s Special Collections. In Theorem, distilled images and lyric narrative investigate the geometry of secrets and trace a legacy of silences initiated in childhood and carried forward through a lifetime. Images and text are not descriptive or illustrative of each other but progress independently, while in dynamic relationship. The reader is invited to pause with an image, turn a page, and then pause with text. This pacing continues throughout, urging the reader to consider the reverberation between text and image, each opening new resonance in the other, page after page. Only at key heightened moments do text and image share a page. The unique aspects of Theorem’ s construction are integral to its emotional and aesthetic expression. The book is presented in a hand-stitched red fabric wrap, lightly attached to the cover by hidden magnets, with a hand-woven ribbon accenting its closure. Opening the wrap becomes a ritualized entry into the book’s private space. A spare cover with an embossed line (which runs across, around the spine, and to the back) foreshadows a pivotal moment in the book. Theorem is comprised of five sections, and the pages of each section diminish in size, beginning at 12” x 12” and ending at only 6.5”w x 8”h. In essence and in construction, Theorem is five books within one. The design is tied to the arc of the book’s story, which is about winnowing and the perspective of distance. When fully opened to the last spread (included in our images), the pages on the left and right are all black, and the effect is of a concentrated brightness seen from a vast remove. An afterword tucked into the back cover becomes a final discovery for the reader. Certain pages of Theorem have been hand worked, whether with collage, cutouts, or other elements. Our decisions were guided by both the images and the narrative moments in the text. Of Theorem, Martha Tedeschi, director of the Harvard Art Museums, says “Theorem is more than a beautiful book—it is also the opportunity to experience a profound and generous collaboration between an artist and a writer. Images and words reference each other in nuanced ways, creating pathways of discovery that work both backwards and forward across the span of pages.” Poet and critic John Yau writes, “In Theorem… the revelation is not in arriving at a destination but in beginning to map the journey, as well as in recognizing that one’s perspective of past events changes as time goes by… This is the enigma of being alive and alert. This is what Theorem offers the willing reader—a place to return to in order to set out again and see that the book has changed. Indeed, we feel ourselves changed by this collaboration as artists.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300254829-925HM0L4LC1471Y559UC/mcba-prize-2020-Servane-Briand-Lempris-The-Rat-Prince-1.jpg Entries & Jurors - 2020 Entries - Servane Briand Palo Alto, California servanebriand.com Lempris the Rat Prince 2018 book arts 7 x 7 x 13″ Artist Statement Through its many iterations, Lempris came to encompass much of what makes Book Arts unique and innovative. It draws from multiple disciplines; and relies on a wide range of techniques, technologies, tools and materials, from the most ancient to the most modern. The beauty of such a rich medium is that it enables and invites collaboration with other artists and experts. The final iteration of Lempris plays by these rules! The story started with Samuel, my son, the poet and folder. Inspiring and guiding Samuel was Eric Joisel, master folder and inventor of the rat figure, an artist of wild imagination and talent. I stepped in, drawn into the world of Lempris, central character of the poem, a very Nietzschean rat, to transform the lines of poetry into a pyramidal artists’ book. In the beginning the pyramid had three walls.They were paper, then leather walls etched with shrubs and branches, telling the rat’s painful attempts to escape his torments. Samuel suggested adding a fourth (non imaginary!) wall so we could incorporate the rat’s folding pattern.These powerful lines became a new focus of the book and I decided to bring them to light! While Greg and Yonatan, high school students and makers helped play with code and tools, etching leather and wood veneer, Nick the light wizard started designing a programmable LED board and came up with an elegant way to power it independently of the book, thus respecting archival and conservation bookbinding principles. As the project progressed, and always important, was the experience of interacting with the book: feeling, hearing, smelling, seeing the work. Interactions with books as art objects should be sensuous and playful. Having a mischief of paper rats in the studio at all times helped a lot! Another story happens each time one encounters the book.The four walls open: there is Lempris the rat, folded figure of paper and beeswax, illuminated by his own pattern of lines. In the poem’s narrative, he tussles, struggles and fights for his life and the light slowly goes down in sync, dimming, then disappearing completely at the end of the reading cycle. Each reader can program the light, dimming it to their own reading tempo and create their own telling of the story of Lempris, the Rat Prince. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300254308-MT2NVKGF1Q0V0DIU4FXZ/mcba-prize-2020-Servane-Briand-Lempris-The-Rat-Prince-2.jpg Entries & Jurors - 2020 Entries - Servane Briand Palo Alto, California servanebriand.com Lempris the Rat Prince 2018 book arts 7 x 7 x 13″ Artist Statement Through its many iterations, Lempris came to encompass much of what makes Book Arts unique and innovative. It draws from multiple disciplines; and relies on a wide range of techniques, technologies, tools and materials, from the most ancient to the most modern. The beauty of such a rich medium is that it enables and invites collaboration with other artists and experts. The final iteration of Lempris plays by these rules! The story started with Samuel, my son, the poet and folder. Inspiring and guiding Samuel was Eric Joisel, master folder and inventor of the rat figure, an artist of wild imagination and talent. I stepped in, drawn into the world of Lempris, central character of the poem, a very Nietzschean rat, to transform the lines of poetry into a pyramidal artists’ book. In the beginning the pyramid had three walls.They were paper, then leather walls etched with shrubs and branches, telling the rat’s painful attempts to escape his torments. Samuel suggested adding a fourth (non imaginary!) wall so we could incorporate the rat’s folding pattern.These powerful lines became a new focus of the book and I decided to bring them to light! While Greg and Yonatan, high school students and makers helped play with code and tools, etching leather and wood veneer, Nick the light wizard started designing a programmable LED board and came up with an elegant way to power it independently of the book, thus respecting archival and conservation bookbinding principles. As the project progressed, and always important, was the experience of interacting with the book: feeling, hearing, smelling, seeing the work. Interactions with books as art objects should be sensuous and playful. Having a mischief of paper rats in the studio at all times helped a lot! Another story happens each time one encounters the book.The four walls open: there is Lempris the rat, folded figure of paper and beeswax, illuminated by his own pattern of lines. In the poem’s narrative, he tussles, struggles and fights for his life and the light slowly goes down in sync, dimming, then disappearing completely at the end of the reading cycle. Each reader can program the light, dimming it to their own reading tempo and create their own telling of the story of Lempris, the Rat Prince. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300256869-QF6HJDD9A5CQI4NFCFW5/mcba-prize-2020-Servane-Briand-Lempris-The-Rat-Prince-3.jpg Entries & Jurors - 2020 Entries - Servane Briand Palo Alto, California servanebriand.com Lempris the Rat Prince 2018 book arts 7 x 7 x 13″ Artist Statement Through its many iterations, Lempris came to encompass much of what makes Book Arts unique and innovative. It draws from multiple disciplines; and relies on a wide range of techniques, technologies, tools and materials, from the most ancient to the most modern. The beauty of such a rich medium is that it enables and invites collaboration with other artists and experts. The final iteration of Lempris plays by these rules! The story started with Samuel, my son, the poet and folder. Inspiring and guiding Samuel was Eric Joisel, master folder and inventor of the rat figure, an artist of wild imagination and talent. I stepped in, drawn into the world of Lempris, central character of the poem, a very Nietzschean rat, to transform the lines of poetry into a pyramidal artists’ book. In the beginning the pyramid had three walls.They were paper, then leather walls etched with shrubs and branches, telling the rat’s painful attempts to escape his torments. Samuel suggested adding a fourth (non imaginary!) wall so we could incorporate the rat’s folding pattern.These powerful lines became a new focus of the book and I decided to bring them to light! While Greg and Yonatan, high school students and makers helped play with code and tools, etching leather and wood veneer, Nick the light wizard started designing a programmable LED board and came up with an elegant way to power it independently of the book, thus respecting archival and conservation bookbinding principles. As the project progressed, and always important, was the experience of interacting with the book: feeling, hearing, smelling, seeing the work. Interactions with books as art objects should be sensuous and playful. Having a mischief of paper rats in the studio at all times helped a lot! Another story happens each time one encounters the book.The four walls open: there is Lempris the rat, folded figure of paper and beeswax, illuminated by his own pattern of lines. In the poem’s narrative, he tussles, struggles and fights for his life and the light slowly goes down in sync, dimming, then disappearing completely at the end of the reading cycle. Each reader can program the light, dimming it to their own reading tempo and create their own telling of the story of Lempris, the Rat Prince. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300257789-P14YFRGR8VSX8DEGJRQQ/mcba-prize-2020-Servane-Briand-Lempris-The-Rat-Prince-4.jpg Entries & Jurors - 2020 Entries - Servane Briand Palo Alto, California servanebriand.com Lempris the Rat Prince 2018 book arts 7 x 7 x 13″ Artist Statement Through its many iterations, Lempris came to encompass much of what makes Book Arts unique and innovative. It draws from multiple disciplines; and relies on a wide range of techniques, technologies, tools and materials, from the most ancient to the most modern. The beauty of such a rich medium is that it enables and invites collaboration with other artists and experts. The final iteration of Lempris plays by these rules! The story started with Samuel, my son, the poet and folder. Inspiring and guiding Samuel was Eric Joisel, master folder and inventor of the rat figure, an artist of wild imagination and talent. I stepped in, drawn into the world of Lempris, central character of the poem, a very Nietzschean rat, to transform the lines of poetry into a pyramidal artists’ book. In the beginning the pyramid had three walls.They were paper, then leather walls etched with shrubs and branches, telling the rat’s painful attempts to escape his torments. Samuel suggested adding a fourth (non imaginary!) wall so we could incorporate the rat’s folding pattern.These powerful lines became a new focus of the book and I decided to bring them to light! While Greg and Yonatan, high school students and makers helped play with code and tools, etching leather and wood veneer, Nick the light wizard started designing a programmable LED board and came up with an elegant way to power it independently of the book, thus respecting archival and conservation bookbinding principles. As the project progressed, and always important, was the experience of interacting with the book: feeling, hearing, smelling, seeing the work. Interactions with books as art objects should be sensuous and playful. Having a mischief of paper rats in the studio at all times helped a lot! Another story happens each time one encounters the book.The four walls open: there is Lempris the rat, folded figure of paper and beeswax, illuminated by his own pattern of lines. In the poem’s narrative, he tussles, struggles and fights for his life and the light slowly goes down in sync, dimming, then disappearing completely at the end of the reading cycle. Each reader can program the light, dimming it to their own reading tempo and create their own telling of the story of Lempris, the Rat Prince. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300258691-7NR7T584TWSRA1US1I7V/mcba-prize-2020-Servane-Briand-Lempris-The-Rat-Prince-5.jpg Entries & Jurors - 2020 Entries - Servane Briand Palo Alto, California servanebriand.com Lempris the Rat Prince 2018 book arts 7 x 7 x 13″ Artist Statement Through its many iterations, Lempris came to encompass much of what makes Book Arts unique and innovative. It draws from multiple disciplines; and relies on a wide range of techniques, technologies, tools and materials, from the most ancient to the most modern. The beauty of such a rich medium is that it enables and invites collaboration with other artists and experts. The final iteration of Lempris plays by these rules! The story started with Samuel, my son, the poet and folder. Inspiring and guiding Samuel was Eric Joisel, master folder and inventor of the rat figure, an artist of wild imagination and talent. I stepped in, drawn into the world of Lempris, central character of the poem, a very Nietzschean rat, to transform the lines of poetry into a pyramidal artists’ book. In the beginning the pyramid had three walls.They were paper, then leather walls etched with shrubs and branches, telling the rat’s painful attempts to escape his torments. Samuel suggested adding a fourth (non imaginary!) wall so we could incorporate the rat’s folding pattern.These powerful lines became a new focus of the book and I decided to bring them to light! While Greg and Yonatan, high school students and makers helped play with code and tools, etching leather and wood veneer, Nick the light wizard started designing a programmable LED board and came up with an elegant way to power it independently of the book, thus respecting archival and conservation bookbinding principles. As the project progressed, and always important, was the experience of interacting with the book: feeling, hearing, smelling, seeing the work. Interactions with books as art objects should be sensuous and playful. Having a mischief of paper rats in the studio at all times helped a lot! Another story happens each time one encounters the book.The four walls open: there is Lempris the rat, folded figure of paper and beeswax, illuminated by his own pattern of lines. In the poem’s narrative, he tussles, struggles and fights for his life and the light slowly goes down in sync, dimming, then disappearing completely at the end of the reading cycle. Each reader can program the light, dimming it to their own reading tempo and create their own telling of the story of Lempris, the Rat Prince. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300367098-APPYYBEN08GSTQX94EKH/mcba-prize-2020-Jim-Bulter-Open-Ended-1.jpg Entries & Jurors - 2020 Entries - Jim Butler Cambridge, England jimbutlerartist.com Open Ended 2018 screen printed in 2 colours on BFK Rives and 150gsm acid-free tracing paper; case- bound with screen printed cover 20.6 x 0.8 x 20.6 cm Artist Statement Open Ended plays with the idea of time and space within the book form. The opening, or double page spread, forms the basic spatial unit of the codex. Time within books has been considered within the context of narratology and the distinction between reading time and narrative time is a key concept within this field. This sort of reading time assumes a linear reading, with pages being completed according to their amount of content. In Open Ended narrative and figuration are excluded, removing the possibility of progressive narrative driving the act of reading or the interplay between reading time and narrative time. The content of each opening is not fixed: neither position of the tracing paper, recto or verso, or orientation should give a sense of completion of the composition of the opening. The book can be opened and read from either end, so that each opening is rotated 180 degrees. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300366874-YDCLU4O7OMP462Y2ES5N/mcba-prize-2020-Jim-Bulter-Open-Ended-2.jpg Entries & Jurors - 2020 Entries - Jim Butler Cambridge, England jimbutlerartist.com Open Ended 2018 screen printed in 2 colours on BFK Rives and 150gsm acid-free tracing paper; case- bound with screen printed cover 20.6 x 0.8 x 20.6 cm Artist Statement Open Ended plays with the idea of time and space within the book form. The opening, or double page spread, forms the basic spatial unit of the codex. Time within books has been considered within the context of narratology and the distinction between reading time and narrative time is a key concept within this field. This sort of reading time assumes a linear reading, with pages being completed according to their amount of content. In Open Ended narrative and figuration are excluded, removing the possibility of progressive narrative driving the act of reading or the interplay between reading time and narrative time. The content of each opening is not fixed: neither position of the tracing paper, recto or verso, or orientation should give a sense of completion of the composition of the opening. The book can be opened and read from either end, so that each opening is rotated 180 degrees. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300368393-6EFJRCL17GKON571INBB/mcba-prize-2020-Jim-Bulter-Open-Ended-3.jpg Entries & Jurors - 2020 Entries - Jim Butler Cambridge, England jimbutlerartist.com Open Ended 2018 screen printed in 2 colours on BFK Rives and 150gsm acid-free tracing paper; case- bound with screen printed cover 20.6 x 0.8 x 20.6 cm Artist Statement Open Ended plays with the idea of time and space within the book form. The opening, or double page spread, forms the basic spatial unit of the codex. Time within books has been considered within the context of narratology and the distinction between reading time and narrative time is a key concept within this field. This sort of reading time assumes a linear reading, with pages being completed according to their amount of content. In Open Ended narrative and figuration are excluded, removing the possibility of progressive narrative driving the act of reading or the interplay between reading time and narrative time. The content of each opening is not fixed: neither position of the tracing paper, recto or verso, or orientation should give a sense of completion of the composition of the opening. The book can be opened and read from either end, so that each opening is rotated 180 degrees. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300368826-MMD830YR1ZXR3715FL50/mcba-prize-2020-Jim-Bulter-Open-Ended-4.jpg Entries & Jurors - 2020 Entries - Jim Butler Cambridge, England jimbutlerartist.com Open Ended 2018 screen printed in 2 colours on BFK Rives and 150gsm acid-free tracing paper; case- bound with screen printed cover 20.6 x 0.8 x 20.6 cm Artist Statement Open Ended plays with the idea of time and space within the book form. The opening, or double page spread, forms the basic spatial unit of the codex. Time within books has been considered within the context of narratology and the distinction between reading time and narrative time is a key concept within this field. This sort of reading time assumes a linear reading, with pages being completed according to their amount of content. In Open Ended narrative and figuration are excluded, removing the possibility of progressive narrative driving the act of reading or the interplay between reading time and narrative time. The content of each opening is not fixed: neither position of the tracing paper, recto or verso, or orientation should give a sense of completion of the composition of the opening. The book can be opened and read from either end, so that each opening is rotated 180 degrees. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300369790-22A3WCUZEHXWHZWCHWHV/mcba-prize-2020-Jim-Bulter-Open-Ended-5.jpg Entries & Jurors - 2020 Entries - Jim Butler Cambridge, England jimbutlerartist.com Open Ended 2018 screen printed in 2 colours on BFK Rives and 150gsm acid-free tracing paper; case- bound with screen printed cover 20.6 x 0.8 x 20.6 cm Artist Statement Open Ended plays with the idea of time and space within the book form. The opening, or double page spread, forms the basic spatial unit of the codex. Time within books has been considered within the context of narratology and the distinction between reading time and narrative time is a key concept within this field. This sort of reading time assumes a linear reading, with pages being completed according to their amount of content. In Open Ended narrative and figuration are excluded, removing the possibility of progressive narrative driving the act of reading or the interplay between reading time and narrative time. The content of each opening is not fixed: neither position of the tracing paper, recto or verso, or orientation should give a sense of completion of the composition of the opening. The book can be opened and read from either end, so that each opening is rotated 180 degrees. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300480674-Q3MUJE9OLEGJO3VKCTY1/mcba-prize-2020-Helen-Carlson-Spiral-into-Life-1.jpg Entries & Jurors - 2020 Entries - Helen Carlson Richfield, Minnesota Spiral into Life 2019 mixed Closed: 2.1 x 7.5 x 12.1″; Open: .25 x 84.4 x 12.2″. Embedded mini-books vary in size. Artist Statement Spiral into Life probes deeply into life through multiple circumlocutions of a painted backdrop around a fulcrum (dowel). The backdrop begins in darkness of the earth as a plant (represented by silhouettes) emerges in late winter, brightens with growth through a season, and ends in the darkness of senescence. myth, and mystery. Silhouettes of the seasons of human life are also included. Embedded in the circumlocutions are three mini-books—Jack-in-the-Pulpit: Through a Season, Jack-in-the-Pulpit: A Guide to Life’s Transitions, and Jack-in-the Pulpit: Tree of Life. In turn, each of these open further as described below. Jack-in-the-Pulpit: Through a Season contains five parts (energizing emergence, infusing impulse, seizing sunlight, netting nutrients, and respecting resources) that open to selected sketches and reflective observations. These further unfold to reveal relevant science and illustrations in the style of a biology- notebook. Jack in the Pulpit: A Guide to Life’s Transitions encompasses five parts that apply seasonal changes to the human life cycle. Each part reveals watercolor illustrations and accordion books that expand to reveal vignettes and pop-ups to address the space, place, status, lifestyle, and form transitions of human life. Jack in the Pulpit: Tree of Life contains a three-dimensional paper-engineered graphic with accompanying companion readers that open to reveal the biology, myth, and mystery found in the tree-of-life symbols from nature as well as different cultures. From the unwinding of the woven band that encircles the closed backdrop to the unfolding of each embedded mini-book, the structure resonates with the content of spiraling deep into life. The process of creation included multiple revisions for both the overall work and mini-books: mock-ups for the form, thumb-nails of images, and text variations. Each major and mini iterative revision enhanced the content’s connection to the form, a process that was transformative. The transformation is reflected in the final paper- engineered graphic that represents movement outward to universes and inward to the psyche’s depths. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300480600-Z8QVL5CEXXAC4PCW8Z0H/mcba-prize-2020-Helen-Carlson-Spiral-into-Life-2.jpg Entries & Jurors - 2020 Entries - Helen Carlson Richfield, Minnesota Spiral into Life 2019 mixed Closed: 2.1 x 7.5 x 12.1″; Open: .25 x 84.4 x 12.2″. Embedded mini-books vary in size. Artist Statement Spiral into Life probes deeply into life through multiple circumlocutions of a painted backdrop around a fulcrum (dowel). The backdrop begins in darkness of the earth as a plant (represented by silhouettes) emerges in late winter, brightens with growth through a season, and ends in the darkness of senescence. myth, and mystery. Silhouettes of the seasons of human life are also included. Embedded in the circumlocutions are three mini-books—Jack-in-the-Pulpit: Through a Season, Jack-in-the-Pulpit: A Guide to Life’s Transitions, and Jack-in-the Pulpit: Tree of Life. In turn, each of these open further as described below. Jack-in-the-Pulpit: Through a Season contains five parts (energizing emergence, infusing impulse, seizing sunlight, netting nutrients, and respecting resources) that open to selected sketches and reflective observations. These further unfold to reveal relevant science and illustrations in the style of a biology- notebook. Jack in the Pulpit: A Guide to Life’s Transitions encompasses five parts that apply seasonal changes to the human life cycle. Each part reveals watercolor illustrations and accordion books that expand to reveal vignettes and pop-ups to address the space, place, status, lifestyle, and form transitions of human life. Jack in the Pulpit: Tree of Life contains a three-dimensional paper-engineered graphic with accompanying companion readers that open to reveal the biology, myth, and mystery found in the tree-of-life symbols from nature as well as different cultures. From the unwinding of the woven band that encircles the closed backdrop to the unfolding of each embedded mini-book, the structure resonates with the content of spiraling deep into life. The process of creation included multiple revisions for both the overall work and mini-books: mock-ups for the form, thumb-nails of images, and text variations. Each major and mini iterative revision enhanced the content’s connection to the form, a process that was transformative. The transformation is reflected in the final paper- engineered graphic that represents movement outward to universes and inward to the psyche’s depths. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300481601-VCHVKIUZ3G5TEFW2JLMT/mcba-prize-2020-Helen-Carlson-Spiral-into-Life-3.jpg Entries & Jurors - 2020 Entries - Helen Carlson Richfield, Minnesota Spiral into Life 2019 mixed Closed: 2.1 x 7.5 x 12.1″; Open: .25 x 84.4 x 12.2″. Embedded mini-books vary in size. Artist Statement Spiral into Life probes deeply into life through multiple circumlocutions of a painted backdrop around a fulcrum (dowel). The backdrop begins in darkness of the earth as a plant (represented by silhouettes) emerges in late winter, brightens with growth through a season, and ends in the darkness of senescence. myth, and mystery. Silhouettes of the seasons of human life are also included. Embedded in the circumlocutions are three mini-books—Jack-in-the-Pulpit: Through a Season, Jack-in-the-Pulpit: A Guide to Life’s Transitions, and Jack-in-the Pulpit: Tree of Life. In turn, each of these open further as described below. Jack-in-the-Pulpit: Through a Season contains five parts (energizing emergence, infusing impulse, seizing sunlight, netting nutrients, and respecting resources) that open to selected sketches and reflective observations. These further unfold to reveal relevant science and illustrations in the style of a biology- notebook. Jack in the Pulpit: A Guide to Life’s Transitions encompasses five parts that apply seasonal changes to the human life cycle. Each part reveals watercolor illustrations and accordion books that expand to reveal vignettes and pop-ups to address the space, place, status, lifestyle, and form transitions of human life. Jack in the Pulpit: Tree of Life contains a three-dimensional paper-engineered graphic with accompanying companion readers that open to reveal the biology, myth, and mystery found in the tree-of-life symbols from nature as well as different cultures. From the unwinding of the woven band that encircles the closed backdrop to the unfolding of each embedded mini-book, the structure resonates with the content of spiraling deep into life. The process of creation included multiple revisions for both the overall work and mini-books: mock-ups for the form, thumb-nails of images, and text variations. Each major and mini iterative revision enhanced the content’s connection to the form, a process that was transformative. The transformation is reflected in the final paper- engineered graphic that represents movement outward to universes and inward to the psyche’s depths. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300481749-4YBDWF9ZSFS3MC14UA1O/mcba-prize-2020-Helen-Carlson-Spiral-into-Life-4.jpg Entries & Jurors - 2020 Entries - Helen Carlson Richfield, Minnesota Spiral into Life 2019 mixed Closed: 2.1 x 7.5 x 12.1″; Open: .25 x 84.4 x 12.2″. Embedded mini-books vary in size. Artist Statement Spiral into Life probes deeply into life through multiple circumlocutions of a painted backdrop around a fulcrum (dowel). The backdrop begins in darkness of the earth as a plant (represented by silhouettes) emerges in late winter, brightens with growth through a season, and ends in the darkness of senescence. myth, and mystery. Silhouettes of the seasons of human life are also included. Embedded in the circumlocutions are three mini-books—Jack-in-the-Pulpit: Through a Season, Jack-in-the-Pulpit: A Guide to Life’s Transitions, and Jack-in-the Pulpit: Tree of Life. In turn, each of these open further as described below. Jack-in-the-Pulpit: Through a Season contains five parts (energizing emergence, infusing impulse, seizing sunlight, netting nutrients, and respecting resources) that open to selected sketches and reflective observations. These further unfold to reveal relevant science and illustrations in the style of a biology- notebook. Jack in the Pulpit: A Guide to Life’s Transitions encompasses five parts that apply seasonal changes to the human life cycle. Each part reveals watercolor illustrations and accordion books that expand to reveal vignettes and pop-ups to address the space, place, status, lifestyle, and form transitions of human life. Jack in the Pulpit: Tree of Life contains a three-dimensional paper-engineered graphic with accompanying companion readers that open to reveal the biology, myth, and mystery found in the tree-of-life symbols from nature as well as different cultures. From the unwinding of the woven band that encircles the closed backdrop to the unfolding of each embedded mini-book, the structure resonates with the content of spiraling deep into life. The process of creation included multiple revisions for both the overall work and mini-books: mock-ups for the form, thumb-nails of images, and text variations. Each major and mini iterative revision enhanced the content’s connection to the form, a process that was transformative. The transformation is reflected in the final paper- engineered graphic that represents movement outward to universes and inward to the psyche’s depths. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774300482575-KWXBKDG2B9JKTP6V6M5K/mcba-prize-2020-Helen-Carlson-Spiral-into-Life-5.jpg Entries & Jurors - 2020 Entries - Helen Carlson Richfield, Minnesota Spiral into Life 2019 mixed Closed: 2.1 x 7.5 x 12.1″; Open: .25 x 84.4 x 12.2″. Embedded mini-books vary in size. Artist Statement Spiral into Life probes deeply into life through multiple circumlocutions of a painted backdrop around a fulcrum (dowel). The backdrop begins in darkness of the earth as a plant (represented by silhouettes) emerges in late winter, brightens with growth through a season, and ends in the darkness of senescence. myth, and mystery. Silhouettes of the seasons of human life are also included. Embedded in the circumlocutions are three mini-books—Jack-in-the-Pulpit: Through a Season, Jack-in-the-Pulpit: A Guide to Life’s Transitions, and Jack-in-the Pulpit: Tree of Life. In turn, each of these open further as described below. Jack-in-the-Pulpit: Through a Season contains five parts (energizing emergence, infusing impulse, seizing sunlight, netting nutrients, and respecting resources) that open to selected sketches and reflective observations. These further unfold to reveal relevant science and illustrations in the style of a biology- notebook. Jack in the Pulpit: A Guide to Life’s Transitions encompasses five parts that apply seasonal changes to the human life cycle. Each part reveals watercolor illustrations and accordion books that expand to reveal vignettes and pop-ups to address the space, place, status, lifestyle, and form transitions of human life. Jack in the Pulpit: Tree of Life contains a three-dimensional paper-engineered graphic with accompanying companion readers that open to reveal the biology, myth, and mystery found in the tree-of-life symbols from nature as well as different cultures. From the unwinding of the woven band that encircles the closed backdrop to the unfolding of each embedded mini-book, the structure resonates with the content of spiraling deep into life. The process of creation included multiple revisions for both the overall work and mini-books: mock-ups for the form, thumb-nails of images, and text variations. Each major and mini iterative revision enhanced the content’s connection to the form, a process that was transformative. The transformation is reflected in the final paper- engineered graphic that represents movement outward to universes and inward to the psyche’s depths. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774301565238-2F8DJYDR2IPUSGTXBY1A/mcba-prize-2020-Elizabeth-Castaldo-Love-Grows-in-the-Forest-1.jpg Entries & Jurors - 2020 Entries - Elizabeth Castaldo Peekskil, New York elizabethcastaldo.com Love Grows in the Forest 2018 Letterpress, photopolymer plates, inkjet, handcut paper, Zerkall Book Wove Paper, Nepalese Lokta Paper, Canson Mi- Tientes Paper, Davie Board, Cotlin Book Cloth. OPEN: extends to 55 inches CLOSED: 5 x 10 inches Artist Statement I work in mixed media, combining collage, drawing, and printmaking to create works on pa- per and artists books that explore connections of people with the natural world. I am inspired by the structural patterns inherent in plant and animal life that reveal the connection between humans and the natural universe. For the last few years I’ve been making artists books that reflect on my personal relationship with nature. Nature has always been a space of sanctuary to me but I don’t think I real- ized it for a long time and I’ve worked with this idea in artists’ books such as “Love Grows in the Forest”, which I made in 2018. I never fully appreciated trees and the forests until I moved to the city. I love the city and still do, its probably where I feel most at home, but living there really made me long to be in the woods surrounded by trees and their magical air. The book “The Hidden Life of Trees” by Peter Wohlleben was deeply influentail to me in making “Love Grows in the Forest”. I was really moved by his description of the ways trees communicate and live in an almost society like way. He discusses the lives of trees almost as if they are human. Love Grows in the forest is about the magic one might feel in the forest, about the life cycle of trees and how they speak to one another. When I was a kid the forest was always special to me. I loved being in the woods but more than that I loved the idea of the woods, which to me seemed to represent mystery and magic and in a lot of ways still does. It was a place of fairytales, both gentle and scary, always magical. There was a very small wooded area near our house and my siblings and I liked to “hike” through to the old apple orchard and horse farm beyond and scare each other about seeing wolves and monsters in the distance. It was always a lot of fun. That it was a little scary, but also so quiet and so different from the typical suburban street we had just walked from was what made it so special. Or maybe it was the whispers of the trees that gave it that magical air. At a time when the earth is suffering as the result of the disconnected relationship most of us have with nature, the rare moments we get to experience the magic of being in nature are vital. In a way this book is a love letter to trees. On another level its an effort at preserving the memory of a feeling that I fear will be lost someday due to deforestation and environmental destruction. I often wonder if my grandchildren will get to know the feeling of being immersed in the Forest, allowing one- self to be temporarily disconnected from society and to feel connected with nature. Will they feel that magic spark? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774301565365-71KJKEUMMJXHFZYY7BSE/mcba-prize-2020-Elizabeth-Castaldo-Love-Grows-in-the-Forest-2.jpg Entries & Jurors - 2020 Entries - Elizabeth Castaldo Peekskil, New York elizabethcastaldo.com Love Grows in the Forest 2018 Letterpress, photopolymer plates, inkjet, handcut paper, Zerkall Book Wove Paper, Nepalese Lokta Paper, Canson Mi- Tientes Paper, Davie Board, Cotlin Book Cloth. OPEN: extends to 55 inches CLOSED: 5 x 10 inches Artist Statement I work in mixed media, combining collage, drawing, and printmaking to create works on pa- per and artists books that explore connections of people with the natural world. I am inspired by the structural patterns inherent in plant and animal life that reveal the connection between humans and the natural universe. For the last few years I’ve been making artists books that reflect on my personal relationship with nature. Nature has always been a space of sanctuary to me but I don’t think I real- ized it for a long time and I’ve worked with this idea in artists’ books such as “Love Grows in the Forest”, which I made in 2018. I never fully appreciated trees and the forests until I moved to the city. I love the city and still do, its probably where I feel most at home, but living there really made me long to be in the woods surrounded by trees and their magical air. The book “The Hidden Life of Trees” by Peter Wohlleben was deeply influentail to me in making “Love Grows in the Forest”. I was really moved by his description of the ways trees communicate and live in an almost society like way. He discusses the lives of trees almost as if they are human. Love Grows in the forest is about the magic one might feel in the forest, about the life cycle of trees and how they speak to one another. When I was a kid the forest was always special to me. I loved being in the woods but more than that I loved the idea of the woods, which to me seemed to represent mystery and magic and in a lot of ways still does. It was a place of fairytales, both gentle and scary, always magical. There was a very small wooded area near our house and my siblings and I liked to “hike” through to the old apple orchard and horse farm beyond and scare each other about seeing wolves and monsters in the distance. It was always a lot of fun. That it was a little scary, but also so quiet and so different from the typical suburban street we had just walked from was what made it so special. Or maybe it was the whispers of the trees that gave it that magical air. At a time when the earth is suffering as the result of the disconnected relationship most of us have with nature, the rare moments we get to experience the magic of being in nature are vital. In a way this book is a love letter to trees. On another level its an effort at preserving the memory of a feeling that I fear will be lost someday due to deforestation and environmental destruction. I often wonder if my grandchildren will get to know the feeling of being immersed in the Forest, allowing one- self to be temporarily disconnected from society and to feel connected with nature. Will they feel that magic spark? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774301569749-H3G9RE4EWQCOUO6G4L7I/mcba-prize-2020-Elizabeth-Castaldo-Love-Grows-in-the-Forest-3.jpg Entries & Jurors - 2020 Entries - Elizabeth Castaldo Peekskil, New York elizabethcastaldo.com Love Grows in the Forest 2018 Letterpress, photopolymer plates, inkjet, handcut paper, Zerkall Book Wove Paper, Nepalese Lokta Paper, Canson Mi- Tientes Paper, Davie Board, Cotlin Book Cloth. OPEN: extends to 55 inches CLOSED: 5 x 10 inches Artist Statement I work in mixed media, combining collage, drawing, and printmaking to create works on pa- per and artists books that explore connections of people with the natural world. I am inspired by the structural patterns inherent in plant and animal life that reveal the connection between humans and the natural universe. For the last few years I’ve been making artists books that reflect on my personal relationship with nature. Nature has always been a space of sanctuary to me but I don’t think I real- ized it for a long time and I’ve worked with this idea in artists’ books such as “Love Grows in the Forest”, which I made in 2018. I never fully appreciated trees and the forests until I moved to the city. I love the city and still do, its probably where I feel most at home, but living there really made me long to be in the woods surrounded by trees and their magical air. The book “The Hidden Life of Trees” by Peter Wohlleben was deeply influentail to me in making “Love Grows in the Forest”. I was really moved by his description of the ways trees communicate and live in an almost society like way. He discusses the lives of trees almost as if they are human. Love Grows in the forest is about the magic one might feel in the forest, about the life cycle of trees and how they speak to one another. When I was a kid the forest was always special to me. I loved being in the woods but more than that I loved the idea of the woods, which to me seemed to represent mystery and magic and in a lot of ways still does. It was a place of fairytales, both gentle and scary, always magical. There was a very small wooded area near our house and my siblings and I liked to “hike” through to the old apple orchard and horse farm beyond and scare each other about seeing wolves and monsters in the distance. It was always a lot of fun. That it was a little scary, but also so quiet and so different from the typical suburban street we had just walked from was what made it so special. Or maybe it was the whispers of the trees that gave it that magical air. At a time when the earth is suffering as the result of the disconnected relationship most of us have with nature, the rare moments we get to experience the magic of being in nature are vital. In a way this book is a love letter to trees. On another level its an effort at preserving the memory of a feeling that I fear will be lost someday due to deforestation and environmental destruction. I often wonder if my grandchildren will get to know the feeling of being immersed in the Forest, allowing one- self to be temporarily disconnected from society and to feel connected with nature. Will they feel that magic spark? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774301570396-XN1K8U5TO4F89IOJKI3M/mcba-prize-2020-Elizabeth-Castaldo-Love-Grows-in-the-Forest-4.jpg Entries & Jurors - 2020 Entries - Elizabeth Castaldo Peekskil, New York elizabethcastaldo.com Love Grows in the Forest 2018 Letterpress, photopolymer plates, inkjet, handcut paper, Zerkall Book Wove Paper, Nepalese Lokta Paper, Canson Mi- Tientes Paper, Davie Board, Cotlin Book Cloth. OPEN: extends to 55 inches CLOSED: 5 x 10 inches Artist Statement I work in mixed media, combining collage, drawing, and printmaking to create works on pa- per and artists books that explore connections of people with the natural world. I am inspired by the structural patterns inherent in plant and animal life that reveal the connection between humans and the natural universe. For the last few years I’ve been making artists books that reflect on my personal relationship with nature. Nature has always been a space of sanctuary to me but I don’t think I real- ized it for a long time and I’ve worked with this idea in artists’ books such as “Love Grows in the Forest”, which I made in 2018. I never fully appreciated trees and the forests until I moved to the city. I love the city and still do, its probably where I feel most at home, but living there really made me long to be in the woods surrounded by trees and their magical air. The book “The Hidden Life of Trees” by Peter Wohlleben was deeply influentail to me in making “Love Grows in the Forest”. I was really moved by his description of the ways trees communicate and live in an almost society like way. He discusses the lives of trees almost as if they are human. Love Grows in the forest is about the magic one might feel in the forest, about the life cycle of trees and how they speak to one another. When I was a kid the forest was always special to me. I loved being in the woods but more than that I loved the idea of the woods, which to me seemed to represent mystery and magic and in a lot of ways still does. It was a place of fairytales, both gentle and scary, always magical. There was a very small wooded area near our house and my siblings and I liked to “hike” through to the old apple orchard and horse farm beyond and scare each other about seeing wolves and monsters in the distance. It was always a lot of fun. That it was a little scary, but also so quiet and so different from the typical suburban street we had just walked from was what made it so special. Or maybe it was the whispers of the trees that gave it that magical air. At a time when the earth is suffering as the result of the disconnected relationship most of us have with nature, the rare moments we get to experience the magic of being in nature are vital. In a way this book is a love letter to trees. On another level its an effort at preserving the memory of a feeling that I fear will be lost someday due to deforestation and environmental destruction. I often wonder if my grandchildren will get to know the feeling of being immersed in the Forest, allowing one- self to be temporarily disconnected from society and to feel connected with nature. Will they feel that magic spark? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774301572171-PYOSWD94LEXSG53BZLN1/mcba-prize-2020-Elizabeth-Castaldo-Love-Grows-in-the-Forest-5.jpg Entries & Jurors - 2020 Entries - Elizabeth Castaldo Peekskil, New York elizabethcastaldo.com Love Grows in the Forest 2018 Letterpress, photopolymer plates, inkjet, handcut paper, Zerkall Book Wove Paper, Nepalese Lokta Paper, Canson Mi- Tientes Paper, Davie Board, Cotlin Book Cloth. OPEN: extends to 55 inches CLOSED: 5 x 10 inches Artist Statement I work in mixed media, combining collage, drawing, and printmaking to create works on pa- per and artists books that explore connections of people with the natural world. I am inspired by the structural patterns inherent in plant and animal life that reveal the connection between humans and the natural universe. For the last few years I’ve been making artists books that reflect on my personal relationship with nature. Nature has always been a space of sanctuary to me but I don’t think I real- ized it for a long time and I’ve worked with this idea in artists’ books such as “Love Grows in the Forest”, which I made in 2018. I never fully appreciated trees and the forests until I moved to the city. I love the city and still do, its probably where I feel most at home, but living there really made me long to be in the woods surrounded by trees and their magical air. The book “The Hidden Life of Trees” by Peter Wohlleben was deeply influentail to me in making “Love Grows in the Forest”. I was really moved by his description of the ways trees communicate and live in an almost society like way. He discusses the lives of trees almost as if they are human. Love Grows in the forest is about the magic one might feel in the forest, about the life cycle of trees and how they speak to one another. When I was a kid the forest was always special to me. I loved being in the woods but more than that I loved the idea of the woods, which to me seemed to represent mystery and magic and in a lot of ways still does. It was a place of fairytales, both gentle and scary, always magical. There was a very small wooded area near our house and my siblings and I liked to “hike” through to the old apple orchard and horse farm beyond and scare each other about seeing wolves and monsters in the distance. It was always a lot of fun. That it was a little scary, but also so quiet and so different from the typical suburban street we had just walked from was what made it so special. Or maybe it was the whispers of the trees that gave it that magical air. At a time when the earth is suffering as the result of the disconnected relationship most of us have with nature, the rare moments we get to experience the magic of being in nature are vital. In a way this book is a love letter to trees. On another level its an effort at preserving the memory of a feeling that I fear will be lost someday due to deforestation and environmental destruction. I often wonder if my grandchildren will get to know the feeling of being immersed in the Forest, allowing one- self to be temporarily disconnected from society and to feel connected with nature. Will they feel that magic spark? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774303008421-Q70905UEAQX3K3MOXQFF/mcba-prize-2020-Daniele-Catalli-Di-Ferite-Stelle-1.jpg Entries & Jurors - 2020 Entries - Daniele Catalli Torino, Italy piripiriatelier.org dfrgpress.com Di Ferite Stelle 2018 Papercut, digital print 8,6×12 Artist Statement DI FERITE STELLE (of wounded stars) 35 haikus by Laura Anfuso Drawings and book concept by Daniele Catalli 36 pages 8,6×12 inches Laser cut and digital print on 200 gr light gray paper, cardboard box
 Edition of 10, signed and numbered by the artists. A book about the Holocaust. Poems tell the real stories of people who were deported and died in the concentration camps during WWII. People leave a trace of their presence that becomes absence once dug into the paper. Each shadow is thus transformed into a void that is both a mirror and a container for all other absences. The overlapping of the levels creates a collective memory starting from the individual life experiences. Pages are left loose for the reader must choose by himself the reading order just like memory and the way we remember things and happenings is different for each one of us. The chosen paper is a very peculiar one, manufactured in Italy by Favini. In the color scale it goes under the name of Ghiaccio ( ice ) and it is supposed to be a light gray / blueish color. However, its peculiar tone is perceived in different way by different people and it does change a lot under different light temperatures. I chose this very specific kind of paper because I want to stress the fact that historical fact, especially traumatic ones, will be perceived in different ways by different people and everyone has an opinion about it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774303008427-H8BPH5C8IFHWQKFEU44J/mcba-prize-2020-Daniele-Catalli-Di-Ferite-Stelle-2.jpg Entries & Jurors - 2020 Entries - Daniele Catalli Torino, Italy piripiriatelier.org dfrgpress.com Di Ferite Stelle 2018 Papercut, digital print 8,6×12 Artist Statement DI FERITE STELLE (of wounded stars) 35 haikus by Laura Anfuso Drawings and book concept by Daniele Catalli 36 pages 8,6×12 inches Laser cut and digital print on 200 gr light gray paper, cardboard box
 Edition of 10, signed and numbered by the artists. A book about the Holocaust. Poems tell the real stories of people who were deported and died in the concentration camps during WWII. People leave a trace of their presence that becomes absence once dug into the paper. Each shadow is thus transformed into a void that is both a mirror and a container for all other absences. The overlapping of the levels creates a collective memory starting from the individual life experiences. Pages are left loose for the reader must choose by himself the reading order just like memory and the way we remember things and happenings is different for each one of us. The chosen paper is a very peculiar one, manufactured in Italy by Favini. In the color scale it goes under the name of Ghiaccio ( ice ) and it is supposed to be a light gray / blueish color. However, its peculiar tone is perceived in different way by different people and it does change a lot under different light temperatures. I chose this very specific kind of paper because I want to stress the fact that historical fact, especially traumatic ones, will be perceived in different ways by different people and everyone has an opinion about it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774303009573-S5KNE1X74Q65B1XNZWBP/mcba-prize-2020-Daniele-Catalli-Di-Ferite-Stelle-3.jpg Entries & Jurors - 2020 Entries - Daniele Catalli Torino, Italy piripiriatelier.org dfrgpress.com Di Ferite Stelle 2018 Papercut, digital print 8,6×12 Artist Statement DI FERITE STELLE (of wounded stars) 35 haikus by Laura Anfuso Drawings and book concept by Daniele Catalli 36 pages 8,6×12 inches Laser cut and digital print on 200 gr light gray paper, cardboard box
 Edition of 10, signed and numbered by the artists. A book about the Holocaust. Poems tell the real stories of people who were deported and died in the concentration camps during WWII. People leave a trace of their presence that becomes absence once dug into the paper. Each shadow is thus transformed into a void that is both a mirror and a container for all other absences. The overlapping of the levels creates a collective memory starting from the individual life experiences. Pages are left loose for the reader must choose by himself the reading order just like memory and the way we remember things and happenings is different for each one of us. The chosen paper is a very peculiar one, manufactured in Italy by Favini. In the color scale it goes under the name of Ghiaccio ( ice ) and it is supposed to be a light gray / blueish color. However, its peculiar tone is perceived in different way by different people and it does change a lot under different light temperatures. I chose this very specific kind of paper because I want to stress the fact that historical fact, especially traumatic ones, will be perceived in different ways by different people and everyone has an opinion about it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774303009745-Z23LA8995PBUT7M8PQIZ/mcba-prize-2020-Daniele-Catalli-Di-Ferite-Stelle-4.jpg Entries & Jurors - 2020 Entries - Daniele Catalli Torino, Italy piripiriatelier.org dfrgpress.com Di Ferite Stelle 2018 Papercut, digital print 8,6×12 Artist Statement DI FERITE STELLE (of wounded stars) 35 haikus by Laura Anfuso Drawings and book concept by Daniele Catalli 36 pages 8,6×12 inches Laser cut and digital print on 200 gr light gray paper, cardboard box
 Edition of 10, signed and numbered by the artists. A book about the Holocaust. Poems tell the real stories of people who were deported and died in the concentration camps during WWII. People leave a trace of their presence that becomes absence once dug into the paper. Each shadow is thus transformed into a void that is both a mirror and a container for all other absences. The overlapping of the levels creates a collective memory starting from the individual life experiences. Pages are left loose for the reader must choose by himself the reading order just like memory and the way we remember things and happenings is different for each one of us. The chosen paper is a very peculiar one, manufactured in Italy by Favini. In the color scale it goes under the name of Ghiaccio ( ice ) and it is supposed to be a light gray / blueish color. However, its peculiar tone is perceived in different way by different people and it does change a lot under different light temperatures. I chose this very specific kind of paper because I want to stress the fact that historical fact, especially traumatic ones, will be perceived in different ways by different people and everyone has an opinion about it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774303010878-6X234Z2Y5Z2UVW7D8W7O/mcba-prize-2020-Daniele-Catalli-Di-Ferite-Stelle-5.jpg Entries & Jurors - 2020 Entries - Daniele Catalli Torino, Italy piripiriatelier.org dfrgpress.com Di Ferite Stelle 2018 Papercut, digital print 8,6×12 Artist Statement DI FERITE STELLE (of wounded stars) 35 haikus by Laura Anfuso Drawings and book concept by Daniele Catalli 36 pages 8,6×12 inches Laser cut and digital print on 200 gr light gray paper, cardboard box
 Edition of 10, signed and numbered by the artists. A book about the Holocaust. Poems tell the real stories of people who were deported and died in the concentration camps during WWII. People leave a trace of their presence that becomes absence once dug into the paper. Each shadow is thus transformed into a void that is both a mirror and a container for all other absences. The overlapping of the levels creates a collective memory starting from the individual life experiences. Pages are left loose for the reader must choose by himself the reading order just like memory and the way we remember things and happenings is different for each one of us. The chosen paper is a very peculiar one, manufactured in Italy by Favini. In the color scale it goes under the name of Ghiaccio ( ice ) and it is supposed to be a light gray / blueish color. However, its peculiar tone is perceived in different way by different people and it does change a lot under different light temperatures. I chose this very specific kind of paper because I want to stress the fact that historical fact, especially traumatic ones, will be perceived in different ways by different people and everyone has an opinion about it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774361850544-WV51X7UB60LZMOUBVTTZ/mcba-prize-2020-Rebecca-Chamlee-Giant-a-deity-with-leaves-5.jpg Entries & Jurors - 2020 Entries - Rebecca Chamlee Simi Valley, California pieintheskypress.com Giant: a deity with leaves 2019 letterpress printed on handmade paper (more details below) 11.25 x 7.75 x .75″ Artist Statement Giant: a deity with leaves is the story of the ancient Valley oak of Corriganville Regional Park. The book celebrates the life of the magnificent native tree and the gifts it bestowed—wonder, inspiration and an intimate connection with the natural world. Giant: a deity with leaves, written, designed, letterpress printed and bound in Simi Valley, California by Rebecca Chamlee of Pie In The Sky Press, was completed in 2019. The letterpress printing was done on the Vandercook Universal III power press using Centaur and Arrighi type, cast by M & H Type Foundry and Swamp Press, wood French Clarendon and photo polymer plates on Zerkall Book Wove, handmade Kitakata and Korean Hanji papers. The botanical pages are contact prints on Strathmore Aquarius II watercolor paper. The longstitch binding, sewn with hand- dyed Kinglet Cottage linen thread through a white oak spine, has a cover of botanical contact printed and dyed handmade Indigo watercolor paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774361850685-UAHSO7W24NAVRQUDA4XC/mcba-prize-2020-Rebecca-Chamlee-Giant-a-deity-with-leaves-4.jpg Entries & Jurors - 2020 Entries - Rebecca Chamlee Simi Valley, California pieintheskypress.com Giant: a deity with leaves 2019 letterpress printed on handmade paper (more details below) 11.25 x 7.75 x .75″ Artist Statement Giant: a deity with leaves is the story of the ancient Valley oak of Corriganville Regional Park. The book celebrates the life of the magnificent native tree and the gifts it bestowed—wonder, inspiration and an intimate connection with the natural world. Giant: a deity with leaves, written, designed, letterpress printed and bound in Simi Valley, California by Rebecca Chamlee of Pie In The Sky Press, was completed in 2019. The letterpress printing was done on the Vandercook Universal III power press using Centaur and Arrighi type, cast by M & H Type Foundry and Swamp Press, wood French Clarendon and photo polymer plates on Zerkall Book Wove, handmade Kitakata and Korean Hanji papers. The botanical pages are contact prints on Strathmore Aquarius II watercolor paper. The longstitch binding, sewn with hand- dyed Kinglet Cottage linen thread through a white oak spine, has a cover of botanical contact printed and dyed handmade Indigo watercolor paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774361853063-FAR27FH9ET73626KZKHB/mcba-prize-2020-Rebecca-Chamlee-Giant-a-deity-with-leaves-3.jpg Entries & Jurors - 2020 Entries - Rebecca Chamlee Simi Valley, California pieintheskypress.com Giant: a deity with leaves 2019 letterpress printed on handmade paper (more details below) 11.25 x 7.75 x .75″ Artist Statement Giant: a deity with leaves is the story of the ancient Valley oak of Corriganville Regional Park. The book celebrates the life of the magnificent native tree and the gifts it bestowed—wonder, inspiration and an intimate connection with the natural world. Giant: a deity with leaves, written, designed, letterpress printed and bound in Simi Valley, California by Rebecca Chamlee of Pie In The Sky Press, was completed in 2019. The letterpress printing was done on the Vandercook Universal III power press using Centaur and Arrighi type, cast by M & H Type Foundry and Swamp Press, wood French Clarendon and photo polymer plates on Zerkall Book Wove, handmade Kitakata and Korean Hanji papers. The botanical pages are contact prints on Strathmore Aquarius II watercolor paper. The longstitch binding, sewn with hand- dyed Kinglet Cottage linen thread through a white oak spine, has a cover of botanical contact printed and dyed handmade Indigo watercolor paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774361853349-F4E2EW6U1MGKV8G281BN/mcba-prize-2020-Rebecca-Chamlee-Giant-a-deity-with-leaves-2.jpg Entries & Jurors - 2020 Entries - Rebecca Chamlee Simi Valley, California pieintheskypress.com Giant: a deity with leaves 2019 letterpress printed on handmade paper (more details below) 11.25 x 7.75 x .75″ Artist Statement Giant: a deity with leaves is the story of the ancient Valley oak of Corriganville Regional Park. The book celebrates the life of the magnificent native tree and the gifts it bestowed—wonder, inspiration and an intimate connection with the natural world. Giant: a deity with leaves, written, designed, letterpress printed and bound in Simi Valley, California by Rebecca Chamlee of Pie In The Sky Press, was completed in 2019. The letterpress printing was done on the Vandercook Universal III power press using Centaur and Arrighi type, cast by M & H Type Foundry and Swamp Press, wood French Clarendon and photo polymer plates on Zerkall Book Wove, handmade Kitakata and Korean Hanji papers. The botanical pages are contact prints on Strathmore Aquarius II watercolor paper. The longstitch binding, sewn with hand- dyed Kinglet Cottage linen thread through a white oak spine, has a cover of botanical contact printed and dyed handmade Indigo watercolor paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774361854799-XLN1MO3M4VNNVSOHRDQ7/mcba-prize-2020-Rebecca-Chamlee-Giant-a-deity-with-leaves-1.jpg Entries & Jurors - 2020 Entries - Rebecca Chamlee Simi Valley, California pieintheskypress.com Giant: a deity with leaves 2019 letterpress printed on handmade paper (more details below) 11.25 x 7.75 x .75″ Artist Statement Giant: a deity with leaves is the story of the ancient Valley oak of Corriganville Regional Park. The book celebrates the life of the magnificent native tree and the gifts it bestowed—wonder, inspiration and an intimate connection with the natural world. Giant: a deity with leaves, written, designed, letterpress printed and bound in Simi Valley, California by Rebecca Chamlee of Pie In The Sky Press, was completed in 2019. The letterpress printing was done on the Vandercook Universal III power press using Centaur and Arrighi type, cast by M & H Type Foundry and Swamp Press, wood French Clarendon and photo polymer plates on Zerkall Book Wove, handmade Kitakata and Korean Hanji papers. The botanical pages are contact prints on Strathmore Aquarius II watercolor paper. The longstitch binding, sewn with hand- dyed Kinglet Cottage linen thread through a white oak spine, has a cover of botanical contact printed and dyed handmade Indigo watercolor paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774361976731-MFW5RKIPZ7EWTNMPSQ9G/mcba-prize-2020-Lucy-Childs-A-Blustery-Windy-Day-on-Quiet-Island-5.jpg Entries & Jurors - 2020 Entries - Lucy Childs Martinez, California lucychildsbookarts.com A Blustery Windy Day on Quiet Island 2020 textile, hand embroidery 24.5 x 5.25 x .125″ Artist Statement Quiet Island is an imaginary location meant for escapes, musings, or meditations. My embroidered series Quiet Island, which includes A Blustery Windy Day on Quiet Island, began in 2015. A Blustery Windy Day on Quiet Island shows a day where islanders can feel blasts of those wind with lots of confidence. During stormy weather, Islanders “gather together to search out, batten down, and protect all we can. And then we go inside, make soup and tell stories. When it’s calm we clean up, mend and repair, and start again.” Quiet Island exists within the sweep of the North Atlantic Drift of the Gulf Stream and inside that arm of land which provides shelter from hurricanes and seasonal storms that hit most everywhere else nearby. Daydream and explore its meadows or beaches, lunch or gossip at one of the cafes (the menu is yours), breathe island air, feel its temperatures, listen to sounds; it’s all up to you. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774361977052-5B16QJP0X7ATBOBCQVO8/mcba-prize-2020-Lucy-Childs-A-Blustery-Windy-Day-on-Quiet-Island-4.jpg Entries & Jurors - 2020 Entries - Lucy Childs Martinez, California lucychildsbookarts.com A Blustery Windy Day on Quiet Island 2020 textile, hand embroidery 24.5 x 5.25 x .125″ Artist Statement Quiet Island is an imaginary location meant for escapes, musings, or meditations. My embroidered series Quiet Island, which includes A Blustery Windy Day on Quiet Island, began in 2015. A Blustery Windy Day on Quiet Island shows a day where islanders can feel blasts of those wind with lots of confidence. During stormy weather, Islanders “gather together to search out, batten down, and protect all we can. And then we go inside, make soup and tell stories. When it’s calm we clean up, mend and repair, and start again.” Quiet Island exists within the sweep of the North Atlantic Drift of the Gulf Stream and inside that arm of land which provides shelter from hurricanes and seasonal storms that hit most everywhere else nearby. Daydream and explore its meadows or beaches, lunch or gossip at one of the cafes (the menu is yours), breathe island air, feel its temperatures, listen to sounds; it’s all up to you. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774361979083-30BJYRSITI0AWLA8MLF7/mcba-prize-2020-Lucy-Childs-A-Blustery-Windy-Day-on-Quiet-Island-3.jpg Entries & Jurors - 2020 Entries - Lucy Childs Martinez, California lucychildsbookarts.com A Blustery Windy Day on Quiet Island 2020 textile, hand embroidery 24.5 x 5.25 x .125″ Artist Statement Quiet Island is an imaginary location meant for escapes, musings, or meditations. My embroidered series Quiet Island, which includes A Blustery Windy Day on Quiet Island, began in 2015. A Blustery Windy Day on Quiet Island shows a day where islanders can feel blasts of those wind with lots of confidence. During stormy weather, Islanders “gather together to search out, batten down, and protect all we can. And then we go inside, make soup and tell stories. When it’s calm we clean up, mend and repair, and start again.” Quiet Island exists within the sweep of the North Atlantic Drift of the Gulf Stream and inside that arm of land which provides shelter from hurricanes and seasonal storms that hit most everywhere else nearby. Daydream and explore its meadows or beaches, lunch or gossip at one of the cafes (the menu is yours), breathe island air, feel its temperatures, listen to sounds; it’s all up to you. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774361979273-REYRYYSMYE5W4V5BEAQI/mcba-prize-2020-Lucy-Childs-A-Blustery-Windy-Day-on-Quiet-Island-2.jpg Entries & Jurors - 2020 Entries - Lucy Childs Martinez, California lucychildsbookarts.com A Blustery Windy Day on Quiet Island 2020 textile, hand embroidery 24.5 x 5.25 x .125″ Artist Statement Quiet Island is an imaginary location meant for escapes, musings, or meditations. My embroidered series Quiet Island, which includes A Blustery Windy Day on Quiet Island, began in 2015. A Blustery Windy Day on Quiet Island shows a day where islanders can feel blasts of those wind with lots of confidence. During stormy weather, Islanders “gather together to search out, batten down, and protect all we can. And then we go inside, make soup and tell stories. When it’s calm we clean up, mend and repair, and start again.” Quiet Island exists within the sweep of the North Atlantic Drift of the Gulf Stream and inside that arm of land which provides shelter from hurricanes and seasonal storms that hit most everywhere else nearby. Daydream and explore its meadows or beaches, lunch or gossip at one of the cafes (the menu is yours), breathe island air, feel its temperatures, listen to sounds; it’s all up to you. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774361980734-4VQAOOL8AV83HXKE2IED/mcba-prize-2020-Lucy-Childs-A-Blustery-Windy-Day-on-Quiet-Island-1.jpg Entries & Jurors - 2020 Entries - Lucy Childs Martinez, California lucychildsbookarts.com A Blustery Windy Day on Quiet Island 2020 textile, hand embroidery 24.5 x 5.25 x .125″ Artist Statement Quiet Island is an imaginary location meant for escapes, musings, or meditations. My embroidered series Quiet Island, which includes A Blustery Windy Day on Quiet Island, began in 2015. A Blustery Windy Day on Quiet Island shows a day where islanders can feel blasts of those wind with lots of confidence. During stormy weather, Islanders “gather together to search out, batten down, and protect all we can. And then we go inside, make soup and tell stories. When it’s calm we clean up, mend and repair, and start again.” Quiet Island exists within the sweep of the North Atlantic Drift of the Gulf Stream and inside that arm of land which provides shelter from hurricanes and seasonal storms that hit most everywhere else nearby. Daydream and explore its meadows or beaches, lunch or gossip at one of the cafes (the menu is yours), breathe island air, feel its temperatures, listen to sounds; it’s all up to you. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362140556-QIQF553BRTH15HJN8TXV/mcba-prize-2020-Lucy-Childs-Whatever-happened-to-louisa-5.jpg Entries & Jurors - 2020 Entries - Lucy Childs Martinez, California lucychildsbookarts.com “Whatever Happened to Louisa?” 2020 Textiles: hand embroidery on linen. Accordion book with wool cover, contained in cloth-covered box. Book cover: wool with text embroidered with cotton, silk, rayon, and polyester threads; interior, linen embroidered with cotton, silk, rayon, and polyester threads. Open: 4.5 x 19 inches; Closed: 4 x 5 inches. Artist Statement Whatever Happened to Louisa? documents the mysterious death of Louisa, in the style of Agatha Christie, with images suggesting trauma in a bedroom followed by a drowning. Poor Louisa. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362140368-ZJAO4RT6YMO4XJU1GQNN/mcba-prize-2020-Lucy-Childs-Whatever-happened-to-louisa-4.jpg Entries & Jurors - 2020 Entries - Lucy Childs Martinez, California lucychildsbookarts.com “Whatever Happened to Louisa?” 2020 Textiles: hand embroidery on linen. Accordion book with wool cover, contained in cloth-covered box. Book cover: wool with text embroidered with cotton, silk, rayon, and polyester threads; interior, linen embroidered with cotton, silk, rayon, and polyester threads. Open: 4.5 x 19 inches; Closed: 4 x 5 inches. Artist Statement Whatever Happened to Louisa? documents the mysterious death of Louisa, in the style of Agatha Christie, with images suggesting trauma in a bedroom followed by a drowning. Poor Louisa. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362141671-7873JHRD558CNUVS6AOM/mcba-prize-2020-Lucy-Childs-Whatever-happened-to-louisa-3.jpg Entries & Jurors - 2020 Entries - Lucy Childs Martinez, California lucychildsbookarts.com “Whatever Happened to Louisa?” 2020 Textiles: hand embroidery on linen. Accordion book with wool cover, contained in cloth-covered box. Book cover: wool with text embroidered with cotton, silk, rayon, and polyester threads; interior, linen embroidered with cotton, silk, rayon, and polyester threads. Open: 4.5 x 19 inches; Closed: 4 x 5 inches. Artist Statement Whatever Happened to Louisa? documents the mysterious death of Louisa, in the style of Agatha Christie, with images suggesting trauma in a bedroom followed by a drowning. Poor Louisa. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362142314-M9KS16WK2BPRZZZPXV73/mcba-prize-2020-Lucy-Childs-Whatever-happened-to-louisa-2.jpg Entries & Jurors - 2020 Entries - Lucy Childs Martinez, California lucychildsbookarts.com “Whatever Happened to Louisa?” 2020 Textiles: hand embroidery on linen. Accordion book with wool cover, contained in cloth-covered box. Book cover: wool with text embroidered with cotton, silk, rayon, and polyester threads; interior, linen embroidered with cotton, silk, rayon, and polyester threads. Open: 4.5 x 19 inches; Closed: 4 x 5 inches. Artist Statement Whatever Happened to Louisa? documents the mysterious death of Louisa, in the style of Agatha Christie, with images suggesting trauma in a bedroom followed by a drowning. Poor Louisa. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362143334-IXVSISGDBXUZ5WI5NG23/mcba-prize-2020-Lucy-Childs-Whatever-happened-to-louisa-1.jpg Entries & Jurors - 2020 Entries - Lucy Childs Martinez, California lucychildsbookarts.com “Whatever Happened to Louisa?” 2020 Textiles: hand embroidery on linen. Accordion book with wool cover, contained in cloth-covered box. Book cover: wool with text embroidered with cotton, silk, rayon, and polyester threads; interior, linen embroidered with cotton, silk, rayon, and polyester threads. Open: 4.5 x 19 inches; Closed: 4 x 5 inches. Artist Statement Whatever Happened to Louisa? documents the mysterious death of Louisa, in the style of Agatha Christie, with images suggesting trauma in a bedroom followed by a drowning. Poor Louisa. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362300355-N4U5COHAR5CNRCBA5AUJ/mcba-prize-2020-Kyle-Clark-Carbon-Study-5.jpg Entries & Jurors - 2020 Entries - Kyle Clark Ypsilanti, Michigan Carbon Study No. 3 2020 carbon, okawara, parchment, leather, blind tooling, linen thread 9.25 x 5.5 x 0.875″ Artist Statement The artists’ books within Kyle Clark’s Carbon Study series seek to abstract form and function by blending the inherently disparate inner and outer layer of the book, challenging what it means to read, and questioning how much of the reading experience is generated by the book object or the critically engaged observer. The pages of Carbon Study No. 3 , set between boards and leather, are not intended to be read as one typically reads the written word. The reader is instead invited to discover nuance in tone and form created by the act of alteration and burning, ultimately drawing their own interpretations of meaning. Themes that have emerged while producing this series have included humanity’s relationship to the natural world, ecological cycles, and continual transformation. Carbon Study No. 3 incorporates natural materials in a traditional book format. Prior to attaching its boards and covering with leather, seven holes were drilled through the text block made out of okawara Japanese paper. Several of these holes were filled with highly combustible materials and ignited. Following the ignition of the text block, boards were laced on, endbands were sewn, and the book was covered in leather. The completed binding was decorated with blind tooling and parchment inlays. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362299973-1G2NUHUJ4SKZJISRH4SW/mcba-prize-2020-Kyle-Clark-Carbon-Study-4.jpg Entries & Jurors - 2020 Entries - Kyle Clark Ypsilanti, Michigan Carbon Study No. 3 2020 carbon, okawara, parchment, leather, blind tooling, linen thread 9.25 x 5.5 x 0.875″ Artist Statement The artists’ books within Kyle Clark’s Carbon Study series seek to abstract form and function by blending the inherently disparate inner and outer layer of the book, challenging what it means to read, and questioning how much of the reading experience is generated by the book object or the critically engaged observer. The pages of Carbon Study No. 3 , set between boards and leather, are not intended to be read as one typically reads the written word. The reader is instead invited to discover nuance in tone and form created by the act of alteration and burning, ultimately drawing their own interpretations of meaning. Themes that have emerged while producing this series have included humanity’s relationship to the natural world, ecological cycles, and continual transformation. Carbon Study No. 3 incorporates natural materials in a traditional book format. Prior to attaching its boards and covering with leather, seven holes were drilled through the text block made out of okawara Japanese paper. Several of these holes were filled with highly combustible materials and ignited. Following the ignition of the text block, boards were laced on, endbands were sewn, and the book was covered in leather. The completed binding was decorated with blind tooling and parchment inlays. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362301854-DGQ09O1MH5OT4P7S9U77/mcba-prize-2020-Kyle-Clark-Carbon-Study-3.jpg Entries & Jurors - 2020 Entries - Kyle Clark Ypsilanti, Michigan Carbon Study No. 3 2020 carbon, okawara, parchment, leather, blind tooling, linen thread 9.25 x 5.5 x 0.875″ Artist Statement The artists’ books within Kyle Clark’s Carbon Study series seek to abstract form and function by blending the inherently disparate inner and outer layer of the book, challenging what it means to read, and questioning how much of the reading experience is generated by the book object or the critically engaged observer. The pages of Carbon Study No. 3 , set between boards and leather, are not intended to be read as one typically reads the written word. The reader is instead invited to discover nuance in tone and form created by the act of alteration and burning, ultimately drawing their own interpretations of meaning. Themes that have emerged while producing this series have included humanity’s relationship to the natural world, ecological cycles, and continual transformation. Carbon Study No. 3 incorporates natural materials in a traditional book format. Prior to attaching its boards and covering with leather, seven holes were drilled through the text block made out of okawara Japanese paper. Several of these holes were filled with highly combustible materials and ignited. Following the ignition of the text block, boards were laced on, endbands were sewn, and the book was covered in leather. The completed binding was decorated with blind tooling and parchment inlays. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362302641-H7D2WLIWFUNQIVRKOAJP/mcba-prize-2020-Kyle-Clark-Carbon-Study-2.jpg Entries & Jurors - 2020 Entries - Kyle Clark Ypsilanti, Michigan Carbon Study No. 3 2020 carbon, okawara, parchment, leather, blind tooling, linen thread 9.25 x 5.5 x 0.875″ Artist Statement The artists’ books within Kyle Clark’s Carbon Study series seek to abstract form and function by blending the inherently disparate inner and outer layer of the book, challenging what it means to read, and questioning how much of the reading experience is generated by the book object or the critically engaged observer. The pages of Carbon Study No. 3 , set between boards and leather, are not intended to be read as one typically reads the written word. The reader is instead invited to discover nuance in tone and form created by the act of alteration and burning, ultimately drawing their own interpretations of meaning. Themes that have emerged while producing this series have included humanity’s relationship to the natural world, ecological cycles, and continual transformation. Carbon Study No. 3 incorporates natural materials in a traditional book format. Prior to attaching its boards and covering with leather, seven holes were drilled through the text block made out of okawara Japanese paper. Several of these holes were filled with highly combustible materials and ignited. Following the ignition of the text block, boards were laced on, endbands were sewn, and the book was covered in leather. The completed binding was decorated with blind tooling and parchment inlays. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362303378-1SO6BGJLZ3WPBXHKVEF4/mcba-prize-2020-Kyle-Clark-Carbon-Study-1.jpg Entries & Jurors - 2020 Entries - Kyle Clark Ypsilanti, Michigan Carbon Study No. 3 2020 carbon, okawara, parchment, leather, blind tooling, linen thread 9.25 x 5.5 x 0.875″ Artist Statement The artists’ books within Kyle Clark’s Carbon Study series seek to abstract form and function by blending the inherently disparate inner and outer layer of the book, challenging what it means to read, and questioning how much of the reading experience is generated by the book object or the critically engaged observer. The pages of Carbon Study No. 3 , set between boards and leather, are not intended to be read as one typically reads the written word. The reader is instead invited to discover nuance in tone and form created by the act of alteration and burning, ultimately drawing their own interpretations of meaning. Themes that have emerged while producing this series have included humanity’s relationship to the natural world, ecological cycles, and continual transformation. Carbon Study No. 3 incorporates natural materials in a traditional book format. Prior to attaching its boards and covering with leather, seven holes were drilled through the text block made out of okawara Japanese paper. Several of these holes were filled with highly combustible materials and ignited. Following the ignition of the text block, boards were laced on, endbands were sewn, and the book was covered in leather. The completed binding was decorated with blind tooling and parchment inlays. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362477757-0S5MX2DBVWXPN71VP83J/mcba-prize-2020-Aaron-Cohick-Divya-Victor-CURB-5.jpg Entries & Jurors - 2020 Entries - Aaron Cohick &amp; Divya Victor Aaron Cohick (thepressatcoloradocollege.org) Divya Victor (divyavictor.com) Colorado Springs, Colorado CURB 2019 accordion book with sewn-in sections. Letterpress from photopolymer and rubbings. 12.5 x 8 x 3″ closed, accordion extends to about 13′ Artist Statement CURB is a collaborative fine press/artists’ book, written by Divya Victor and designed and printed by Aaron Cohick. CURB comes from the convergence between documentary poetics and the possibilities of structure and legibility in the handmade book. The text is a series of poems that document the assaults and murders of Indian-Americans and Indian immigrants in public spaces in the United States. Its unifying non/site is the curb and sidewalk, and its central image is a body falling to the concrete. The third section of the poems is called “Frequency.” A note towards the end of the section reads: Three years after the death of her husband Divyendu Sinha, Alka Sinha appeared at a courthouse in New Brunswick to offer testimony in response to the Court’s lenient sentencing of the men who were responsible for his death. She began her testimony by playing a recording of Divyendu’s voice-mail greeting. She closed it by walking away from the podium. His recorded voice & her living voice were buried together in a soundscape of this courtroom. The duration of her entire testimony, documented in these ten sequences, was 8 minutes. The main text of “Frequency” is a transcription of the silences in Alka Sinha’s testimony. In our early conversations about what the book could be Divya described “Frequency” as the “rhizomatic spine” of the book. The paradox of that idea became the generative seed of the form—a spine that is itself a network or diaspora, producing multiple entry points into, and paths through, the text. That concept is actualized in the physical structure of the book— “Frequency” is one side of a double-sided accordion, and the rest of the text emerges from its reverse as smaller sections and fold-outs. The fold-outs reference the opening of a map, putting the reader in the position of announcing their reading in the same way that a traveller or immigrant announces their foreignness by opening a map in a public space. The fold-outs and text sections are woven through a fractured horizon made from rubbings of sidewalks and curbs. The printing forked into three paths: direct rubbings that imprinted the pages with a textural trace of concrete; a traditional, carefully crafted approach to typography and letterpress printing; and a complete reversal of that tradition through repetitive overprinting. The text of the poems was overprinted 12 times—once for each of the people that the book is dedicated to—transforming the act of printing into a mourning/meditation that manifests as an excess and literal blurring of the text. The complete book incorporates color, gesture, tactility, and embodied space into the reading of the text. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362477756-UW16DZP5RYU3F0H1AFWH/mcba-prize-2020-Aaron-Cohick-Divya-Victor-CURB-4.jpg Entries & Jurors - 2020 Entries - Aaron Cohick &amp; Divya Victor Aaron Cohick (thepressatcoloradocollege.org) Divya Victor (divyavictor.com) Colorado Springs, Colorado CURB 2019 accordion book with sewn-in sections. Letterpress from photopolymer and rubbings. 12.5 x 8 x 3″ closed, accordion extends to about 13′ Artist Statement CURB is a collaborative fine press/artists’ book, written by Divya Victor and designed and printed by Aaron Cohick. CURB comes from the convergence between documentary poetics and the possibilities of structure and legibility in the handmade book. The text is a series of poems that document the assaults and murders of Indian-Americans and Indian immigrants in public spaces in the United States. Its unifying non/site is the curb and sidewalk, and its central image is a body falling to the concrete. The third section of the poems is called “Frequency.” A note towards the end of the section reads: Three years after the death of her husband Divyendu Sinha, Alka Sinha appeared at a courthouse in New Brunswick to offer testimony in response to the Court’s lenient sentencing of the men who were responsible for his death. She began her testimony by playing a recording of Divyendu’s voice-mail greeting. She closed it by walking away from the podium. His recorded voice & her living voice were buried together in a soundscape of this courtroom. The duration of her entire testimony, documented in these ten sequences, was 8 minutes. The main text of “Frequency” is a transcription of the silences in Alka Sinha’s testimony. In our early conversations about what the book could be Divya described “Frequency” as the “rhizomatic spine” of the book. The paradox of that idea became the generative seed of the form—a spine that is itself a network or diaspora, producing multiple entry points into, and paths through, the text. That concept is actualized in the physical structure of the book— “Frequency” is one side of a double-sided accordion, and the rest of the text emerges from its reverse as smaller sections and fold-outs. The fold-outs reference the opening of a map, putting the reader in the position of announcing their reading in the same way that a traveller or immigrant announces their foreignness by opening a map in a public space. The fold-outs and text sections are woven through a fractured horizon made from rubbings of sidewalks and curbs. The printing forked into three paths: direct rubbings that imprinted the pages with a textural trace of concrete; a traditional, carefully crafted approach to typography and letterpress printing; and a complete reversal of that tradition through repetitive overprinting. The text of the poems was overprinted 12 times—once for each of the people that the book is dedicated to—transforming the act of printing into a mourning/meditation that manifests as an excess and literal blurring of the text. The complete book incorporates color, gesture, tactility, and embodied space into the reading of the text. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362479412-1CBE8J12637OGCFP62I9/mcba-prize-2020-Aaron-Cohick-Divya-Victor-CURB-3.jpg Entries & Jurors - 2020 Entries - Aaron Cohick &amp; Divya Victor Aaron Cohick (thepressatcoloradocollege.org) Divya Victor (divyavictor.com) Colorado Springs, Colorado CURB 2019 accordion book with sewn-in sections. Letterpress from photopolymer and rubbings. 12.5 x 8 x 3″ closed, accordion extends to about 13′ Artist Statement CURB is a collaborative fine press/artists’ book, written by Divya Victor and designed and printed by Aaron Cohick. CURB comes from the convergence between documentary poetics and the possibilities of structure and legibility in the handmade book. The text is a series of poems that document the assaults and murders of Indian-Americans and Indian immigrants in public spaces in the United States. Its unifying non/site is the curb and sidewalk, and its central image is a body falling to the concrete. The third section of the poems is called “Frequency.” A note towards the end of the section reads: Three years after the death of her husband Divyendu Sinha, Alka Sinha appeared at a courthouse in New Brunswick to offer testimony in response to the Court’s lenient sentencing of the men who were responsible for his death. She began her testimony by playing a recording of Divyendu’s voice-mail greeting. She closed it by walking away from the podium. His recorded voice & her living voice were buried together in a soundscape of this courtroom. The duration of her entire testimony, documented in these ten sequences, was 8 minutes. The main text of “Frequency” is a transcription of the silences in Alka Sinha’s testimony. In our early conversations about what the book could be Divya described “Frequency” as the “rhizomatic spine” of the book. The paradox of that idea became the generative seed of the form—a spine that is itself a network or diaspora, producing multiple entry points into, and paths through, the text. That concept is actualized in the physical structure of the book— “Frequency” is one side of a double-sided accordion, and the rest of the text emerges from its reverse as smaller sections and fold-outs. The fold-outs reference the opening of a map, putting the reader in the position of announcing their reading in the same way that a traveller or immigrant announces their foreignness by opening a map in a public space. The fold-outs and text sections are woven through a fractured horizon made from rubbings of sidewalks and curbs. The printing forked into three paths: direct rubbings that imprinted the pages with a textural trace of concrete; a traditional, carefully crafted approach to typography and letterpress printing; and a complete reversal of that tradition through repetitive overprinting. The text of the poems was overprinted 12 times—once for each of the people that the book is dedicated to—transforming the act of printing into a mourning/meditation that manifests as an excess and literal blurring of the text. The complete book incorporates color, gesture, tactility, and embodied space into the reading of the text. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362480073-HDTG0V0N694APYAZZY3E/mcba-prize-2020-Aaron-Cohick-Divya-Victor-CURB-2.jpeg Entries & Jurors - 2020 Entries - Aaron Cohick &amp; Divya Victor Aaron Cohick (thepressatcoloradocollege.org) Divya Victor (divyavictor.com) Colorado Springs, Colorado CURB 2019 accordion book with sewn-in sections. Letterpress from photopolymer and rubbings. 12.5 x 8 x 3″ closed, accordion extends to about 13′ Artist Statement CURB is a collaborative fine press/artists’ book, written by Divya Victor and designed and printed by Aaron Cohick. CURB comes from the convergence between documentary poetics and the possibilities of structure and legibility in the handmade book. The text is a series of poems that document the assaults and murders of Indian-Americans and Indian immigrants in public spaces in the United States. Its unifying non/site is the curb and sidewalk, and its central image is a body falling to the concrete. The third section of the poems is called “Frequency.” A note towards the end of the section reads: Three years after the death of her husband Divyendu Sinha, Alka Sinha appeared at a courthouse in New Brunswick to offer testimony in response to the Court’s lenient sentencing of the men who were responsible for his death. She began her testimony by playing a recording of Divyendu’s voice-mail greeting. She closed it by walking away from the podium. His recorded voice & her living voice were buried together in a soundscape of this courtroom. The duration of her entire testimony, documented in these ten sequences, was 8 minutes. The main text of “Frequency” is a transcription of the silences in Alka Sinha’s testimony. In our early conversations about what the book could be Divya described “Frequency” as the “rhizomatic spine” of the book. The paradox of that idea became the generative seed of the form—a spine that is itself a network or diaspora, producing multiple entry points into, and paths through, the text. That concept is actualized in the physical structure of the book— “Frequency” is one side of a double-sided accordion, and the rest of the text emerges from its reverse as smaller sections and fold-outs. The fold-outs reference the opening of a map, putting the reader in the position of announcing their reading in the same way that a traveller or immigrant announces their foreignness by opening a map in a public space. The fold-outs and text sections are woven through a fractured horizon made from rubbings of sidewalks and curbs. The printing forked into three paths: direct rubbings that imprinted the pages with a textural trace of concrete; a traditional, carefully crafted approach to typography and letterpress printing; and a complete reversal of that tradition through repetitive overprinting. The text of the poems was overprinted 12 times—once for each of the people that the book is dedicated to—transforming the act of printing into a mourning/meditation that manifests as an excess and literal blurring of the text. The complete book incorporates color, gesture, tactility, and embodied space into the reading of the text. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362481727-75RLEAKZF8E3WPHHYDQE/mcba-prize-2020-Aaron-Cohick-Divya-Victor-CURB-1.jpg Entries & Jurors - 2020 Entries - Aaron Cohick &amp; Divya Victor Aaron Cohick (thepressatcoloradocollege.org) Divya Victor (divyavictor.com) Colorado Springs, Colorado CURB 2019 accordion book with sewn-in sections. Letterpress from photopolymer and rubbings. 12.5 x 8 x 3″ closed, accordion extends to about 13′ Artist Statement CURB is a collaborative fine press/artists’ book, written by Divya Victor and designed and printed by Aaron Cohick. CURB comes from the convergence between documentary poetics and the possibilities of structure and legibility in the handmade book. The text is a series of poems that document the assaults and murders of Indian-Americans and Indian immigrants in public spaces in the United States. Its unifying non/site is the curb and sidewalk, and its central image is a body falling to the concrete. The third section of the poems is called “Frequency.” A note towards the end of the section reads: Three years after the death of her husband Divyendu Sinha, Alka Sinha appeared at a courthouse in New Brunswick to offer testimony in response to the Court’s lenient sentencing of the men who were responsible for his death. She began her testimony by playing a recording of Divyendu’s voice-mail greeting. She closed it by walking away from the podium. His recorded voice & her living voice were buried together in a soundscape of this courtroom. The duration of her entire testimony, documented in these ten sequences, was 8 minutes. The main text of “Frequency” is a transcription of the silences in Alka Sinha’s testimony. In our early conversations about what the book could be Divya described “Frequency” as the “rhizomatic spine” of the book. The paradox of that idea became the generative seed of the form—a spine that is itself a network or diaspora, producing multiple entry points into, and paths through, the text. That concept is actualized in the physical structure of the book— “Frequency” is one side of a double-sided accordion, and the rest of the text emerges from its reverse as smaller sections and fold-outs. The fold-outs reference the opening of a map, putting the reader in the position of announcing their reading in the same way that a traveller or immigrant announces their foreignness by opening a map in a public space. The fold-outs and text sections are woven through a fractured horizon made from rubbings of sidewalks and curbs. The printing forked into three paths: direct rubbings that imprinted the pages with a textural trace of concrete; a traditional, carefully crafted approach to typography and letterpress printing; and a complete reversal of that tradition through repetitive overprinting. The text of the poems was overprinted 12 times—once for each of the people that the book is dedicated to—transforming the act of printing into a mourning/meditation that manifests as an excess and literal blurring of the text. The complete book incorporates color, gesture, tactility, and embodied space into the reading of the text. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362682469-I5JHS632GM1X4ZFFC0EM/mcba-prize-2020-Suzanne-Coley-Love-Sonnets-from-Shakespeare-to-Baltimore-5.jpg Entries & Jurors - 2020 Entries - Suzanne Coley Baltimore, Maryland suzannecoley.com Love Sonnets, From Shakespeare to Baltimore 2019 linoleum, silkscreen, repurposed garments/textiles, embroidery Open: 16.5 x 11.25 x 1.75″, Closed: 16.5 x 24 x 1.75″ Artist Statement Love Sonnets from Shakespeare to Baltimore is a textile book arts project that uses vintage Baltimorean wedding dresses, Shakespeare’s sonnets, patchwork quilts, and original printmaking to explore memory, mortality, love, and cultural symbols. The primary inspiration for this project is literary: I am fascinated with Shakespearean sonnets, the fourteen-line masterpieces structured like logical arguments about the emotions influenced by love and hate. The secondary inspiration for this project is fashion history: I am interested in historical textiles and their social, economic, and cultural significances. Through the refashioning of wedding dresses from the 1930s to 1970 into new book pages, I re-examine how we experience textiles. Through the convergence of literature and fashion, the project is both a multi-sensory response to Shakespeare and a contemporary social commentary. The artistic style of the work can be described as deconstructionist couture. The fabric of wedding dresses is cut, dyed, painted, manipulated, and collaged with other historic textiles into new patterns and designs that allow the material of the pages to speak. The final look of the pages is very clean, purposeful, and has a fit-to-measure feel. The connection to my community is emphasized through the use of traditional Baltimorean quilting, embroidery, and intricate needle work techniques. The carefully screen printed sonnets gain additional layers of meaning on the book pages. The text is complemented by my linocut prints and screen prints. The pages move from one voice to many, offering multiple readings to a wide range of audiences. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362682218-WXFKQ236FLVMXISN5O8U/mcba-prize-2020-Suzanne-Coley-Love-Sonnets-from-Shakespeare-to-Baltimore-4.jpg Entries & Jurors - 2020 Entries - Suzanne Coley Baltimore, Maryland suzannecoley.com Love Sonnets, From Shakespeare to Baltimore 2019 linoleum, silkscreen, repurposed garments/textiles, embroidery Open: 16.5 x 11.25 x 1.75″, Closed: 16.5 x 24 x 1.75″ Artist Statement Love Sonnets from Shakespeare to Baltimore is a textile book arts project that uses vintage Baltimorean wedding dresses, Shakespeare’s sonnets, patchwork quilts, and original printmaking to explore memory, mortality, love, and cultural symbols. The primary inspiration for this project is literary: I am fascinated with Shakespearean sonnets, the fourteen-line masterpieces structured like logical arguments about the emotions influenced by love and hate. The secondary inspiration for this project is fashion history: I am interested in historical textiles and their social, economic, and cultural significances. Through the refashioning of wedding dresses from the 1930s to 1970 into new book pages, I re-examine how we experience textiles. Through the convergence of literature and fashion, the project is both a multi-sensory response to Shakespeare and a contemporary social commentary. The artistic style of the work can be described as deconstructionist couture. The fabric of wedding dresses is cut, dyed, painted, manipulated, and collaged with other historic textiles into new patterns and designs that allow the material of the pages to speak. The final look of the pages is very clean, purposeful, and has a fit-to-measure feel. The connection to my community is emphasized through the use of traditional Baltimorean quilting, embroidery, and intricate needle work techniques. The carefully screen printed sonnets gain additional layers of meaning on the book pages. The text is complemented by my linocut prints and screen prints. The pages move from one voice to many, offering multiple readings to a wide range of audiences. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362684742-9WD0VPXMK4MJ4LXR2A3S/mcba-prize-2020-Suzanne-Coley-Love-Sonnets-from-Shakespeare-to-Baltimore-3.jpg Entries & Jurors - 2020 Entries - Suzanne Coley Baltimore, Maryland suzannecoley.com Love Sonnets, From Shakespeare to Baltimore 2019 linoleum, silkscreen, repurposed garments/textiles, embroidery Open: 16.5 x 11.25 x 1.75″, Closed: 16.5 x 24 x 1.75″ Artist Statement Love Sonnets from Shakespeare to Baltimore is a textile book arts project that uses vintage Baltimorean wedding dresses, Shakespeare’s sonnets, patchwork quilts, and original printmaking to explore memory, mortality, love, and cultural symbols. The primary inspiration for this project is literary: I am fascinated with Shakespearean sonnets, the fourteen-line masterpieces structured like logical arguments about the emotions influenced by love and hate. The secondary inspiration for this project is fashion history: I am interested in historical textiles and their social, economic, and cultural significances. Through the refashioning of wedding dresses from the 1930s to 1970 into new book pages, I re-examine how we experience textiles. Through the convergence of literature and fashion, the project is both a multi-sensory response to Shakespeare and a contemporary social commentary. The artistic style of the work can be described as deconstructionist couture. The fabric of wedding dresses is cut, dyed, painted, manipulated, and collaged with other historic textiles into new patterns and designs that allow the material of the pages to speak. The final look of the pages is very clean, purposeful, and has a fit-to-measure feel. The connection to my community is emphasized through the use of traditional Baltimorean quilting, embroidery, and intricate needle work techniques. The carefully screen printed sonnets gain additional layers of meaning on the book pages. The text is complemented by my linocut prints and screen prints. The pages move from one voice to many, offering multiple readings to a wide range of audiences. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362685533-5C1D4JN8JOAXMF96D217/mcba-prize-2020-Suzanne-Coley-Love-Sonnets-from-Shakespeare-to-Baltimore-2.jpg Entries & Jurors - 2020 Entries - Suzanne Coley Baltimore, Maryland suzannecoley.com Love Sonnets, From Shakespeare to Baltimore 2019 linoleum, silkscreen, repurposed garments/textiles, embroidery Open: 16.5 x 11.25 x 1.75″, Closed: 16.5 x 24 x 1.75″ Artist Statement Love Sonnets from Shakespeare to Baltimore is a textile book arts project that uses vintage Baltimorean wedding dresses, Shakespeare’s sonnets, patchwork quilts, and original printmaking to explore memory, mortality, love, and cultural symbols. The primary inspiration for this project is literary: I am fascinated with Shakespearean sonnets, the fourteen-line masterpieces structured like logical arguments about the emotions influenced by love and hate. The secondary inspiration for this project is fashion history: I am interested in historical textiles and their social, economic, and cultural significances. Through the refashioning of wedding dresses from the 1930s to 1970 into new book pages, I re-examine how we experience textiles. Through the convergence of literature and fashion, the project is both a multi-sensory response to Shakespeare and a contemporary social commentary. The artistic style of the work can be described as deconstructionist couture. The fabric of wedding dresses is cut, dyed, painted, manipulated, and collaged with other historic textiles into new patterns and designs that allow the material of the pages to speak. The final look of the pages is very clean, purposeful, and has a fit-to-measure feel. The connection to my community is emphasized through the use of traditional Baltimorean quilting, embroidery, and intricate needle work techniques. The carefully screen printed sonnets gain additional layers of meaning on the book pages. The text is complemented by my linocut prints and screen prints. The pages move from one voice to many, offering multiple readings to a wide range of audiences. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362686706-ABLRSIP050WIXMLW2NWO/mcba-prize-2020-Suzanne-Coley-Love-Sonnets-from-Shakespeare-to-Baltimore-1.jpg Entries & Jurors - 2020 Entries - Suzanne Coley Baltimore, Maryland suzannecoley.com Love Sonnets, From Shakespeare to Baltimore 2019 linoleum, silkscreen, repurposed garments/textiles, embroidery Open: 16.5 x 11.25 x 1.75″, Closed: 16.5 x 24 x 1.75″ Artist Statement Love Sonnets from Shakespeare to Baltimore is a textile book arts project that uses vintage Baltimorean wedding dresses, Shakespeare’s sonnets, patchwork quilts, and original printmaking to explore memory, mortality, love, and cultural symbols. The primary inspiration for this project is literary: I am fascinated with Shakespearean sonnets, the fourteen-line masterpieces structured like logical arguments about the emotions influenced by love and hate. The secondary inspiration for this project is fashion history: I am interested in historical textiles and their social, economic, and cultural significances. Through the refashioning of wedding dresses from the 1930s to 1970 into new book pages, I re-examine how we experience textiles. Through the convergence of literature and fashion, the project is both a multi-sensory response to Shakespeare and a contemporary social commentary. The artistic style of the work can be described as deconstructionist couture. The fabric of wedding dresses is cut, dyed, painted, manipulated, and collaged with other historic textiles into new patterns and designs that allow the material of the pages to speak. The final look of the pages is very clean, purposeful, and has a fit-to-measure feel. The connection to my community is emphasized through the use of traditional Baltimorean quilting, embroidery, and intricate needle work techniques. The carefully screen printed sonnets gain additional layers of meaning on the book pages. The text is complemented by my linocut prints and screen prints. The pages move from one voice to many, offering multiple readings to a wide range of audiences. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362869490-KKA2P79K9YLHTFV41YLX/mcba-prize-2020-Suzanne-Coley-Gracious-Light-5.jpg Entries & Jurors - 2020 Entries - Suzanne Coley Baltimore, Maryland suzannecoley.com Gracious Light 2020 textiles, linocuts, silkscreens, embroidery 14 x 1.75 x 9.5″ Artist Statement Love Sonnets from Shakespeare to Baltimore is a textile book arts project that uses vintage Baltimorean wedding dresses, Shakespeare’s sonnets, patchwork quilts, and original printmaking to explore memory, mortality, love, and cultural symbols. The primary inspiration for this project is literary: I am fascinated with Shakespearean sonnets, the fourteen-line masterpieces structured like logical arguments about the emotions influenced by love and hate. The secondary inspiration for this project is fashion history: I am interested in historical textiles and their social, economic, and cultural significances. Through the refashioning of wedding dresses from the 1930s to 1970 into new book pages, I re-examine how we experience textiles. Through the convergence of literature and fashion, the project is both a multi-sensory response to Shakespeare and a contemporary social commentary. The artistic style of the work can be described as deconstructionist couture. The fabric of wedding dresses is cut, dyed, painted, manipulated, and collaged with other historic textiles into new patterns and designs that allow the material of the pages to speak. The final look of the pages is very clean, purposeful, and has a fit-to-measure feel. The connection to my community is emphasized through the use of traditional Baltimorean quilting, embroidery, and intricate needle work techniques. The carefully screen printed sonnets gain additional layers of meaning on the book pages. The text is complemented by my linocut prints and screen prints. The pages move from one voice to many, offering multiple readings to a wide range of audiences. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362869431-D07NZY7QDYDGWPOK7LF6/mcba-prize-2020-Suzanne-Coley-Gracious-Light-4.jpg Entries & Jurors - 2020 Entries - Suzanne Coley Baltimore, Maryland suzannecoley.com Gracious Light 2020 textiles, linocuts, silkscreens, embroidery 14 x 1.75 x 9.5″ Artist Statement Love Sonnets from Shakespeare to Baltimore is a textile book arts project that uses vintage Baltimorean wedding dresses, Shakespeare’s sonnets, patchwork quilts, and original printmaking to explore memory, mortality, love, and cultural symbols. The primary inspiration for this project is literary: I am fascinated with Shakespearean sonnets, the fourteen-line masterpieces structured like logical arguments about the emotions influenced by love and hate. The secondary inspiration for this project is fashion history: I am interested in historical textiles and their social, economic, and cultural significances. Through the refashioning of wedding dresses from the 1930s to 1970 into new book pages, I re-examine how we experience textiles. Through the convergence of literature and fashion, the project is both a multi-sensory response to Shakespeare and a contemporary social commentary. The artistic style of the work can be described as deconstructionist couture. The fabric of wedding dresses is cut, dyed, painted, manipulated, and collaged with other historic textiles into new patterns and designs that allow the material of the pages to speak. The final look of the pages is very clean, purposeful, and has a fit-to-measure feel. The connection to my community is emphasized through the use of traditional Baltimorean quilting, embroidery, and intricate needle work techniques. The carefully screen printed sonnets gain additional layers of meaning on the book pages. The text is complemented by my linocut prints and screen prints. The pages move from one voice to many, offering multiple readings to a wide range of audiences. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362871921-ZCQ48RDAJDSM9RVPO4FT/mcba-prize-2020-Suzanne-Coley-Gracious-Light-3.jpg Entries & Jurors - 2020 Entries - Suzanne Coley Baltimore, Maryland suzannecoley.com Gracious Light 2020 textiles, linocuts, silkscreens, embroidery 14 x 1.75 x 9.5″ Artist Statement Love Sonnets from Shakespeare to Baltimore is a textile book arts project that uses vintage Baltimorean wedding dresses, Shakespeare’s sonnets, patchwork quilts, and original printmaking to explore memory, mortality, love, and cultural symbols. The primary inspiration for this project is literary: I am fascinated with Shakespearean sonnets, the fourteen-line masterpieces structured like logical arguments about the emotions influenced by love and hate. The secondary inspiration for this project is fashion history: I am interested in historical textiles and their social, economic, and cultural significances. Through the refashioning of wedding dresses from the 1930s to 1970 into new book pages, I re-examine how we experience textiles. Through the convergence of literature and fashion, the project is both a multi-sensory response to Shakespeare and a contemporary social commentary. The artistic style of the work can be described as deconstructionist couture. The fabric of wedding dresses is cut, dyed, painted, manipulated, and collaged with other historic textiles into new patterns and designs that allow the material of the pages to speak. The final look of the pages is very clean, purposeful, and has a fit-to-measure feel. The connection to my community is emphasized through the use of traditional Baltimorean quilting, embroidery, and intricate needle work techniques. The carefully screen printed sonnets gain additional layers of meaning on the book pages. The text is complemented by my linocut prints and screen prints. The pages move from one voice to many, offering multiple readings to a wide range of audiences. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362872053-CB9ZMPVGRN2SYV3HYO3L/mcba-prize-2020-Suzanne-Coley-Gracious-Light-2.jpg Entries & Jurors - 2020 Entries - Suzanne Coley Baltimore, Maryland suzannecoley.com Gracious Light 2020 textiles, linocuts, silkscreens, embroidery 14 x 1.75 x 9.5″ Artist Statement Love Sonnets from Shakespeare to Baltimore is a textile book arts project that uses vintage Baltimorean wedding dresses, Shakespeare’s sonnets, patchwork quilts, and original printmaking to explore memory, mortality, love, and cultural symbols. The primary inspiration for this project is literary: I am fascinated with Shakespearean sonnets, the fourteen-line masterpieces structured like logical arguments about the emotions influenced by love and hate. The secondary inspiration for this project is fashion history: I am interested in historical textiles and their social, economic, and cultural significances. Through the refashioning of wedding dresses from the 1930s to 1970 into new book pages, I re-examine how we experience textiles. Through the convergence of literature and fashion, the project is both a multi-sensory response to Shakespeare and a contemporary social commentary. The artistic style of the work can be described as deconstructionist couture. The fabric of wedding dresses is cut, dyed, painted, manipulated, and collaged with other historic textiles into new patterns and designs that allow the material of the pages to speak. The final look of the pages is very clean, purposeful, and has a fit-to-measure feel. The connection to my community is emphasized through the use of traditional Baltimorean quilting, embroidery, and intricate needle work techniques. The carefully screen printed sonnets gain additional layers of meaning on the book pages. The text is complemented by my linocut prints and screen prints. The pages move from one voice to many, offering multiple readings to a wide range of audiences. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774362873547-O0MS4I4S30UPJYS5007V/mcba-prize-2020-Suzanne-Coley-Gracious-Light-1.jpg Entries & Jurors - 2020 Entries - Suzanne Coley Baltimore, Maryland suzannecoley.com Gracious Light 2020 textiles, linocuts, silkscreens, embroidery 14 x 1.75 x 9.5″ Artist Statement Love Sonnets from Shakespeare to Baltimore is a textile book arts project that uses vintage Baltimorean wedding dresses, Shakespeare’s sonnets, patchwork quilts, and original printmaking to explore memory, mortality, love, and cultural symbols. The primary inspiration for this project is literary: I am fascinated with Shakespearean sonnets, the fourteen-line masterpieces structured like logical arguments about the emotions influenced by love and hate. The secondary inspiration for this project is fashion history: I am interested in historical textiles and their social, economic, and cultural significances. Through the refashioning of wedding dresses from the 1930s to 1970 into new book pages, I re-examine how we experience textiles. Through the convergence of literature and fashion, the project is both a multi-sensory response to Shakespeare and a contemporary social commentary. The artistic style of the work can be described as deconstructionist couture. The fabric of wedding dresses is cut, dyed, painted, manipulated, and collaged with other historic textiles into new patterns and designs that allow the material of the pages to speak. The final look of the pages is very clean, purposeful, and has a fit-to-measure feel. The connection to my community is emphasized through the use of traditional Baltimorean quilting, embroidery, and intricate needle work techniques. The carefully screen printed sonnets gain additional layers of meaning on the book pages. The text is complemented by my linocut prints and screen prints. The pages move from one voice to many, offering multiple readings to a wide range of audiences. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363054785-KO981BIZUTPZF0LLW49C/mcba-prize-2020-Guylaine-Couture-Ferdinan-into-the-Unknown-5.jpg Entries & Jurors - 2020 Entries - Guylaine Couture Montreal, Quebec, Canada gycouture.com Ferdinan Into The Unknown 2020 Artist’s book: old book, paper, ink, textile, hand printing, hand drawing, and laser printing. Open: 12.5 x 16 x 1.5″; Closed: 5 x 7.5 x 1.5″ Artist Statement My book Ferdinan Into The Unknown focuses on the world tour of Ferdinan (without “d” in Catalan) Magellan and his last journey into the unknown in order to prove that the earth is round. The book is worn out, has flaws, passed into several hands, as the diary of Antonio Pigafetta, the one who collected all the information throughout the trip. In my book, the sea has five levels, related to the five ships from the expedition. On each one, you will find that name of one of the boats, little information about the journey, pictures of old engravings, drawing patterns related to the maps of Pigafetta and finally a representation of all the deceased men. On the centre side, the red dot represents Magellan, who died in action six months before his return. Only one boat has returned to its starting point to prove that the earth is round, but with only a few survivors of this incredible adventure on board. The most varied situations took place during this trip. We find starving sailors, internal and field battles, mutiny, etc. They fought to colonize lands for Spain and for their own survival over a period of three years. It’s hard to imagine such an adventure today https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363054935-KUH1PIODXN3YK6SDNJKX/mcba-prize-2020-Guylaine-Couture-Ferdinan-into-the-Unknown-4.jpg Entries & Jurors - 2020 Entries - Guylaine Couture Montreal, Quebec, Canada gycouture.com Ferdinan Into The Unknown 2020 Artist’s book: old book, paper, ink, textile, hand printing, hand drawing, and laser printing. Open: 12.5 x 16 x 1.5″; Closed: 5 x 7.5 x 1.5″ Artist Statement My book Ferdinan Into The Unknown focuses on the world tour of Ferdinan (without “d” in Catalan) Magellan and his last journey into the unknown in order to prove that the earth is round. The book is worn out, has flaws, passed into several hands, as the diary of Antonio Pigafetta, the one who collected all the information throughout the trip. In my book, the sea has five levels, related to the five ships from the expedition. On each one, you will find that name of one of the boats, little information about the journey, pictures of old engravings, drawing patterns related to the maps of Pigafetta and finally a representation of all the deceased men. On the centre side, the red dot represents Magellan, who died in action six months before his return. Only one boat has returned to its starting point to prove that the earth is round, but with only a few survivors of this incredible adventure on board. The most varied situations took place during this trip. We find starving sailors, internal and field battles, mutiny, etc. They fought to colonize lands for Spain and for their own survival over a period of three years. It’s hard to imagine such an adventure today https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363056856-RHXNZWPRW6DDG49HY6CT/mcba-prize-2020-Guylaine-Couture-Ferdinan-into-the-Unknown-3.jpg Entries & Jurors - 2020 Entries - Guylaine Couture Montreal, Quebec, Canada gycouture.com Ferdinan Into The Unknown 2020 Artist’s book: old book, paper, ink, textile, hand printing, hand drawing, and laser printing. Open: 12.5 x 16 x 1.5″; Closed: 5 x 7.5 x 1.5″ Artist Statement My book Ferdinan Into The Unknown focuses on the world tour of Ferdinan (without “d” in Catalan) Magellan and his last journey into the unknown in order to prove that the earth is round. The book is worn out, has flaws, passed into several hands, as the diary of Antonio Pigafetta, the one who collected all the information throughout the trip. In my book, the sea has five levels, related to the five ships from the expedition. On each one, you will find that name of one of the boats, little information about the journey, pictures of old engravings, drawing patterns related to the maps of Pigafetta and finally a representation of all the deceased men. On the centre side, the red dot represents Magellan, who died in action six months before his return. Only one boat has returned to its starting point to prove that the earth is round, but with only a few survivors of this incredible adventure on board. The most varied situations took place during this trip. We find starving sailors, internal and field battles, mutiny, etc. They fought to colonize lands for Spain and for their own survival over a period of three years. It’s hard to imagine such an adventure today https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363057207-X09GQIMPE35QQ0ES5PDW/mcba-prize-2020-Guylaine-Couture-Ferdinan-into-the-Unknown-2.jpg Entries & Jurors - 2020 Entries - Guylaine Couture Montreal, Quebec, Canada gycouture.com Ferdinan Into The Unknown 2020 Artist’s book: old book, paper, ink, textile, hand printing, hand drawing, and laser printing. Open: 12.5 x 16 x 1.5″; Closed: 5 x 7.5 x 1.5″ Artist Statement My book Ferdinan Into The Unknown focuses on the world tour of Ferdinan (without “d” in Catalan) Magellan and his last journey into the unknown in order to prove that the earth is round. The book is worn out, has flaws, passed into several hands, as the diary of Antonio Pigafetta, the one who collected all the information throughout the trip. In my book, the sea has five levels, related to the five ships from the expedition. On each one, you will find that name of one of the boats, little information about the journey, pictures of old engravings, drawing patterns related to the maps of Pigafetta and finally a representation of all the deceased men. On the centre side, the red dot represents Magellan, who died in action six months before his return. Only one boat has returned to its starting point to prove that the earth is round, but with only a few survivors of this incredible adventure on board. The most varied situations took place during this trip. We find starving sailors, internal and field battles, mutiny, etc. They fought to colonize lands for Spain and for their own survival over a period of three years. It’s hard to imagine such an adventure today https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363058883-E359W4DZLFHQMUIS1H34/mcba-prize-2020-Guylaine-Couture-Ferdinan-into-the-Unknown-1.jpg Entries & Jurors - 2020 Entries - Guylaine Couture Montreal, Quebec, Canada gycouture.com Ferdinan Into The Unknown 2020 Artist’s book: old book, paper, ink, textile, hand printing, hand drawing, and laser printing. Open: 12.5 x 16 x 1.5″; Closed: 5 x 7.5 x 1.5″ Artist Statement My book Ferdinan Into The Unknown focuses on the world tour of Ferdinan (without “d” in Catalan) Magellan and his last journey into the unknown in order to prove that the earth is round. The book is worn out, has flaws, passed into several hands, as the diary of Antonio Pigafetta, the one who collected all the information throughout the trip. In my book, the sea has five levels, related to the five ships from the expedition. On each one, you will find that name of one of the boats, little information about the journey, pictures of old engravings, drawing patterns related to the maps of Pigafetta and finally a representation of all the deceased men. On the centre side, the red dot represents Magellan, who died in action six months before his return. Only one boat has returned to its starting point to prove that the earth is round, but with only a few survivors of this incredible adventure on board. The most varied situations took place during this trip. We find starving sailors, internal and field battles, mutiny, etc. They fought to colonize lands for Spain and for their own survival over a period of three years. It’s hard to imagine such an adventure today https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363216609-UU3UH4B0637AD064RO06/mcba-prize-2020-jennifer-Nagle-Myers-Aurora-de-Armendi-James-Kelly-MATERTERA-5.jpg Entries & Jurors - 2020 Entries - Jennifer Nagle Myers, Aurora De Armendi, &amp; James Kelly Jennifer Nagle Myers (jennifernaglemyers.com) Aurora De Armendi (auroradearmendi.com) James Kelly Bronx, New York MATERTERA, The Sisters of the Mothers 2019 Accordion Book with original lithographs printed on pink hand dyed Torinoko Paper. Silkscreened title and colophon. 11 x 11 x 1/4 inches Artist Statement MATERTERA, The Sisters of the Mothers, is an artist book by Jennifer Nagle Myers in collaboration with R Press. The artist book includes four original lithographs made by Myers printed on hand dyed Torinoko Paper. The edition is comprised of fifteen books, five artist’s books, five artist’s proofs and one printer’s proof. Lithographs were printed by James Miller at Downstairs Editions. The publishing, book design and binding is by R Press. Matertera means “maternal aunt” in Latin, and the work is inspired by the sisters of the mothers who “are acrobats, magicians, lovers, confidantes, friends, believers, companions, adventurers, and divine mysteries” and was made in dedication to the artist’s aunt Patti and Marguerite, one had recently passed away in 2013 and one was just turning 100. The artist thinks of this project as a dedication to the women, related by blood or by friendship, alive or now as ancestors, who surround and inspire us to keep the flame burning, carry the torch, illuminate the way. Jennifer Nagle Myers is an interdisciplinary artist based in Virginia. Her visual artwork has been shown at the Carnegie Museum of Art, The Sculpture Center, The International Print Center, The Institute of Contemporary Art at MECA, and MUDAC in Lausanne, Switzerland – among others. Her original performance works have premiered at The New Hazlett Theater, The Festival for New Music, and the Kelly Strayhorn Theater. She has received support from the Pittsburgh Foundation, The Heinz Endowments, and the Foundation for Contemporary Arts and continues to collaborate with artists and visionaries in other fields. R Press is a small independent press project by Aurora De Armendi and James Kelly. We invited artists to collaborate and create limited edition artist’s books and prints. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363216608-E92XW59YL3PY0XORYW7Q/mcba-prize-2020-jennifer-Nagle-Myers-Aurora-de-Armendi-James-Kelly-MATERTERA-4.jpg Entries & Jurors - 2020 Entries - Jennifer Nagle Myers, Aurora De Armendi, &amp; James Kelly Jennifer Nagle Myers (jennifernaglemyers.com) Aurora De Armendi (auroradearmendi.com) James Kelly Bronx, New York MATERTERA, The Sisters of the Mothers 2019 Accordion Book with original lithographs printed on pink hand dyed Torinoko Paper. Silkscreened title and colophon. 11 x 11 x 1/4 inches Artist Statement MATERTERA, The Sisters of the Mothers, is an artist book by Jennifer Nagle Myers in collaboration with R Press. The artist book includes four original lithographs made by Myers printed on hand dyed Torinoko Paper. The edition is comprised of fifteen books, five artist’s books, five artist’s proofs and one printer’s proof. Lithographs were printed by James Miller at Downstairs Editions. The publishing, book design and binding is by R Press. Matertera means “maternal aunt” in Latin, and the work is inspired by the sisters of the mothers who “are acrobats, magicians, lovers, confidantes, friends, believers, companions, adventurers, and divine mysteries” and was made in dedication to the artist’s aunt Patti and Marguerite, one had recently passed away in 2013 and one was just turning 100. The artist thinks of this project as a dedication to the women, related by blood or by friendship, alive or now as ancestors, who surround and inspire us to keep the flame burning, carry the torch, illuminate the way. Jennifer Nagle Myers is an interdisciplinary artist based in Virginia. Her visual artwork has been shown at the Carnegie Museum of Art, The Sculpture Center, The International Print Center, The Institute of Contemporary Art at MECA, and MUDAC in Lausanne, Switzerland – among others. Her original performance works have premiered at The New Hazlett Theater, The Festival for New Music, and the Kelly Strayhorn Theater. She has received support from the Pittsburgh Foundation, The Heinz Endowments, and the Foundation for Contemporary Arts and continues to collaborate with artists and visionaries in other fields. R Press is a small independent press project by Aurora De Armendi and James Kelly. We invited artists to collaborate and create limited edition artist’s books and prints. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363217920-CWEHNMXYEEAGKA18UL4C/mcba-prize-2020-jennifer-Nagle-Myers-Aurora-de-Armendi-James-Kelly-MATERTERA-3.jpg Entries & Jurors - 2020 Entries - Jennifer Nagle Myers, Aurora De Armendi, &amp; James Kelly Jennifer Nagle Myers (jennifernaglemyers.com) Aurora De Armendi (auroradearmendi.com) James Kelly Bronx, New York MATERTERA, The Sisters of the Mothers 2019 Accordion Book with original lithographs printed on pink hand dyed Torinoko Paper. Silkscreened title and colophon. 11 x 11 x 1/4 inches Artist Statement MATERTERA, The Sisters of the Mothers, is an artist book by Jennifer Nagle Myers in collaboration with R Press. The artist book includes four original lithographs made by Myers printed on hand dyed Torinoko Paper. The edition is comprised of fifteen books, five artist’s books, five artist’s proofs and one printer’s proof. Lithographs were printed by James Miller at Downstairs Editions. The publishing, book design and binding is by R Press. Matertera means “maternal aunt” in Latin, and the work is inspired by the sisters of the mothers who “are acrobats, magicians, lovers, confidantes, friends, believers, companions, adventurers, and divine mysteries” and was made in dedication to the artist’s aunt Patti and Marguerite, one had recently passed away in 2013 and one was just turning 100. The artist thinks of this project as a dedication to the women, related by blood or by friendship, alive or now as ancestors, who surround and inspire us to keep the flame burning, carry the torch, illuminate the way. Jennifer Nagle Myers is an interdisciplinary artist based in Virginia. Her visual artwork has been shown at the Carnegie Museum of Art, The Sculpture Center, The International Print Center, The Institute of Contemporary Art at MECA, and MUDAC in Lausanne, Switzerland – among others. Her original performance works have premiered at The New Hazlett Theater, The Festival for New Music, and the Kelly Strayhorn Theater. She has received support from the Pittsburgh Foundation, The Heinz Endowments, and the Foundation for Contemporary Arts and continues to collaborate with artists and visionaries in other fields. R Press is a small independent press project by Aurora De Armendi and James Kelly. We invited artists to collaborate and create limited edition artist’s books and prints. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363218173-5HKVVBKR6PISQHT37F34/mcba-prize-2020-jennifer-Nagle-Myers-Aurora-de-Armendi-James-Kelly-MATERTERA-2.jpg Entries & Jurors - 2020 Entries - Jennifer Nagle Myers, Aurora De Armendi, &amp; James Kelly Jennifer Nagle Myers (jennifernaglemyers.com) Aurora De Armendi (auroradearmendi.com) James Kelly Bronx, New York MATERTERA, The Sisters of the Mothers 2019 Accordion Book with original lithographs printed on pink hand dyed Torinoko Paper. Silkscreened title and colophon. 11 x 11 x 1/4 inches Artist Statement MATERTERA, The Sisters of the Mothers, is an artist book by Jennifer Nagle Myers in collaboration with R Press. The artist book includes four original lithographs made by Myers printed on hand dyed Torinoko Paper. The edition is comprised of fifteen books, five artist’s books, five artist’s proofs and one printer’s proof. Lithographs were printed by James Miller at Downstairs Editions. The publishing, book design and binding is by R Press. Matertera means “maternal aunt” in Latin, and the work is inspired by the sisters of the mothers who “are acrobats, magicians, lovers, confidantes, friends, believers, companions, adventurers, and divine mysteries” and was made in dedication to the artist’s aunt Patti and Marguerite, one had recently passed away in 2013 and one was just turning 100. The artist thinks of this project as a dedication to the women, related by blood or by friendship, alive or now as ancestors, who surround and inspire us to keep the flame burning, carry the torch, illuminate the way. Jennifer Nagle Myers is an interdisciplinary artist based in Virginia. Her visual artwork has been shown at the Carnegie Museum of Art, The Sculpture Center, The International Print Center, The Institute of Contemporary Art at MECA, and MUDAC in Lausanne, Switzerland – among others. Her original performance works have premiered at The New Hazlett Theater, The Festival for New Music, and the Kelly Strayhorn Theater. She has received support from the Pittsburgh Foundation, The Heinz Endowments, and the Foundation for Contemporary Arts and continues to collaborate with artists and visionaries in other fields. R Press is a small independent press project by Aurora De Armendi and James Kelly. We invited artists to collaborate and create limited edition artist’s books and prints. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363219191-2TKUCP8XGO75Z43QYQRS/mcba-prize-2020-jennifer-Nagle-Myers-Aurora-de-Armendi-James-Kelly-MATERTERA-1.jpg Entries & Jurors - 2020 Entries - Jennifer Nagle Myers, Aurora De Armendi, &amp; James Kelly Jennifer Nagle Myers (jennifernaglemyers.com) Aurora De Armendi (auroradearmendi.com) James Kelly Bronx, New York MATERTERA, The Sisters of the Mothers 2019 Accordion Book with original lithographs printed on pink hand dyed Torinoko Paper. Silkscreened title and colophon. 11 x 11 x 1/4 inches Artist Statement MATERTERA, The Sisters of the Mothers, is an artist book by Jennifer Nagle Myers in collaboration with R Press. The artist book includes four original lithographs made by Myers printed on hand dyed Torinoko Paper. The edition is comprised of fifteen books, five artist’s books, five artist’s proofs and one printer’s proof. Lithographs were printed by James Miller at Downstairs Editions. The publishing, book design and binding is by R Press. Matertera means “maternal aunt” in Latin, and the work is inspired by the sisters of the mothers who “are acrobats, magicians, lovers, confidantes, friends, believers, companions, adventurers, and divine mysteries” and was made in dedication to the artist’s aunt Patti and Marguerite, one had recently passed away in 2013 and one was just turning 100. The artist thinks of this project as a dedication to the women, related by blood or by friendship, alive or now as ancestors, who surround and inspire us to keep the flame burning, carry the torch, illuminate the way. Jennifer Nagle Myers is an interdisciplinary artist based in Virginia. Her visual artwork has been shown at the Carnegie Museum of Art, The Sculpture Center, The International Print Center, The Institute of Contemporary Art at MECA, and MUDAC in Lausanne, Switzerland – among others. Her original performance works have premiered at The New Hazlett Theater, The Festival for New Music, and the Kelly Strayhorn Theater. She has received support from the Pittsburgh Foundation, The Heinz Endowments, and the Foundation for Contemporary Arts and continues to collaborate with artists and visionaries in other fields. R Press is a small independent press project by Aurora De Armendi and James Kelly. We invited artists to collaborate and create limited edition artist’s books and prints. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363387079-LXKU8HKKB9YSM2VFR0H7/mcba-prize-2020-Eliza-de-Beer-Timeline-3.jpg Entries & Jurors - 2020 Entries - Elize de Beer Muldersdrift, Johannesburg, South Africa elizedebeer.com Timeline 2020 Artist Book. Ink on Paper, Panga Panga Wood. 11.81 x 8.66 x 4.13″ Artist Statement My practice has always been inspirited by books, book arts and the medium of printmaking. As a printmaker I have made an endless amount of test prints over the years. Since my first year at art school in 2012 I have kept most of my test prints from every printmaking project I have done. I knew that I wanted to keep them for something but never knew how they would or could be transformed. Then came 2020 and the quarantine rollercoaster that derailed the world. I was struggling to find inspiration and so I began to organize my art drawers and saw the piles of test prints, purposeless and collecting a metaphorical dust and it dawned on me, now is the time that they will become something new. The test prints became a book sculpture. Each print was cut down and folded in the same way I would create a book’s signatures. Once folded the paper shows only 1mm of the imagery on the prints, in doing that one lands up with an abstracted glimpse into the print’s full image. Some of the spines are solid black or white, while others show hints of colours, lines and textures. When these signatures are stacked together they create an abstract linear “drawing”; a “timeline”. Since these are all prints I have made between 2012 and 2020. The book becomes a visual timeline of the artworks I have made over the years. Rather than a traditional book or artist portfolio where the timeline and artworks are read on the pages as the reader pages though the book. This timeline is read on the spine; a visual artistic autobiography that can been seen and experienced as an entire image. It shows that even though I have made very different types of artworks over that 8 year period they still come together under one artistic practice, under one final image. The final edition to the book was its covers. Two pieces of African Panga-Panga wood. With the work I do as a carpentry framer it felt fitting to include the wood not only because of the wood’s strength and aesthetic, but also as I am currently a practicing framer and an aspiring book restorer and maker I felt it apt to frame my progression of work within the contexts of my current work between two covers resembling book ends. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363386897-TIW1ELAMGZ11UYK6L8OI/mcba-prize-2020-Eliza-de-Beer-Timeline-2.jpg Entries & Jurors - 2020 Entries - Elize de Beer Muldersdrift, Johannesburg, South Africa elizedebeer.com Timeline 2020 Artist Book. Ink on Paper, Panga Panga Wood. 11.81 x 8.66 x 4.13″ Artist Statement My practice has always been inspirited by books, book arts and the medium of printmaking. As a printmaker I have made an endless amount of test prints over the years. Since my first year at art school in 2012 I have kept most of my test prints from every printmaking project I have done. I knew that I wanted to keep them for something but never knew how they would or could be transformed. Then came 2020 and the quarantine rollercoaster that derailed the world. I was struggling to find inspiration and so I began to organize my art drawers and saw the piles of test prints, purposeless and collecting a metaphorical dust and it dawned on me, now is the time that they will become something new. The test prints became a book sculpture. Each print was cut down and folded in the same way I would create a book’s signatures. Once folded the paper shows only 1mm of the imagery on the prints, in doing that one lands up with an abstracted glimpse into the print’s full image. Some of the spines are solid black or white, while others show hints of colours, lines and textures. When these signatures are stacked together they create an abstract linear “drawing”; a “timeline”. Since these are all prints I have made between 2012 and 2020. The book becomes a visual timeline of the artworks I have made over the years. Rather than a traditional book or artist portfolio where the timeline and artworks are read on the pages as the reader pages though the book. This timeline is read on the spine; a visual artistic autobiography that can been seen and experienced as an entire image. It shows that even though I have made very different types of artworks over that 8 year period they still come together under one artistic practice, under one final image. The final edition to the book was its covers. Two pieces of African Panga-Panga wood. With the work I do as a carpentry framer it felt fitting to include the wood not only because of the wood’s strength and aesthetic, but also as I am currently a practicing framer and an aspiring book restorer and maker I felt it apt to frame my progression of work within the contexts of my current work between two covers resembling book ends. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363388744-QUK0745USFKSNI4DWDYC/mcba-prize-2020-Eliza-de-Beer-Timeline-1.jpg Entries & Jurors - 2020 Entries - Elize de Beer Muldersdrift, Johannesburg, South Africa elizedebeer.com Timeline 2020 Artist Book. Ink on Paper, Panga Panga Wood. 11.81 x 8.66 x 4.13″ Artist Statement My practice has always been inspirited by books, book arts and the medium of printmaking. As a printmaker I have made an endless amount of test prints over the years. Since my first year at art school in 2012 I have kept most of my test prints from every printmaking project I have done. I knew that I wanted to keep them for something but never knew how they would or could be transformed. Then came 2020 and the quarantine rollercoaster that derailed the world. I was struggling to find inspiration and so I began to organize my art drawers and saw the piles of test prints, purposeless and collecting a metaphorical dust and it dawned on me, now is the time that they will become something new. The test prints became a book sculpture. Each print was cut down and folded in the same way I would create a book’s signatures. Once folded the paper shows only 1mm of the imagery on the prints, in doing that one lands up with an abstracted glimpse into the print’s full image. Some of the spines are solid black or white, while others show hints of colours, lines and textures. When these signatures are stacked together they create an abstract linear “drawing”; a “timeline”. Since these are all prints I have made between 2012 and 2020. The book becomes a visual timeline of the artworks I have made over the years. Rather than a traditional book or artist portfolio where the timeline and artworks are read on the pages as the reader pages though the book. This timeline is read on the spine; a visual artistic autobiography that can been seen and experienced as an entire image. It shows that even though I have made very different types of artworks over that 8 year period they still come together under one artistic practice, under one final image. The final edition to the book was its covers. Two pieces of African Panga-Panga wood. With the work I do as a carpentry framer it felt fitting to include the wood not only because of the wood’s strength and aesthetic, but also as I am currently a practicing framer and an aspiring book restorer and maker I felt it apt to frame my progression of work within the contexts of my current work between two covers resembling book ends. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363552273-KTJK5DEHFEOYCILV9EXB/mcba-prize-2020-Claudia-de-la-Torre-Cities-in-Flight-5.jpg Entries & Jurors - 2020 Entries - Claudia de la Torre Berlin, Germany backbonebooks.net Cities in Flight, or the Satellite Variations 2018 Installation. Book: acrylic paint on paper. Record: 12″ Dubplate. Silkscreen on record sleeve. Text: Vinyl lettering on wall variable arrangements and lengths Artist Statement Claudia de la Torre’s works often start from a book. She examines the structure and relationship between the surfaces and forms—the book covers, titles, the layout of the individual pages. By means of appropriation and dé-tournement, her work often takes the form of an artist book, a library or an archive. How is our knowledge of the world organized, classified and archived? What are the underlying systems of our knowledge? How do we approach what we learn of the world? For her installation Cities in Flight or The Satellite Variations, de la Torre takes James Blish’s science fiction novel as a starting point to ex- amine the structure of story-telling and to build up a parallel narrative to the one evident in the story. By stressing words in the existing storyline, de la Torre develops a parallel world that overlays the pre-existing utopia laid out in the book. The arrows in the book are reflected by geometric forms sitting on shelves in the exhibition space. Claudia de la Torre suggests one of boundless possibilities of how the words connect to each other, the variations being almost as infinite as space. She applies the principle of improvisation to a system whose conjunctions are usually ruled by grammar and by a logic reliant on meaning. The words the artist selects are like tones played from a scale that is prescribed by Blish’s selection of words (not forgetting the voices of the readers). While side A of the record reflects a storyline deliberately composed by the artist, side B is constructed by chance of words spinning in an orbit, forming arbitrary alliances. Both storylines captured on the respective sides of the record create a parallel universe spinning around Blish’s story—just as a satellite spins around Earth. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363551585-F8ZRXFDCH5HTD3CEYOZ3/mcba-prize-2020-Claudia-de-la-Torre-Cities-in-Flight-4.jpg Entries & Jurors - 2020 Entries - Claudia de la Torre Berlin, Germany backbonebooks.net Cities in Flight, or the Satellite Variations 2018 Installation. Book: acrylic paint on paper. Record: 12″ Dubplate. Silkscreen on record sleeve. Text: Vinyl lettering on wall variable arrangements and lengths Artist Statement Claudia de la Torre’s works often start from a book. She examines the structure and relationship between the surfaces and forms—the book covers, titles, the layout of the individual pages. By means of appropriation and dé-tournement, her work often takes the form of an artist book, a library or an archive. How is our knowledge of the world organized, classified and archived? What are the underlying systems of our knowledge? How do we approach what we learn of the world? For her installation Cities in Flight or The Satellite Variations, de la Torre takes James Blish’s science fiction novel as a starting point to ex- amine the structure of story-telling and to build up a parallel narrative to the one evident in the story. By stressing words in the existing storyline, de la Torre develops a parallel world that overlays the pre-existing utopia laid out in the book. The arrows in the book are reflected by geometric forms sitting on shelves in the exhibition space. Claudia de la Torre suggests one of boundless possibilities of how the words connect to each other, the variations being almost as infinite as space. She applies the principle of improvisation to a system whose conjunctions are usually ruled by grammar and by a logic reliant on meaning. The words the artist selects are like tones played from a scale that is prescribed by Blish’s selection of words (not forgetting the voices of the readers). While side A of the record reflects a storyline deliberately composed by the artist, side B is constructed by chance of words spinning in an orbit, forming arbitrary alliances. Both storylines captured on the respective sides of the record create a parallel universe spinning around Blish’s story—just as a satellite spins around Earth. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363552938-BYI5MEHJTD2J7Z6ASDPU/mcba-prize-2020-Claudia-de-la-Torre-Cities-in-Flight-3.jpg Entries & Jurors - 2020 Entries - Claudia de la Torre Berlin, Germany backbonebooks.net Cities in Flight, or the Satellite Variations 2018 Installation. Book: acrylic paint on paper. Record: 12″ Dubplate. Silkscreen on record sleeve. Text: Vinyl lettering on wall variable arrangements and lengths Artist Statement Claudia de la Torre’s works often start from a book. She examines the structure and relationship between the surfaces and forms—the book covers, titles, the layout of the individual pages. By means of appropriation and dé-tournement, her work often takes the form of an artist book, a library or an archive. How is our knowledge of the world organized, classified and archived? What are the underlying systems of our knowledge? How do we approach what we learn of the world? For her installation Cities in Flight or The Satellite Variations, de la Torre takes James Blish’s science fiction novel as a starting point to ex- amine the structure of story-telling and to build up a parallel narrative to the one evident in the story. By stressing words in the existing storyline, de la Torre develops a parallel world that overlays the pre-existing utopia laid out in the book. The arrows in the book are reflected by geometric forms sitting on shelves in the exhibition space. Claudia de la Torre suggests one of boundless possibilities of how the words connect to each other, the variations being almost as infinite as space. She applies the principle of improvisation to a system whose conjunctions are usually ruled by grammar and by a logic reliant on meaning. The words the artist selects are like tones played from a scale that is prescribed by Blish’s selection of words (not forgetting the voices of the readers). While side A of the record reflects a storyline deliberately composed by the artist, side B is constructed by chance of words spinning in an orbit, forming arbitrary alliances. Both storylines captured on the respective sides of the record create a parallel universe spinning around Blish’s story—just as a satellite spins around Earth. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363554370-H27CG3HWXM9R4CKSJIZ1/mcba-prize-2020-Claudia-de-la-Torre-Cities-in-Flight-2.jpg Entries & Jurors - 2020 Entries - Claudia de la Torre Berlin, Germany backbonebooks.net Cities in Flight, or the Satellite Variations 2018 Installation. Book: acrylic paint on paper. Record: 12″ Dubplate. Silkscreen on record sleeve. Text: Vinyl lettering on wall variable arrangements and lengths Artist Statement Claudia de la Torre’s works often start from a book. She examines the structure and relationship between the surfaces and forms—the book covers, titles, the layout of the individual pages. By means of appropriation and dé-tournement, her work often takes the form of an artist book, a library or an archive. How is our knowledge of the world organized, classified and archived? What are the underlying systems of our knowledge? How do we approach what we learn of the world? For her installation Cities in Flight or The Satellite Variations, de la Torre takes James Blish’s science fiction novel as a starting point to ex- amine the structure of story-telling and to build up a parallel narrative to the one evident in the story. By stressing words in the existing storyline, de la Torre develops a parallel world that overlays the pre-existing utopia laid out in the book. The arrows in the book are reflected by geometric forms sitting on shelves in the exhibition space. Claudia de la Torre suggests one of boundless possibilities of how the words connect to each other, the variations being almost as infinite as space. She applies the principle of improvisation to a system whose conjunctions are usually ruled by grammar and by a logic reliant on meaning. The words the artist selects are like tones played from a scale that is prescribed by Blish’s selection of words (not forgetting the voices of the readers). While side A of the record reflects a storyline deliberately composed by the artist, side B is constructed by chance of words spinning in an orbit, forming arbitrary alliances. Both storylines captured on the respective sides of the record create a parallel universe spinning around Blish’s story—just as a satellite spins around Earth. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363555667-WVRB3I8LW5N2I57ESSJ0/mcba-prize-2020-Claudia-de-la-Torre-Cities-in-Flight-1.jpg Entries & Jurors - 2020 Entries - Claudia de la Torre Berlin, Germany backbonebooks.net Cities in Flight, or the Satellite Variations 2018 Installation. Book: acrylic paint on paper. Record: 12″ Dubplate. Silkscreen on record sleeve. Text: Vinyl lettering on wall variable arrangements and lengths Artist Statement Claudia de la Torre’s works often start from a book. She examines the structure and relationship between the surfaces and forms—the book covers, titles, the layout of the individual pages. By means of appropriation and dé-tournement, her work often takes the form of an artist book, a library or an archive. How is our knowledge of the world organized, classified and archived? What are the underlying systems of our knowledge? How do we approach what we learn of the world? For her installation Cities in Flight or The Satellite Variations, de la Torre takes James Blish’s science fiction novel as a starting point to ex- amine the structure of story-telling and to build up a parallel narrative to the one evident in the story. By stressing words in the existing storyline, de la Torre develops a parallel world that overlays the pre-existing utopia laid out in the book. The arrows in the book are reflected by geometric forms sitting on shelves in the exhibition space. Claudia de la Torre suggests one of boundless possibilities of how the words connect to each other, the variations being almost as infinite as space. She applies the principle of improvisation to a system whose conjunctions are usually ruled by grammar and by a logic reliant on meaning. The words the artist selects are like tones played from a scale that is prescribed by Blish’s selection of words (not forgetting the voices of the readers). While side A of the record reflects a storyline deliberately composed by the artist, side B is constructed by chance of words spinning in an orbit, forming arbitrary alliances. Both storylines captured on the respective sides of the record create a parallel universe spinning around Blish’s story—just as a satellite spins around Earth. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363769203-SR21CW2J3AG2QHK1LUOP/mcba-prize-2020-Thorsten-Dennerline-Emergent-Forms-5.jpg Entries & Jurors - 2020 Entries - Thorsten Dennerline Bennington, Vermont birdpress.com Emergent Forms: Visual Improvisation 2013–2020 Box: CNC milled Bass wood with cloth bound cover, 10 x 15.5 x 2”. Volume I, Pattern: Three color letterpress on Mohawk Superfine paper. 80 pages. 3 x 6 x .75”. Volume II, Memory: Two color reduction woodcut and letterpress on Saint Armand handmade paper. Printed both sides. 8 x 6 x .5”. Volume III, Landscape: Stone lithography on Usuyou Gampi Natural paper. 8.5 x 3.5”. Volume IV, Dream: Polymer letterpress on Usuyou Gampi White paper. 6 x 12”. Artist Statement PDF https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363769754-NYHH9CU5BC0YO274GF2P/mcba-prize-2020-Thorsten-Dennerline-Emergent-Forms-4.jpg Entries & Jurors - 2020 Entries - Thorsten Dennerline Bennington, Vermont birdpress.com Emergent Forms: Visual Improvisation 2013–2020 Box: CNC milled Bass wood with cloth bound cover, 10 x 15.5 x 2”. Volume I, Pattern: Three color letterpress on Mohawk Superfine paper. 80 pages. 3 x 6 x .75”. Volume II, Memory: Two color reduction woodcut and letterpress on Saint Armand handmade paper. Printed both sides. 8 x 6 x .5”. Volume III, Landscape: Stone lithography on Usuyou Gampi Natural paper. 8.5 x 3.5”. Volume IV, Dream: Polymer letterpress on Usuyou Gampi White paper. 6 x 12”. Artist Statement PDF https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363770562-2WTUJI8UPYB80SMU97CY/mcba-prize-2020-Thorsten-Dennerline-Emergent-Forms-3.jpg Entries & Jurors - 2020 Entries - Thorsten Dennerline Bennington, Vermont birdpress.com Emergent Forms: Visual Improvisation 2013–2020 Box: CNC milled Bass wood with cloth bound cover, 10 x 15.5 x 2”. Volume I, Pattern: Three color letterpress on Mohawk Superfine paper. 80 pages. 3 x 6 x .75”. Volume II, Memory: Two color reduction woodcut and letterpress on Saint Armand handmade paper. Printed both sides. 8 x 6 x .5”. Volume III, Landscape: Stone lithography on Usuyou Gampi Natural paper. 8.5 x 3.5”. Volume IV, Dream: Polymer letterpress on Usuyou Gampi White paper. 6 x 12”. Artist Statement PDF https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363772553-7X17SKW1J7I3X0YQLS0A/mcba-prize-2020-Thorsten-Dennerline-Emergent-Forms-2.jpg Entries & Jurors - 2020 Entries - Thorsten Dennerline Bennington, Vermont birdpress.com Emergent Forms: Visual Improvisation 2013–2020 Box: CNC milled Bass wood with cloth bound cover, 10 x 15.5 x 2”. Volume I, Pattern: Three color letterpress on Mohawk Superfine paper. 80 pages. 3 x 6 x .75”. Volume II, Memory: Two color reduction woodcut and letterpress on Saint Armand handmade paper. Printed both sides. 8 x 6 x .5”. Volume III, Landscape: Stone lithography on Usuyou Gampi Natural paper. 8.5 x 3.5”. Volume IV, Dream: Polymer letterpress on Usuyou Gampi White paper. 6 x 12”. Artist Statement PDF https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363774693-ATQJWDLJUI6I66CO4ABJ/mcba-prize-2020-Thorsten-Dennerline-Emergent-Forms-1.jpg Entries & Jurors - 2020 Entries - Thorsten Dennerline Bennington, Vermont birdpress.com Emergent Forms: Visual Improvisation 2013–2020 Box: CNC milled Bass wood with cloth bound cover, 10 x 15.5 x 2”. Volume I, Pattern: Three color letterpress on Mohawk Superfine paper. 80 pages. 3 x 6 x .75”. Volume II, Memory: Two color reduction woodcut and letterpress on Saint Armand handmade paper. Printed both sides. 8 x 6 x .5”. Volume III, Landscape: Stone lithography on Usuyou Gampi Natural paper. 8.5 x 3.5”. Volume IV, Dream: Polymer letterpress on Usuyou Gampi White paper. 6 x 12”. Artist Statement PDF https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363967899-897D969I8K3GQEQEH5UQ/mcba-prize-2020-Thorsten-Dennerline-Ny-Dansk-Poesi-5.jpg Entries & Jurors - 2020 Entries - Thorsten Dennerline Bennington, Vermont birdpress.com Ny dansk poesi/New Danish Poetry 2019 stone, plate and offset lithography, metal and polymer letterpress, woodcuts, handmade and machine made papers, hand bound Open: 26 x 18″; Closed: 13 x 18″ Artist Statement The two main areas of my work are publishing books and creating unique objects. The most common thread between them is my interest in poetry. This has resulted in collaboration, and has also fostered my interest in the relationship between text and image. I am comfortable with things that have multiple meanings, or the unexplainable. My work uses a combination of intentional disruption, the unexpected, spontaneity and improvisation as well as a desire to pursue the sublime through the use of materials. My books are equally informed by the history of books and design as by contemporary art and culture. This book was a major undertaking. It involved 18 collaborators, multi languages, a five month residency in Copenhagen, a translator, a catalog essay by a literary scholar, five print shops, many kinds of paper, and trouble shooting of the highest order. The idea was to use the idea of “anthology” as a point of departure by inviting someone to either curate or gather elements that I could respond to visually and/or col- laboratively. I invited the recent Danish Drachmanns Legatet Literature Prize winner, Susanne Jorn to do this. She also happens to be a family member, so there is an added a personal aspect to the project that responds to the fact that our we are an artist family. One example that influences us all, is that my grandfather was the painter and master collaborator, Asger Jorn. She responded to the prompt by inviting six young Danish po- ets to work with me. They all agreed and I then chose to work with each poet separately on a four page section of the book. The idea was that each collaboration would be dif- ferent and demonstrate how the process of working together can allow for an emergence of an unplanned third element that goes beyond the input of the individuals involved. Each section is quite different as a result. The book was planned to be in a solo exhibition at Galleri Tom Christoffersen in June 2020, but this has been postponed to 2021. The first prototypes of this book were exhibited at the Editions and Artist Books Fair in New York City in 2019. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363967993-AMQHWMZBOOGIFJJVN8NB/mcba-prize-2020-Thorsten-Dennerline-Ny-Dansk-Poesi-4.jpg Entries & Jurors - 2020 Entries - Thorsten Dennerline Bennington, Vermont birdpress.com Ny dansk poesi/New Danish Poetry 2019 stone, plate and offset lithography, metal and polymer letterpress, woodcuts, handmade and machine made papers, hand bound Open: 26 x 18″; Closed: 13 x 18″ Artist Statement The two main areas of my work are publishing books and creating unique objects. The most common thread between them is my interest in poetry. This has resulted in collaboration, and has also fostered my interest in the relationship between text and image. I am comfortable with things that have multiple meanings, or the unexplainable. My work uses a combination of intentional disruption, the unexpected, spontaneity and improvisation as well as a desire to pursue the sublime through the use of materials. My books are equally informed by the history of books and design as by contemporary art and culture. This book was a major undertaking. It involved 18 collaborators, multi languages, a five month residency in Copenhagen, a translator, a catalog essay by a literary scholar, five print shops, many kinds of paper, and trouble shooting of the highest order. The idea was to use the idea of “anthology” as a point of departure by inviting someone to either curate or gather elements that I could respond to visually and/or col- laboratively. I invited the recent Danish Drachmanns Legatet Literature Prize winner, Susanne Jorn to do this. She also happens to be a family member, so there is an added a personal aspect to the project that responds to the fact that our we are an artist family. One example that influences us all, is that my grandfather was the painter and master collaborator, Asger Jorn. She responded to the prompt by inviting six young Danish po- ets to work with me. They all agreed and I then chose to work with each poet separately on a four page section of the book. The idea was that each collaboration would be dif- ferent and demonstrate how the process of working together can allow for an emergence of an unplanned third element that goes beyond the input of the individuals involved. Each section is quite different as a result. The book was planned to be in a solo exhibition at Galleri Tom Christoffersen in June 2020, but this has been postponed to 2021. The first prototypes of this book were exhibited at the Editions and Artist Books Fair in New York City in 2019. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363970446-JW7HQ0ODG7KP9VJMWF43/mcba-prize-2020-Thorsten-Dennerline-Ny-Dansk-Poesi-3.jpg Entries & Jurors - 2020 Entries - Thorsten Dennerline Bennington, Vermont birdpress.com Ny dansk poesi/New Danish Poetry 2019 stone, plate and offset lithography, metal and polymer letterpress, woodcuts, handmade and machine made papers, hand bound Open: 26 x 18″; Closed: 13 x 18″ Artist Statement The two main areas of my work are publishing books and creating unique objects. The most common thread between them is my interest in poetry. This has resulted in collaboration, and has also fostered my interest in the relationship between text and image. I am comfortable with things that have multiple meanings, or the unexplainable. My work uses a combination of intentional disruption, the unexpected, spontaneity and improvisation as well as a desire to pursue the sublime through the use of materials. My books are equally informed by the history of books and design as by contemporary art and culture. This book was a major undertaking. It involved 18 collaborators, multi languages, a five month residency in Copenhagen, a translator, a catalog essay by a literary scholar, five print shops, many kinds of paper, and trouble shooting of the highest order. The idea was to use the idea of “anthology” as a point of departure by inviting someone to either curate or gather elements that I could respond to visually and/or col- laboratively. I invited the recent Danish Drachmanns Legatet Literature Prize winner, Susanne Jorn to do this. She also happens to be a family member, so there is an added a personal aspect to the project that responds to the fact that our we are an artist family. One example that influences us all, is that my grandfather was the painter and master collaborator, Asger Jorn. She responded to the prompt by inviting six young Danish po- ets to work with me. They all agreed and I then chose to work with each poet separately on a four page section of the book. The idea was that each collaboration would be dif- ferent and demonstrate how the process of working together can allow for an emergence of an unplanned third element that goes beyond the input of the individuals involved. Each section is quite different as a result. The book was planned to be in a solo exhibition at Galleri Tom Christoffersen in June 2020, but this has been postponed to 2021. The first prototypes of this book were exhibited at the Editions and Artist Books Fair in New York City in 2019. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363970306-4RGMHE1LXSKXW6WSWSTI/mcba-prize-2020-Thorsten-Dennerline-Ny-Dansk-Poesi-2.jpg Entries & Jurors - 2020 Entries - Thorsten Dennerline Bennington, Vermont birdpress.com Ny dansk poesi/New Danish Poetry 2019 stone, plate and offset lithography, metal and polymer letterpress, woodcuts, handmade and machine made papers, hand bound Open: 26 x 18″; Closed: 13 x 18″ Artist Statement The two main areas of my work are publishing books and creating unique objects. The most common thread between them is my interest in poetry. This has resulted in collaboration, and has also fostered my interest in the relationship between text and image. I am comfortable with things that have multiple meanings, or the unexplainable. My work uses a combination of intentional disruption, the unexpected, spontaneity and improvisation as well as a desire to pursue the sublime through the use of materials. My books are equally informed by the history of books and design as by contemporary art and culture. This book was a major undertaking. It involved 18 collaborators, multi languages, a five month residency in Copenhagen, a translator, a catalog essay by a literary scholar, five print shops, many kinds of paper, and trouble shooting of the highest order. The idea was to use the idea of “anthology” as a point of departure by inviting someone to either curate or gather elements that I could respond to visually and/or col- laboratively. I invited the recent Danish Drachmanns Legatet Literature Prize winner, Susanne Jorn to do this. She also happens to be a family member, so there is an added a personal aspect to the project that responds to the fact that our we are an artist family. One example that influences us all, is that my grandfather was the painter and master collaborator, Asger Jorn. She responded to the prompt by inviting six young Danish po- ets to work with me. They all agreed and I then chose to work with each poet separately on a four page section of the book. The idea was that each collaboration would be dif- ferent and demonstrate how the process of working together can allow for an emergence of an unplanned third element that goes beyond the input of the individuals involved. Each section is quite different as a result. The book was planned to be in a solo exhibition at Galleri Tom Christoffersen in June 2020, but this has been postponed to 2021. The first prototypes of this book were exhibited at the Editions and Artist Books Fair in New York City in 2019. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774363972066-AQPVKNS3A3LGT99MTLEZ/mcba-prize-2020-Thorsten-Dennerline-Ny-Dansk-Poesi-1.jpg Entries & Jurors - 2020 Entries - Thorsten Dennerline Bennington, Vermont birdpress.com Ny dansk poesi/New Danish Poetry 2019 stone, plate and offset lithography, metal and polymer letterpress, woodcuts, handmade and machine made papers, hand bound Open: 26 x 18″; Closed: 13 x 18″ Artist Statement The two main areas of my work are publishing books and creating unique objects. The most common thread between them is my interest in poetry. This has resulted in collaboration, and has also fostered my interest in the relationship between text and image. I am comfortable with things that have multiple meanings, or the unexplainable. My work uses a combination of intentional disruption, the unexpected, spontaneity and improvisation as well as a desire to pursue the sublime through the use of materials. My books are equally informed by the history of books and design as by contemporary art and culture. This book was a major undertaking. It involved 18 collaborators, multi languages, a five month residency in Copenhagen, a translator, a catalog essay by a literary scholar, five print shops, many kinds of paper, and trouble shooting of the highest order. The idea was to use the idea of “anthology” as a point of departure by inviting someone to either curate or gather elements that I could respond to visually and/or col- laboratively. I invited the recent Danish Drachmanns Legatet Literature Prize winner, Susanne Jorn to do this. She also happens to be a family member, so there is an added a personal aspect to the project that responds to the fact that our we are an artist family. One example that influences us all, is that my grandfather was the painter and master collaborator, Asger Jorn. She responded to the prompt by inviting six young Danish po- ets to work with me. They all agreed and I then chose to work with each poet separately on a four page section of the book. The idea was that each collaboration would be dif- ferent and demonstrate how the process of working together can allow for an emergence of an unplanned third element that goes beyond the input of the individuals involved. Each section is quite different as a result. The book was planned to be in a solo exhibition at Galleri Tom Christoffersen in June 2020, but this has been postponed to 2021. The first prototypes of this book were exhibited at the Editions and Artist Books Fair in New York City in 2019. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367121027-SDGMIW3UVVVJXLOX3D5P/mcba-prize-2020-Ben-Denzer-20-Slices-of-Meat-5.jpg Entries & Jurors - 2020 Entries - Ben Denzer New York, New York bendenzer.com 20 Slices of Meat 2020 mortadella Closed: 4.8 x 5.2 x 1.4″ Artist Statement PDF https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367122443-1FLN6Y0WBTHXQ2UL7J4C/mcba-prize-2020-Ben-Denzer-20-Slices-of-Meat-4.jpg Entries & Jurors - 2020 Entries - Ben Denzer New York, New York bendenzer.com 20 Slices of Meat 2020 mortadella Closed: 4.8 x 5.2 x 1.4″ Artist Statement PDF https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367122553-U2A77WEN5O0WL0IYTJ0E/mcba-prize-2020-Ben-Denzer-20-Slices-of-Meat-3.jpg Entries & Jurors - 2020 Entries - Ben Denzer New York, New York bendenzer.com 20 Slices of Meat 2020 mortadella Closed: 4.8 x 5.2 x 1.4″ Artist Statement PDF https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367123724-U242B689ROBHMTV7A8CQ/mcba-prize-2020-Ben-Denzer-20-Slices-of-Meat-2.jpg Entries & Jurors - 2020 Entries - Ben Denzer New York, New York bendenzer.com 20 Slices of Meat 2020 mortadella Closed: 4.8 x 5.2 x 1.4″ Artist Statement PDF https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367120670-XW8FXN5CY1EFG1L56FN1/mcba-prize-2020-Ben-Denzer-20-Slices-of-Meat-1.jpg Entries & Jurors - 2020 Entries - Ben Denzer New York, New York bendenzer.com 20 Slices of Meat 2020 mortadella Closed: 4.8 x 5.2 x 1.4″ Artist Statement PDF https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367396154-9MH3SG2YXYHNRBWTTJSC/mcba-prize-2020-Anne-Deuter-Die-Weise-Von-Wetter-4.jpg Entries & Jurors - 2020 Entries - Anne Deuter Leipzig, Germany annedeuter.de Die Weise von Wetter (The Manner of Weather) 2019 artist’s book / book object 8.6 x 3.15 x 2.36″ Artist Statement Meine Wetterbücher umfassen eine serielle und rituelle Arbeit. Seit 2014 übersetze ich jedes Jahr im gleichen Zeitraum von einem Monat Beobachtungen und Gedanken zum täglichen Wetter in einen anderen Buchraum. Die künsterlische Aus-einandersetzung ist mit persönlichen Empfindungen angereichert, die sich in Worten verdichten. Im Grunde denken wir doch immer daran, worum es uns geht. Eigentlich setzen wir doch all unse- re Gedanken dafür ein, es nicht zu sagen. Auch, wenn wir übers Wetter reden, denken wir daran, worum es uns geht. —aus Herta Müller. Reisende auf einem Bein The weather books include a serial and ritual work. Since 2014 I have been translating observa- tions and thoughts on the daily weather into another book space during the period of a month. Basically, we always think about what we are concerned with. We actually put all our thoughts into not saying it. Even when we talk about the weather, we think about what we are about. —from Herta Müller. Reisende auf einem Bein https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367395868-I5ONC3EPMWBKU93LJ57E/mcba-prize-2020-Anne-Deuter-Die-Weise-Von-Wetter-3.jpg Entries & Jurors - 2020 Entries - Anne Deuter Leipzig, Germany annedeuter.de Die Weise von Wetter (The Manner of Weather) 2019 artist’s book / book object 8.6 x 3.15 x 2.36″ Artist Statement Meine Wetterbücher umfassen eine serielle und rituelle Arbeit. Seit 2014 übersetze ich jedes Jahr im gleichen Zeitraum von einem Monat Beobachtungen und Gedanken zum täglichen Wetter in einen anderen Buchraum. Die künsterlische Aus-einandersetzung ist mit persönlichen Empfindungen angereichert, die sich in Worten verdichten. Im Grunde denken wir doch immer daran, worum es uns geht. Eigentlich setzen wir doch all unse- re Gedanken dafür ein, es nicht zu sagen. Auch, wenn wir übers Wetter reden, denken wir daran, worum es uns geht. —aus Herta Müller. Reisende auf einem Bein The weather books include a serial and ritual work. Since 2014 I have been translating observa- tions and thoughts on the daily weather into another book space during the period of a month. Basically, we always think about what we are concerned with. We actually put all our thoughts into not saying it. Even when we talk about the weather, we think about what we are about. —from Herta Müller. Reisende auf einem Bein https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367397997-NDFOPYKSPFCHTC07R7AO/mcba-prize-2020-Anne-Deuter-Die-Weise-Von-Wetter-2.jpg Entries & Jurors - 2020 Entries - Anne Deuter Leipzig, Germany annedeuter.de Die Weise von Wetter (The Manner of Weather) 2019 artist’s book / book object 8.6 x 3.15 x 2.36″ Artist Statement Meine Wetterbücher umfassen eine serielle und rituelle Arbeit. Seit 2014 übersetze ich jedes Jahr im gleichen Zeitraum von einem Monat Beobachtungen und Gedanken zum täglichen Wetter in einen anderen Buchraum. Die künsterlische Aus-einandersetzung ist mit persönlichen Empfindungen angereichert, die sich in Worten verdichten. Im Grunde denken wir doch immer daran, worum es uns geht. Eigentlich setzen wir doch all unse- re Gedanken dafür ein, es nicht zu sagen. Auch, wenn wir übers Wetter reden, denken wir daran, worum es uns geht. —aus Herta Müller. Reisende auf einem Bein The weather books include a serial and ritual work. Since 2014 I have been translating observa- tions and thoughts on the daily weather into another book space during the period of a month. Basically, we always think about what we are concerned with. We actually put all our thoughts into not saying it. Even when we talk about the weather, we think about what we are about. —from Herta Müller. Reisende auf einem Bein https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367398373-5IYV61D5I01VT7LKE1BY/mcba-prize-2020-Anne-Deuter-Die-Weise-Von-Wetter-1.jpg Entries & Jurors - 2020 Entries - Anne Deuter Leipzig, Germany annedeuter.de Die Weise von Wetter (The Manner of Weather) 2019 artist’s book / book object 8.6 x 3.15 x 2.36″ Artist Statement Meine Wetterbücher umfassen eine serielle und rituelle Arbeit. Seit 2014 übersetze ich jedes Jahr im gleichen Zeitraum von einem Monat Beobachtungen und Gedanken zum täglichen Wetter in einen anderen Buchraum. Die künsterlische Aus-einandersetzung ist mit persönlichen Empfindungen angereichert, die sich in Worten verdichten. Im Grunde denken wir doch immer daran, worum es uns geht. Eigentlich setzen wir doch all unse- re Gedanken dafür ein, es nicht zu sagen. Auch, wenn wir übers Wetter reden, denken wir daran, worum es uns geht. —aus Herta Müller. Reisende auf einem Bein The weather books include a serial and ritual work. Since 2014 I have been translating observa- tions and thoughts on the daily weather into another book space during the period of a month. Basically, we always think about what we are concerned with. We actually put all our thoughts into not saying it. Even when we talk about the weather, we think about what we are about. —from Herta Müller. Reisende auf einem Bein https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367548470-FMUN16NZM3KAKU66T8AR/mcba-prize-2020-Slavko-Djuric-Interdependance5.jpg Entries & Jurors - 2020 Entries - Slavko Djuric New York, New York interdependAnce! 2019 double-bind artist book with interlocked pages; reduction screen printing, beeswax, handmade abaca paper (colophon), hot stamped title Individual book 11 x .5 x 11” Artist Statement In the past few years I’ve been developing a work based on double-bind book structures. By introducing a second spine to the book it allows me to reassess the pre-existing content by physically cutting through it. The deconstruction of the integrity of pages and an emerging modular character, open a new perspective for interplay within the book format. New narratives or digressions are born with every turn of a page; I’m not even trying to comprehend these innumerable variations of the layouts of the pages. Thus, I regard myself as an initiator of the endless interchangeable play rather than as a book author. In this project I have challenged myself to develop a gregarious edition of books linked into a freestanding installation. These 12 books can be still seen as copies or as individual objects, but the synaptic connections between them allude to the books being interlocked elements of a bigger structure, a circular group-dance or perhaps even a tribe.Isolated, the book opens, the image halves split away, but their secrets don’t get revealed. It is only in the presence of other books that one would be able to grasp the scope of this project. The images of ‘interdependAnce!’ derive from a series of both cyborgian and feral self-portraits made as a part of a daily drawing practice. When drawing, I often tap into a meditative state reflecting upon our camaraderie being perplexed by its own algorithms. Going beyond the confines and trappings of the logic of the physical world, my line challenges an eye to follow it, while it fearlessly twists and turns in the vast blankness of the paper.Each book opens with a line from the poem ‘Raskovnik’ by a Serbian poet Branko Miljković: Otvori kamen sto prećuta zvezde svojoj tami which reads as Open the stone which hasn’t mentioned the stars to its own darkness https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367548230-KRI4YJ6I1G03CHMYZYXI/mcba-prize-2020-Slavko-Djuric-Interdependance4.jpg Entries & Jurors - 2020 Entries - Slavko Djuric New York, New York interdependAnce! 2019 double-bind artist book with interlocked pages; reduction screen printing, beeswax, handmade abaca paper (colophon), hot stamped title Individual book 11 x .5 x 11” Artist Statement In the past few years I’ve been developing a work based on double-bind book structures. By introducing a second spine to the book it allows me to reassess the pre-existing content by physically cutting through it. The deconstruction of the integrity of pages and an emerging modular character, open a new perspective for interplay within the book format. New narratives or digressions are born with every turn of a page; I’m not even trying to comprehend these innumerable variations of the layouts of the pages. Thus, I regard myself as an initiator of the endless interchangeable play rather than as a book author. In this project I have challenged myself to develop a gregarious edition of books linked into a freestanding installation. These 12 books can be still seen as copies or as individual objects, but the synaptic connections between them allude to the books being interlocked elements of a bigger structure, a circular group-dance or perhaps even a tribe.Isolated, the book opens, the image halves split away, but their secrets don’t get revealed. It is only in the presence of other books that one would be able to grasp the scope of this project. The images of ‘interdependAnce!’ derive from a series of both cyborgian and feral self-portraits made as a part of a daily drawing practice. When drawing, I often tap into a meditative state reflecting upon our camaraderie being perplexed by its own algorithms. Going beyond the confines and trappings of the logic of the physical world, my line challenges an eye to follow it, while it fearlessly twists and turns in the vast blankness of the paper.Each book opens with a line from the poem ‘Raskovnik’ by a Serbian poet Branko Miljković: Otvori kamen sto prećuta zvezde svojoj tami which reads as Open the stone which hasn’t mentioned the stars to its own darkness https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367549685-XTLHEL4F95B9V3GU18NC/mcba-prize-2020-Slavko-Djuric-Interdependance3.jpg Entries & Jurors - 2020 Entries - Slavko Djuric New York, New York interdependAnce! 2019 double-bind artist book with interlocked pages; reduction screen printing, beeswax, handmade abaca paper (colophon), hot stamped title Individual book 11 x .5 x 11” Artist Statement In the past few years I’ve been developing a work based on double-bind book structures. By introducing a second spine to the book it allows me to reassess the pre-existing content by physically cutting through it. The deconstruction of the integrity of pages and an emerging modular character, open a new perspective for interplay within the book format. New narratives or digressions are born with every turn of a page; I’m not even trying to comprehend these innumerable variations of the layouts of the pages. Thus, I regard myself as an initiator of the endless interchangeable play rather than as a book author. In this project I have challenged myself to develop a gregarious edition of books linked into a freestanding installation. These 12 books can be still seen as copies or as individual objects, but the synaptic connections between them allude to the books being interlocked elements of a bigger structure, a circular group-dance or perhaps even a tribe.Isolated, the book opens, the image halves split away, but their secrets don’t get revealed. It is only in the presence of other books that one would be able to grasp the scope of this project. The images of ‘interdependAnce!’ derive from a series of both cyborgian and feral self-portraits made as a part of a daily drawing practice. When drawing, I often tap into a meditative state reflecting upon our camaraderie being perplexed by its own algorithms. Going beyond the confines and trappings of the logic of the physical world, my line challenges an eye to follow it, while it fearlessly twists and turns in the vast blankness of the paper.Each book opens with a line from the poem ‘Raskovnik’ by a Serbian poet Branko Miljković: Otvori kamen sto prećuta zvezde svojoj tami which reads as Open the stone which hasn’t mentioned the stars to its own darkness https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367550258-W2WQ2YE1VLC48O1S3PRL/mcba-prize-2020-Slavko-Djuric-Interdependance2.jpg Entries & Jurors - 2020 Entries - Slavko Djuric New York, New York interdependAnce! 2019 double-bind artist book with interlocked pages; reduction screen printing, beeswax, handmade abaca paper (colophon), hot stamped title Individual book 11 x .5 x 11” Artist Statement In the past few years I’ve been developing a work based on double-bind book structures. By introducing a second spine to the book it allows me to reassess the pre-existing content by physically cutting through it. The deconstruction of the integrity of pages and an emerging modular character, open a new perspective for interplay within the book format. New narratives or digressions are born with every turn of a page; I’m not even trying to comprehend these innumerable variations of the layouts of the pages. Thus, I regard myself as an initiator of the endless interchangeable play rather than as a book author. In this project I have challenged myself to develop a gregarious edition of books linked into a freestanding installation. These 12 books can be still seen as copies or as individual objects, but the synaptic connections between them allude to the books being interlocked elements of a bigger structure, a circular group-dance or perhaps even a tribe.Isolated, the book opens, the image halves split away, but their secrets don’t get revealed. It is only in the presence of other books that one would be able to grasp the scope of this project. The images of ‘interdependAnce!’ derive from a series of both cyborgian and feral self-portraits made as a part of a daily drawing practice. When drawing, I often tap into a meditative state reflecting upon our camaraderie being perplexed by its own algorithms. Going beyond the confines and trappings of the logic of the physical world, my line challenges an eye to follow it, while it fearlessly twists and turns in the vast blankness of the paper.Each book opens with a line from the poem ‘Raskovnik’ by a Serbian poet Branko Miljković: Otvori kamen sto prećuta zvezde svojoj tami which reads as Open the stone which hasn’t mentioned the stars to its own darkness https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367551072-B32C86INR8R5RAYJ53O1/mcba-prize-2020-Slavko-Djuric-Interdependance1.jpg Entries & Jurors - 2020 Entries - Slavko Djuric New York, New York interdependAnce! 2019 double-bind artist book with interlocked pages; reduction screen printing, beeswax, handmade abaca paper (colophon), hot stamped title Individual book 11 x .5 x 11” Artist Statement In the past few years I’ve been developing a work based on double-bind book structures. By introducing a second spine to the book it allows me to reassess the pre-existing content by physically cutting through it. The deconstruction of the integrity of pages and an emerging modular character, open a new perspective for interplay within the book format. New narratives or digressions are born with every turn of a page; I’m not even trying to comprehend these innumerable variations of the layouts of the pages. Thus, I regard myself as an initiator of the endless interchangeable play rather than as a book author. In this project I have challenged myself to develop a gregarious edition of books linked into a freestanding installation. These 12 books can be still seen as copies or as individual objects, but the synaptic connections between them allude to the books being interlocked elements of a bigger structure, a circular group-dance or perhaps even a tribe.Isolated, the book opens, the image halves split away, but their secrets don’t get revealed. It is only in the presence of other books that one would be able to grasp the scope of this project. The images of ‘interdependAnce!’ derive from a series of both cyborgian and feral self-portraits made as a part of a daily drawing practice. When drawing, I often tap into a meditative state reflecting upon our camaraderie being perplexed by its own algorithms. Going beyond the confines and trappings of the logic of the physical world, my line challenges an eye to follow it, while it fearlessly twists and turns in the vast blankness of the paper.Each book opens with a line from the poem ‘Raskovnik’ by a Serbian poet Branko Miljković: Otvori kamen sto prećuta zvezde svojoj tami which reads as Open the stone which hasn’t mentioned the stars to its own darkness https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367693470-PH0S90Z5J0LIH9H8OW9R/mcba-prize-2020-Heather-Doyle-Maier-Riptides-5.jpg Entries & Jurors - 2020 Entries - Heather Doyle-Maier Denver, Colorado Riptides 2019 paper, tracing vellum, vintage garments, paper, thread 7.5″ x 3.25″ x 1″ Artist Statement Riptides explores mothers and daughters across four generations, telling layers of stories of women as they embrace/reject these critical relationships. Moving from infancy and girlhood to leaving home, and from marriage and motherhood to her own daughter leaving home, each woman struggles in her own era and in her own way with conflicting imperatives to both stay and leave. Utilizing the Ocean Waves quilt pattern from a family quilt, the artist drew from the histories of her great- grandmother, grandmother and mother as well as herself to create the visible and the hidden text. Riptides was created with vintage and new materials, using techniques of text transfer, dry mount and sewing. The text is set in VinerHand and Abadi MT Pro fonts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367693303-AOOU5S2AU0GOXJJW8T2M/mcba-prize-2020-Heather-Doyle-Maier-Riptides-4.jpg Entries & Jurors - 2020 Entries - Heather Doyle-Maier Denver, Colorado Riptides 2019 paper, tracing vellum, vintage garments, paper, thread 7.5″ x 3.25″ x 1″ Artist Statement Riptides explores mothers and daughters across four generations, telling layers of stories of women as they embrace/reject these critical relationships. Moving from infancy and girlhood to leaving home, and from marriage and motherhood to her own daughter leaving home, each woman struggles in her own era and in her own way with conflicting imperatives to both stay and leave. Utilizing the Ocean Waves quilt pattern from a family quilt, the artist drew from the histories of her great- grandmother, grandmother and mother as well as herself to create the visible and the hidden text. Riptides was created with vintage and new materials, using techniques of text transfer, dry mount and sewing. The text is set in VinerHand and Abadi MT Pro fonts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367695971-3POH9RJ9AT0KP2SPZZ2Z/mcba-prize-2020-Heather-Doyle-Maier-Riptides-3.jpg Entries & Jurors - 2020 Entries - Heather Doyle-Maier Denver, Colorado Riptides 2019 paper, tracing vellum, vintage garments, paper, thread 7.5″ x 3.25″ x 1″ Artist Statement Riptides explores mothers and daughters across four generations, telling layers of stories of women as they embrace/reject these critical relationships. Moving from infancy and girlhood to leaving home, and from marriage and motherhood to her own daughter leaving home, each woman struggles in her own era and in her own way with conflicting imperatives to both stay and leave. Utilizing the Ocean Waves quilt pattern from a family quilt, the artist drew from the histories of her great- grandmother, grandmother and mother as well as herself to create the visible and the hidden text. Riptides was created with vintage and new materials, using techniques of text transfer, dry mount and sewing. The text is set in VinerHand and Abadi MT Pro fonts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367696559-E1B9JB5BYE5B5232P154/mcba-prize-2020-Heather-Doyle-Maier-Riptides-2.jpg Entries & Jurors - 2020 Entries - Heather Doyle-Maier Denver, Colorado Riptides 2019 paper, tracing vellum, vintage garments, paper, thread 7.5″ x 3.25″ x 1″ Artist Statement Riptides explores mothers and daughters across four generations, telling layers of stories of women as they embrace/reject these critical relationships. Moving from infancy and girlhood to leaving home, and from marriage and motherhood to her own daughter leaving home, each woman struggles in her own era and in her own way with conflicting imperatives to both stay and leave. Utilizing the Ocean Waves quilt pattern from a family quilt, the artist drew from the histories of her great- grandmother, grandmother and mother as well as herself to create the visible and the hidden text. Riptides was created with vintage and new materials, using techniques of text transfer, dry mount and sewing. The text is set in VinerHand and Abadi MT Pro fonts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367697564-7LWCNK4MXA1PUR4PBM0H/mcba-prize-2020-Heather-Doyle-Maier-Riptides-1.jpg Entries & Jurors - 2020 Entries - Heather Doyle-Maier Denver, Colorado Riptides 2019 paper, tracing vellum, vintage garments, paper, thread 7.5″ x 3.25″ x 1″ Artist Statement Riptides explores mothers and daughters across four generations, telling layers of stories of women as they embrace/reject these critical relationships. Moving from infancy and girlhood to leaving home, and from marriage and motherhood to her own daughter leaving home, each woman struggles in her own era and in her own way with conflicting imperatives to both stay and leave. Utilizing the Ocean Waves quilt pattern from a family quilt, the artist drew from the histories of her great- grandmother, grandmother and mother as well as herself to create the visible and the hidden text. Riptides was created with vintage and new materials, using techniques of text transfer, dry mount and sewing. The text is set in VinerHand and Abadi MT Pro fonts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367875015-PJV2QRSESVKVUX107G29/mcba-prize-2020-Cathy-Durso-The-Natural-History-Museum-5.jpg Entries & Jurors - 2020 Entries - Cathy Durso Minneapolis, Minnesota cathydurso.net The Natural History Museum #2 2019 cloth covered box with 8 drawers and gatefold opening with bone and loop closure, linocut, bookboard, aluminum wire, lokta paper, rice paper, cotton embroidery floss, and book cloth 12.875 x 5 x 10.25″ Artist Statement With The Natural History Museum #2, I continue my series of artist’s books inspired by natural history museums, a source of fascination for me. A miniature Hall of Ocean Life, this artist’s book contains eight drawers, which, when pulled out of the box that houses them, reveal dioramas of eight different ocean-faring animals, each with its own booklet describing the animal and its peculiar habits and history. The animals were constructed using book board, aluminum wire, lokta paper, rice paper, and cotton embroidery floss. Some have linocut- printed skins. As a child, I spent a lot of time with my family at the American Museum of Natural History in New York City. I fell in love with that museum, and the sense of awe and wonder the great halls inspired. My love of natural history museums only grew when I lived in Boston during my twenties, and spent time in Harvard University’s Museum of Natural History. That museum could not have been more different from New York’s. Instead of the spacious, open halls of the American Museum of Natural History with their grand and beautiful dioramas, this museum was like a cabinet of curiosities – stuffed full of animals, their skins coming apart at the seams, and not much in the way of information about the animals. I love both of these museums and they have inspired this miniature museum hall. Other sources of inspiration include the documentaries of Werner Herzog and those narrated by David Attenborough; John Lurie’s TV series “Fishing with John”; scientific writing about animals from days of yore; wunderkammer of the 17th-18th centuries; and signage seen while traveling through Iceland. The book stays closed with a bone clasp. When opened, the drawers are revealed. The colors of the drawers correspond to the depths that the animals can be found (i.e. the animals in the lightest blue drawers are found in the shallowest water, and the animals in the black drawers at the bottom are found in the deepest darkest waters). Each animal’s diorama is revealed when the drawer is pulled out, and a little booklet describing the animal can be pulled out of the slipcase built into each drawer. The booklets contain elements of mystery, history, and humor, as well as early scientific illustrations of the animals. This artist’s book is meant to be opened and explored. I hope it will put a smile on the viewer’s face, make them curious about the natural world, and perhaps make them reminisce about spending time in natural history museums as a child, and the sense of wonder and joy those experiences inspired. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367874971-MKN03K1FWKP1KYFLY8UR/mcba-prize-2020-Cathy-Durso-The-Natural-History-Museum-4.jpg Entries & Jurors - 2020 Entries - Cathy Durso Minneapolis, Minnesota cathydurso.net The Natural History Museum #2 2019 cloth covered box with 8 drawers and gatefold opening with bone and loop closure, linocut, bookboard, aluminum wire, lokta paper, rice paper, cotton embroidery floss, and book cloth 12.875 x 5 x 10.25″ Artist Statement With The Natural History Museum #2, I continue my series of artist’s books inspired by natural history museums, a source of fascination for me. A miniature Hall of Ocean Life, this artist’s book contains eight drawers, which, when pulled out of the box that houses them, reveal dioramas of eight different ocean-faring animals, each with its own booklet describing the animal and its peculiar habits and history. The animals were constructed using book board, aluminum wire, lokta paper, rice paper, and cotton embroidery floss. Some have linocut- printed skins. As a child, I spent a lot of time with my family at the American Museum of Natural History in New York City. I fell in love with that museum, and the sense of awe and wonder the great halls inspired. My love of natural history museums only grew when I lived in Boston during my twenties, and spent time in Harvard University’s Museum of Natural History. That museum could not have been more different from New York’s. Instead of the spacious, open halls of the American Museum of Natural History with their grand and beautiful dioramas, this museum was like a cabinet of curiosities – stuffed full of animals, their skins coming apart at the seams, and not much in the way of information about the animals. I love both of these museums and they have inspired this miniature museum hall. Other sources of inspiration include the documentaries of Werner Herzog and those narrated by David Attenborough; John Lurie’s TV series “Fishing with John”; scientific writing about animals from days of yore; wunderkammer of the 17th-18th centuries; and signage seen while traveling through Iceland. The book stays closed with a bone clasp. When opened, the drawers are revealed. The colors of the drawers correspond to the depths that the animals can be found (i.e. the animals in the lightest blue drawers are found in the shallowest water, and the animals in the black drawers at the bottom are found in the deepest darkest waters). Each animal’s diorama is revealed when the drawer is pulled out, and a little booklet describing the animal can be pulled out of the slipcase built into each drawer. The booklets contain elements of mystery, history, and humor, as well as early scientific illustrations of the animals. This artist’s book is meant to be opened and explored. I hope it will put a smile on the viewer’s face, make them curious about the natural world, and perhaps make them reminisce about spending time in natural history museums as a child, and the sense of wonder and joy those experiences inspired. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367877849-J9U1QZZL73QA703K2X1R/mcba-prize-2020-Cathy-Durso-The-Natural-History-Museum-3.jpg Entries & Jurors - 2020 Entries - Cathy Durso Minneapolis, Minnesota cathydurso.net The Natural History Museum #2 2019 cloth covered box with 8 drawers and gatefold opening with bone and loop closure, linocut, bookboard, aluminum wire, lokta paper, rice paper, cotton embroidery floss, and book cloth 12.875 x 5 x 10.25″ Artist Statement With The Natural History Museum #2, I continue my series of artist’s books inspired by natural history museums, a source of fascination for me. A miniature Hall of Ocean Life, this artist’s book contains eight drawers, which, when pulled out of the box that houses them, reveal dioramas of eight different ocean-faring animals, each with its own booklet describing the animal and its peculiar habits and history. The animals were constructed using book board, aluminum wire, lokta paper, rice paper, and cotton embroidery floss. Some have linocut- printed skins. As a child, I spent a lot of time with my family at the American Museum of Natural History in New York City. I fell in love with that museum, and the sense of awe and wonder the great halls inspired. My love of natural history museums only grew when I lived in Boston during my twenties, and spent time in Harvard University’s Museum of Natural History. That museum could not have been more different from New York’s. Instead of the spacious, open halls of the American Museum of Natural History with their grand and beautiful dioramas, this museum was like a cabinet of curiosities – stuffed full of animals, their skins coming apart at the seams, and not much in the way of information about the animals. I love both of these museums and they have inspired this miniature museum hall. Other sources of inspiration include the documentaries of Werner Herzog and those narrated by David Attenborough; John Lurie’s TV series “Fishing with John”; scientific writing about animals from days of yore; wunderkammer of the 17th-18th centuries; and signage seen while traveling through Iceland. The book stays closed with a bone clasp. When opened, the drawers are revealed. The colors of the drawers correspond to the depths that the animals can be found (i.e. the animals in the lightest blue drawers are found in the shallowest water, and the animals in the black drawers at the bottom are found in the deepest darkest waters). Each animal’s diorama is revealed when the drawer is pulled out, and a little booklet describing the animal can be pulled out of the slipcase built into each drawer. The booklets contain elements of mystery, history, and humor, as well as early scientific illustrations of the animals. This artist’s book is meant to be opened and explored. I hope it will put a smile on the viewer’s face, make them curious about the natural world, and perhaps make them reminisce about spending time in natural history museums as a child, and the sense of wonder and joy those experiences inspired. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367877602-WI6Y540227D29OLR9O62/mcba-prize-2020-Cathy-Durso-The-Natural-History-Museum-2.jpg Entries & Jurors - 2020 Entries - Cathy Durso Minneapolis, Minnesota cathydurso.net The Natural History Museum #2 2019 cloth covered box with 8 drawers and gatefold opening with bone and loop closure, linocut, bookboard, aluminum wire, lokta paper, rice paper, cotton embroidery floss, and book cloth 12.875 x 5 x 10.25″ Artist Statement With The Natural History Museum #2, I continue my series of artist’s books inspired by natural history museums, a source of fascination for me. A miniature Hall of Ocean Life, this artist’s book contains eight drawers, which, when pulled out of the box that houses them, reveal dioramas of eight different ocean-faring animals, each with its own booklet describing the animal and its peculiar habits and history. The animals were constructed using book board, aluminum wire, lokta paper, rice paper, and cotton embroidery floss. Some have linocut- printed skins. As a child, I spent a lot of time with my family at the American Museum of Natural History in New York City. I fell in love with that museum, and the sense of awe and wonder the great halls inspired. My love of natural history museums only grew when I lived in Boston during my twenties, and spent time in Harvard University’s Museum of Natural History. That museum could not have been more different from New York’s. Instead of the spacious, open halls of the American Museum of Natural History with their grand and beautiful dioramas, this museum was like a cabinet of curiosities – stuffed full of animals, their skins coming apart at the seams, and not much in the way of information about the animals. I love both of these museums and they have inspired this miniature museum hall. Other sources of inspiration include the documentaries of Werner Herzog and those narrated by David Attenborough; John Lurie’s TV series “Fishing with John”; scientific writing about animals from days of yore; wunderkammer of the 17th-18th centuries; and signage seen while traveling through Iceland. The book stays closed with a bone clasp. When opened, the drawers are revealed. The colors of the drawers correspond to the depths that the animals can be found (i.e. the animals in the lightest blue drawers are found in the shallowest water, and the animals in the black drawers at the bottom are found in the deepest darkest waters). Each animal’s diorama is revealed when the drawer is pulled out, and a little booklet describing the animal can be pulled out of the slipcase built into each drawer. The booklets contain elements of mystery, history, and humor, as well as early scientific illustrations of the animals. This artist’s book is meant to be opened and explored. I hope it will put a smile on the viewer’s face, make them curious about the natural world, and perhaps make them reminisce about spending time in natural history museums as a child, and the sense of wonder and joy those experiences inspired. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774367879647-EJU9TED37FJZI01GNH90/mcba-prize-2020-Cathy-Durso-The-Natural-History-Museum-1.jpg Entries & Jurors - 2020 Entries - Cathy Durso Minneapolis, Minnesota cathydurso.net The Natural History Museum #2 2019 cloth covered box with 8 drawers and gatefold opening with bone and loop closure, linocut, bookboard, aluminum wire, lokta paper, rice paper, cotton embroidery floss, and book cloth 12.875 x 5 x 10.25″ Artist Statement With The Natural History Museum #2, I continue my series of artist’s books inspired by natural history museums, a source of fascination for me. A miniature Hall of Ocean Life, this artist’s book contains eight drawers, which, when pulled out of the box that houses them, reveal dioramas of eight different ocean-faring animals, each with its own booklet describing the animal and its peculiar habits and history. The animals were constructed using book board, aluminum wire, lokta paper, rice paper, and cotton embroidery floss. Some have linocut- printed skins. As a child, I spent a lot of time with my family at the American Museum of Natural History in New York City. I fell in love with that museum, and the sense of awe and wonder the great halls inspired. My love of natural history museums only grew when I lived in Boston during my twenties, and spent time in Harvard University’s Museum of Natural History. That museum could not have been more different from New York’s. Instead of the spacious, open halls of the American Museum of Natural History with their grand and beautiful dioramas, this museum was like a cabinet of curiosities – stuffed full of animals, their skins coming apart at the seams, and not much in the way of information about the animals. I love both of these museums and they have inspired this miniature museum hall. Other sources of inspiration include the documentaries of Werner Herzog and those narrated by David Attenborough; John Lurie’s TV series “Fishing with John”; scientific writing about animals from days of yore; wunderkammer of the 17th-18th centuries; and signage seen while traveling through Iceland. The book stays closed with a bone clasp. When opened, the drawers are revealed. The colors of the drawers correspond to the depths that the animals can be found (i.e. the animals in the lightest blue drawers are found in the shallowest water, and the animals in the black drawers at the bottom are found in the deepest darkest waters). Each animal’s diorama is revealed when the drawer is pulled out, and a little booklet describing the animal can be pulled out of the slipcase built into each drawer. The booklets contain elements of mystery, history, and humor, as well as early scientific illustrations of the animals. This artist’s book is meant to be opened and explored. I hope it will put a smile on the viewer’s face, make them curious about the natural world, and perhaps make them reminisce about spending time in natural history museums as a child, and the sense of wonder and joy those experiences inspired. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774368335299-TSGFEEJSTYM400642MI8/mcba-prize-2020-Jennifer-Farrell-The-City-is-my-Religion-5.jpg Entries & Jurors - 2020 Entries - Jennifer Farrell Chicago, Illinois starshaped.com The City is my Religion: A Typographic Memoir 2020 10 letterpress prints created with metal and wood type, 10 offset prints 18”x1”x11.5″ Artist Statement The substantial metal type collection at Starshaped Press is constantly growing and evolving alongside my life experiences that are deeply rooted in Chicago. The urban environment is the backdrop for this typographic memoir that showcases the studio’s type collection and serves as a pictorial representation of the first 25 years of my life in the city. My 2017-18 fellowship at The Newberry Library provided research support for the project and my day to day movement through the city was the guiding force and inspiration. Ten Prints, or ELEVATIONS, cover the themes of printing, women, labor, music, neighborhoods, architecture, motherhood and perseverance. Each tells a story in image and anecdote while featuring a grouping of typefaces based on my approach to the subject. Ten CONSTRUCTION DRAWINGS designed to resemble traditional architectural bluelines explain and document the text and typography of the prints. They are combined together in a clamshell portfolio. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774368335349-DU6ZJHNC4A6CRWR8SMYP/mcba-prize-2020-Jennifer-Farrell-The-City-is-my-Religion-4.jpg Entries & Jurors - 2020 Entries - Jennifer Farrell Chicago, Illinois starshaped.com The City is my Religion: A Typographic Memoir 2020 10 letterpress prints created with metal and wood type, 10 offset prints 18”x1”x11.5″ Artist Statement The substantial metal type collection at Starshaped Press is constantly growing and evolving alongside my life experiences that are deeply rooted in Chicago. The urban environment is the backdrop for this typographic memoir that showcases the studio’s type collection and serves as a pictorial representation of the first 25 years of my life in the city. My 2017-18 fellowship at The Newberry Library provided research support for the project and my day to day movement through the city was the guiding force and inspiration. Ten Prints, or ELEVATIONS, cover the themes of printing, women, labor, music, neighborhoods, architecture, motherhood and perseverance. Each tells a story in image and anecdote while featuring a grouping of typefaces based on my approach to the subject. Ten CONSTRUCTION DRAWINGS designed to resemble traditional architectural bluelines explain and document the text and typography of the prints. They are combined together in a clamshell portfolio. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774368338117-R8H1B7359CSYVGFDQBZN/mcba-prize-2020-Jennifer-Farrell-The-City-is-my-Religion-3.jpg Entries & Jurors - 2020 Entries - Jennifer Farrell Chicago, Illinois starshaped.com The City is my Religion: A Typographic Memoir 2020 10 letterpress prints created with metal and wood type, 10 offset prints 18”x1”x11.5″ Artist Statement The substantial metal type collection at Starshaped Press is constantly growing and evolving alongside my life experiences that are deeply rooted in Chicago. The urban environment is the backdrop for this typographic memoir that showcases the studio’s type collection and serves as a pictorial representation of the first 25 years of my life in the city. My 2017-18 fellowship at The Newberry Library provided research support for the project and my day to day movement through the city was the guiding force and inspiration. Ten Prints, or ELEVATIONS, cover the themes of printing, women, labor, music, neighborhoods, architecture, motherhood and perseverance. Each tells a story in image and anecdote while featuring a grouping of typefaces based on my approach to the subject. Ten CONSTRUCTION DRAWINGS designed to resemble traditional architectural bluelines explain and document the text and typography of the prints. They are combined together in a clamshell portfolio. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774368338526-7DOGL4Q08Q3RSE9VE89Z/mcba-prize-2020-Jennifer-Farrell-The-City-is-my-Religion-2.jpg Entries & Jurors - 2020 Entries - Jennifer Farrell Chicago, Illinois starshaped.com The City is my Religion: A Typographic Memoir 2020 10 letterpress prints created with metal and wood type, 10 offset prints 18”x1”x11.5″ Artist Statement The substantial metal type collection at Starshaped Press is constantly growing and evolving alongside my life experiences that are deeply rooted in Chicago. The urban environment is the backdrop for this typographic memoir that showcases the studio’s type collection and serves as a pictorial representation of the first 25 years of my life in the city. My 2017-18 fellowship at The Newberry Library provided research support for the project and my day to day movement through the city was the guiding force and inspiration. Ten Prints, or ELEVATIONS, cover the themes of printing, women, labor, music, neighborhoods, architecture, motherhood and perseverance. Each tells a story in image and anecdote while featuring a grouping of typefaces based on my approach to the subject. Ten CONSTRUCTION DRAWINGS designed to resemble traditional architectural bluelines explain and document the text and typography of the prints. They are combined together in a clamshell portfolio. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774368340027-N5VW50Y05UA3AX7WVOB0/mcba-prize-2020-Jennifer-Farrell-The-City-is-my-Religion-1.jpg Entries & Jurors - 2020 Entries - Jennifer Farrell Chicago, Illinois starshaped.com The City is my Religion: A Typographic Memoir 2020 10 letterpress prints created with metal and wood type, 10 offset prints 18”x1”x11.5″ Artist Statement The substantial metal type collection at Starshaped Press is constantly growing and evolving alongside my life experiences that are deeply rooted in Chicago. The urban environment is the backdrop for this typographic memoir that showcases the studio’s type collection and serves as a pictorial representation of the first 25 years of my life in the city. My 2017-18 fellowship at The Newberry Library provided research support for the project and my day to day movement through the city was the guiding force and inspiration. Ten Prints, or ELEVATIONS, cover the themes of printing, women, labor, music, neighborhoods, architecture, motherhood and perseverance. Each tells a story in image and anecdote while featuring a grouping of typefaces based on my approach to the subject. Ten CONSTRUCTION DRAWINGS designed to resemble traditional architectural bluelines explain and document the text and typography of the prints. They are combined together in a clamshell portfolio. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774369043190-C5WJK5D8O5UMPBGG2D3E/mcba-prize-2020-Erik-Farseth-Emergency-Art-Kit-5.jpg Entries & Jurors - 2020 Entries - Erik Farseth Saint Paul, Minnesota jcruelty.com Emergency Art Kit: Portable Gallery-In-A-Box 2019 mixed media (cardboard box, vinyl stickers, zines, linocut print, magnet, etc.) 13 x 9.75 x 3″ Artist Statement I am a mixed-media artist specializing in relief printing (woodcuts, linocuts), zine-making, and cut paper collage. Zines are small, self-published magazines produced as a labor of love, with no regard for profit. The cut-and-paste aesthetic of zines was a direct result of artists laying out pages by hand, through a combination of line art, found art, and glue sticks — the same techniques I use to create my cut paper (“analog”) collages. Do-It-Yourself (DIY) publishing is a form of cultural output that seeks to break down the barriers between producers and consumers, blurring lines between artists and non- artists. Even when my artwork isn’t overtly political in its content, it is political in its process. My 2019 boxed set Emergency Art Kit: Portable Gallery-In-A-Box was conceived as a book arts project in the spirit of “Flux-Kits” and Duchamp’s Box in a Valise. Each box contains 16 items. The Portable Gallery-In-A-Box is the size of a first aid kit. Each boxed multiple contains a carefully curated collection of objects, including: One hand-printed relief print (linocut); one 32-page art zine, printed in full color (They Use Their Smiles To Bury You); four artist-designed buttons or lapel pins; one artist-designed refrigerator magnet; one greeting card; two postcards; and six vinyl stickers based on my relief prints. This dynamic micro-exhibition is interactive and easily transportable. Available for less than the cost of dinner and a movie, the boxed set makes my artwork available to people who could not otherwise afford to purchase original works of art. The portable gallery marks a new direction in my work towards 3-D objects made out of paper or cardboard: interactive book sculptures, mail art, and ephemera that encourage visitors to touch them. This latest body of work is part of a larger project dedicated to the democratic production and distribution of art. Traditional gallery spaces become a jumping-off point for a variety of grassroots media shown and distributed in public spaces, designed to be participatory and accessible (storefront art, skateboards, etc.). As I repurpose and circulate images from my collages and woodcuts into screen-printed posters, wearable art, and zines, I’m less interested in the concept of “limited editions” than prints as affordable art. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774369043609-LG8K0YW37297FXLFJGP9/mcba-prize-2020-Erik-Farseth-Emergency-Art-Kit-4.jpg Entries & Jurors - 2020 Entries - Erik Farseth Saint Paul, Minnesota jcruelty.com Emergency Art Kit: Portable Gallery-In-A-Box 2019 mixed media (cardboard box, vinyl stickers, zines, linocut print, magnet, etc.) 13 x 9.75 x 3″ Artist Statement I am a mixed-media artist specializing in relief printing (woodcuts, linocuts), zine-making, and cut paper collage. Zines are small, self-published magazines produced as a labor of love, with no regard for profit. The cut-and-paste aesthetic of zines was a direct result of artists laying out pages by hand, through a combination of line art, found art, and glue sticks — the same techniques I use to create my cut paper (“analog”) collages. Do-It-Yourself (DIY) publishing is a form of cultural output that seeks to break down the barriers between producers and consumers, blurring lines between artists and non- artists. Even when my artwork isn’t overtly political in its content, it is political in its process. My 2019 boxed set Emergency Art Kit: Portable Gallery-In-A-Box was conceived as a book arts project in the spirit of “Flux-Kits” and Duchamp’s Box in a Valise. Each box contains 16 items. The Portable Gallery-In-A-Box is the size of a first aid kit. Each boxed multiple contains a carefully curated collection of objects, including: One hand-printed relief print (linocut); one 32-page art zine, printed in full color (They Use Their Smiles To Bury You); four artist-designed buttons or lapel pins; one artist-designed refrigerator magnet; one greeting card; two postcards; and six vinyl stickers based on my relief prints. This dynamic micro-exhibition is interactive and easily transportable. Available for less than the cost of dinner and a movie, the boxed set makes my artwork available to people who could not otherwise afford to purchase original works of art. The portable gallery marks a new direction in my work towards 3-D objects made out of paper or cardboard: interactive book sculptures, mail art, and ephemera that encourage visitors to touch them. This latest body of work is part of a larger project dedicated to the democratic production and distribution of art. Traditional gallery spaces become a jumping-off point for a variety of grassroots media shown and distributed in public spaces, designed to be participatory and accessible (storefront art, skateboards, etc.). As I repurpose and circulate images from my collages and woodcuts into screen-printed posters, wearable art, and zines, I’m less interested in the concept of “limited editions” than prints as affordable art. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774369045427-9RJ7VCH7C2M7LI2R1L63/mcba-prize-2020-Erik-Farseth-Emergency-Art-Kit-3.jpg Entries & Jurors - 2020 Entries - Erik Farseth Saint Paul, Minnesota jcruelty.com Emergency Art Kit: Portable Gallery-In-A-Box 2019 mixed media (cardboard box, vinyl stickers, zines, linocut print, magnet, etc.) 13 x 9.75 x 3″ Artist Statement I am a mixed-media artist specializing in relief printing (woodcuts, linocuts), zine-making, and cut paper collage. Zines are small, self-published magazines produced as a labor of love, with no regard for profit. The cut-and-paste aesthetic of zines was a direct result of artists laying out pages by hand, through a combination of line art, found art, and glue sticks — the same techniques I use to create my cut paper (“analog”) collages. Do-It-Yourself (DIY) publishing is a form of cultural output that seeks to break down the barriers between producers and consumers, blurring lines between artists and non- artists. Even when my artwork isn’t overtly political in its content, it is political in its process. My 2019 boxed set Emergency Art Kit: Portable Gallery-In-A-Box was conceived as a book arts project in the spirit of “Flux-Kits” and Duchamp’s Box in a Valise. Each box contains 16 items. The Portable Gallery-In-A-Box is the size of a first aid kit. Each boxed multiple contains a carefully curated collection of objects, including: One hand-printed relief print (linocut); one 32-page art zine, printed in full color (They Use Their Smiles To Bury You); four artist-designed buttons or lapel pins; one artist-designed refrigerator magnet; one greeting card; two postcards; and six vinyl stickers based on my relief prints. This dynamic micro-exhibition is interactive and easily transportable. Available for less than the cost of dinner and a movie, the boxed set makes my artwork available to people who could not otherwise afford to purchase original works of art. The portable gallery marks a new direction in my work towards 3-D objects made out of paper or cardboard: interactive book sculptures, mail art, and ephemera that encourage visitors to touch them. This latest body of work is part of a larger project dedicated to the democratic production and distribution of art. Traditional gallery spaces become a jumping-off point for a variety of grassroots media shown and distributed in public spaces, designed to be participatory and accessible (storefront art, skateboards, etc.). As I repurpose and circulate images from my collages and woodcuts into screen-printed posters, wearable art, and zines, I’m less interested in the concept of “limited editions” than prints as affordable art. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774369045794-Z6AE3SEXG8N129E1AI7B/mcba-prize-2020-Erik-Farseth-Emergency-Art-Kit-2.jpg Entries & Jurors - 2020 Entries - Erik Farseth Saint Paul, Minnesota jcruelty.com Emergency Art Kit: Portable Gallery-In-A-Box 2019 mixed media (cardboard box, vinyl stickers, zines, linocut print, magnet, etc.) 13 x 9.75 x 3″ Artist Statement I am a mixed-media artist specializing in relief printing (woodcuts, linocuts), zine-making, and cut paper collage. Zines are small, self-published magazines produced as a labor of love, with no regard for profit. The cut-and-paste aesthetic of zines was a direct result of artists laying out pages by hand, through a combination of line art, found art, and glue sticks — the same techniques I use to create my cut paper (“analog”) collages. Do-It-Yourself (DIY) publishing is a form of cultural output that seeks to break down the barriers between producers and consumers, blurring lines between artists and non- artists. Even when my artwork isn’t overtly political in its content, it is political in its process. My 2019 boxed set Emergency Art Kit: Portable Gallery-In-A-Box was conceived as a book arts project in the spirit of “Flux-Kits” and Duchamp’s Box in a Valise. Each box contains 16 items. The Portable Gallery-In-A-Box is the size of a first aid kit. Each boxed multiple contains a carefully curated collection of objects, including: One hand-printed relief print (linocut); one 32-page art zine, printed in full color (They Use Their Smiles To Bury You); four artist-designed buttons or lapel pins; one artist-designed refrigerator magnet; one greeting card; two postcards; and six vinyl stickers based on my relief prints. This dynamic micro-exhibition is interactive and easily transportable. Available for less than the cost of dinner and a movie, the boxed set makes my artwork available to people who could not otherwise afford to purchase original works of art. The portable gallery marks a new direction in my work towards 3-D objects made out of paper or cardboard: interactive book sculptures, mail art, and ephemera that encourage visitors to touch them. This latest body of work is part of a larger project dedicated to the democratic production and distribution of art. Traditional gallery spaces become a jumping-off point for a variety of grassroots media shown and distributed in public spaces, designed to be participatory and accessible (storefront art, skateboards, etc.). As I repurpose and circulate images from my collages and woodcuts into screen-printed posters, wearable art, and zines, I’m less interested in the concept of “limited editions” than prints as affordable art. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774369047374-5OWEUMKJX9P0U9JY5FD5/mcba-prize-2020-Erik-Farseth-Emergency-Art-Kit-1.jpg Entries & Jurors - 2020 Entries - Erik Farseth Saint Paul, Minnesota jcruelty.com Emergency Art Kit: Portable Gallery-In-A-Box 2019 mixed media (cardboard box, vinyl stickers, zines, linocut print, magnet, etc.) 13 x 9.75 x 3″ Artist Statement I am a mixed-media artist specializing in relief printing (woodcuts, linocuts), zine-making, and cut paper collage. Zines are small, self-published magazines produced as a labor of love, with no regard for profit. The cut-and-paste aesthetic of zines was a direct result of artists laying out pages by hand, through a combination of line art, found art, and glue sticks — the same techniques I use to create my cut paper (“analog”) collages. Do-It-Yourself (DIY) publishing is a form of cultural output that seeks to break down the barriers between producers and consumers, blurring lines between artists and non- artists. Even when my artwork isn’t overtly political in its content, it is political in its process. My 2019 boxed set Emergency Art Kit: Portable Gallery-In-A-Box was conceived as a book arts project in the spirit of “Flux-Kits” and Duchamp’s Box in a Valise. Each box contains 16 items. The Portable Gallery-In-A-Box is the size of a first aid kit. Each boxed multiple contains a carefully curated collection of objects, including: One hand-printed relief print (linocut); one 32-page art zine, printed in full color (They Use Their Smiles To Bury You); four artist-designed buttons or lapel pins; one artist-designed refrigerator magnet; one greeting card; two postcards; and six vinyl stickers based on my relief prints. This dynamic micro-exhibition is interactive and easily transportable. Available for less than the cost of dinner and a movie, the boxed set makes my artwork available to people who could not otherwise afford to purchase original works of art. The portable gallery marks a new direction in my work towards 3-D objects made out of paper or cardboard: interactive book sculptures, mail art, and ephemera that encourage visitors to touch them. This latest body of work is part of a larger project dedicated to the democratic production and distribution of art. Traditional gallery spaces become a jumping-off point for a variety of grassroots media shown and distributed in public spaces, designed to be participatory and accessible (storefront art, skateboards, etc.). As I repurpose and circulate images from my collages and woodcuts into screen-printed posters, wearable art, and zines, I’m less interested in the concept of “limited editions” than prints as affordable art. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774369562051-1122C89ARDF50SS5L02F/mcba-prize-2020-David-Firman-Walking-Coast-to-Coast-in-Andalucia-5.jpg Entries & Jurors - 2020 Entries - David Firman Winnipeg, Manitoba firmangallery.com Walking Coast to Coast in Andalucía 2019 bookboard, bookcloth, aluminum posts, japanese inkjet paper, pigment inks 11.8 x 8.6 x 1″ Artist Statement Walking Coast to Coast in Andalucía (2019) is a unique, handmade book using photos, prose and cartography—all printed on translucent pages—to tell a story of endless steps taken minute by minute, day after day on a 22-day walk across the Penibetic Mountain range in Southern Spain. It is the story of small things: of olive trees, rocky terrain, bathtub water troughs, good food, heat and blue sky; of ordinary moments converging into an extraordinary tale. Over the past fifteen years, my photo-based practice has focussed on the art of a good walk: the chain of sensorial observations made at a slow, rhythmic pace; the progression of small details and large vistas; the found artifacts of human occupation, whether banal or odd or moving; the terrain, the smells; a sense of place evolving over time. Walks can be thought of as performance, the art of perambulation over a period of time following a loosely scripted program of maps and trails. The drama unfolds over time and distance, informed by unknown places and unexpected observations that come and go around every curve. The walker constructs a personal geo-spatial atlas of the journey, layered with sights, sounds and smells. Books, I find, are an effective way to present these walk-performances, a way to capture and develop the serial storyline of each walk through photographs, map graphics and prose. Since 2014, I have produced eight small self-published, print-on-demand books—my Ways To Walk series—documenting short, local walks. More books in the series are planned. Concurrent with the Ways To Walk project, my wife and I have undertaken several long- distance walks in France, Spain, Britain, Ireland, Czech Republic and Japan, each ranging from 400 to 1,000-plus kilometres in length. These explore the nature of religious and secular pilgrimages and how a rhythmic chant-like pacing over an extended period can refocus one’s inward and outward thoughts on minute observations in unfamiliar settings. Walking Coast to Coast in Andalucía explores the transitional nature of our 2019 long walk, the slow flow of footsteps from one space to another over 435 kilometres and 22 days. Its seventy translucent pages of photographs, words and vague maps respond to the landscape as it unfurls along the path, seeping through from one page to the next, overlapping in complex ways. The pages are printed on a thin Awagami 30 gsm kozo inkjet paper, hand-altered with torn fore-edges and variously crumpled and punched in response to the day’s walk. In this sense, the paper itself becomes part of the narrative. Bound in a hard case with blue fabric bookcloth —the deep blue Andalucían sky—the front cover and spine open to lie flat, revealing the book pages, bound along the left edge with aluminum screw posts and a bookcloth-covered binding strip. The heaviness of the binding, similar to a ship’s logbook, contrasts with the lightness of the book’s pages. A feathery journey wrapped in a sturdy document. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774369562501-6ORX5DPQ3HC99TNWNQAV/mcba-prize-2020-David-Firman-Walking-Coast-to-Coast-in-Andalucia-4.jpg Entries & Jurors - 2020 Entries - David Firman Winnipeg, Manitoba firmangallery.com Walking Coast to Coast in Andalucía 2019 bookboard, bookcloth, aluminum posts, japanese inkjet paper, pigment inks 11.8 x 8.6 x 1″ Artist Statement Walking Coast to Coast in Andalucía (2019) is a unique, handmade book using photos, prose and cartography—all printed on translucent pages—to tell a story of endless steps taken minute by minute, day after day on a 22-day walk across the Penibetic Mountain range in Southern Spain. It is the story of small things: of olive trees, rocky terrain, bathtub water troughs, good food, heat and blue sky; of ordinary moments converging into an extraordinary tale. Over the past fifteen years, my photo-based practice has focussed on the art of a good walk: the chain of sensorial observations made at a slow, rhythmic pace; the progression of small details and large vistas; the found artifacts of human occupation, whether banal or odd or moving; the terrain, the smells; a sense of place evolving over time. Walks can be thought of as performance, the art of perambulation over a period of time following a loosely scripted program of maps and trails. The drama unfolds over time and distance, informed by unknown places and unexpected observations that come and go around every curve. The walker constructs a personal geo-spatial atlas of the journey, layered with sights, sounds and smells. Books, I find, are an effective way to present these walk-performances, a way to capture and develop the serial storyline of each walk through photographs, map graphics and prose. Since 2014, I have produced eight small self-published, print-on-demand books—my Ways To Walk series—documenting short, local walks. More books in the series are planned. Concurrent with the Ways To Walk project, my wife and I have undertaken several long- distance walks in France, Spain, Britain, Ireland, Czech Republic and Japan, each ranging from 400 to 1,000-plus kilometres in length. These explore the nature of religious and secular pilgrimages and how a rhythmic chant-like pacing over an extended period can refocus one’s inward and outward thoughts on minute observations in unfamiliar settings. Walking Coast to Coast in Andalucía explores the transitional nature of our 2019 long walk, the slow flow of footsteps from one space to another over 435 kilometres and 22 days. Its seventy translucent pages of photographs, words and vague maps respond to the landscape as it unfurls along the path, seeping through from one page to the next, overlapping in complex ways. The pages are printed on a thin Awagami 30 gsm kozo inkjet paper, hand-altered with torn fore-edges and variously crumpled and punched in response to the day’s walk. In this sense, the paper itself becomes part of the narrative. Bound in a hard case with blue fabric bookcloth —the deep blue Andalucían sky—the front cover and spine open to lie flat, revealing the book pages, bound along the left edge with aluminum screw posts and a bookcloth-covered binding strip. The heaviness of the binding, similar to a ship’s logbook, contrasts with the lightness of the book’s pages. A feathery journey wrapped in a sturdy document. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774369563803-Z5JLZ10HEK34ZJC6OLHR/mcba-prize-2020-David-Firman-Walking-Coast-to-Coast-in-Andalucia-3.jpg Entries & Jurors - 2020 Entries - David Firman Winnipeg, Manitoba firmangallery.com Walking Coast to Coast in Andalucía 2019 bookboard, bookcloth, aluminum posts, japanese inkjet paper, pigment inks 11.8 x 8.6 x 1″ Artist Statement Walking Coast to Coast in Andalucía (2019) is a unique, handmade book using photos, prose and cartography—all printed on translucent pages—to tell a story of endless steps taken minute by minute, day after day on a 22-day walk across the Penibetic Mountain range in Southern Spain. It is the story of small things: of olive trees, rocky terrain, bathtub water troughs, good food, heat and blue sky; of ordinary moments converging into an extraordinary tale. Over the past fifteen years, my photo-based practice has focussed on the art of a good walk: the chain of sensorial observations made at a slow, rhythmic pace; the progression of small details and large vistas; the found artifacts of human occupation, whether banal or odd or moving; the terrain, the smells; a sense of place evolving over time. Walks can be thought of as performance, the art of perambulation over a period of time following a loosely scripted program of maps and trails. The drama unfolds over time and distance, informed by unknown places and unexpected observations that come and go around every curve. The walker constructs a personal geo-spatial atlas of the journey, layered with sights, sounds and smells. Books, I find, are an effective way to present these walk-performances, a way to capture and develop the serial storyline of each walk through photographs, map graphics and prose. Since 2014, I have produced eight small self-published, print-on-demand books—my Ways To Walk series—documenting short, local walks. More books in the series are planned. Concurrent with the Ways To Walk project, my wife and I have undertaken several long- distance walks in France, Spain, Britain, Ireland, Czech Republic and Japan, each ranging from 400 to 1,000-plus kilometres in length. These explore the nature of religious and secular pilgrimages and how a rhythmic chant-like pacing over an extended period can refocus one’s inward and outward thoughts on minute observations in unfamiliar settings. Walking Coast to Coast in Andalucía explores the transitional nature of our 2019 long walk, the slow flow of footsteps from one space to another over 435 kilometres and 22 days. Its seventy translucent pages of photographs, words and vague maps respond to the landscape as it unfurls along the path, seeping through from one page to the next, overlapping in complex ways. The pages are printed on a thin Awagami 30 gsm kozo inkjet paper, hand-altered with torn fore-edges and variously crumpled and punched in response to the day’s walk. In this sense, the paper itself becomes part of the narrative. Bound in a hard case with blue fabric bookcloth —the deep blue Andalucían sky—the front cover and spine open to lie flat, revealing the book pages, bound along the left edge with aluminum screw posts and a bookcloth-covered binding strip. The heaviness of the binding, similar to a ship’s logbook, contrasts with the lightness of the book’s pages. A feathery journey wrapped in a sturdy document. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774369564861-PMD40LMANI4WIDXBEFPB/mcba-prize-2020-David-Firman-Walking-Coast-to-Coast-in-Andalucia-2.jpg Entries & Jurors - 2020 Entries - David Firman Winnipeg, Manitoba firmangallery.com Walking Coast to Coast in Andalucía 2019 bookboard, bookcloth, aluminum posts, japanese inkjet paper, pigment inks 11.8 x 8.6 x 1″ Artist Statement Walking Coast to Coast in Andalucía (2019) is a unique, handmade book using photos, prose and cartography—all printed on translucent pages—to tell a story of endless steps taken minute by minute, day after day on a 22-day walk across the Penibetic Mountain range in Southern Spain. It is the story of small things: of olive trees, rocky terrain, bathtub water troughs, good food, heat and blue sky; of ordinary moments converging into an extraordinary tale. Over the past fifteen years, my photo-based practice has focussed on the art of a good walk: the chain of sensorial observations made at a slow, rhythmic pace; the progression of small details and large vistas; the found artifacts of human occupation, whether banal or odd or moving; the terrain, the smells; a sense of place evolving over time. Walks can be thought of as performance, the art of perambulation over a period of time following a loosely scripted program of maps and trails. The drama unfolds over time and distance, informed by unknown places and unexpected observations that come and go around every curve. The walker constructs a personal geo-spatial atlas of the journey, layered with sights, sounds and smells. Books, I find, are an effective way to present these walk-performances, a way to capture and develop the serial storyline of each walk through photographs, map graphics and prose. Since 2014, I have produced eight small self-published, print-on-demand books—my Ways To Walk series—documenting short, local walks. More books in the series are planned. Concurrent with the Ways To Walk project, my wife and I have undertaken several long- distance walks in France, Spain, Britain, Ireland, Czech Republic and Japan, each ranging from 400 to 1,000-plus kilometres in length. These explore the nature of religious and secular pilgrimages and how a rhythmic chant-like pacing over an extended period can refocus one’s inward and outward thoughts on minute observations in unfamiliar settings. Walking Coast to Coast in Andalucía explores the transitional nature of our 2019 long walk, the slow flow of footsteps from one space to another over 435 kilometres and 22 days. Its seventy translucent pages of photographs, words and vague maps respond to the landscape as it unfurls along the path, seeping through from one page to the next, overlapping in complex ways. The pages are printed on a thin Awagami 30 gsm kozo inkjet paper, hand-altered with torn fore-edges and variously crumpled and punched in response to the day’s walk. In this sense, the paper itself becomes part of the narrative. Bound in a hard case with blue fabric bookcloth —the deep blue Andalucían sky—the front cover and spine open to lie flat, revealing the book pages, bound along the left edge with aluminum screw posts and a bookcloth-covered binding strip. The heaviness of the binding, similar to a ship’s logbook, contrasts with the lightness of the book’s pages. A feathery journey wrapped in a sturdy document. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774369566098-LLEZU26F5NB4O4ORY7M6/mcba-prize-2020-David-Firman-Walking-Coast-to-Coast-in-Andalucia-1.jpg Entries & Jurors - 2020 Entries - David Firman Winnipeg, Manitoba firmangallery.com Walking Coast to Coast in Andalucía 2019 bookboard, bookcloth, aluminum posts, japanese inkjet paper, pigment inks 11.8 x 8.6 x 1″ Artist Statement Walking Coast to Coast in Andalucía (2019) is a unique, handmade book using photos, prose and cartography—all printed on translucent pages—to tell a story of endless steps taken minute by minute, day after day on a 22-day walk across the Penibetic Mountain range in Southern Spain. It is the story of small things: of olive trees, rocky terrain, bathtub water troughs, good food, heat and blue sky; of ordinary moments converging into an extraordinary tale. Over the past fifteen years, my photo-based practice has focussed on the art of a good walk: the chain of sensorial observations made at a slow, rhythmic pace; the progression of small details and large vistas; the found artifacts of human occupation, whether banal or odd or moving; the terrain, the smells; a sense of place evolving over time. Walks can be thought of as performance, the art of perambulation over a period of time following a loosely scripted program of maps and trails. The drama unfolds over time and distance, informed by unknown places and unexpected observations that come and go around every curve. The walker constructs a personal geo-spatial atlas of the journey, layered with sights, sounds and smells. Books, I find, are an effective way to present these walk-performances, a way to capture and develop the serial storyline of each walk through photographs, map graphics and prose. Since 2014, I have produced eight small self-published, print-on-demand books—my Ways To Walk series—documenting short, local walks. More books in the series are planned. Concurrent with the Ways To Walk project, my wife and I have undertaken several long- distance walks in France, Spain, Britain, Ireland, Czech Republic and Japan, each ranging from 400 to 1,000-plus kilometres in length. These explore the nature of religious and secular pilgrimages and how a rhythmic chant-like pacing over an extended period can refocus one’s inward and outward thoughts on minute observations in unfamiliar settings. Walking Coast to Coast in Andalucía explores the transitional nature of our 2019 long walk, the slow flow of footsteps from one space to another over 435 kilometres and 22 days. Its seventy translucent pages of photographs, words and vague maps respond to the landscape as it unfurls along the path, seeping through from one page to the next, overlapping in complex ways. The pages are printed on a thin Awagami 30 gsm kozo inkjet paper, hand-altered with torn fore-edges and variously crumpled and punched in response to the day’s walk. In this sense, the paper itself becomes part of the narrative. Bound in a hard case with blue fabric bookcloth —the deep blue Andalucían sky—the front cover and spine open to lie flat, revealing the book pages, bound along the left edge with aluminum screw posts and a bookcloth-covered binding strip. The heaviness of the binding, similar to a ship’s logbook, contrasts with the lightness of the book’s pages. A feathery journey wrapped in a sturdy document. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370009444-4S91B9LNCWB0QWRROU8Y/mcba-prize-2020-Isabelle-Fleurelien-Stephanie-Russ-Undare-5.jpg Entries & Jurors - 2020 Entries - Isabelle Fleurelien &amp; Stephanie Russ Isabelle Fleurelien (bellefleure.work) Stephanie Russ (stephanieruss.com) Quebec, Canada Undāre 2019 Lithography, inkjet, chine colle and photopolymer gravure 26.5”L x 16.5”W x 3.5”H Artist Statement SeePress Books is a collaboration between artists Stephanie Russ and Isabelle Fleurelien . The partnership began in 2016 as a way to explore the theme of water through the mediums of print media, video, photography and book arts. Undāre From the Latin to flow, undulate and/or rise in waves This book is a reflective work that creates an intimate and personal space to contemplate water. Its spiritual and purifying properties as well as its more ominous and foreboding qualities are the focus. Water provides us with a primal connection that reaches beyond ourselves to our collective memories and histories. The meditative trance in its stillness, ripples, swirling eddies or rushing water is what Undāre embodies. Water has recently shifted to a monetary commodity, highlighting its potential loss through Climate change. The viewer is invited to ponder its value and look beyond its surface challenging our mortality as well as that of the planet. The elements in this work represent the building blocks that sustains us and the experience of reading it a ceremony. The book is water, the pages its flow and the stone what lies beneath. Its container suggests a commemoratory vessel honouring the memory of something that has yet to pass. Mixed Media Prints For the drawings I began to look at the ways water is visually represented. My research of patterns and representations of water were diverse with many coming from historical Japanese woodcuts. I was also very inspired by “Hamonshu: A Japanese Book of wave and Ripple designs” by Mori Yuzan,1903. These patterns aimed to simplify and identify movements and qualities of water. Incorporating and inspired by some of these patterns it became a way for me to contrast the simple with the more complex. Each element in the pattern was hand drawn to reference its uniqueness. -6 prints of lithography, ink jet, screen print, printed on Okawara and chine colle on Somerset satin. 15” x 22” Photo Etchings The photopolymer etchings came from photos taken over several years. Images of fast moving water, reflections in water, winter ice, the clouds, some of the vast ways we experience water in our lives. - 8 Photopolymer gravures on Tokuatsu. 15” x 22” The book itself could not be produced without water. Technical processes used to create the images also have a strong relationship to water. Lithography is achieved because water repels ink from the non image area. Photopolymer gravure plates are developed in water. The lithographic tusche washes are created because grease floats in the water, to be deposited on the paper or film only when the water evaporates, leaving the grease behind. These processes became metaphors for some of the things happening around us. Rivers drying up, floods, tsunamis and the effects of climate change. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370009413-5QE3MUR701NV630G5QLC/mcba-prize-2020-Isabelle-Fleurelien-Stephanie-Russ-Undare-4.jpg Entries & Jurors - 2020 Entries - Isabelle Fleurelien &amp; Stephanie Russ Isabelle Fleurelien (bellefleure.work) Stephanie Russ (stephanieruss.com) Quebec, Canada Undāre 2019 Lithography, inkjet, chine colle and photopolymer gravure 26.5”L x 16.5”W x 3.5”H Artist Statement SeePress Books is a collaboration between artists Stephanie Russ and Isabelle Fleurelien . The partnership began in 2016 as a way to explore the theme of water through the mediums of print media, video, photography and book arts. Undāre From the Latin to flow, undulate and/or rise in waves This book is a reflective work that creates an intimate and personal space to contemplate water. Its spiritual and purifying properties as well as its more ominous and foreboding qualities are the focus. Water provides us with a primal connection that reaches beyond ourselves to our collective memories and histories. The meditative trance in its stillness, ripples, swirling eddies or rushing water is what Undāre embodies. Water has recently shifted to a monetary commodity, highlighting its potential loss through Climate change. The viewer is invited to ponder its value and look beyond its surface challenging our mortality as well as that of the planet. The elements in this work represent the building blocks that sustains us and the experience of reading it a ceremony. The book is water, the pages its flow and the stone what lies beneath. Its container suggests a commemoratory vessel honouring the memory of something that has yet to pass. Mixed Media Prints For the drawings I began to look at the ways water is visually represented. My research of patterns and representations of water were diverse with many coming from historical Japanese woodcuts. I was also very inspired by “Hamonshu: A Japanese Book of wave and Ripple designs” by Mori Yuzan,1903. These patterns aimed to simplify and identify movements and qualities of water. Incorporating and inspired by some of these patterns it became a way for me to contrast the simple with the more complex. Each element in the pattern was hand drawn to reference its uniqueness. -6 prints of lithography, ink jet, screen print, printed on Okawara and chine colle on Somerset satin. 15” x 22” Photo Etchings The photopolymer etchings came from photos taken over several years. Images of fast moving water, reflections in water, winter ice, the clouds, some of the vast ways we experience water in our lives. - 8 Photopolymer gravures on Tokuatsu. 15” x 22” The book itself could not be produced without water. Technical processes used to create the images also have a strong relationship to water. Lithography is achieved because water repels ink from the non image area. Photopolymer gravure plates are developed in water. The lithographic tusche washes are created because grease floats in the water, to be deposited on the paper or film only when the water evaporates, leaving the grease behind. These processes became metaphors for some of the things happening around us. Rivers drying up, floods, tsunamis and the effects of climate change. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370010719-ODILUZ5J2096181PEY3G/mcba-prize-2020-Isabelle-Fleurelien-Stephanie-Russ-Undare-3.jpg Entries & Jurors - 2020 Entries - Isabelle Fleurelien &amp; Stephanie Russ Isabelle Fleurelien (bellefleure.work) Stephanie Russ (stephanieruss.com) Quebec, Canada Undāre 2019 Lithography, inkjet, chine colle and photopolymer gravure 26.5”L x 16.5”W x 3.5”H Artist Statement SeePress Books is a collaboration between artists Stephanie Russ and Isabelle Fleurelien . The partnership began in 2016 as a way to explore the theme of water through the mediums of print media, video, photography and book arts. Undāre From the Latin to flow, undulate and/or rise in waves This book is a reflective work that creates an intimate and personal space to contemplate water. Its spiritual and purifying properties as well as its more ominous and foreboding qualities are the focus. Water provides us with a primal connection that reaches beyond ourselves to our collective memories and histories. The meditative trance in its stillness, ripples, swirling eddies or rushing water is what Undāre embodies. Water has recently shifted to a monetary commodity, highlighting its potential loss through Climate change. The viewer is invited to ponder its value and look beyond its surface challenging our mortality as well as that of the planet. The elements in this work represent the building blocks that sustains us and the experience of reading it a ceremony. The book is water, the pages its flow and the stone what lies beneath. Its container suggests a commemoratory vessel honouring the memory of something that has yet to pass. Mixed Media Prints For the drawings I began to look at the ways water is visually represented. My research of patterns and representations of water were diverse with many coming from historical Japanese woodcuts. I was also very inspired by “Hamonshu: A Japanese Book of wave and Ripple designs” by Mori Yuzan,1903. These patterns aimed to simplify and identify movements and qualities of water. Incorporating and inspired by some of these patterns it became a way for me to contrast the simple with the more complex. Each element in the pattern was hand drawn to reference its uniqueness. -6 prints of lithography, ink jet, screen print, printed on Okawara and chine colle on Somerset satin. 15” x 22” Photo Etchings The photopolymer etchings came from photos taken over several years. Images of fast moving water, reflections in water, winter ice, the clouds, some of the vast ways we experience water in our lives. - 8 Photopolymer gravures on Tokuatsu. 15” x 22” The book itself could not be produced without water. Technical processes used to create the images also have a strong relationship to water. Lithography is achieved because water repels ink from the non image area. Photopolymer gravure plates are developed in water. The lithographic tusche washes are created because grease floats in the water, to be deposited on the paper or film only when the water evaporates, leaving the grease behind. These processes became metaphors for some of the things happening around us. Rivers drying up, floods, tsunamis and the effects of climate change. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370010943-B19DG4UA5ANKMC1KQE1V/mcba-prize-2020-Isabelle-Fleurelien-Stephanie-Russ-Undare-2.jpg Entries & Jurors - 2020 Entries - Isabelle Fleurelien &amp; Stephanie Russ Isabelle Fleurelien (bellefleure.work) Stephanie Russ (stephanieruss.com) Quebec, Canada Undāre 2019 Lithography, inkjet, chine colle and photopolymer gravure 26.5”L x 16.5”W x 3.5”H Artist Statement SeePress Books is a collaboration between artists Stephanie Russ and Isabelle Fleurelien . The partnership began in 2016 as a way to explore the theme of water through the mediums of print media, video, photography and book arts. Undāre From the Latin to flow, undulate and/or rise in waves This book is a reflective work that creates an intimate and personal space to contemplate water. Its spiritual and purifying properties as well as its more ominous and foreboding qualities are the focus. Water provides us with a primal connection that reaches beyond ourselves to our collective memories and histories. The meditative trance in its stillness, ripples, swirling eddies or rushing water is what Undāre embodies. Water has recently shifted to a monetary commodity, highlighting its potential loss through Climate change. The viewer is invited to ponder its value and look beyond its surface challenging our mortality as well as that of the planet. The elements in this work represent the building blocks that sustains us and the experience of reading it a ceremony. The book is water, the pages its flow and the stone what lies beneath. Its container suggests a commemoratory vessel honouring the memory of something that has yet to pass. Mixed Media Prints For the drawings I began to look at the ways water is visually represented. My research of patterns and representations of water were diverse with many coming from historical Japanese woodcuts. I was also very inspired by “Hamonshu: A Japanese Book of wave and Ripple designs” by Mori Yuzan,1903. These patterns aimed to simplify and identify movements and qualities of water. Incorporating and inspired by some of these patterns it became a way for me to contrast the simple with the more complex. Each element in the pattern was hand drawn to reference its uniqueness. -6 prints of lithography, ink jet, screen print, printed on Okawara and chine colle on Somerset satin. 15” x 22” Photo Etchings The photopolymer etchings came from photos taken over several years. Images of fast moving water, reflections in water, winter ice, the clouds, some of the vast ways we experience water in our lives. - 8 Photopolymer gravures on Tokuatsu. 15” x 22” The book itself could not be produced without water. Technical processes used to create the images also have a strong relationship to water. Lithography is achieved because water repels ink from the non image area. Photopolymer gravure plates are developed in water. The lithographic tusche washes are created because grease floats in the water, to be deposited on the paper or film only when the water evaporates, leaving the grease behind. These processes became metaphors for some of the things happening around us. Rivers drying up, floods, tsunamis and the effects of climate change. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370012562-2QDB40SYHDRB133YX2Z7/mcba-prize-2020-Isabelle-Fleurelien-Stephanie-Russ-Undare-1.jpg Entries & Jurors - 2020 Entries - Isabelle Fleurelien &amp; Stephanie Russ Isabelle Fleurelien (bellefleure.work) Stephanie Russ (stephanieruss.com) Quebec, Canada Undāre 2019 Lithography, inkjet, chine colle and photopolymer gravure 26.5”L x 16.5”W x 3.5”H Artist Statement SeePress Books is a collaboration between artists Stephanie Russ and Isabelle Fleurelien . The partnership began in 2016 as a way to explore the theme of water through the mediums of print media, video, photography and book arts. Undāre From the Latin to flow, undulate and/or rise in waves This book is a reflective work that creates an intimate and personal space to contemplate water. Its spiritual and purifying properties as well as its more ominous and foreboding qualities are the focus. Water provides us with a primal connection that reaches beyond ourselves to our collective memories and histories. The meditative trance in its stillness, ripples, swirling eddies or rushing water is what Undāre embodies. Water has recently shifted to a monetary commodity, highlighting its potential loss through Climate change. The viewer is invited to ponder its value and look beyond its surface challenging our mortality as well as that of the planet. The elements in this work represent the building blocks that sustains us and the experience of reading it a ceremony. The book is water, the pages its flow and the stone what lies beneath. Its container suggests a commemoratory vessel honouring the memory of something that has yet to pass. Mixed Media Prints For the drawings I began to look at the ways water is visually represented. My research of patterns and representations of water were diverse with many coming from historical Japanese woodcuts. I was also very inspired by “Hamonshu: A Japanese Book of wave and Ripple designs” by Mori Yuzan,1903. These patterns aimed to simplify and identify movements and qualities of water. Incorporating and inspired by some of these patterns it became a way for me to contrast the simple with the more complex. Each element in the pattern was hand drawn to reference its uniqueness. -6 prints of lithography, ink jet, screen print, printed on Okawara and chine colle on Somerset satin. 15” x 22” Photo Etchings The photopolymer etchings came from photos taken over several years. Images of fast moving water, reflections in water, winter ice, the clouds, some of the vast ways we experience water in our lives. - 8 Photopolymer gravures on Tokuatsu. 15” x 22” The book itself could not be produced without water. Technical processes used to create the images also have a strong relationship to water. Lithography is achieved because water repels ink from the non image area. Photopolymer gravure plates are developed in water. The lithographic tusche washes are created because grease floats in the water, to be deposited on the paper or film only when the water evaporates, leaving the grease behind. These processes became metaphors for some of the things happening around us. Rivers drying up, floods, tsunamis and the effects of climate change. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370243315-8WQROF7RSWWE57ZJ2CUZ/mcba-prize-2020-Colette-Fu-Uyghur-Food-5.jpg Entries & Jurors - 2020 Entries - Colette Fu Philadelphia, Pennsylvania colettefu.com Uyghur Food 2019 archival inkjet pop-up book with hand punched brass 23 x 34 x 16″ Artist Statement I make one-of-a-kind collapsible artist’s books that combine my photography with pop-up paper engineering. My inspiration for this format derives from my adoration of children’s pop-up books and my formal studies in fine art photography. I am intrigued by the compact and intimate format of a book that when opened, suddenly reveals a playful, over-sensory, multidimensional scene. I photograph for, paper-engineer and bind all the work myself. Growing up in New Jersey, I was not proud of my Chinese heritage. Yet after college I went to my mother’s birthplace in Yunnan Province, China, to teach English and stayed for three years. China has 55 officially recognized ethnic minority groups that comprise less than 9% of the nation’s population. Twenty-five reside in Yunnan, with the Han representing the majority. In Yunnan, I learned that my mother is a member of the Black Yi Nuosu minority and that her grandfather was governor of Yunnan from 1927-1945 and commander-in- chief of the 1st Army Group during WWII. In Yunnan I found people like what I saw in the mirror; they did not fit the stereotypes, the archetypes, the categories that I was taught were typically Asian, and this recognition sparked a new sense of identity, pride, and acceptance. Learning about my Yi ancestry and family history in my mid-’20s inspired me to formally study photography and begin my current body of work that is still in progress. In 2008, 14 years after my first trip to China, with the help of a Fulbright fellowship, I began We are Tiger Dragon People, a series of photographic pop-up books about the ethnic minority groups of China. After spending time in an area, I return home to my studio in Philadelphia to create pop-up books from my photographs. The pop-ups range from 5 inches to room-sized installations of 21 feet. In 2018 I went to Tétouan, Morocco, to learn traditional metalsmithing. I incorporated brass metalwork into the cover of Uyghur Food showing a visual relationship of the Arabic designs shared between the Muslim communities in Northern Morocco and Northwest China’s Xinjiang Province. I traveled to Xinjiang in 2014. The US Department of State issued a level 3 travel advisory to the area, but I had purchased a nonrefundable ticket from Shanghai where I was attending an artist residency. Fortunately, I was able to get in touch with two American Fulbright students who were conducting research there, so they encouraged me to continue with my trip and stay away from Han Chinese groups who had recently been targeted by local terrorists. As its name suggests, Uyghur Food features typical and popular cuisine of the Uyghur nationality. In the front left you see naan bread with traditional designs that are hand punched with a chicken feather durtlik (stamp). The copper background is a classic kabob grill cart. The dishes are all placed on a traditional tablecloth and are surrounded with grapes from the Turpan Grape Valley. These grapes account for 80% of China’s grapes and raisins. Hand-pulled laghman noodles surround the spread. Uyghurs are a Muslim Turkic ethnic group living within China’s dominant Han and have been under Chinese control since the 18th century. The majority reside in Xinjiang Province, which translates as “New Frontier” in Mandarin Chinese. Rich in natural resources, the economic development of the region has been accompanied by the large- scale immigration of Han Chinese. In 1949, Uyghurs comprised 82% of the population. The Uyghur population today makes up under half and hundreds of thousands are detained in re-education camps. Xinjiang Uyghur Autonomous Region is now one of the most heavily policed areas in the world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370243511-K0WE0UPY9C1A9A79DPLC/mcba-prize-2020-Colette-Fu-Uyghur-Food-4.jpg Entries & Jurors - 2020 Entries - Colette Fu Philadelphia, Pennsylvania colettefu.com Uyghur Food 2019 archival inkjet pop-up book with hand punched brass 23 x 34 x 16″ Artist Statement I make one-of-a-kind collapsible artist’s books that combine my photography with pop-up paper engineering. My inspiration for this format derives from my adoration of children’s pop-up books and my formal studies in fine art photography. I am intrigued by the compact and intimate format of a book that when opened, suddenly reveals a playful, over-sensory, multidimensional scene. I photograph for, paper-engineer and bind all the work myself. Growing up in New Jersey, I was not proud of my Chinese heritage. Yet after college I went to my mother’s birthplace in Yunnan Province, China, to teach English and stayed for three years. China has 55 officially recognized ethnic minority groups that comprise less than 9% of the nation’s population. Twenty-five reside in Yunnan, with the Han representing the majority. In Yunnan, I learned that my mother is a member of the Black Yi Nuosu minority and that her grandfather was governor of Yunnan from 1927-1945 and commander-in- chief of the 1st Army Group during WWII. In Yunnan I found people like what I saw in the mirror; they did not fit the stereotypes, the archetypes, the categories that I was taught were typically Asian, and this recognition sparked a new sense of identity, pride, and acceptance. Learning about my Yi ancestry and family history in my mid-’20s inspired me to formally study photography and begin my current body of work that is still in progress. In 2008, 14 years after my first trip to China, with the help of a Fulbright fellowship, I began We are Tiger Dragon People, a series of photographic pop-up books about the ethnic minority groups of China. After spending time in an area, I return home to my studio in Philadelphia to create pop-up books from my photographs. The pop-ups range from 5 inches to room-sized installations of 21 feet. In 2018 I went to Tétouan, Morocco, to learn traditional metalsmithing. I incorporated brass metalwork into the cover of Uyghur Food showing a visual relationship of the Arabic designs shared between the Muslim communities in Northern Morocco and Northwest China’s Xinjiang Province. I traveled to Xinjiang in 2014. The US Department of State issued a level 3 travel advisory to the area, but I had purchased a nonrefundable ticket from Shanghai where I was attending an artist residency. Fortunately, I was able to get in touch with two American Fulbright students who were conducting research there, so they encouraged me to continue with my trip and stay away from Han Chinese groups who had recently been targeted by local terrorists. As its name suggests, Uyghur Food features typical and popular cuisine of the Uyghur nationality. In the front left you see naan bread with traditional designs that are hand punched with a chicken feather durtlik (stamp). The copper background is a classic kabob grill cart. The dishes are all placed on a traditional tablecloth and are surrounded with grapes from the Turpan Grape Valley. These grapes account for 80% of China’s grapes and raisins. Hand-pulled laghman noodles surround the spread. Uyghurs are a Muslim Turkic ethnic group living within China’s dominant Han and have been under Chinese control since the 18th century. The majority reside in Xinjiang Province, which translates as “New Frontier” in Mandarin Chinese. Rich in natural resources, the economic development of the region has been accompanied by the large- scale immigration of Han Chinese. In 1949, Uyghurs comprised 82% of the population. The Uyghur population today makes up under half and hundreds of thousands are detained in re-education camps. Xinjiang Uyghur Autonomous Region is now one of the most heavily policed areas in the world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370245340-O41X5557O48EG7T7K7ZZ/mcba-prize-2020-Colette-Fu-Uyghur-Food-3.jpg Entries & Jurors - 2020 Entries - Colette Fu Philadelphia, Pennsylvania colettefu.com Uyghur Food 2019 archival inkjet pop-up book with hand punched brass 23 x 34 x 16″ Artist Statement I make one-of-a-kind collapsible artist’s books that combine my photography with pop-up paper engineering. My inspiration for this format derives from my adoration of children’s pop-up books and my formal studies in fine art photography. I am intrigued by the compact and intimate format of a book that when opened, suddenly reveals a playful, over-sensory, multidimensional scene. I photograph for, paper-engineer and bind all the work myself. Growing up in New Jersey, I was not proud of my Chinese heritage. Yet after college I went to my mother’s birthplace in Yunnan Province, China, to teach English and stayed for three years. China has 55 officially recognized ethnic minority groups that comprise less than 9% of the nation’s population. Twenty-five reside in Yunnan, with the Han representing the majority. In Yunnan, I learned that my mother is a member of the Black Yi Nuosu minority and that her grandfather was governor of Yunnan from 1927-1945 and commander-in- chief of the 1st Army Group during WWII. In Yunnan I found people like what I saw in the mirror; they did not fit the stereotypes, the archetypes, the categories that I was taught were typically Asian, and this recognition sparked a new sense of identity, pride, and acceptance. Learning about my Yi ancestry and family history in my mid-’20s inspired me to formally study photography and begin my current body of work that is still in progress. In 2008, 14 years after my first trip to China, with the help of a Fulbright fellowship, I began We are Tiger Dragon People, a series of photographic pop-up books about the ethnic minority groups of China. After spending time in an area, I return home to my studio in Philadelphia to create pop-up books from my photographs. The pop-ups range from 5 inches to room-sized installations of 21 feet. In 2018 I went to Tétouan, Morocco, to learn traditional metalsmithing. I incorporated brass metalwork into the cover of Uyghur Food showing a visual relationship of the Arabic designs shared between the Muslim communities in Northern Morocco and Northwest China’s Xinjiang Province. I traveled to Xinjiang in 2014. The US Department of State issued a level 3 travel advisory to the area, but I had purchased a nonrefundable ticket from Shanghai where I was attending an artist residency. Fortunately, I was able to get in touch with two American Fulbright students who were conducting research there, so they encouraged me to continue with my trip and stay away from Han Chinese groups who had recently been targeted by local terrorists. As its name suggests, Uyghur Food features typical and popular cuisine of the Uyghur nationality. In the front left you see naan bread with traditional designs that are hand punched with a chicken feather durtlik (stamp). The copper background is a classic kabob grill cart. The dishes are all placed on a traditional tablecloth and are surrounded with grapes from the Turpan Grape Valley. These grapes account for 80% of China’s grapes and raisins. Hand-pulled laghman noodles surround the spread. Uyghurs are a Muslim Turkic ethnic group living within China’s dominant Han and have been under Chinese control since the 18th century. The majority reside in Xinjiang Province, which translates as “New Frontier” in Mandarin Chinese. Rich in natural resources, the economic development of the region has been accompanied by the large- scale immigration of Han Chinese. In 1949, Uyghurs comprised 82% of the population. The Uyghur population today makes up under half and hundreds of thousands are detained in re-education camps. Xinjiang Uyghur Autonomous Region is now one of the most heavily policed areas in the world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370667246-QWELI7ESFFKSOTN8YFPN/mcba-prize-2020-Collete-Fu-Bokh-5.jpg Entries & Jurors - 2020 Entries - Colette Fu Philadelphia, Pennsylvania colettefu.com Bökh 2019 archival inkjet pop-up book with studded goatskin cover Open: 23 x 34 x 13″; Closed: 17 x 25 x 10″ Artist Statement I make one-of-a-kind collapsible artist’s books that combine my photography with pop-up paper engineering. My inspiration for this format derives from my adoration of children’s pop-up books and my formal studies in fine art photography. I am intrigued by the compact and intimate format of a book that when opened, suddenly reveals a playful, over-sensory, multidimensional scene. I photograph for, paper-engineer and bind all the work myself. Growing up in New Jersey, I was not proud of my Chinese heritage. Yet after college I went to my mother’s birthplace in Yunnan Province, China, to teach English and stayed for three years. China has 55 officially recognized ethnic minority groups that comprise less than 9% of the nation’s population. Twenty-five reside in Yunnan, with the Han representing the majority. In Yunnan, I learned that my mother is a member of the Black Yi Nuosu minority and that her grandfather was governor of Yunnan from 1927-1945 and commander-in- chief of the 1st Army Group during WWII. In Yunnan I found people like what I saw in the mirror; they did not fit the stereotypes, the archetypes, the categories that I was taught were typically Asian, and this recognition sparked a new sense of identity, pride, and acceptance. Learning about my Yi ancestry and family history in my mid-’20s inspired me to formally study photography and begin my current body of work that is still in progress. In 2008, 14 years after my first trip to China, with the help of a Fulbright fellowship, I began We are Tiger Dragon People, a series of photographic pop-up books about the ethnic minority groups of China. After spending time in an area, I return home to my studio in Philadelphia to create pop-up books from my photographs. The pop-ups range from 5 inches to room-sized installations of 21 feet. In 2018 I went to Tétouan, Morocco, to learn traditional metalsmithing. I prepared and dyed goatskins from the local tannery for Bökh, a book showcasing Inner Mongolia’s national sport of wrestling. Wrestling in Mongolian translates as bökh, which means durability. Those who wear colorful Jangaa around their neck have won before. These silk ribbons, colored red, green, yellow, white and blue, represent fire, water, earth and air, with blue representing Mongolia, the Land of eternal blue sky. Jangaa signifies the wrestler as sacred, as these scarves are also worn by animals sacrificed to their Gods. They dance as they get on the field, mimicking the prance of lions, tigers and deer. Only the winner will prance off the field. Genghis Khan considered wrestling an important way to keep his army in shape. There is a legend about Khutulun, great granddaughter of Genghis Kahn, who claimed that she would marry any man who wagered 100 horses and could beat her in wrestling. She ended up acquiring an army of over 10,000 horses. As a tribute to the woman wrestler who was never defeated, men now wrestle wearing an open vest to prove to their opponents they don’t have breasts. Some say that this story inspired the Italian opera Turandot. I have created a large version of Bökh for exhibition, and a smaller edition of 10. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370246105-WUIPEVPVWJXWNU9AIPD3/mcba-prize-2020-Colette-Fu-Uyghur-Food-2.jpg Entries & Jurors - 2020 Entries - Colette Fu Philadelphia, Pennsylvania colettefu.com Uyghur Food 2019 archival inkjet pop-up book with hand punched brass 23 x 34 x 16″ Artist Statement I make one-of-a-kind collapsible artist’s books that combine my photography with pop-up paper engineering. My inspiration for this format derives from my adoration of children’s pop-up books and my formal studies in fine art photography. I am intrigued by the compact and intimate format of a book that when opened, suddenly reveals a playful, over-sensory, multidimensional scene. I photograph for, paper-engineer and bind all the work myself. Growing up in New Jersey, I was not proud of my Chinese heritage. Yet after college I went to my mother’s birthplace in Yunnan Province, China, to teach English and stayed for three years. China has 55 officially recognized ethnic minority groups that comprise less than 9% of the nation’s population. Twenty-five reside in Yunnan, with the Han representing the majority. In Yunnan, I learned that my mother is a member of the Black Yi Nuosu minority and that her grandfather was governor of Yunnan from 1927-1945 and commander-in- chief of the 1st Army Group during WWII. In Yunnan I found people like what I saw in the mirror; they did not fit the stereotypes, the archetypes, the categories that I was taught were typically Asian, and this recognition sparked a new sense of identity, pride, and acceptance. Learning about my Yi ancestry and family history in my mid-’20s inspired me to formally study photography and begin my current body of work that is still in progress. In 2008, 14 years after my first trip to China, with the help of a Fulbright fellowship, I began We are Tiger Dragon People, a series of photographic pop-up books about the ethnic minority groups of China. After spending time in an area, I return home to my studio in Philadelphia to create pop-up books from my photographs. The pop-ups range from 5 inches to room-sized installations of 21 feet. In 2018 I went to Tétouan, Morocco, to learn traditional metalsmithing. I incorporated brass metalwork into the cover of Uyghur Food showing a visual relationship of the Arabic designs shared between the Muslim communities in Northern Morocco and Northwest China’s Xinjiang Province. I traveled to Xinjiang in 2014. The US Department of State issued a level 3 travel advisory to the area, but I had purchased a nonrefundable ticket from Shanghai where I was attending an artist residency. Fortunately, I was able to get in touch with two American Fulbright students who were conducting research there, so they encouraged me to continue with my trip and stay away from Han Chinese groups who had recently been targeted by local terrorists. As its name suggests, Uyghur Food features typical and popular cuisine of the Uyghur nationality. In the front left you see naan bread with traditional designs that are hand punched with a chicken feather durtlik (stamp). The copper background is a classic kabob grill cart. The dishes are all placed on a traditional tablecloth and are surrounded with grapes from the Turpan Grape Valley. These grapes account for 80% of China’s grapes and raisins. Hand-pulled laghman noodles surround the spread. Uyghurs are a Muslim Turkic ethnic group living within China’s dominant Han and have been under Chinese control since the 18th century. The majority reside in Xinjiang Province, which translates as “New Frontier” in Mandarin Chinese. Rich in natural resources, the economic development of the region has been accompanied by the large- scale immigration of Han Chinese. In 1949, Uyghurs comprised 82% of the population. The Uyghur population today makes up under half and hundreds of thousands are detained in re-education camps. Xinjiang Uyghur Autonomous Region is now one of the most heavily policed areas in the world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370667230-YGN5R7XWVXS5HMO16GIZ/mcba-prize-2020-Collete-Fu-Bokh-4.jpg Entries & Jurors - 2020 Entries - Colette Fu Philadelphia, Pennsylvania colettefu.com Bökh 2019 archival inkjet pop-up book with studded goatskin cover Open: 23 x 34 x 13″; Closed: 17 x 25 x 10″ Artist Statement I make one-of-a-kind collapsible artist’s books that combine my photography with pop-up paper engineering. My inspiration for this format derives from my adoration of children’s pop-up books and my formal studies in fine art photography. I am intrigued by the compact and intimate format of a book that when opened, suddenly reveals a playful, over-sensory, multidimensional scene. I photograph for, paper-engineer and bind all the work myself. Growing up in New Jersey, I was not proud of my Chinese heritage. Yet after college I went to my mother’s birthplace in Yunnan Province, China, to teach English and stayed for three years. China has 55 officially recognized ethnic minority groups that comprise less than 9% of the nation’s population. Twenty-five reside in Yunnan, with the Han representing the majority. In Yunnan, I learned that my mother is a member of the Black Yi Nuosu minority and that her grandfather was governor of Yunnan from 1927-1945 and commander-in- chief of the 1st Army Group during WWII. In Yunnan I found people like what I saw in the mirror; they did not fit the stereotypes, the archetypes, the categories that I was taught were typically Asian, and this recognition sparked a new sense of identity, pride, and acceptance. Learning about my Yi ancestry and family history in my mid-’20s inspired me to formally study photography and begin my current body of work that is still in progress. In 2008, 14 years after my first trip to China, with the help of a Fulbright fellowship, I began We are Tiger Dragon People, a series of photographic pop-up books about the ethnic minority groups of China. After spending time in an area, I return home to my studio in Philadelphia to create pop-up books from my photographs. The pop-ups range from 5 inches to room-sized installations of 21 feet. In 2018 I went to Tétouan, Morocco, to learn traditional metalsmithing. I prepared and dyed goatskins from the local tannery for Bökh, a book showcasing Inner Mongolia’s national sport of wrestling. Wrestling in Mongolian translates as bökh, which means durability. Those who wear colorful Jangaa around their neck have won before. These silk ribbons, colored red, green, yellow, white and blue, represent fire, water, earth and air, with blue representing Mongolia, the Land of eternal blue sky. Jangaa signifies the wrestler as sacred, as these scarves are also worn by animals sacrificed to their Gods. They dance as they get on the field, mimicking the prance of lions, tigers and deer. Only the winner will prance off the field. Genghis Khan considered wrestling an important way to keep his army in shape. There is a legend about Khutulun, great granddaughter of Genghis Kahn, who claimed that she would marry any man who wagered 100 horses and could beat her in wrestling. She ended up acquiring an army of over 10,000 horses. As a tribute to the woman wrestler who was never defeated, men now wrestle wearing an open vest to prove to their opponents they don’t have breasts. Some say that this story inspired the Italian opera Turandot. I have created a large version of Bökh for exhibition, and a smaller edition of 10. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370247061-3YZN6EIDORHTK0FT7DWI/mcba-prize-2020-Colette-Fu-Uyghur-Food-1.jpg Entries & Jurors - 2020 Entries - Colette Fu Philadelphia, Pennsylvania colettefu.com Uyghur Food 2019 archival inkjet pop-up book with hand punched brass 23 x 34 x 16″ Artist Statement I make one-of-a-kind collapsible artist’s books that combine my photography with pop-up paper engineering. My inspiration for this format derives from my adoration of children’s pop-up books and my formal studies in fine art photography. I am intrigued by the compact and intimate format of a book that when opened, suddenly reveals a playful, over-sensory, multidimensional scene. I photograph for, paper-engineer and bind all the work myself. Growing up in New Jersey, I was not proud of my Chinese heritage. Yet after college I went to my mother’s birthplace in Yunnan Province, China, to teach English and stayed for three years. China has 55 officially recognized ethnic minority groups that comprise less than 9% of the nation’s population. Twenty-five reside in Yunnan, with the Han representing the majority. In Yunnan, I learned that my mother is a member of the Black Yi Nuosu minority and that her grandfather was governor of Yunnan from 1927-1945 and commander-in- chief of the 1st Army Group during WWII. In Yunnan I found people like what I saw in the mirror; they did not fit the stereotypes, the archetypes, the categories that I was taught were typically Asian, and this recognition sparked a new sense of identity, pride, and acceptance. Learning about my Yi ancestry and family history in my mid-’20s inspired me to formally study photography and begin my current body of work that is still in progress. In 2008, 14 years after my first trip to China, with the help of a Fulbright fellowship, I began We are Tiger Dragon People, a series of photographic pop-up books about the ethnic minority groups of China. After spending time in an area, I return home to my studio in Philadelphia to create pop-up books from my photographs. The pop-ups range from 5 inches to room-sized installations of 21 feet. In 2018 I went to Tétouan, Morocco, to learn traditional metalsmithing. I incorporated brass metalwork into the cover of Uyghur Food showing a visual relationship of the Arabic designs shared between the Muslim communities in Northern Morocco and Northwest China’s Xinjiang Province. I traveled to Xinjiang in 2014. The US Department of State issued a level 3 travel advisory to the area, but I had purchased a nonrefundable ticket from Shanghai where I was attending an artist residency. Fortunately, I was able to get in touch with two American Fulbright students who were conducting research there, so they encouraged me to continue with my trip and stay away from Han Chinese groups who had recently been targeted by local terrorists. As its name suggests, Uyghur Food features typical and popular cuisine of the Uyghur nationality. In the front left you see naan bread with traditional designs that are hand punched with a chicken feather durtlik (stamp). The copper background is a classic kabob grill cart. The dishes are all placed on a traditional tablecloth and are surrounded with grapes from the Turpan Grape Valley. These grapes account for 80% of China’s grapes and raisins. Hand-pulled laghman noodles surround the spread. Uyghurs are a Muslim Turkic ethnic group living within China’s dominant Han and have been under Chinese control since the 18th century. The majority reside in Xinjiang Province, which translates as “New Frontier” in Mandarin Chinese. Rich in natural resources, the economic development of the region has been accompanied by the large- scale immigration of Han Chinese. In 1949, Uyghurs comprised 82% of the population. The Uyghur population today makes up under half and hundreds of thousands are detained in re-education camps. Xinjiang Uyghur Autonomous Region is now one of the most heavily policed areas in the world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370669632-SKRFRLCXZ2K904Q9JHSK/mcba-prize-2020-Collete-Fu-Bokh-3.jpg Entries & Jurors - 2020 Entries - Colette Fu Philadelphia, Pennsylvania colettefu.com Bökh 2019 archival inkjet pop-up book with studded goatskin cover Open: 23 x 34 x 13″; Closed: 17 x 25 x 10″ Artist Statement I make one-of-a-kind collapsible artist’s books that combine my photography with pop-up paper engineering. My inspiration for this format derives from my adoration of children’s pop-up books and my formal studies in fine art photography. I am intrigued by the compact and intimate format of a book that when opened, suddenly reveals a playful, over-sensory, multidimensional scene. I photograph for, paper-engineer and bind all the work myself. Growing up in New Jersey, I was not proud of my Chinese heritage. Yet after college I went to my mother’s birthplace in Yunnan Province, China, to teach English and stayed for three years. China has 55 officially recognized ethnic minority groups that comprise less than 9% of the nation’s population. Twenty-five reside in Yunnan, with the Han representing the majority. In Yunnan, I learned that my mother is a member of the Black Yi Nuosu minority and that her grandfather was governor of Yunnan from 1927-1945 and commander-in- chief of the 1st Army Group during WWII. In Yunnan I found people like what I saw in the mirror; they did not fit the stereotypes, the archetypes, the categories that I was taught were typically Asian, and this recognition sparked a new sense of identity, pride, and acceptance. Learning about my Yi ancestry and family history in my mid-’20s inspired me to formally study photography and begin my current body of work that is still in progress. In 2008, 14 years after my first trip to China, with the help of a Fulbright fellowship, I began We are Tiger Dragon People, a series of photographic pop-up books about the ethnic minority groups of China. After spending time in an area, I return home to my studio in Philadelphia to create pop-up books from my photographs. The pop-ups range from 5 inches to room-sized installations of 21 feet. In 2018 I went to Tétouan, Morocco, to learn traditional metalsmithing. I prepared and dyed goatskins from the local tannery for Bökh, a book showcasing Inner Mongolia’s national sport of wrestling. Wrestling in Mongolian translates as bökh, which means durability. Those who wear colorful Jangaa around their neck have won before. These silk ribbons, colored red, green, yellow, white and blue, represent fire, water, earth and air, with blue representing Mongolia, the Land of eternal blue sky. Jangaa signifies the wrestler as sacred, as these scarves are also worn by animals sacrificed to their Gods. They dance as they get on the field, mimicking the prance of lions, tigers and deer. Only the winner will prance off the field. Genghis Khan considered wrestling an important way to keep his army in shape. There is a legend about Khutulun, great granddaughter of Genghis Kahn, who claimed that she would marry any man who wagered 100 horses and could beat her in wrestling. She ended up acquiring an army of over 10,000 horses. As a tribute to the woman wrestler who was never defeated, men now wrestle wearing an open vest to prove to their opponents they don’t have breasts. Some say that this story inspired the Italian opera Turandot. I have created a large version of Bökh for exhibition, and a smaller edition of 10. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370670330-IOYDIQUG8JMXE9092530/mcba-prize-2020-Collete-Fu-Bokh-2.jpg Entries & Jurors - 2020 Entries - Colette Fu Philadelphia, Pennsylvania colettefu.com Bökh 2019 archival inkjet pop-up book with studded goatskin cover Open: 23 x 34 x 13″; Closed: 17 x 25 x 10″ Artist Statement I make one-of-a-kind collapsible artist’s books that combine my photography with pop-up paper engineering. My inspiration for this format derives from my adoration of children’s pop-up books and my formal studies in fine art photography. I am intrigued by the compact and intimate format of a book that when opened, suddenly reveals a playful, over-sensory, multidimensional scene. I photograph for, paper-engineer and bind all the work myself. Growing up in New Jersey, I was not proud of my Chinese heritage. Yet after college I went to my mother’s birthplace in Yunnan Province, China, to teach English and stayed for three years. China has 55 officially recognized ethnic minority groups that comprise less than 9% of the nation’s population. Twenty-five reside in Yunnan, with the Han representing the majority. In Yunnan, I learned that my mother is a member of the Black Yi Nuosu minority and that her grandfather was governor of Yunnan from 1927-1945 and commander-in- chief of the 1st Army Group during WWII. In Yunnan I found people like what I saw in the mirror; they did not fit the stereotypes, the archetypes, the categories that I was taught were typically Asian, and this recognition sparked a new sense of identity, pride, and acceptance. Learning about my Yi ancestry and family history in my mid-’20s inspired me to formally study photography and begin my current body of work that is still in progress. In 2008, 14 years after my first trip to China, with the help of a Fulbright fellowship, I began We are Tiger Dragon People, a series of photographic pop-up books about the ethnic minority groups of China. After spending time in an area, I return home to my studio in Philadelphia to create pop-up books from my photographs. The pop-ups range from 5 inches to room-sized installations of 21 feet. In 2018 I went to Tétouan, Morocco, to learn traditional metalsmithing. I prepared and dyed goatskins from the local tannery for Bökh, a book showcasing Inner Mongolia’s national sport of wrestling. Wrestling in Mongolian translates as bökh, which means durability. Those who wear colorful Jangaa around their neck have won before. These silk ribbons, colored red, green, yellow, white and blue, represent fire, water, earth and air, with blue representing Mongolia, the Land of eternal blue sky. Jangaa signifies the wrestler as sacred, as these scarves are also worn by animals sacrificed to their Gods. They dance as they get on the field, mimicking the prance of lions, tigers and deer. Only the winner will prance off the field. Genghis Khan considered wrestling an important way to keep his army in shape. There is a legend about Khutulun, great granddaughter of Genghis Kahn, who claimed that she would marry any man who wagered 100 horses and could beat her in wrestling. She ended up acquiring an army of over 10,000 horses. As a tribute to the woman wrestler who was never defeated, men now wrestle wearing an open vest to prove to their opponents they don’t have breasts. Some say that this story inspired the Italian opera Turandot. I have created a large version of Bökh for exhibition, and a smaller edition of 10. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370671892-AZ0PA4HNHTJ453AWNUZD/mcba-prize-2020-Collete-Fu-Bokh-1.jpg Entries & Jurors - 2020 Entries - Colette Fu Philadelphia, Pennsylvania colettefu.com Bökh 2019 archival inkjet pop-up book with studded goatskin cover Open: 23 x 34 x 13″; Closed: 17 x 25 x 10″ Artist Statement I make one-of-a-kind collapsible artist’s books that combine my photography with pop-up paper engineering. My inspiration for this format derives from my adoration of children’s pop-up books and my formal studies in fine art photography. I am intrigued by the compact and intimate format of a book that when opened, suddenly reveals a playful, over-sensory, multidimensional scene. I photograph for, paper-engineer and bind all the work myself. Growing up in New Jersey, I was not proud of my Chinese heritage. Yet after college I went to my mother’s birthplace in Yunnan Province, China, to teach English and stayed for three years. China has 55 officially recognized ethnic minority groups that comprise less than 9% of the nation’s population. Twenty-five reside in Yunnan, with the Han representing the majority. In Yunnan, I learned that my mother is a member of the Black Yi Nuosu minority and that her grandfather was governor of Yunnan from 1927-1945 and commander-in- chief of the 1st Army Group during WWII. In Yunnan I found people like what I saw in the mirror; they did not fit the stereotypes, the archetypes, the categories that I was taught were typically Asian, and this recognition sparked a new sense of identity, pride, and acceptance. Learning about my Yi ancestry and family history in my mid-’20s inspired me to formally study photography and begin my current body of work that is still in progress. In 2008, 14 years after my first trip to China, with the help of a Fulbright fellowship, I began We are Tiger Dragon People, a series of photographic pop-up books about the ethnic minority groups of China. After spending time in an area, I return home to my studio in Philadelphia to create pop-up books from my photographs. The pop-ups range from 5 inches to room-sized installations of 21 feet. In 2018 I went to Tétouan, Morocco, to learn traditional metalsmithing. I prepared and dyed goatskins from the local tannery for Bökh, a book showcasing Inner Mongolia’s national sport of wrestling. Wrestling in Mongolian translates as bökh, which means durability. Those who wear colorful Jangaa around their neck have won before. These silk ribbons, colored red, green, yellow, white and blue, represent fire, water, earth and air, with blue representing Mongolia, the Land of eternal blue sky. Jangaa signifies the wrestler as sacred, as these scarves are also worn by animals sacrificed to their Gods. They dance as they get on the field, mimicking the prance of lions, tigers and deer. Only the winner will prance off the field. Genghis Khan considered wrestling an important way to keep his army in shape. There is a legend about Khutulun, great granddaughter of Genghis Kahn, who claimed that she would marry any man who wagered 100 horses and could beat her in wrestling. She ended up acquiring an army of over 10,000 horses. As a tribute to the woman wrestler who was never defeated, men now wrestle wearing an open vest to prove to their opponents they don’t have breasts. Some say that this story inspired the Italian opera Turandot. I have created a large version of Bökh for exhibition, and a smaller edition of 10. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370783184-1W4X0ODSYH3K052W4JJS/mcba-prize-2020-Ashley-Fuchs-Between-the-lines-5.jpg Entries & Jurors - 2020 Entries - Ashley Fuchs Bozeman, Montana between the lines 2020 screenprint on Stonehenge paper with letterpress text 13.5 x 5/16 x 6.125″ Artist Statement between the lines utilizes a flag structure to depict conversations of love and devotion between my partner and myself. The book structure is pivotal in the conceptual underpinnings of the work and conversations—utilizing both sides of the page to intertwine words from two different people. The book uses subtle cues to represent the two different voices in the relationship. Slightly different type faces were chosen between the couple’s words to represent individuality, but also unity in the relationship. Flipping through the book page by page, the viewer can see the segments of writing from one person, reading from top to bottom. When opened, the writing becomes intertwined and in-meshed with the other text. This represents the relationship, not from an individual’s perspective, but as a whole. The book can now be read top to bottom, left to right, or even on a diagonal. The typography was designed in such a way, that when unfolded, the book creates new messages of love and endearment. These messages are reminders of who we care about, how we express love, and the beautiful language and meaning when two people come together in a relationship. The visuals in this book come from patterns that I conceptualized and screenprinted. The patterns are abstract and impressionable to different people in different ways. The patterns utilized the flag book structure both when folded and unfolded— creating a unique visual identity that fully takes advantage of the book’s various viewing options. When unfolded the patterns become even more abstracted and unrecognizable. When folded, pages can be flipped through like a traditional book, but more importantly the viewer can see the patterns come together in alignment. Again, this speaks to the conceptual identity of the book, representing individuals in the relationship in the folded page, but also the relationship as a whole with the unfolded pages. The unfolded patterns combines each person’s unique identity in the relationship, representing how we each create new lives and memories with the person we commit to. The patterns in this book are a six color screenprint on stonehenge paper and the written words were taken from text conversations between myself and my partner— letterpress printed on a C&P 10 × 15 press. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370783179-MU3YWSJ7BYAEQJKPWFDI/mcba-prize-2020-Ashley-Fuchs-Between-the-lines-4.jpg Entries & Jurors - 2020 Entries - Ashley Fuchs Bozeman, Montana between the lines 2020 screenprint on Stonehenge paper with letterpress text 13.5 x 5/16 x 6.125″ Artist Statement between the lines utilizes a flag structure to depict conversations of love and devotion between my partner and myself. The book structure is pivotal in the conceptual underpinnings of the work and conversations—utilizing both sides of the page to intertwine words from two different people. The book uses subtle cues to represent the two different voices in the relationship. Slightly different type faces were chosen between the couple’s words to represent individuality, but also unity in the relationship. Flipping through the book page by page, the viewer can see the segments of writing from one person, reading from top to bottom. When opened, the writing becomes intertwined and in-meshed with the other text. This represents the relationship, not from an individual’s perspective, but as a whole. The book can now be read top to bottom, left to right, or even on a diagonal. The typography was designed in such a way, that when unfolded, the book creates new messages of love and endearment. These messages are reminders of who we care about, how we express love, and the beautiful language and meaning when two people come together in a relationship. The visuals in this book come from patterns that I conceptualized and screenprinted. The patterns are abstract and impressionable to different people in different ways. The patterns utilized the flag book structure both when folded and unfolded— creating a unique visual identity that fully takes advantage of the book’s various viewing options. When unfolded the patterns become even more abstracted and unrecognizable. When folded, pages can be flipped through like a traditional book, but more importantly the viewer can see the patterns come together in alignment. Again, this speaks to the conceptual identity of the book, representing individuals in the relationship in the folded page, but also the relationship as a whole with the unfolded pages. The unfolded patterns combines each person’s unique identity in the relationship, representing how we each create new lives and memories with the person we commit to. The patterns in this book are a six color screenprint on stonehenge paper and the written words were taken from text conversations between myself and my partner— letterpress printed on a C&P 10 × 15 press. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370784608-NJQBXFMIWX818E6Q5A2U/mcba-prize-2020-Ashley-Fuchs-Between-the-lines-3.jpg Entries & Jurors - 2020 Entries - Ashley Fuchs Bozeman, Montana between the lines 2020 screenprint on Stonehenge paper with letterpress text 13.5 x 5/16 x 6.125″ Artist Statement between the lines utilizes a flag structure to depict conversations of love and devotion between my partner and myself. The book structure is pivotal in the conceptual underpinnings of the work and conversations—utilizing both sides of the page to intertwine words from two different people. The book uses subtle cues to represent the two different voices in the relationship. Slightly different type faces were chosen between the couple’s words to represent individuality, but also unity in the relationship. Flipping through the book page by page, the viewer can see the segments of writing from one person, reading from top to bottom. When opened, the writing becomes intertwined and in-meshed with the other text. This represents the relationship, not from an individual’s perspective, but as a whole. The book can now be read top to bottom, left to right, or even on a diagonal. The typography was designed in such a way, that when unfolded, the book creates new messages of love and endearment. These messages are reminders of who we care about, how we express love, and the beautiful language and meaning when two people come together in a relationship. The visuals in this book come from patterns that I conceptualized and screenprinted. The patterns are abstract and impressionable to different people in different ways. The patterns utilized the flag book structure both when folded and unfolded— creating a unique visual identity that fully takes advantage of the book’s various viewing options. When unfolded the patterns become even more abstracted and unrecognizable. When folded, pages can be flipped through like a traditional book, but more importantly the viewer can see the patterns come together in alignment. Again, this speaks to the conceptual identity of the book, representing individuals in the relationship in the folded page, but also the relationship as a whole with the unfolded pages. The unfolded patterns combines each person’s unique identity in the relationship, representing how we each create new lives and memories with the person we commit to. The patterns in this book are a six color screenprint on stonehenge paper and the written words were taken from text conversations between myself and my partner— letterpress printed on a C&P 10 × 15 press. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370784886-I1RJ8IV3XI7K0M04W09V/mcba-prize-2020-Ashley-Fuchs-Between-the-lines-2.jpg Entries & Jurors - 2020 Entries - Ashley Fuchs Bozeman, Montana between the lines 2020 screenprint on Stonehenge paper with letterpress text 13.5 x 5/16 x 6.125″ Artist Statement between the lines utilizes a flag structure to depict conversations of love and devotion between my partner and myself. The book structure is pivotal in the conceptual underpinnings of the work and conversations—utilizing both sides of the page to intertwine words from two different people. The book uses subtle cues to represent the two different voices in the relationship. Slightly different type faces were chosen between the couple’s words to represent individuality, but also unity in the relationship. Flipping through the book page by page, the viewer can see the segments of writing from one person, reading from top to bottom. When opened, the writing becomes intertwined and in-meshed with the other text. This represents the relationship, not from an individual’s perspective, but as a whole. The book can now be read top to bottom, left to right, or even on a diagonal. The typography was designed in such a way, that when unfolded, the book creates new messages of love and endearment. These messages are reminders of who we care about, how we express love, and the beautiful language and meaning when two people come together in a relationship. The visuals in this book come from patterns that I conceptualized and screenprinted. The patterns are abstract and impressionable to different people in different ways. The patterns utilized the flag book structure both when folded and unfolded— creating a unique visual identity that fully takes advantage of the book’s various viewing options. When unfolded the patterns become even more abstracted and unrecognizable. When folded, pages can be flipped through like a traditional book, but more importantly the viewer can see the patterns come together in alignment. Again, this speaks to the conceptual identity of the book, representing individuals in the relationship in the folded page, but also the relationship as a whole with the unfolded pages. The unfolded patterns combines each person’s unique identity in the relationship, representing how we each create new lives and memories with the person we commit to. The patterns in this book are a six color screenprint on stonehenge paper and the written words were taken from text conversations between myself and my partner— letterpress printed on a C&P 10 × 15 press. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370785788-SP8CKN8BBBLF0TZNV7MA/mcba-prize-2020-Ashley-Fuchs-Between-the-lines-1.jpg Entries & Jurors - 2020 Entries - Ashley Fuchs Bozeman, Montana between the lines 2020 screenprint on Stonehenge paper with letterpress text 13.5 x 5/16 x 6.125″ Artist Statement between the lines utilizes a flag structure to depict conversations of love and devotion between my partner and myself. The book structure is pivotal in the conceptual underpinnings of the work and conversations—utilizing both sides of the page to intertwine words from two different people. The book uses subtle cues to represent the two different voices in the relationship. Slightly different type faces were chosen between the couple’s words to represent individuality, but also unity in the relationship. Flipping through the book page by page, the viewer can see the segments of writing from one person, reading from top to bottom. When opened, the writing becomes intertwined and in-meshed with the other text. This represents the relationship, not from an individual’s perspective, but as a whole. The book can now be read top to bottom, left to right, or even on a diagonal. The typography was designed in such a way, that when unfolded, the book creates new messages of love and endearment. These messages are reminders of who we care about, how we express love, and the beautiful language and meaning when two people come together in a relationship. The visuals in this book come from patterns that I conceptualized and screenprinted. The patterns are abstract and impressionable to different people in different ways. The patterns utilized the flag book structure both when folded and unfolded— creating a unique visual identity that fully takes advantage of the book’s various viewing options. When unfolded the patterns become even more abstracted and unrecognizable. When folded, pages can be flipped through like a traditional book, but more importantly the viewer can see the patterns come together in alignment. Again, this speaks to the conceptual identity of the book, representing individuals in the relationship in the folded page, but also the relationship as a whole with the unfolded pages. The unfolded patterns combines each person’s unique identity in the relationship, representing how we each create new lives and memories with the person we commit to. The patterns in this book are a six color screenprint on stonehenge paper and the written words were taken from text conversations between myself and my partner— letterpress printed on a C&P 10 × 15 press. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370937719-CZKV0POSI53ZMQN9332F/mcba-prize-2020-Linda-Gammell-Mundi-Imagining-the-hydrosphere-4.jpg Entries & Jurors - 2020 Entries - Linda Gammell Saint Paul, Minnesota lindagammell.com Mundi: Imagining the Hydrosphere 2019 archival inkjet print with text and photographs, cave flax paper folder, linen thread hand-stiching 17 x 22″ unfolded map; 4.25 x 8.5″ folded Artist Statement Mundi: Imagining the Hydrosphere is a limited edition (20) map-like book that is an homage to deep engagement in both science and art with imagination and with wonder of our physical world. In this book the hydrological cycle, on which the earth is dependent for delivering life-giving water, is imagined in a map-like form with twelve watery photographic spheres, images made in wetlands, lakes, rivers in atmospheric states of ice, streaming and rushing water, fog, and clouds, in a configuration that suggests views of earth from space and earth’s revolution throughout the year. The text recounts the story of the Apollo 17 moon mission in 1972 when an astronaut turned back to photograph the beautiful glowing blue planet (subsequently called “The Blue Marble”) that became the powerful sea change symbol of Earth as fragile and interconnected. It concludes with a quote by Maria Mitchell (1818-89), the first woman astronomer in the U.S. and a professor at Vassar College, who helped promote women in science. A text block of the physical processes of the hydrological cycle encircles the book title. A seal on the folder is an early illustration of of the oceans, with handwriting by Copernicus. I am an artist who uses photography in artist books, in installations, and in more conventional exhibitions. I am interested in exploring and using knowledge, illustrations, and wisdom from other fields of learning and within various historical frameworks to give small glimpses into the vastly rich experience of the natural world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370939869-68HRI0KR1L59X4LALDOF/mcba-prize-2020-Linda-Gammell-Mundi-Imagining-the-hydrosphere-3.jpg Entries & Jurors - 2020 Entries - Linda Gammell Saint Paul, Minnesota lindagammell.com Mundi: Imagining the Hydrosphere 2019 archival inkjet print with text and photographs, cave flax paper folder, linen thread hand-stiching 17 x 22″ unfolded map; 4.25 x 8.5″ folded Artist Statement Mundi: Imagining the Hydrosphere is a limited edition (20) map-like book that is an homage to deep engagement in both science and art with imagination and with wonder of our physical world. In this book the hydrological cycle, on which the earth is dependent for delivering life-giving water, is imagined in a map-like form with twelve watery photographic spheres, images made in wetlands, lakes, rivers in atmospheric states of ice, streaming and rushing water, fog, and clouds, in a configuration that suggests views of earth from space and earth’s revolution throughout the year. The text recounts the story of the Apollo 17 moon mission in 1972 when an astronaut turned back to photograph the beautiful glowing blue planet (subsequently called “The Blue Marble”) that became the powerful sea change symbol of Earth as fragile and interconnected. It concludes with a quote by Maria Mitchell (1818-89), the first woman astronomer in the U.S. and a professor at Vassar College, who helped promote women in science. A text block of the physical processes of the hydrological cycle encircles the book title. A seal on the folder is an early illustration of of the oceans, with handwriting by Copernicus. I am an artist who uses photography in artist books, in installations, and in more conventional exhibitions. I am interested in exploring and using knowledge, illustrations, and wisdom from other fields of learning and within various historical frameworks to give small glimpses into the vastly rich experience of the natural world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370940486-4Y3U1FZE87FAKFH2KJYC/mcba-prize-2020-Linda-Gammell-Mundi-Imagining-the-hydrosphere-2.jpg Entries & Jurors - 2020 Entries - Linda Gammell Saint Paul, Minnesota lindagammell.com Mundi: Imagining the Hydrosphere 2019 archival inkjet print with text and photographs, cave flax paper folder, linen thread hand-stiching 17 x 22″ unfolded map; 4.25 x 8.5″ folded Artist Statement Mundi: Imagining the Hydrosphere is a limited edition (20) map-like book that is an homage to deep engagement in both science and art with imagination and with wonder of our physical world. In this book the hydrological cycle, on which the earth is dependent for delivering life-giving water, is imagined in a map-like form with twelve watery photographic spheres, images made in wetlands, lakes, rivers in atmospheric states of ice, streaming and rushing water, fog, and clouds, in a configuration that suggests views of earth from space and earth’s revolution throughout the year. The text recounts the story of the Apollo 17 moon mission in 1972 when an astronaut turned back to photograph the beautiful glowing blue planet (subsequently called “The Blue Marble”) that became the powerful sea change symbol of Earth as fragile and interconnected. It concludes with a quote by Maria Mitchell (1818-89), the first woman astronomer in the U.S. and a professor at Vassar College, who helped promote women in science. A text block of the physical processes of the hydrological cycle encircles the book title. A seal on the folder is an early illustration of of the oceans, with handwriting by Copernicus. I am an artist who uses photography in artist books, in installations, and in more conventional exhibitions. I am interested in exploring and using knowledge, illustrations, and wisdom from other fields of learning and within various historical frameworks to give small glimpses into the vastly rich experience of the natural world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370941372-DID3AJGDOSGZYD2LP88C/mcba-prize-2020-Linda-Gammell-Mundi-Imagining-the-hydrosphere-1.jpg Entries & Jurors - 2020 Entries - Linda Gammell Saint Paul, Minnesota lindagammell.com Mundi: Imagining the Hydrosphere 2019 archival inkjet print with text and photographs, cave flax paper folder, linen thread hand-stiching 17 x 22″ unfolded map; 4.25 x 8.5″ folded Artist Statement Mundi: Imagining the Hydrosphere is a limited edition (20) map-like book that is an homage to deep engagement in both science and art with imagination and with wonder of our physical world. In this book the hydrological cycle, on which the earth is dependent for delivering life-giving water, is imagined in a map-like form with twelve watery photographic spheres, images made in wetlands, lakes, rivers in atmospheric states of ice, streaming and rushing water, fog, and clouds, in a configuration that suggests views of earth from space and earth’s revolution throughout the year. The text recounts the story of the Apollo 17 moon mission in 1972 when an astronaut turned back to photograph the beautiful glowing blue planet (subsequently called “The Blue Marble”) that became the powerful sea change symbol of Earth as fragile and interconnected. It concludes with a quote by Maria Mitchell (1818-89), the first woman astronomer in the U.S. and a professor at Vassar College, who helped promote women in science. A text block of the physical processes of the hydrological cycle encircles the book title. A seal on the folder is an early illustration of of the oceans, with handwriting by Copernicus. I am an artist who uses photography in artist books, in installations, and in more conventional exhibitions. I am interested in exploring and using knowledge, illustrations, and wisdom from other fields of learning and within various historical frameworks to give small glimpses into the vastly rich experience of the natural world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774370937598-6BN78RVAXGPG7WT212LC/mcba-prize-2020-Linda-Gammell-Mundi-Imagining-the-hydrosphere-5.jpg Entries & Jurors - 2020 Entries - Linda Gammell Saint Paul, Minnesota lindagammell.com Mundi: Imagining the Hydrosphere 2019 archival inkjet print with text and photographs, cave flax paper folder, linen thread hand-stiching 17 x 22″ unfolded map; 4.25 x 8.5″ folded Artist Statement Mundi: Imagining the Hydrosphere is a limited edition (20) map-like book that is an homage to deep engagement in both science and art with imagination and with wonder of our physical world. In this book the hydrological cycle, on which the earth is dependent for delivering life-giving water, is imagined in a map-like form with twelve watery photographic spheres, images made in wetlands, lakes, rivers in atmospheric states of ice, streaming and rushing water, fog, and clouds, in a configuration that suggests views of earth from space and earth’s revolution throughout the year. The text recounts the story of the Apollo 17 moon mission in 1972 when an astronaut turned back to photograph the beautiful glowing blue planet (subsequently called “The Blue Marble”) that became the powerful sea change symbol of Earth as fragile and interconnected. It concludes with a quote by Maria Mitchell (1818-89), the first woman astronomer in the U.S. and a professor at Vassar College, who helped promote women in science. A text block of the physical processes of the hydrological cycle encircles the book title. A seal on the folder is an early illustration of of the oceans, with handwriting by Copernicus. I am an artist who uses photography in artist books, in installations, and in more conventional exhibitions. I am interested in exploring and using knowledge, illustrations, and wisdom from other fields of learning and within various historical frameworks to give small glimpses into the vastly rich experience of the natural world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371134240-15T4QYH5VADUZIEK0P46/mcba-prize-2020-Katte-Geneta-Handwoven-Cloth-Diary-5.jpg Entries & Jurors - 2020 Entries - Katte Geneta Flushing, New York kattegeneta.com Talaarawan na tela (Handwoven Cloth Diary) 2020 indigenous handwoven Philippine fabrics, thread 9.5 x 7 x 1.25″ Artist Statement My work examines the nature of things, n ātūra, derived from the Latin verb nascare, to be born. I believe all things are born of water, air, and dust. My works are meditations of the elements, faded with time and distance. Each piece tries to uncover an image that exists somewhere between reality and memory. Revealed are distant landscapes, a mountain on water, or the deep sky at night. Patterns emerge from places of stillness woven with the threads of ancestral memory. I imagine this place beyond what we see and hint at it, drawing its subtle movement, its fragility and lightness. My work is quiet in order to hear its echoes and see this place as it moves in and out of time. A place, perhaps, from where we were born. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371133832-YL3RLJD58O2GJ6412FQQ/mcba-prize-2020-Katte-Geneta-Handwoven-Cloth-Diary-4.jpg Entries & Jurors - 2020 Entries - Katte Geneta Flushing, New York kattegeneta.com Talaarawan na tela (Handwoven Cloth Diary) 2020 indigenous handwoven Philippine fabrics, thread 9.5 x 7 x 1.25″ Artist Statement My work examines the nature of things, n ātūra, derived from the Latin verb nascare, to be born. I believe all things are born of water, air, and dust. My works are meditations of the elements, faded with time and distance. Each piece tries to uncover an image that exists somewhere between reality and memory. Revealed are distant landscapes, a mountain on water, or the deep sky at night. Patterns emerge from places of stillness woven with the threads of ancestral memory. I imagine this place beyond what we see and hint at it, drawing its subtle movement, its fragility and lightness. My work is quiet in order to hear its echoes and see this place as it moves in and out of time. A place, perhaps, from where we were born. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371136656-CL9CQX22HL4HE5B4T1C1/mcba-prize-2020-Katte-Geneta-Handwoven-Cloth-Diary-3.jpg Entries & Jurors - 2020 Entries - Katte Geneta Flushing, New York kattegeneta.com Talaarawan na tela (Handwoven Cloth Diary) 2020 indigenous handwoven Philippine fabrics, thread 9.5 x 7 x 1.25″ Artist Statement My work examines the nature of things, n ātūra, derived from the Latin verb nascare, to be born. I believe all things are born of water, air, and dust. My works are meditations of the elements, faded with time and distance. Each piece tries to uncover an image that exists somewhere between reality and memory. Revealed are distant landscapes, a mountain on water, or the deep sky at night. Patterns emerge from places of stillness woven with the threads of ancestral memory. I imagine this place beyond what we see and hint at it, drawing its subtle movement, its fragility and lightness. My work is quiet in order to hear its echoes and see this place as it moves in and out of time. A place, perhaps, from where we were born. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371137034-8EXW6ZZU9P1GC22YN65Q/mcba-prize-2020-Katte-Geneta-Handwoven-Cloth-Diary-2.jpg Entries & Jurors - 2020 Entries - Katte Geneta Flushing, New York kattegeneta.com Talaarawan na tela (Handwoven Cloth Diary) 2020 indigenous handwoven Philippine fabrics, thread 9.5 x 7 x 1.25″ Artist Statement My work examines the nature of things, n ātūra, derived from the Latin verb nascare, to be born. I believe all things are born of water, air, and dust. My works are meditations of the elements, faded with time and distance. Each piece tries to uncover an image that exists somewhere between reality and memory. Revealed are distant landscapes, a mountain on water, or the deep sky at night. Patterns emerge from places of stillness woven with the threads of ancestral memory. I imagine this place beyond what we see and hint at it, drawing its subtle movement, its fragility and lightness. My work is quiet in order to hear its echoes and see this place as it moves in and out of time. A place, perhaps, from where we were born. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371138590-IZZ11VCFC6CVTKVLQKSA/mcba-prize-2020-Katte-Geneta-Handwoven-Cloth-Diary-1.jpg Entries & Jurors - 2020 Entries - Katte Geneta Flushing, New York kattegeneta.com Talaarawan na tela (Handwoven Cloth Diary) 2020 indigenous handwoven Philippine fabrics, thread 9.5 x 7 x 1.25″ Artist Statement My work examines the nature of things, n ātūra, derived from the Latin verb nascare, to be born. I believe all things are born of water, air, and dust. My works are meditations of the elements, faded with time and distance. Each piece tries to uncover an image that exists somewhere between reality and memory. Revealed are distant landscapes, a mountain on water, or the deep sky at night. Patterns emerge from places of stillness woven with the threads of ancestral memory. I imagine this place beyond what we see and hint at it, drawing its subtle movement, its fragility and lightness. My work is quiet in order to hear its echoes and see this place as it moves in and out of time. A place, perhaps, from where we were born. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371253520-UQN2F27NY303Y00DJRYH/mcba-prize-2020-Cynthia-Gipple-Summer-Lake-5.jpg Entries & Jurors - 2020 Entries - Cynthia Gipple Saint Paul, Minnesota cynthiagipple.com Summer Lake 2019 discarded paper and fabric, sewing, watercolors 28.5 x 15 x 5.5″ Artist Statement If I had to narrow down my work to four words, they would be; stewards, lake, projects and story. Stewards: I am inspired by materials others leave behind such as paper, fabric, feathers and pot shards. Reusing materials is a reminder that we are all stewards of the earth. Lake: I grew up on a small lake and am forever inspired by nature. Projects: I consider myself a maker. The years I spent in the field of architecture was a continuation of exploring materials and ideas in a 3D form from childhood. I play with paper architectural ideas in my approach to book, box and shadow box making. When I use knitting and sewing in my bookmaking projects, it gives me a feeling of inclusion and invitation of the hand arts that passed through family ancestors. Story: A #2 pencil provides its own versatility as vehicle in writing and drawing stories on paper. My stories are usually nature based. From memoir to non- fiction stories for kids, I know that growing up on a lake has provided material for stories. The pages for Summer Lake were discarded materials from a Minnesota Center for Book Arts artist. I spent one week on a Minnesota lake last summer and set out to paint one lake or lake edge impression a day. I had packed limited book board, thread, and discarded jeans and shirts from family members. The cover for this book is using a Boro Japanese technique of repairing cotton clothing. The structure for this book came from an idea of putting my watercolors in to a gallery/ book form and an accordion seemed the most natural support structure for the drawings. The words in the book are drawing titles and also a litany poem of the week on the lake last summer. I am working on some future ideas of lake impressions during fall, winter and spring. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371253567-XSGKWGXN8NBHNBD8WQUE/mcba-prize-2020-Cynthia-Gipple-Summer-Lake-4.jpg Entries & Jurors - 2020 Entries - Cynthia Gipple Saint Paul, Minnesota cynthiagipple.com Summer Lake 2019 discarded paper and fabric, sewing, watercolors 28.5 x 15 x 5.5″ Artist Statement If I had to narrow down my work to four words, they would be; stewards, lake, projects and story. Stewards: I am inspired by materials others leave behind such as paper, fabric, feathers and pot shards. Reusing materials is a reminder that we are all stewards of the earth. Lake: I grew up on a small lake and am forever inspired by nature. Projects: I consider myself a maker. The years I spent in the field of architecture was a continuation of exploring materials and ideas in a 3D form from childhood. I play with paper architectural ideas in my approach to book, box and shadow box making. When I use knitting and sewing in my bookmaking projects, it gives me a feeling of inclusion and invitation of the hand arts that passed through family ancestors. Story: A #2 pencil provides its own versatility as vehicle in writing and drawing stories on paper. My stories are usually nature based. From memoir to non- fiction stories for kids, I know that growing up on a lake has provided material for stories. The pages for Summer Lake were discarded materials from a Minnesota Center for Book Arts artist. I spent one week on a Minnesota lake last summer and set out to paint one lake or lake edge impression a day. I had packed limited book board, thread, and discarded jeans and shirts from family members. The cover for this book is using a Boro Japanese technique of repairing cotton clothing. The structure for this book came from an idea of putting my watercolors in to a gallery/ book form and an accordion seemed the most natural support structure for the drawings. The words in the book are drawing titles and also a litany poem of the week on the lake last summer. I am working on some future ideas of lake impressions during fall, winter and spring. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371254478-ER2CC46LCPAR2KUWA03J/mcba-prize-2020-Cynthia-Gipple-Summer-Lake-3.jpg Entries & Jurors - 2020 Entries - Cynthia Gipple Saint Paul, Minnesota cynthiagipple.com Summer Lake 2019 discarded paper and fabric, sewing, watercolors 28.5 x 15 x 5.5″ Artist Statement If I had to narrow down my work to four words, they would be; stewards, lake, projects and story. Stewards: I am inspired by materials others leave behind such as paper, fabric, feathers and pot shards. Reusing materials is a reminder that we are all stewards of the earth. Lake: I grew up on a small lake and am forever inspired by nature. Projects: I consider myself a maker. The years I spent in the field of architecture was a continuation of exploring materials and ideas in a 3D form from childhood. I play with paper architectural ideas in my approach to book, box and shadow box making. When I use knitting and sewing in my bookmaking projects, it gives me a feeling of inclusion and invitation of the hand arts that passed through family ancestors. Story: A #2 pencil provides its own versatility as vehicle in writing and drawing stories on paper. My stories are usually nature based. From memoir to non- fiction stories for kids, I know that growing up on a lake has provided material for stories. The pages for Summer Lake were discarded materials from a Minnesota Center for Book Arts artist. I spent one week on a Minnesota lake last summer and set out to paint one lake or lake edge impression a day. I had packed limited book board, thread, and discarded jeans and shirts from family members. The cover for this book is using a Boro Japanese technique of repairing cotton clothing. The structure for this book came from an idea of putting my watercolors in to a gallery/ book form and an accordion seemed the most natural support structure for the drawings. The words in the book are drawing titles and also a litany poem of the week on the lake last summer. I am working on some future ideas of lake impressions during fall, winter and spring. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371254661-K38XD8096Z5XCRXU37HQ/mcba-prize-2020-Cynthia-Gipple-Summer-Lake-2.jpg Entries & Jurors - 2020 Entries - Cynthia Gipple Saint Paul, Minnesota cynthiagipple.com Summer Lake 2019 discarded paper and fabric, sewing, watercolors 28.5 x 15 x 5.5″ Artist Statement If I had to narrow down my work to four words, they would be; stewards, lake, projects and story. Stewards: I am inspired by materials others leave behind such as paper, fabric, feathers and pot shards. Reusing materials is a reminder that we are all stewards of the earth. Lake: I grew up on a small lake and am forever inspired by nature. Projects: I consider myself a maker. The years I spent in the field of architecture was a continuation of exploring materials and ideas in a 3D form from childhood. I play with paper architectural ideas in my approach to book, box and shadow box making. When I use knitting and sewing in my bookmaking projects, it gives me a feeling of inclusion and invitation of the hand arts that passed through family ancestors. Story: A #2 pencil provides its own versatility as vehicle in writing and drawing stories on paper. My stories are usually nature based. From memoir to non- fiction stories for kids, I know that growing up on a lake has provided material for stories. The pages for Summer Lake were discarded materials from a Minnesota Center for Book Arts artist. I spent one week on a Minnesota lake last summer and set out to paint one lake or lake edge impression a day. I had packed limited book board, thread, and discarded jeans and shirts from family members. The cover for this book is using a Boro Japanese technique of repairing cotton clothing. The structure for this book came from an idea of putting my watercolors in to a gallery/ book form and an accordion seemed the most natural support structure for the drawings. The words in the book are drawing titles and also a litany poem of the week on the lake last summer. I am working on some future ideas of lake impressions during fall, winter and spring. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371255456-1KPIJCV0T2SWIJAIM1UQ/mcba-prize-2020-Cynthia-Gipple-Summer-Lake-1.jpg Entries & Jurors - 2020 Entries - Cynthia Gipple Saint Paul, Minnesota cynthiagipple.com Summer Lake 2019 discarded paper and fabric, sewing, watercolors 28.5 x 15 x 5.5″ Artist Statement If I had to narrow down my work to four words, they would be; stewards, lake, projects and story. Stewards: I am inspired by materials others leave behind such as paper, fabric, feathers and pot shards. Reusing materials is a reminder that we are all stewards of the earth. Lake: I grew up on a small lake and am forever inspired by nature. Projects: I consider myself a maker. The years I spent in the field of architecture was a continuation of exploring materials and ideas in a 3D form from childhood. I play with paper architectural ideas in my approach to book, box and shadow box making. When I use knitting and sewing in my bookmaking projects, it gives me a feeling of inclusion and invitation of the hand arts that passed through family ancestors. Story: A #2 pencil provides its own versatility as vehicle in writing and drawing stories on paper. My stories are usually nature based. From memoir to non- fiction stories for kids, I know that growing up on a lake has provided material for stories. The pages for Summer Lake were discarded materials from a Minnesota Center for Book Arts artist. I spent one week on a Minnesota lake last summer and set out to paint one lake or lake edge impression a day. I had packed limited book board, thread, and discarded jeans and shirts from family members. The cover for this book is using a Boro Japanese technique of repairing cotton clothing. The structure for this book came from an idea of putting my watercolors in to a gallery/ book form and an accordion seemed the most natural support structure for the drawings. The words in the book are drawing titles and also a litany poem of the week on the lake last summer. I am working on some future ideas of lake impressions during fall, winter and spring. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371621650-CUU0P4HMX1NNJ6W1LZH8/mcba-prize-2020-AB-Gorham-Lilt-5.jpg Entries & Jurors - 2020 Entries - AB Gorham Sparks, Nevada abgorham.com Lilt 2019 artist’s book 10.25″ x 10.25″ x .25″ Artist Statement Lilt, a book-object-portrait, gambols in the space between book & portrait, text as imagery, the body as a 2D unfolding event—a person distilled into colorfields & bits of a life recollected. Using extracted text from Edward Tufte’s books on data visualization, combined with original fragmentary writing, Lilt acts as grief processed into a paper ritual which memorializes my grandmother, Lil Gorham, who passed away in 2016. The vision of the figure as text, much like concrete poetry, uses poetic fragments to inhabit the figure’s shape, while embodying a more complex memory as represented in the shape of the cheek, or jawline. In this way, Lilt exists simultaneously, ghostly, as a poem and a portrait. Treating memories as points of data allows for a contained approach to an individual’s biography, as we are comprised of so many moments and acts, to say nothing of the infinite intentions alive within us. Connecting and sometimes overlapping at the folds, Lilt is comprised of two folded folios tipped together. Each folio has three folded columns and two folded rows, dividing the piece, which has a letterpress printed photo on it, into a macrocosmic visual approximation of the figure, like so: sandy blonde hair (at head of piece), blue eyes, a frosted pink lip, and ash (at tail of piece). The columns of text that border the outsides of each folio are designed to approximate an obituary column in a newspaper, and include a mixture of Tufte’s writing plus original text (the difference is denoted by color). Lilt is an embodied reading experience, and inspired a performance component (performed at CBAA 2020) that channels the cadence of a eulogy which includes a call and response with a pre-recorded reading of the Tufte text and an animation of the imagery within the piece. Lilt offers both an artifact of and the ritual for saying goodbye. Letterpress printed on a Vandercook 219AB from photopolymer plates on Awagami Shin Inbe & housed in a clamshell box. The object can be unfolded and viewed on a table top, or hung on wall. This artist book was funded by a College Book Art Association Project Grant. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371621428-44A5BAZT0LDD1YND7HSG/mcba-prize-2020-AB-Gorham-Lilt-4.jpg Entries & Jurors - 2020 Entries - AB Gorham Sparks, Nevada abgorham.com Lilt 2019 artist’s book 10.25″ x 10.25″ x .25″ Artist Statement Lilt, a book-object-portrait, gambols in the space between book & portrait, text as imagery, the body as a 2D unfolding event—a person distilled into colorfields & bits of a life recollected. Using extracted text from Edward Tufte’s books on data visualization, combined with original fragmentary writing, Lilt acts as grief processed into a paper ritual which memorializes my grandmother, Lil Gorham, who passed away in 2016. The vision of the figure as text, much like concrete poetry, uses poetic fragments to inhabit the figure’s shape, while embodying a more complex memory as represented in the shape of the cheek, or jawline. In this way, Lilt exists simultaneously, ghostly, as a poem and a portrait. Treating memories as points of data allows for a contained approach to an individual’s biography, as we are comprised of so many moments and acts, to say nothing of the infinite intentions alive within us. Connecting and sometimes overlapping at the folds, Lilt is comprised of two folded folios tipped together. Each folio has three folded columns and two folded rows, dividing the piece, which has a letterpress printed photo on it, into a macrocosmic visual approximation of the figure, like so: sandy blonde hair (at head of piece), blue eyes, a frosted pink lip, and ash (at tail of piece). The columns of text that border the outsides of each folio are designed to approximate an obituary column in a newspaper, and include a mixture of Tufte’s writing plus original text (the difference is denoted by color). Lilt is an embodied reading experience, and inspired a performance component (performed at CBAA 2020) that channels the cadence of a eulogy which includes a call and response with a pre-recorded reading of the Tufte text and an animation of the imagery within the piece. Lilt offers both an artifact of and the ritual for saying goodbye. Letterpress printed on a Vandercook 219AB from photopolymer plates on Awagami Shin Inbe & housed in a clamshell box. The object can be unfolded and viewed on a table top, or hung on wall. This artist book was funded by a College Book Art Association Project Grant. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371623755-89YNR9690V41N6HS19XG/mcba-prize-2020-AB-Gorham-Lilt-3.jpg Entries & Jurors - 2020 Entries - AB Gorham Sparks, Nevada abgorham.com Lilt 2019 artist’s book 10.25″ x 10.25″ x .25″ Artist Statement Lilt, a book-object-portrait, gambols in the space between book & portrait, text as imagery, the body as a 2D unfolding event—a person distilled into colorfields & bits of a life recollected. Using extracted text from Edward Tufte’s books on data visualization, combined with original fragmentary writing, Lilt acts as grief processed into a paper ritual which memorializes my grandmother, Lil Gorham, who passed away in 2016. The vision of the figure as text, much like concrete poetry, uses poetic fragments to inhabit the figure’s shape, while embodying a more complex memory as represented in the shape of the cheek, or jawline. In this way, Lilt exists simultaneously, ghostly, as a poem and a portrait. Treating memories as points of data allows for a contained approach to an individual’s biography, as we are comprised of so many moments and acts, to say nothing of the infinite intentions alive within us. Connecting and sometimes overlapping at the folds, Lilt is comprised of two folded folios tipped together. Each folio has three folded columns and two folded rows, dividing the piece, which has a letterpress printed photo on it, into a macrocosmic visual approximation of the figure, like so: sandy blonde hair (at head of piece), blue eyes, a frosted pink lip, and ash (at tail of piece). The columns of text that border the outsides of each folio are designed to approximate an obituary column in a newspaper, and include a mixture of Tufte’s writing plus original text (the difference is denoted by color). Lilt is an embodied reading experience, and inspired a performance component (performed at CBAA 2020) that channels the cadence of a eulogy which includes a call and response with a pre-recorded reading of the Tufte text and an animation of the imagery within the piece. Lilt offers both an artifact of and the ritual for saying goodbye. Letterpress printed on a Vandercook 219AB from photopolymer plates on Awagami Shin Inbe & housed in a clamshell box. The object can be unfolded and viewed on a table top, or hung on wall. This artist book was funded by a College Book Art Association Project Grant. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371623884-EIQIYRMAG25SR11PPB2K/mcba-prize-2020-AB-Gorham-Lilt-2.jpg Entries & Jurors - 2020 Entries - AB Gorham Sparks, Nevada abgorham.com Lilt 2019 artist’s book 10.25″ x 10.25″ x .25″ Artist Statement Lilt, a book-object-portrait, gambols in the space between book & portrait, text as imagery, the body as a 2D unfolding event—a person distilled into colorfields & bits of a life recollected. Using extracted text from Edward Tufte’s books on data visualization, combined with original fragmentary writing, Lilt acts as grief processed into a paper ritual which memorializes my grandmother, Lil Gorham, who passed away in 2016. The vision of the figure as text, much like concrete poetry, uses poetic fragments to inhabit the figure’s shape, while embodying a more complex memory as represented in the shape of the cheek, or jawline. In this way, Lilt exists simultaneously, ghostly, as a poem and a portrait. Treating memories as points of data allows for a contained approach to an individual’s biography, as we are comprised of so many moments and acts, to say nothing of the infinite intentions alive within us. Connecting and sometimes overlapping at the folds, Lilt is comprised of two folded folios tipped together. Each folio has three folded columns and two folded rows, dividing the piece, which has a letterpress printed photo on it, into a macrocosmic visual approximation of the figure, like so: sandy blonde hair (at head of piece), blue eyes, a frosted pink lip, and ash (at tail of piece). The columns of text that border the outsides of each folio are designed to approximate an obituary column in a newspaper, and include a mixture of Tufte’s writing plus original text (the difference is denoted by color). Lilt is an embodied reading experience, and inspired a performance component (performed at CBAA 2020) that channels the cadence of a eulogy which includes a call and response with a pre-recorded reading of the Tufte text and an animation of the imagery within the piece. Lilt offers both an artifact of and the ritual for saying goodbye. Letterpress printed on a Vandercook 219AB from photopolymer plates on Awagami Shin Inbe & housed in a clamshell box. The object can be unfolded and viewed on a table top, or hung on wall. This artist book was funded by a College Book Art Association Project Grant. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371625533-G1TI5R8767BXPPU1TTDM/mcba-prize-2020-AB-Gorham-Lilt-1.jpg Entries & Jurors - 2020 Entries - AB Gorham Sparks, Nevada abgorham.com Lilt 2019 artist’s book 10.25″ x 10.25″ x .25″ Artist Statement Lilt, a book-object-portrait, gambols in the space between book & portrait, text as imagery, the body as a 2D unfolding event—a person distilled into colorfields & bits of a life recollected. Using extracted text from Edward Tufte’s books on data visualization, combined with original fragmentary writing, Lilt acts as grief processed into a paper ritual which memorializes my grandmother, Lil Gorham, who passed away in 2016. The vision of the figure as text, much like concrete poetry, uses poetic fragments to inhabit the figure’s shape, while embodying a more complex memory as represented in the shape of the cheek, or jawline. In this way, Lilt exists simultaneously, ghostly, as a poem and a portrait. Treating memories as points of data allows for a contained approach to an individual’s biography, as we are comprised of so many moments and acts, to say nothing of the infinite intentions alive within us. Connecting and sometimes overlapping at the folds, Lilt is comprised of two folded folios tipped together. Each folio has three folded columns and two folded rows, dividing the piece, which has a letterpress printed photo on it, into a macrocosmic visual approximation of the figure, like so: sandy blonde hair (at head of piece), blue eyes, a frosted pink lip, and ash (at tail of piece). The columns of text that border the outsides of each folio are designed to approximate an obituary column in a newspaper, and include a mixture of Tufte’s writing plus original text (the difference is denoted by color). Lilt is an embodied reading experience, and inspired a performance component (performed at CBAA 2020) that channels the cadence of a eulogy which includes a call and response with a pre-recorded reading of the Tufte text and an animation of the imagery within the piece. Lilt offers both an artifact of and the ritual for saying goodbye. Letterpress printed on a Vandercook 219AB from photopolymer plates on Awagami Shin Inbe & housed in a clamshell box. The object can be unfolded and viewed on a table top, or hung on wall. This artist book was funded by a College Book Art Association Project Grant. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371772880-EE8S0NV74PFAH3KLFPMM/mcba-prize-2020-iris-grimm-a-comprehensive-overview-of-rivers-4.jpg Entries & Jurors - 2020 Entries - iris grimm Boston, Massachusetts irisgrimm.art a comparative overview of rivers 2018 hand bound partitioned case, accordion books, linocut prints 10.38 x 7.75 x 1.25″ Artist Statement A comparative overview of rivers is based on an antique German map comparing the lengths of rivers throughout the world. I was interested in the way that the map stripped the rivers down to their basic shapes in order to compare them and the almost biological quality the renderings take on in this context. I chose six of the rivers and made linocut prints of their maps to further distill the rivers down to their shape. Cutting the image into the lino block mimics the way that the rivers are carved into the earth. each print is a different length in relation to the river that it depicts. The prints are bound as concertina books. I chose the concertina style binding to reference the folds of road maps and how they wear over time. All six maps are housed in a partitioned drop spine box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371772117-D3JASXBKMMEBN8HBEY12/mcba-prize-2020-iris-grimm-a-comprehensive-overview-of-rivers-3.jpg Entries & Jurors - 2020 Entries - iris grimm Boston, Massachusetts irisgrimm.art a comparative overview of rivers 2018 hand bound partitioned case, accordion books, linocut prints 10.38 x 7.75 x 1.25″ Artist Statement A comparative overview of rivers is based on an antique German map comparing the lengths of rivers throughout the world. I was interested in the way that the map stripped the rivers down to their basic shapes in order to compare them and the almost biological quality the renderings take on in this context. I chose six of the rivers and made linocut prints of their maps to further distill the rivers down to their shape. Cutting the image into the lino block mimics the way that the rivers are carved into the earth. each print is a different length in relation to the river that it depicts. The prints are bound as concertina books. I chose the concertina style binding to reference the folds of road maps and how they wear over time. All six maps are housed in a partitioned drop spine box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371773777-A3IR1EX9JUAJKZ4OAYJB/mcba-prize-2020-iris-grimm-a-comprehensive-overview-of-rivers-2.jpg Entries & Jurors - 2020 Entries - iris grimm Boston, Massachusetts irisgrimm.art a comparative overview of rivers 2018 hand bound partitioned case, accordion books, linocut prints 10.38 x 7.75 x 1.25″ Artist Statement A comparative overview of rivers is based on an antique German map comparing the lengths of rivers throughout the world. I was interested in the way that the map stripped the rivers down to their basic shapes in order to compare them and the almost biological quality the renderings take on in this context. I chose six of the rivers and made linocut prints of their maps to further distill the rivers down to their shape. Cutting the image into the lino block mimics the way that the rivers are carved into the earth. each print is a different length in relation to the river that it depicts. The prints are bound as concertina books. I chose the concertina style binding to reference the folds of road maps and how they wear over time. All six maps are housed in a partitioned drop spine box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371774724-FWCOGQJMPGT19UCS6NYL/mcba-prize-2020-iris-grimm-a-comprehensive-overview-of-rivers-1.jpg Entries & Jurors - 2020 Entries - iris grimm Boston, Massachusetts irisgrimm.art a comparative overview of rivers 2018 hand bound partitioned case, accordion books, linocut prints 10.38 x 7.75 x 1.25″ Artist Statement A comparative overview of rivers is based on an antique German map comparing the lengths of rivers throughout the world. I was interested in the way that the map stripped the rivers down to their basic shapes in order to compare them and the almost biological quality the renderings take on in this context. I chose six of the rivers and made linocut prints of their maps to further distill the rivers down to their shape. Cutting the image into the lino block mimics the way that the rivers are carved into the earth. each print is a different length in relation to the river that it depicts. The prints are bound as concertina books. I chose the concertina style binding to reference the folds of road maps and how they wear over time. All six maps are housed in a partitioned drop spine box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371946144-EAK9F0EWPVQTX982C1IL/mcba-prize-2020-Frank-Hamrick-it-was-there-all-along-5.jpg Entries & Jurors - 2020 Entries - Frank Hamrick Ruston, Louisiana frankhamrick.com It was there all along 2019 Handmade artist’s book .5 x 9 x 9″ Artist Statement Water is universal, connecting people to one another and to nature. John Steinbeck’s To A God Unknown describes the cycle of rain in California declaring ten years of average rain, ten years of plentiful rain and ten years of drought. In the bad years, no one remembers the good years, and in the good years, no one remembers the bad years. On a hill in Tennessee, water pours from a cave after a storm, and through a system of creeks and rivers, finds its way to the Gulf of Mexico. A mural in Louisiana states, “In a flood every raindrop feels responsible.” As the grandson of a well driller, I learned early in life water does not originate from a faucet, nor simply disappear after going down the drain. It was there all along is a limited edition artist’s book addressing water related issues, such as recreation, farming, transportation, drought, flooding, and coastal erosion. These wet plate collodion tintypes were created throughout Louisiana, Georgia, Alabama, North Carolina, Texas and Tennessee near the Cumberland, Ouachita, North Toe, and Mississippi Rivers, as well as the Little Choudrant, McNutt, Sand and Whites Creeks, and the Gulf of Mexico. If a photograph is considered in the same manner as a single song, then an artist’s book is similar to an entire album of music complete with cover art and liner notes. Artist’s books allow for the combination of images with text and the incorporation of materials, like handmade paper, and processes, such as letterpress relief printing, paper staining, and layering various colors of pulp to create limited edition works of art that can convey a more complete, realized idea than a single image is capable of doing. To further this idea, exhibiting a body of work is analogous to a concert. The pieces I make have particular meaning to me, but I realize others will see them in their own way. My artwork is not necessarily created to illustrate or provide answers. If anything, I would like for my art to generate more questions. I do not see them as endpoints, but rather starting places where I give the viewer ideas to ponder and leave room for their imagination to create the rest of the story. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371945310-1ZXA2WCK9825ZB5GV3YR/mcba-prize-2020-Frank-Hamrick-it-was-there-all-along-4.jpg Entries & Jurors - 2020 Entries - Frank Hamrick Ruston, Louisiana frankhamrick.com It was there all along 2019 Handmade artist’s book .5 x 9 x 9″ Artist Statement Water is universal, connecting people to one another and to nature. John Steinbeck’s To A God Unknown describes the cycle of rain in California declaring ten years of average rain, ten years of plentiful rain and ten years of drought. In the bad years, no one remembers the good years, and in the good years, no one remembers the bad years. On a hill in Tennessee, water pours from a cave after a storm, and through a system of creeks and rivers, finds its way to the Gulf of Mexico. A mural in Louisiana states, “In a flood every raindrop feels responsible.” As the grandson of a well driller, I learned early in life water does not originate from a faucet, nor simply disappear after going down the drain. It was there all along is a limited edition artist’s book addressing water related issues, such as recreation, farming, transportation, drought, flooding, and coastal erosion. These wet plate collodion tintypes were created throughout Louisiana, Georgia, Alabama, North Carolina, Texas and Tennessee near the Cumberland, Ouachita, North Toe, and Mississippi Rivers, as well as the Little Choudrant, McNutt, Sand and Whites Creeks, and the Gulf of Mexico. If a photograph is considered in the same manner as a single song, then an artist’s book is similar to an entire album of music complete with cover art and liner notes. Artist’s books allow for the combination of images with text and the incorporation of materials, like handmade paper, and processes, such as letterpress relief printing, paper staining, and layering various colors of pulp to create limited edition works of art that can convey a more complete, realized idea than a single image is capable of doing. To further this idea, exhibiting a body of work is analogous to a concert. The pieces I make have particular meaning to me, but I realize others will see them in their own way. My artwork is not necessarily created to illustrate or provide answers. If anything, I would like for my art to generate more questions. I do not see them as endpoints, but rather starting places where I give the viewer ideas to ponder and leave room for their imagination to create the rest of the story. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371946882-X5S5L80LSZF8SBO0L803/mcba-prize-2020-Frank-Hamrick-it-was-there-all-along-3.jpg Entries & Jurors - 2020 Entries - Frank Hamrick Ruston, Louisiana frankhamrick.com It was there all along 2019 Handmade artist’s book .5 x 9 x 9″ Artist Statement Water is universal, connecting people to one another and to nature. John Steinbeck’s To A God Unknown describes the cycle of rain in California declaring ten years of average rain, ten years of plentiful rain and ten years of drought. In the bad years, no one remembers the good years, and in the good years, no one remembers the bad years. On a hill in Tennessee, water pours from a cave after a storm, and through a system of creeks and rivers, finds its way to the Gulf of Mexico. A mural in Louisiana states, “In a flood every raindrop feels responsible.” As the grandson of a well driller, I learned early in life water does not originate from a faucet, nor simply disappear after going down the drain. It was there all along is a limited edition artist’s book addressing water related issues, such as recreation, farming, transportation, drought, flooding, and coastal erosion. These wet plate collodion tintypes were created throughout Louisiana, Georgia, Alabama, North Carolina, Texas and Tennessee near the Cumberland, Ouachita, North Toe, and Mississippi Rivers, as well as the Little Choudrant, McNutt, Sand and Whites Creeks, and the Gulf of Mexico. If a photograph is considered in the same manner as a single song, then an artist’s book is similar to an entire album of music complete with cover art and liner notes. Artist’s books allow for the combination of images with text and the incorporation of materials, like handmade paper, and processes, such as letterpress relief printing, paper staining, and layering various colors of pulp to create limited edition works of art that can convey a more complete, realized idea than a single image is capable of doing. To further this idea, exhibiting a body of work is analogous to a concert. The pieces I make have particular meaning to me, but I realize others will see them in their own way. My artwork is not necessarily created to illustrate or provide answers. If anything, I would like for my art to generate more questions. I do not see them as endpoints, but rather starting places where I give the viewer ideas to ponder and leave room for their imagination to create the rest of the story. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371947565-2NGDMA9183CZG7X791R0/mcba-prize-2020-Frank-Hamrick-it-was-there-all-along-2.jpg Entries & Jurors - 2020 Entries - Frank Hamrick Ruston, Louisiana frankhamrick.com It was there all along 2019 Handmade artist’s book .5 x 9 x 9″ Artist Statement Water is universal, connecting people to one another and to nature. John Steinbeck’s To A God Unknown describes the cycle of rain in California declaring ten years of average rain, ten years of plentiful rain and ten years of drought. In the bad years, no one remembers the good years, and in the good years, no one remembers the bad years. On a hill in Tennessee, water pours from a cave after a storm, and through a system of creeks and rivers, finds its way to the Gulf of Mexico. A mural in Louisiana states, “In a flood every raindrop feels responsible.” As the grandson of a well driller, I learned early in life water does not originate from a faucet, nor simply disappear after going down the drain. It was there all along is a limited edition artist’s book addressing water related issues, such as recreation, farming, transportation, drought, flooding, and coastal erosion. These wet plate collodion tintypes were created throughout Louisiana, Georgia, Alabama, North Carolina, Texas and Tennessee near the Cumberland, Ouachita, North Toe, and Mississippi Rivers, as well as the Little Choudrant, McNutt, Sand and Whites Creeks, and the Gulf of Mexico. If a photograph is considered in the same manner as a single song, then an artist’s book is similar to an entire album of music complete with cover art and liner notes. Artist’s books allow for the combination of images with text and the incorporation of materials, like handmade paper, and processes, such as letterpress relief printing, paper staining, and layering various colors of pulp to create limited edition works of art that can convey a more complete, realized idea than a single image is capable of doing. To further this idea, exhibiting a body of work is analogous to a concert. The pieces I make have particular meaning to me, but I realize others will see them in their own way. My artwork is not necessarily created to illustrate or provide answers. If anything, I would like for my art to generate more questions. I do not see them as endpoints, but rather starting places where I give the viewer ideas to ponder and leave room for their imagination to create the rest of the story. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774371948300-BBRF0I7NUYZ9JN624A69/mcba-prize-2020-Frank-Hamrick-it-was-there-all-along-1.jpg Entries & Jurors - 2020 Entries - Frank Hamrick Ruston, Louisiana frankhamrick.com It was there all along 2019 Handmade artist’s book .5 x 9 x 9″ Artist Statement Water is universal, connecting people to one another and to nature. John Steinbeck’s To A God Unknown describes the cycle of rain in California declaring ten years of average rain, ten years of plentiful rain and ten years of drought. In the bad years, no one remembers the good years, and in the good years, no one remembers the bad years. On a hill in Tennessee, water pours from a cave after a storm, and through a system of creeks and rivers, finds its way to the Gulf of Mexico. A mural in Louisiana states, “In a flood every raindrop feels responsible.” As the grandson of a well driller, I learned early in life water does not originate from a faucet, nor simply disappear after going down the drain. It was there all along is a limited edition artist’s book addressing water related issues, such as recreation, farming, transportation, drought, flooding, and coastal erosion. These wet plate collodion tintypes were created throughout Louisiana, Georgia, Alabama, North Carolina, Texas and Tennessee near the Cumberland, Ouachita, North Toe, and Mississippi Rivers, as well as the Little Choudrant, McNutt, Sand and Whites Creeks, and the Gulf of Mexico. If a photograph is considered in the same manner as a single song, then an artist’s book is similar to an entire album of music complete with cover art and liner notes. Artist’s books allow for the combination of images with text and the incorporation of materials, like handmade paper, and processes, such as letterpress relief printing, paper staining, and layering various colors of pulp to create limited edition works of art that can convey a more complete, realized idea than a single image is capable of doing. To further this idea, exhibiting a body of work is analogous to a concert. The pieces I make have particular meaning to me, but I realize others will see them in their own way. My artwork is not necessarily created to illustrate or provide answers. If anything, I would like for my art to generate more questions. I do not see them as endpoints, but rather starting places where I give the viewer ideas to ponder and leave room for their imagination to create the rest of the story. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774372113178-N9US3EDX40TPQPV6LCCJ/mcba-prize-2020-Katerina-Hazell-This-is-a-book-5.jpg Entries & Jurors - 2020 Entries - Katerina Hazell Iowa City, Iowa katerinahazell.com This Is a Book 2019 relief and pressure-printed book; historical long stitch binding 8.5 x 6 x 1.5″ Artist Statement This Is a Book is an asemic text that blurs the line between text and image. Geometric shapes and textures can be read and a narrative slowly unfolds. The letterpress-printed shapes come from an analysis of the typography of Della Scienza Mecanica by Galileo Galilei (Ravenna, 1649). The shapes of the text are simplified, and throughout the book they are increasingly disrupted, repeated and varied until they no longer resemble the original text. The book begins with rigidity and restraint, and readers are invited to witness them slowly relax and become more playful and self-aware. This one-of-a-kind artist’s book is a technical exploration combining relief and pressure printing. The relief blocks are cut from a sheet of PVC plastic, resulting in a unique texture that blends with the characteristic fuzziness of pressure prints. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774372113200-JRQEGYJWEJ7D5G8M4K0Q/mcba-prize-2020-Katerina-Hazell-This-is-a-book-4.jpg Entries & Jurors - 2020 Entries - Katerina Hazell Iowa City, Iowa katerinahazell.com This Is a Book 2019 relief and pressure-printed book; historical long stitch binding 8.5 x 6 x 1.5″ Artist Statement This Is a Book is an asemic text that blurs the line between text and image. Geometric shapes and textures can be read and a narrative slowly unfolds. The letterpress-printed shapes come from an analysis of the typography of Della Scienza Mecanica by Galileo Galilei (Ravenna, 1649). The shapes of the text are simplified, and throughout the book they are increasingly disrupted, repeated and varied until they no longer resemble the original text. The book begins with rigidity and restraint, and readers are invited to witness them slowly relax and become more playful and self-aware. This one-of-a-kind artist’s book is a technical exploration combining relief and pressure printing. The relief blocks are cut from a sheet of PVC plastic, resulting in a unique texture that blends with the characteristic fuzziness of pressure prints. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774372114486-8D3IQO54VLA6ZGPQJIR4/mcba-prize-2020-Katerina-Hazell-This-is-a-book-3.jpg Entries & Jurors - 2020 Entries - Katerina Hazell Iowa City, Iowa katerinahazell.com This Is a Book 2019 relief and pressure-printed book; historical long stitch binding 8.5 x 6 x 1.5″ Artist Statement This Is a Book is an asemic text that blurs the line between text and image. Geometric shapes and textures can be read and a narrative slowly unfolds. The letterpress-printed shapes come from an analysis of the typography of Della Scienza Mecanica by Galileo Galilei (Ravenna, 1649). The shapes of the text are simplified, and throughout the book they are increasingly disrupted, repeated and varied until they no longer resemble the original text. The book begins with rigidity and restraint, and readers are invited to witness them slowly relax and become more playful and self-aware. This one-of-a-kind artist’s book is a technical exploration combining relief and pressure printing. The relief blocks are cut from a sheet of PVC plastic, resulting in a unique texture that blends with the characteristic fuzziness of pressure prints. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774372114795-SW6NFUQKZBE4ONBRQ9FR/mcba-prize-2020-Katerina-Hazell-This-is-a-book-2.jpg Entries & Jurors - 2020 Entries - Katerina Hazell Iowa City, Iowa katerinahazell.com This Is a Book 2019 relief and pressure-printed book; historical long stitch binding 8.5 x 6 x 1.5″ Artist Statement This Is a Book is an asemic text that blurs the line between text and image. Geometric shapes and textures can be read and a narrative slowly unfolds. The letterpress-printed shapes come from an analysis of the typography of Della Scienza Mecanica by Galileo Galilei (Ravenna, 1649). The shapes of the text are simplified, and throughout the book they are increasingly disrupted, repeated and varied until they no longer resemble the original text. The book begins with rigidity and restraint, and readers are invited to witness them slowly relax and become more playful and self-aware. This one-of-a-kind artist’s book is a technical exploration combining relief and pressure printing. The relief blocks are cut from a sheet of PVC plastic, resulting in a unique texture that blends with the characteristic fuzziness of pressure prints. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774372115775-Z4XSH20FHZ48YCFVUAYW/mcba-prize-2020-Katerina-Hazell-This-is-a-book-1.jpg Entries & Jurors - 2020 Entries - Katerina Hazell Iowa City, Iowa katerinahazell.com This Is a Book 2019 relief and pressure-printed book; historical long stitch binding 8.5 x 6 x 1.5″ Artist Statement This Is a Book is an asemic text that blurs the line between text and image. Geometric shapes and textures can be read and a narrative slowly unfolds. The letterpress-printed shapes come from an analysis of the typography of Della Scienza Mecanica by Galileo Galilei (Ravenna, 1649). The shapes of the text are simplified, and throughout the book they are increasingly disrupted, repeated and varied until they no longer resemble the original text. The book begins with rigidity and restraint, and readers are invited to witness them slowly relax and become more playful and self-aware. This one-of-a-kind artist’s book is a technical exploration combining relief and pressure printing. The relief blocks are cut from a sheet of PVC plastic, resulting in a unique texture that blends with the characteristic fuzziness of pressure prints. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774372273580-KS2TDVBG57L56ZR1LIUC/mcba-prize-2020-Carla-Heathcote-The-Confused-Heart-of-Passion-1.jpg Entries & Jurors - 2020 Entries - Carla Heathcote Dubuque, Iowa The Confused Heart of Passion2018 miscellaneous papers, book board, ribbon, buttons, digital prints 5.5 x 3.25 x .5″ [note: height is 4″ when transformed into lotus] Artist Statement PDF https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774372770173-X0M1XNBM8T2XGN3TJ40B/mcba-prize-2020-Melanie-Hewitt-Be-Healed-5.jpg Entries & Jurors - 2020 Entries - Melanie Hewitt Spokane Valley, Washington melismaking.com Be Healed 2020 coptic bound wood book with pill bottle 7 3/4″ x 3″ x 4″ Artist Statement The definition of “heal” is to be made whole. To have the broken parts repaired; the missing parts filled. As a practicing Christian I was taught that what I lack, what is broken within, physically and spiritually, can be filled or repaired by faith. And then the break or hole is no more. “Thy faith hath made thee whole.” How much faith does one need to have in order to be healed? If you are never healed does that mean you just never had enough faith? Facing a mental illness one questions what exactly that means. In this piece I explore what it feels like to be a person of faith with a mental illness with those questions. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774372770127-RMFP8NN7MG1T17WEAD9E/mcba-prize-2020-Melanie-Hewitt-Be-Healed-4.jpg Entries & Jurors - 2020 Entries - Melanie Hewitt Spokane Valley, Washington melismaking.com Be Healed 2020 coptic bound wood book with pill bottle 7 3/4″ x 3″ x 4″ Artist Statement The definition of “heal” is to be made whole. To have the broken parts repaired; the missing parts filled. As a practicing Christian I was taught that what I lack, what is broken within, physically and spiritually, can be filled or repaired by faith. And then the break or hole is no more. “Thy faith hath made thee whole.” How much faith does one need to have in order to be healed? If you are never healed does that mean you just never had enough faith? Facing a mental illness one questions what exactly that means. In this piece I explore what it feels like to be a person of faith with a mental illness with those questions. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774372772038-398H8PHUY6FBN179ENHY/mcba-prize-2020-Melanie-Hewitt-Be-Healed-3.jpg Entries & Jurors - 2020 Entries - Melanie Hewitt Spokane Valley, Washington melismaking.com Be Healed 2020 coptic bound wood book with pill bottle 7 3/4″ x 3″ x 4″ Artist Statement The definition of “heal” is to be made whole. To have the broken parts repaired; the missing parts filled. As a practicing Christian I was taught that what I lack, what is broken within, physically and spiritually, can be filled or repaired by faith. And then the break or hole is no more. “Thy faith hath made thee whole.” How much faith does one need to have in order to be healed? If you are never healed does that mean you just never had enough faith? Facing a mental illness one questions what exactly that means. In this piece I explore what it feels like to be a person of faith with a mental illness with those questions. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774372772445-72RXZ8379VD0EEJUFRM1/mcba-prize-2020-Melanie-Hewitt-Be-Healed-2.jpg Entries & Jurors - 2020 Entries - Melanie Hewitt Spokane Valley, Washington melismaking.com Be Healed 2020 coptic bound wood book with pill bottle 7 3/4″ x 3″ x 4″ Artist Statement The definition of “heal” is to be made whole. To have the broken parts repaired; the missing parts filled. As a practicing Christian I was taught that what I lack, what is broken within, physically and spiritually, can be filled or repaired by faith. And then the break or hole is no more. “Thy faith hath made thee whole.” How much faith does one need to have in order to be healed? If you are never healed does that mean you just never had enough faith? Facing a mental illness one questions what exactly that means. In this piece I explore what it feels like to be a person of faith with a mental illness with those questions. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774372773504-49HKZ18QJVEI9P6C970D/mcba-prize-2020-Melanie-Hewitt-Be-Healed-1.jpg Entries & Jurors - 2020 Entries - Melanie Hewitt Spokane Valley, Washington melismaking.com Be Healed 2020 coptic bound wood book with pill bottle 7 3/4″ x 3″ x 4″ Artist Statement The definition of “heal” is to be made whole. To have the broken parts repaired; the missing parts filled. As a practicing Christian I was taught that what I lack, what is broken within, physically and spiritually, can be filled or repaired by faith. And then the break or hole is no more. “Thy faith hath made thee whole.” How much faith does one need to have in order to be healed? If you are never healed does that mean you just never had enough faith? Facing a mental illness one questions what exactly that means. In this piece I explore what it feels like to be a person of faith with a mental illness with those questions. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774372904587-M0V98C82G36MLD0IT8JM/mcba-prize-2020-Melanie-Hewitt-Honey-5.jpg Entries & Jurors - 2020 Entries - Melanie Hewitt Spokane Valley, Washington melismaking.com Honey 2020 Alcohol ink on ceramic with letterpress on mixed media paper 9 1/4″ x 8″ x 4 1/4″ Artist Statement I am greatly influenced by how a person will interact with a book I make. My structures determine how a person will be forced to touch or even view the book. With this piece I wanted to push that as far as I could. Books are generally meant to be held in hand with the reading viewing the pages straight on. The structure of this book bends both of those rules. The concept of the piece is influenced by honey bees and their purpose in making the sticky substance. It is all they need to live off of. I created this book as the Covid 19 closures had just gone into effect and discovered that some of what I need to live I wouldn’t be able to get because of it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774372904633-OIRRMWS7US98NYDA72L8/mcba-prize-2020-Melanie-Hewitt-Honey-4.jpg Entries & Jurors - 2020 Entries - Melanie Hewitt Spokane Valley, Washington melismaking.com Honey 2020 Alcohol ink on ceramic with letterpress on mixed media paper 9 1/4″ x 8″ x 4 1/4″ Artist Statement I am greatly influenced by how a person will interact with a book I make. My structures determine how a person will be forced to touch or even view the book. With this piece I wanted to push that as far as I could. Books are generally meant to be held in hand with the reading viewing the pages straight on. The structure of this book bends both of those rules. The concept of the piece is influenced by honey bees and their purpose in making the sticky substance. It is all they need to live off of. I created this book as the Covid 19 closures had just gone into effect and discovered that some of what I need to live I wouldn’t be able to get because of it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774372906539-2ZIEL5O4HQC7PLMJN6IC/mcba-prize-2020-Melanie-Hewitt-Honey-3.jpg Entries & Jurors - 2020 Entries - Melanie Hewitt Spokane Valley, Washington melismaking.com Honey 2020 Alcohol ink on ceramic with letterpress on mixed media paper 9 1/4″ x 8″ x 4 1/4″ Artist Statement I am greatly influenced by how a person will interact with a book I make. My structures determine how a person will be forced to touch or even view the book. With this piece I wanted to push that as far as I could. Books are generally meant to be held in hand with the reading viewing the pages straight on. The structure of this book bends both of those rules. The concept of the piece is influenced by honey bees and their purpose in making the sticky substance. It is all they need to live off of. I created this book as the Covid 19 closures had just gone into effect and discovered that some of what I need to live I wouldn’t be able to get because of it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774372906768-JA5BRMWZLKCJ2B5UCYE6/mcba-prize-2020-Melanie-Hewitt-Honey-2.jpg Entries & Jurors - 2020 Entries - Melanie Hewitt Spokane Valley, Washington melismaking.com Honey 2020 Alcohol ink on ceramic with letterpress on mixed media paper 9 1/4″ x 8″ x 4 1/4″ Artist Statement I am greatly influenced by how a person will interact with a book I make. My structures determine how a person will be forced to touch or even view the book. With this piece I wanted to push that as far as I could. Books are generally meant to be held in hand with the reading viewing the pages straight on. The structure of this book bends both of those rules. The concept of the piece is influenced by honey bees and their purpose in making the sticky substance. It is all they need to live off of. I created this book as the Covid 19 closures had just gone into effect and discovered that some of what I need to live I wouldn’t be able to get because of it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774372970941-33U5MVQ0P93Y397VDEAJ/mcba-prize-2020-Melanie-Hewitt-Honey-1.jpg Entries & Jurors - 2020 Entries - Melanie Hewitt Spokane Valley, Washington melismaking.com Honey 2020 Alcohol ink on ceramic with letterpress on mixed media paper 9 1/4″ x 8″ x 4 1/4″ Artist Statement I am greatly influenced by how a person will interact with a book I make. My structures determine how a person will be forced to touch or even view the book. With this piece I wanted to push that as far as I could. Books are generally meant to be held in hand with the reading viewing the pages straight on. The structure of this book bends both of those rules. The concept of the piece is influenced by honey bees and their purpose in making the sticky substance. It is all they need to live off of. I created this book as the Covid 19 closures had just gone into effect and discovered that some of what I need to live I wouldn’t be able to get because of it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774373446075-713MUG2AKPTY8LP0P00D/mcba-prize-2020-Elijah-Howe-Moody-Creek-5.jpg Entries & Jurors - 2020 Entries - Elijah Howe Santa Cruz, California elijahhowe.com Moody Creek 2018 handmade accordion book Closed: 12″ x 17″; Open: 16.6′ x 17″ Artist Statement Moody Creek is an exploration of the Los Angeles River and its branches in Southern California. The book focuses on four locations along the river moving from Long Beach to the intersection between the man-made body of water and the San Gabriel River which spills into the Pacific Ocean. Each concrete structure is photographed in a fragmented way which points to individual elements of the scene and the artificial nature of the river itself. These pictures are reconstructed in an almost cubist rendition of the locations and unified through the form of the accordion book. Each concrete landscape can be studied individually as the reader flips through the book or the entire journey downriver can be recreated in the mind of the viewer by fully unfolding the book into one long panoramic mass of concrete and water. The book is divided into five sections of the river which are accompanied by their names; starting with Moody Creek. Two copies of this hardcover book were assembled and bound by hand over the course of a week. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774373446069-B4G09CPXE7IMZIDAG5UJ/mcba-prize-2020-Elijah-Howe-Moody-Creek-4.jpg Entries & Jurors - 2020 Entries - Elijah Howe Santa Cruz, California elijahhowe.com Moody Creek 2018 handmade accordion book Closed: 12″ x 17″; Open: 16.6′ x 17″ Artist Statement Moody Creek is an exploration of the Los Angeles River and its branches in Southern California. The book focuses on four locations along the river moving from Long Beach to the intersection between the man-made body of water and the San Gabriel River which spills into the Pacific Ocean. Each concrete structure is photographed in a fragmented way which points to individual elements of the scene and the artificial nature of the river itself. These pictures are reconstructed in an almost cubist rendition of the locations and unified through the form of the accordion book. Each concrete landscape can be studied individually as the reader flips through the book or the entire journey downriver can be recreated in the mind of the viewer by fully unfolding the book into one long panoramic mass of concrete and water. The book is divided into five sections of the river which are accompanied by their names; starting with Moody Creek. Two copies of this hardcover book were assembled and bound by hand over the course of a week. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774373449009-PFLDGA95XULJI94KS7FJ/mcba-prize-2020-Elijah-Howe-Moody-Creek-2.jpg Entries & Jurors - 2020 Entries - Elijah Howe Santa Cruz, California elijahhowe.com Moody Creek 2018 handmade accordion book Closed: 12″ x 17″; Open: 16.6′ x 17″ Artist Statement Moody Creek is an exploration of the Los Angeles River and its branches in Southern California. The book focuses on four locations along the river moving from Long Beach to the intersection between the man-made body of water and the San Gabriel River which spills into the Pacific Ocean. Each concrete structure is photographed in a fragmented way which points to individual elements of the scene and the artificial nature of the river itself. These pictures are reconstructed in an almost cubist rendition of the locations and unified through the form of the accordion book. Each concrete landscape can be studied individually as the reader flips through the book or the entire journey downriver can be recreated in the mind of the viewer by fully unfolding the book into one long panoramic mass of concrete and water. The book is divided into five sections of the river which are accompanied by their names; starting with Moody Creek. Two copies of this hardcover book were assembled and bound by hand over the course of a week. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774373448868-2WGZ6VM0Q23CPT4AS0Y8/mcba-prize-2020-Elijah-Howe-Moody-Creek-3.jpg Entries & Jurors - 2020 Entries - Elijah Howe Santa Cruz, California elijahhowe.com Moody Creek 2018 handmade accordion book Closed: 12″ x 17″; Open: 16.6′ x 17″ Artist Statement Moody Creek is an exploration of the Los Angeles River and its branches in Southern California. The book focuses on four locations along the river moving from Long Beach to the intersection between the man-made body of water and the San Gabriel River which spills into the Pacific Ocean. Each concrete structure is photographed in a fragmented way which points to individual elements of the scene and the artificial nature of the river itself. These pictures are reconstructed in an almost cubist rendition of the locations and unified through the form of the accordion book. Each concrete landscape can be studied individually as the reader flips through the book or the entire journey downriver can be recreated in the mind of the viewer by fully unfolding the book into one long panoramic mass of concrete and water. The book is divided into five sections of the river which are accompanied by their names; starting with Moody Creek. Two copies of this hardcover book were assembled and bound by hand over the course of a week. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774373451011-Z90AIXP9YMXIQKRZ8183/mcba-prize-2020-Elijah-Howe-Moody-Creek-1.jpg Entries & Jurors - 2020 Entries - Elijah Howe Santa Cruz, California elijahhowe.com Moody Creek 2018 handmade accordion book Closed: 12″ x 17″; Open: 16.6′ x 17″ Artist Statement Moody Creek is an exploration of the Los Angeles River and its branches in Southern California. The book focuses on four locations along the river moving from Long Beach to the intersection between the man-made body of water and the San Gabriel River which spills into the Pacific Ocean. Each concrete structure is photographed in a fragmented way which points to individual elements of the scene and the artificial nature of the river itself. These pictures are reconstructed in an almost cubist rendition of the locations and unified through the form of the accordion book. Each concrete landscape can be studied individually as the reader flips through the book or the entire journey downriver can be recreated in the mind of the viewer by fully unfolding the book into one long panoramic mass of concrete and water. The book is divided into five sections of the river which are accompanied by their names; starting with Moody Creek. Two copies of this hardcover book were assembled and bound by hand over the course of a week. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774373293092-0LWVB4TDPVM42SSJA8N9/mcba-prize-2020-Sarah-Horowitz-Vogel-Totentanz-5.jpg Entries & Jurors - 2020 Entries - Sarah Horowitz Leavenworth, Washington sarahhorowitzartist.com Vogel Totentanz (Bird Dance of Death) 2019 Artist book with etchings and letterpress 6.875″ x 5.5″ x .5″ Artist Statement Vogel Totentanz is a bird dance of death alphabet book inspired by Hans Holbein’s Dance of Death woodcuts and alphabet. After the Black Plague ravaged Europe in the late 14th century, death as inevitable regardless of status or age became a pervasive motif in art and literature. My present-day Totentanz is a reflection of that idea in context of our environmental crisis. Birds are indicator species for overall environmental health and human well-being. I drew the etchings from specimens at the Cashmere Museum, the Wenatchee Valley College collection, and the Burke Museum in Washington State along with other found remains. Diotima types were used throughout. The text was letterpress printed on Zerkall Book paper by Arthur Larson of Horton Tank Graphics. Claudia Cohen boxed and bound the book. The edition numbers forty, including five deluxe copies. The regular edition is bound in a bird-footprint-etching printed blue paper and housed in a slipcase. The deluxe is bound in full leather, enclosed in a box and includes an additional suite of the etchings. Note: This book was created just over a year ago with the impending climate crisis on my mind. As I submit this book for the prize, we are in the midst of the Coronavirus pandemic and are dealing acutely with the fragility of our existence. I think that the immense human population on earth, our overuse of resources and inability to coexist well with other species, and the future intensifying weather events are all linked, along with this pandemic, in how we live on earth. I didn’t expect my book to be as prescient or timely. I made it because of my love of Holbein’s work and his connection with my mother’s hometown Basel (Switzerland) with its history of plague, earthquake, and fire. The enduring imagery of the dance of death is found throughout the city to this day. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774373292851-GU6S8NR93C2C8BY89GAB/mcba-prize-2020-Sarah-Horowitz-Vogel-Totentanz-4.jpg Entries & Jurors - 2020 Entries - Sarah Horowitz Leavenworth, Washington sarahhorowitzartist.com Vogel Totentanz (Bird Dance of Death) 2019 Artist book with etchings and letterpress 6.875″ x 5.5″ x .5″ Artist Statement Vogel Totentanz is a bird dance of death alphabet book inspired by Hans Holbein’s Dance of Death woodcuts and alphabet. After the Black Plague ravaged Europe in the late 14th century, death as inevitable regardless of status or age became a pervasive motif in art and literature. My present-day Totentanz is a reflection of that idea in context of our environmental crisis. Birds are indicator species for overall environmental health and human well-being. I drew the etchings from specimens at the Cashmere Museum, the Wenatchee Valley College collection, and the Burke Museum in Washington State along with other found remains. Diotima types were used throughout. The text was letterpress printed on Zerkall Book paper by Arthur Larson of Horton Tank Graphics. Claudia Cohen boxed and bound the book. The edition numbers forty, including five deluxe copies. The regular edition is bound in a bird-footprint-etching printed blue paper and housed in a slipcase. The deluxe is bound in full leather, enclosed in a box and includes an additional suite of the etchings. Note: This book was created just over a year ago with the impending climate crisis on my mind. As I submit this book for the prize, we are in the midst of the Coronavirus pandemic and are dealing acutely with the fragility of our existence. I think that the immense human population on earth, our overuse of resources and inability to coexist well with other species, and the future intensifying weather events are all linked, along with this pandemic, in how we live on earth. I didn’t expect my book to be as prescient or timely. I made it because of my love of Holbein’s work and his connection with my mother’s hometown Basel (Switzerland) with its history of plague, earthquake, and fire. The enduring imagery of the dance of death is found throughout the city to this day. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774373295242-SNF09BTSPTUDUUTONU7R/mcba-prize-2020-Sarah-Horowitz-Vogel-Totentanz-2.jpg Entries & Jurors - 2020 Entries - Sarah Horowitz Leavenworth, Washington sarahhorowitzartist.com Vogel Totentanz (Bird Dance of Death) 2019 Artist book with etchings and letterpress 6.875″ x 5.5″ x .5″ Artist Statement Vogel Totentanz is a bird dance of death alphabet book inspired by Hans Holbein’s Dance of Death woodcuts and alphabet. After the Black Plague ravaged Europe in the late 14th century, death as inevitable regardless of status or age became a pervasive motif in art and literature. My present-day Totentanz is a reflection of that idea in context of our environmental crisis. Birds are indicator species for overall environmental health and human well-being. I drew the etchings from specimens at the Cashmere Museum, the Wenatchee Valley College collection, and the Burke Museum in Washington State along with other found remains. Diotima types were used throughout. The text was letterpress printed on Zerkall Book paper by Arthur Larson of Horton Tank Graphics. Claudia Cohen boxed and bound the book. The edition numbers forty, including five deluxe copies. The regular edition is bound in a bird-footprint-etching printed blue paper and housed in a slipcase. The deluxe is bound in full leather, enclosed in a box and includes an additional suite of the etchings. Note: This book was created just over a year ago with the impending climate crisis on my mind. As I submit this book for the prize, we are in the midst of the Coronavirus pandemic and are dealing acutely with the fragility of our existence. I think that the immense human population on earth, our overuse of resources and inability to coexist well with other species, and the future intensifying weather events are all linked, along with this pandemic, in how we live on earth. I didn’t expect my book to be as prescient or timely. I made it because of my love of Holbein’s work and his connection with my mother’s hometown Basel (Switzerland) with its history of plague, earthquake, and fire. The enduring imagery of the dance of death is found throughout the city to this day. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774373294639-0SN39B8GOZGXDENZD55I/mcba-prize-2020-Sarah-Horowitz-Vogel-Totentanz-3.jpg Entries & Jurors - 2020 Entries - Sarah Horowitz Leavenworth, Washington sarahhorowitzartist.com Vogel Totentanz (Bird Dance of Death) 2019 Artist book with etchings and letterpress 6.875″ x 5.5″ x .5″ Artist Statement Vogel Totentanz is a bird dance of death alphabet book inspired by Hans Holbein’s Dance of Death woodcuts and alphabet. After the Black Plague ravaged Europe in the late 14th century, death as inevitable regardless of status or age became a pervasive motif in art and literature. My present-day Totentanz is a reflection of that idea in context of our environmental crisis. Birds are indicator species for overall environmental health and human well-being. I drew the etchings from specimens at the Cashmere Museum, the Wenatchee Valley College collection, and the Burke Museum in Washington State along with other found remains. Diotima types were used throughout. The text was letterpress printed on Zerkall Book paper by Arthur Larson of Horton Tank Graphics. Claudia Cohen boxed and bound the book. The edition numbers forty, including five deluxe copies. The regular edition is bound in a bird-footprint-etching printed blue paper and housed in a slipcase. The deluxe is bound in full leather, enclosed in a box and includes an additional suite of the etchings. Note: This book was created just over a year ago with the impending climate crisis on my mind. As I submit this book for the prize, we are in the midst of the Coronavirus pandemic and are dealing acutely with the fragility of our existence. I think that the immense human population on earth, our overuse of resources and inability to coexist well with other species, and the future intensifying weather events are all linked, along with this pandemic, in how we live on earth. I didn’t expect my book to be as prescient or timely. I made it because of my love of Holbein’s work and his connection with my mother’s hometown Basel (Switzerland) with its history of plague, earthquake, and fire. The enduring imagery of the dance of death is found throughout the city to this day. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774373295905-6TLJ1F4KUH1NO4UJMMKQ/mcba-prize-2020-Sarah-Horowitz-Vogel-Totentanz-1.jpg Entries & Jurors - 2020 Entries - Sarah Horowitz Leavenworth, Washington sarahhorowitzartist.com Vogel Totentanz (Bird Dance of Death) 2019 Artist book with etchings and letterpress 6.875″ x 5.5″ x .5″ Artist Statement Vogel Totentanz is a bird dance of death alphabet book inspired by Hans Holbein’s Dance of Death woodcuts and alphabet. After the Black Plague ravaged Europe in the late 14th century, death as inevitable regardless of status or age became a pervasive motif in art and literature. My present-day Totentanz is a reflection of that idea in context of our environmental crisis. Birds are indicator species for overall environmental health and human well-being. I drew the etchings from specimens at the Cashmere Museum, the Wenatchee Valley College collection, and the Burke Museum in Washington State along with other found remains. Diotima types were used throughout. The text was letterpress printed on Zerkall Book paper by Arthur Larson of Horton Tank Graphics. Claudia Cohen boxed and bound the book. The edition numbers forty, including five deluxe copies. The regular edition is bound in a bird-footprint-etching printed blue paper and housed in a slipcase. The deluxe is bound in full leather, enclosed in a box and includes an additional suite of the etchings. Note: This book was created just over a year ago with the impending climate crisis on my mind. As I submit this book for the prize, we are in the midst of the Coronavirus pandemic and are dealing acutely with the fragility of our existence. I think that the immense human population on earth, our overuse of resources and inability to coexist well with other species, and the future intensifying weather events are all linked, along with this pandemic, in how we live on earth. I didn’t expect my book to be as prescient or timely. I made it because of my love of Holbein’s work and his connection with my mother’s hometown Basel (Switzerland) with its history of plague, earthquake, and fire. The enduring imagery of the dance of death is found throughout the city to this day. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774373157197-B7EM6943G9ABQW593PUA/mcba-prize-2020-Tim-Hopkins-Imaginary-Letters-by-Mary-Butts-5.jpg Entries & Jurors - 2020 Entries - Tim Hopkins London, United Kingdom thehalfpintpress.wordpress.com “Imaginary Letters” by Mary Butts 2019 letterpress on various papers 9.75 x 4.75 x 1.25″ Artist Statement Imaginary Letters by Mary Butts; the Half Pint Press Edition Mary Butts’s 1928 novella Imaginary Letters comprises eight letters. This edition of the novella appears at first to be a cloth-covered hardback book but once opened shows eight envelopes tied with a ribbon bound into the casing. Each envelope holds one of the letters. The envelopes are uniform but the contents are very different. The edition of 100 was typeset by hand and printed by hand by Tim Hopkins at the Half Pint Press, on an “Adana eight-five” tabletop letterpress. The idea was to take an existing novella and present it in a way to make the reading experience richer and more atmospheric by making the physical form of the book match and enhance the textual content. Mary Butts (1890-1937) was an English modernist who published several novels and short stories. These “Imaginary Letters” are addressed by the unnamed narrator to the imagined mother of Boris Polterasky, a White Russian exile living a bohemian life in Paris. The narrator loves Boris but it quickly becomes clear that Boris’s interest lies elsewhere. Each letter in this edition looks and feels very different; the physical form of each reflects the developing mood of the novel, initially exuberant, then confused, delicate and fragile, and finally sombre. Lupe Núñez’s decorations, which were commissioned with the brief of producing “modernist marginalia” also subtly track these shifting moods. Some of the letters are on multiple sheets of good paper; others on single sheets that fold in various ways to fit their envelope; one letter has each paragraph numbered and printed separately on many different papers, including postcards and photographs, which are held loose and disordered inside their envelope. One letter is printed on old ledger paper, another on tissue so thin that the reader’s hand is visible through the text. The entire edition was printed on the Adana letterpress (with the exception of the large illustration in letter IV, which was screen printed). The “hardback” case was also hand-made, with endpapers specially screen-printed by Jenn Phillips-Bacher. The text is in the formal Modern Number 1 type – there is no suggestion that these are “real” letters written in longhand, which would risk feeling twee or contrived. Nevertheless, the imperfections that result from printing large amounts of text on a small tabletop press (indentations in the paper, some inconsistencies in the printing) are unmistakably the product of a human hand, which further adds to the atmosphere of reading a real person’s letters. The core of the edition remains the original text – the book is for reading – but the reading experience is very different from the novel as originally published. The reading is slowed – the physical fact of opening and replacing letters means you can’t read it too quickly, and the changing presentation emphasises the time that has elapsed between each letter in the story. It is also deepened through the sense of handling the artefacts that tell the story. The form and presentation of the book work together with the century-old words to form a coherent and fascinating whole. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774373157306-237TPQDXXQQJDSD5O1HP/mcba-prize-2020-Tim-Hopkins-Imaginary-Letters-by-Mary-Butts-4.jpg Entries & Jurors - 2020 Entries - Tim Hopkins London, United Kingdom thehalfpintpress.wordpress.com “Imaginary Letters” by Mary Butts 2019 letterpress on various papers 9.75 x 4.75 x 1.25″ Artist Statement Imaginary Letters by Mary Butts; the Half Pint Press Edition Mary Butts’s 1928 novella Imaginary Letters comprises eight letters. This edition of the novella appears at first to be a cloth-covered hardback book but once opened shows eight envelopes tied with a ribbon bound into the casing. Each envelope holds one of the letters. The envelopes are uniform but the contents are very different. The edition of 100 was typeset by hand and printed by hand by Tim Hopkins at the Half Pint Press, on an “Adana eight-five” tabletop letterpress. The idea was to take an existing novella and present it in a way to make the reading experience richer and more atmospheric by making the physical form of the book match and enhance the textual content. Mary Butts (1890-1937) was an English modernist who published several novels and short stories. These “Imaginary Letters” are addressed by the unnamed narrator to the imagined mother of Boris Polterasky, a White Russian exile living a bohemian life in Paris. The narrator loves Boris but it quickly becomes clear that Boris’s interest lies elsewhere. Each letter in this edition looks and feels very different; the physical form of each reflects the developing mood of the novel, initially exuberant, then confused, delicate and fragile, and finally sombre. Lupe Núñez’s decorations, which were commissioned with the brief of producing “modernist marginalia” also subtly track these shifting moods. Some of the letters are on multiple sheets of good paper; others on single sheets that fold in various ways to fit their envelope; one letter has each paragraph numbered and printed separately on many different papers, including postcards and photographs, which are held loose and disordered inside their envelope. One letter is printed on old ledger paper, another on tissue so thin that the reader’s hand is visible through the text. The entire edition was printed on the Adana letterpress (with the exception of the large illustration in letter IV, which was screen printed). The “hardback” case was also hand-made, with endpapers specially screen-printed by Jenn Phillips-Bacher. The text is in the formal Modern Number 1 type – there is no suggestion that these are “real” letters written in longhand, which would risk feeling twee or contrived. Nevertheless, the imperfections that result from printing large amounts of text on a small tabletop press (indentations in the paper, some inconsistencies in the printing) are unmistakably the product of a human hand, which further adds to the atmosphere of reading a real person’s letters. The core of the edition remains the original text – the book is for reading – but the reading experience is very different from the novel as originally published. The reading is slowed – the physical fact of opening and replacing letters means you can’t read it too quickly, and the changing presentation emphasises the time that has elapsed between each letter in the story. It is also deepened through the sense of handling the artefacts that tell the story. The form and presentation of the book work together with the century-old words to form a coherent and fascinating whole. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774373158845-6FIYRI08NYWON4DUXYRW/mcba-prize-2020-Tim-Hopkins-Imaginary-Letters-by-Mary-Butts-3.jpg Entries & Jurors - 2020 Entries - Tim Hopkins London, United Kingdom thehalfpintpress.wordpress.com “Imaginary Letters” by Mary Butts 2019 letterpress on various papers 9.75 x 4.75 x 1.25″ Artist Statement Imaginary Letters by Mary Butts; the Half Pint Press Edition Mary Butts’s 1928 novella Imaginary Letters comprises eight letters. This edition of the novella appears at first to be a cloth-covered hardback book but once opened shows eight envelopes tied with a ribbon bound into the casing. Each envelope holds one of the letters. The envelopes are uniform but the contents are very different. The edition of 100 was typeset by hand and printed by hand by Tim Hopkins at the Half Pint Press, on an “Adana eight-five” tabletop letterpress. The idea was to take an existing novella and present it in a way to make the reading experience richer and more atmospheric by making the physical form of the book match and enhance the textual content. Mary Butts (1890-1937) was an English modernist who published several novels and short stories. These “Imaginary Letters” are addressed by the unnamed narrator to the imagined mother of Boris Polterasky, a White Russian exile living a bohemian life in Paris. The narrator loves Boris but it quickly becomes clear that Boris’s interest lies elsewhere. Each letter in this edition looks and feels very different; the physical form of each reflects the developing mood of the novel, initially exuberant, then confused, delicate and fragile, and finally sombre. Lupe Núñez’s decorations, which were commissioned with the brief of producing “modernist marginalia” also subtly track these shifting moods. Some of the letters are on multiple sheets of good paper; others on single sheets that fold in various ways to fit their envelope; one letter has each paragraph numbered and printed separately on many different papers, including postcards and photographs, which are held loose and disordered inside their envelope. One letter is printed on old ledger paper, another on tissue so thin that the reader’s hand is visible through the text. The entire edition was printed on the Adana letterpress (with the exception of the large illustration in letter IV, which was screen printed). The “hardback” case was also hand-made, with endpapers specially screen-printed by Jenn Phillips-Bacher. The text is in the formal Modern Number 1 type – there is no suggestion that these are “real” letters written in longhand, which would risk feeling twee or contrived. Nevertheless, the imperfections that result from printing large amounts of text on a small tabletop press (indentations in the paper, some inconsistencies in the printing) are unmistakably the product of a human hand, which further adds to the atmosphere of reading a real person’s letters. The core of the edition remains the original text – the book is for reading – but the reading experience is very different from the novel as originally published. The reading is slowed – the physical fact of opening and replacing letters means you can’t read it too quickly, and the changing presentation emphasises the time that has elapsed between each letter in the story. It is also deepened through the sense of handling the artefacts that tell the story. The form and presentation of the book work together with the century-old words to form a coherent and fascinating whole. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774373160122-APR25TZ1F7XMRLW05T2Q/mcba-prize-2020-Tim-Hopkins-Imaginary-Letters-by-Mary-Butts-2.jpg Entries & Jurors - 2020 Entries - Tim Hopkins London, United Kingdom thehalfpintpress.wordpress.com “Imaginary Letters” by Mary Butts 2019 letterpress on various papers 9.75 x 4.75 x 1.25″ Artist Statement Imaginary Letters by Mary Butts; the Half Pint Press Edition Mary Butts’s 1928 novella Imaginary Letters comprises eight letters. This edition of the novella appears at first to be a cloth-covered hardback book but once opened shows eight envelopes tied with a ribbon bound into the casing. Each envelope holds one of the letters. The envelopes are uniform but the contents are very different. The edition of 100 was typeset by hand and printed by hand by Tim Hopkins at the Half Pint Press, on an “Adana eight-five” tabletop letterpress. The idea was to take an existing novella and present it in a way to make the reading experience richer and more atmospheric by making the physical form of the book match and enhance the textual content. Mary Butts (1890-1937) was an English modernist who published several novels and short stories. These “Imaginary Letters” are addressed by the unnamed narrator to the imagined mother of Boris Polterasky, a White Russian exile living a bohemian life in Paris. The narrator loves Boris but it quickly becomes clear that Boris’s interest lies elsewhere. Each letter in this edition looks and feels very different; the physical form of each reflects the developing mood of the novel, initially exuberant, then confused, delicate and fragile, and finally sombre. Lupe Núñez’s decorations, which were commissioned with the brief of producing “modernist marginalia” also subtly track these shifting moods. Some of the letters are on multiple sheets of good paper; others on single sheets that fold in various ways to fit their envelope; one letter has each paragraph numbered and printed separately on many different papers, including postcards and photographs, which are held loose and disordered inside their envelope. One letter is printed on old ledger paper, another on tissue so thin that the reader’s hand is visible through the text. The entire edition was printed on the Adana letterpress (with the exception of the large illustration in letter IV, which was screen printed). The “hardback” case was also hand-made, with endpapers specially screen-printed by Jenn Phillips-Bacher. The text is in the formal Modern Number 1 type – there is no suggestion that these are “real” letters written in longhand, which would risk feeling twee or contrived. Nevertheless, the imperfections that result from printing large amounts of text on a small tabletop press (indentations in the paper, some inconsistencies in the printing) are unmistakably the product of a human hand, which further adds to the atmosphere of reading a real person’s letters. The core of the edition remains the original text – the book is for reading – but the reading experience is very different from the novel as originally published. The reading is slowed – the physical fact of opening and replacing letters means you can’t read it too quickly, and the changing presentation emphasises the time that has elapsed between each letter in the story. It is also deepened through the sense of handling the artefacts that tell the story. The form and presentation of the book work together with the century-old words to form a coherent and fascinating whole. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774373160704-ZP6FCISIAG0R8J1UKBLN/mcba-prize-2020-Tim-Hopkins-Imaginary-Letters-by-Mary-Butts-1.jpg Entries & Jurors - 2020 Entries - Tim Hopkins London, United Kingdom thehalfpintpress.wordpress.com “Imaginary Letters” by Mary Butts 2019 letterpress on various papers 9.75 x 4.75 x 1.25″ Artist Statement Imaginary Letters by Mary Butts; the Half Pint Press Edition Mary Butts’s 1928 novella Imaginary Letters comprises eight letters. This edition of the novella appears at first to be a cloth-covered hardback book but once opened shows eight envelopes tied with a ribbon bound into the casing. Each envelope holds one of the letters. The envelopes are uniform but the contents are very different. The edition of 100 was typeset by hand and printed by hand by Tim Hopkins at the Half Pint Press, on an “Adana eight-five” tabletop letterpress. The idea was to take an existing novella and present it in a way to make the reading experience richer and more atmospheric by making the physical form of the book match and enhance the textual content. Mary Butts (1890-1937) was an English modernist who published several novels and short stories. These “Imaginary Letters” are addressed by the unnamed narrator to the imagined mother of Boris Polterasky, a White Russian exile living a bohemian life in Paris. The narrator loves Boris but it quickly becomes clear that Boris’s interest lies elsewhere. Each letter in this edition looks and feels very different; the physical form of each reflects the developing mood of the novel, initially exuberant, then confused, delicate and fragile, and finally sombre. Lupe Núñez’s decorations, which were commissioned with the brief of producing “modernist marginalia” also subtly track these shifting moods. Some of the letters are on multiple sheets of good paper; others on single sheets that fold in various ways to fit their envelope; one letter has each paragraph numbered and printed separately on many different papers, including postcards and photographs, which are held loose and disordered inside their envelope. One letter is printed on old ledger paper, another on tissue so thin that the reader’s hand is visible through the text. The entire edition was printed on the Adana letterpress (with the exception of the large illustration in letter IV, which was screen printed). The “hardback” case was also hand-made, with endpapers specially screen-printed by Jenn Phillips-Bacher. The text is in the formal Modern Number 1 type – there is no suggestion that these are “real” letters written in longhand, which would risk feeling twee or contrived. Nevertheless, the imperfections that result from printing large amounts of text on a small tabletop press (indentations in the paper, some inconsistencies in the printing) are unmistakably the product of a human hand, which further adds to the atmosphere of reading a real person’s letters. The core of the edition remains the original text – the book is for reading – but the reading experience is very different from the novel as originally published. The reading is slowed – the physical fact of opening and replacing letters means you can’t read it too quickly, and the changing presentation emphasises the time that has elapsed between each letter in the story. It is also deepened through the sense of handling the artefacts that tell the story. The form and presentation of the book work together with the century-old words to form a coherent and fascinating whole. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774374749670-E47BMAAGRZQH15N37IKX/mcba-prize-2020-India-Johnson-Thread-Library-5.jpg Entries & Jurors - 2020 Entries - India Johnson Iowa City, Iowa indiajohnson.hotglue.me/?About Thread Library 2019–2020 archive / performance / mail art variable – each catalog card measures 4 x 6″ Artist Statement When I installed Thread Library at Iowa City Public Library, I did not anticipate how quickly the piece would come to extend beyond its physical display. Although I arranged two donation points in Iowa City–besides the public library, thread could also be donated at a local fabric shop–what proved to be most popular with our “patrons” was donation by mail. I responded to all threads donated via post with a letter, one of which is included in the image set. I include such an image because the correspondence also captures the performative aspect of Thread Library : during artist talks and class visits, I impersonate a special collections curator. In order to seem more like a librarian in an archives setting, I speak in the royal “we,” and appropriate library jargon: at Thread Library , we have thread “holdings,” which are further divided into “collecting areas,” such as regional (Midwestern) thread and local (Iowa) thread: the collecting area in which we specialize. Our “founding collection” is always growing–new threads are referred to as our “recent acquisitions.” Whenever I present the piece publicly, a humorous juxtaposition emerges between this performance of librarianship, and the reality viewers know to be true: in actuality, Thread Library is operated by just one artist. These performances, the card catalog entries, and the written correspondence combine to form a ‘grammar’ for Thread Library . The formality of this ‘grammar of the archive’ contrasts with the sentimental and personal character of the thread collection. Ultimately, Thread Library claims that the nature of collecting is essentially subjective, even at the level of institutional collection. Furthermore, Thread Library suggests that materiality should be considered to be within the purview of “information.” Finally, Thread Library argues that the public library is a habitat where contemporary art can thrive. As the book artist Ulises Carrión claimed, “I believe art as a practice has been superseded by a more complex, more rigorous and richer practice: culture. We’ve reached a privileged historical moment when keeping an archive can be an artwork.” (Quant aux livres, page 195) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774374749358-WSBV4TCI8BDKDI7OLID3/mcba-prize-2020-India-Johnson-Thread-Library-4.jpg Entries & Jurors - 2020 Entries - India Johnson Iowa City, Iowa indiajohnson.hotglue.me/?About Thread Library 2019–2020 archive / performance / mail art variable – each catalog card measures 4 x 6″ Artist Statement When I installed Thread Library at Iowa City Public Library, I did not anticipate how quickly the piece would come to extend beyond its physical display. Although I arranged two donation points in Iowa City–besides the public library, thread could also be donated at a local fabric shop–what proved to be most popular with our “patrons” was donation by mail. I responded to all threads donated via post with a letter, one of which is included in the image set. I include such an image because the correspondence also captures the performative aspect of Thread Library : during artist talks and class visits, I impersonate a special collections curator. In order to seem more like a librarian in an archives setting, I speak in the royal “we,” and appropriate library jargon: at Thread Library , we have thread “holdings,” which are further divided into “collecting areas,” such as regional (Midwestern) thread and local (Iowa) thread: the collecting area in which we specialize. Our “founding collection” is always growing–new threads are referred to as our “recent acquisitions.” Whenever I present the piece publicly, a humorous juxtaposition emerges between this performance of librarianship, and the reality viewers know to be true: in actuality, Thread Library is operated by just one artist. These performances, the card catalog entries, and the written correspondence combine to form a ‘grammar’ for Thread Library . The formality of this ‘grammar of the archive’ contrasts with the sentimental and personal character of the thread collection. Ultimately, Thread Library claims that the nature of collecting is essentially subjective, even at the level of institutional collection. Furthermore, Thread Library suggests that materiality should be considered to be within the purview of “information.” Finally, Thread Library argues that the public library is a habitat where contemporary art can thrive. As the book artist Ulises Carrión claimed, “I believe art as a practice has been superseded by a more complex, more rigorous and richer practice: culture. We’ve reached a privileged historical moment when keeping an archive can be an artwork.” (Quant aux livres, page 195) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774374754342-7J85ISXQ31W52FDS7SEK/mcba-prize-2020-India-Johnson-Thread-Library-3.jpg Entries & Jurors - 2020 Entries - India Johnson Iowa City, Iowa indiajohnson.hotglue.me/?About Thread Library 2019–2020 archive / performance / mail art variable – each catalog card measures 4 x 6″ Artist Statement When I installed Thread Library at Iowa City Public Library, I did not anticipate how quickly the piece would come to extend beyond its physical display. Although I arranged two donation points in Iowa City–besides the public library, thread could also be donated at a local fabric shop–what proved to be most popular with our “patrons” was donation by mail. I responded to all threads donated via post with a letter, one of which is included in the image set. I include such an image because the correspondence also captures the performative aspect of Thread Library : during artist talks and class visits, I impersonate a special collections curator. In order to seem more like a librarian in an archives setting, I speak in the royal “we,” and appropriate library jargon: at Thread Library , we have thread “holdings,” which are further divided into “collecting areas,” such as regional (Midwestern) thread and local (Iowa) thread: the collecting area in which we specialize. Our “founding collection” is always growing–new threads are referred to as our “recent acquisitions.” Whenever I present the piece publicly, a humorous juxtaposition emerges between this performance of librarianship, and the reality viewers know to be true: in actuality, Thread Library is operated by just one artist. These performances, the card catalog entries, and the written correspondence combine to form a ‘grammar’ for Thread Library . The formality of this ‘grammar of the archive’ contrasts with the sentimental and personal character of the thread collection. Ultimately, Thread Library claims that the nature of collecting is essentially subjective, even at the level of institutional collection. Furthermore, Thread Library suggests that materiality should be considered to be within the purview of “information.” Finally, Thread Library argues that the public library is a habitat where contemporary art can thrive. As the book artist Ulises Carrión claimed, “I believe art as a practice has been superseded by a more complex, more rigorous and richer practice: culture. We’ve reached a privileged historical moment when keeping an archive can be an artwork.” (Quant aux livres, page 195) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774374752501-HNPE2B9U8W1PRQX1GH2L/mcba-prize-2020-India-Johnson-Thread-Library-2.jpg Entries & Jurors - 2020 Entries - India Johnson Iowa City, Iowa indiajohnson.hotglue.me/?About Thread Library 2019–2020 archive / performance / mail art variable – each catalog card measures 4 x 6″ Artist Statement When I installed Thread Library at Iowa City Public Library, I did not anticipate how quickly the piece would come to extend beyond its physical display. Although I arranged two donation points in Iowa City–besides the public library, thread could also be donated at a local fabric shop–what proved to be most popular with our “patrons” was donation by mail. I responded to all threads donated via post with a letter, one of which is included in the image set. I include such an image because the correspondence also captures the performative aspect of Thread Library : during artist talks and class visits, I impersonate a special collections curator. In order to seem more like a librarian in an archives setting, I speak in the royal “we,” and appropriate library jargon: at Thread Library , we have thread “holdings,” which are further divided into “collecting areas,” such as regional (Midwestern) thread and local (Iowa) thread: the collecting area in which we specialize. Our “founding collection” is always growing–new threads are referred to as our “recent acquisitions.” Whenever I present the piece publicly, a humorous juxtaposition emerges between this performance of librarianship, and the reality viewers know to be true: in actuality, Thread Library is operated by just one artist. These performances, the card catalog entries, and the written correspondence combine to form a ‘grammar’ for Thread Library . The formality of this ‘grammar of the archive’ contrasts with the sentimental and personal character of the thread collection. Ultimately, Thread Library claims that the nature of collecting is essentially subjective, even at the level of institutional collection. Furthermore, Thread Library suggests that materiality should be considered to be within the purview of “information.” Finally, Thread Library argues that the public library is a habitat where contemporary art can thrive. As the book artist Ulises Carrión claimed, “I believe art as a practice has been superseded by a more complex, more rigorous and richer practice: culture. We’ve reached a privileged historical moment when keeping an archive can be an artwork.” (Quant aux livres, page 195) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774374755670-J8TW5HDH9CLRTWL4OGMA/mcba-prize-2020-India-Johnson-Thread-Library-1.jpg Entries & Jurors - 2020 Entries - India Johnson Iowa City, Iowa indiajohnson.hotglue.me/?About Thread Library 2019–2020 archive / performance / mail art variable – each catalog card measures 4 x 6″ Artist Statement When I installed Thread Library at Iowa City Public Library, I did not anticipate how quickly the piece would come to extend beyond its physical display. Although I arranged two donation points in Iowa City–besides the public library, thread could also be donated at a local fabric shop–what proved to be most popular with our “patrons” was donation by mail. I responded to all threads donated via post with a letter, one of which is included in the image set. I include such an image because the correspondence also captures the performative aspect of Thread Library : during artist talks and class visits, I impersonate a special collections curator. In order to seem more like a librarian in an archives setting, I speak in the royal “we,” and appropriate library jargon: at Thread Library , we have thread “holdings,” which are further divided into “collecting areas,” such as regional (Midwestern) thread and local (Iowa) thread: the collecting area in which we specialize. Our “founding collection” is always growing–new threads are referred to as our “recent acquisitions.” Whenever I present the piece publicly, a humorous juxtaposition emerges between this performance of librarianship, and the reality viewers know to be true: in actuality, Thread Library is operated by just one artist. These performances, the card catalog entries, and the written correspondence combine to form a ‘grammar’ for Thread Library . The formality of this ‘grammar of the archive’ contrasts with the sentimental and personal character of the thread collection. Ultimately, Thread Library claims that the nature of collecting is essentially subjective, even at the level of institutional collection. Furthermore, Thread Library suggests that materiality should be considered to be within the purview of “information.” Finally, Thread Library argues that the public library is a habitat where contemporary art can thrive. As the book artist Ulises Carrión claimed, “I believe art as a practice has been superseded by a more complex, more rigorous and richer practice: culture. We’ve reached a privileged historical moment when keeping an archive can be an artwork.” (Quant aux livres, page 195) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774378518882-KFKYOXNM0QCXXE5QI0QH/mcba-prize-2020-Christopher-Kardambikis-Nebulae-Vague-5.jpg Entries & Jurors - 2020 Entries - Christopher Kardambikis Alexandria, Virginia kardambikis.com Nebulae Vague 2019 risograph, handmade slipcase, found book unfolded and out of slipcase: 31 x 12″ Artist Statement Nebulae Vague is an anxious book. It is also a book about a book. An anxious book that builds off of a book that documents space in order to examine a fractured sense of place and purpose. In 1946, An Album of Celestial Photographs was published. This was a book that was to give perspective and an “edgewise view of our universe.” It was a glimpse into the void that would allow us as humans to consider what and who we were in relation to all of that out there that was so hard to imagine. Multiple views of outer space were gathered from observatories across the country to develop a composite understanding. Developing Nebulae Vague is an act of re-montage. A process of re-fracturing and disruption. A serene set of views from massive telescopes no longer accurately picture our universe. In order to recontextualize the images presented originally in An Album , I had to insert images gathered from an inward facing, intuitive katabasis. In re-approaching space, by opening up new spaces I hope to reveal a nuanced and undecided consideration of place. I attempt to make space for new ideas and considerations through the layering of drawn images collected through a series of reiki sessions and meditative mark makings. An effort to join an expansive interior space with a rapidly expanding exterior. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774378518998-ZKUAAPYJAP5X71A3OA9G/mcba-prize-2020-Christopher-Kardambikis-Nebulae-Vague-4.jpg Entries & Jurors - 2020 Entries - Christopher Kardambikis Alexandria, Virginia kardambikis.com Nebulae Vague 2019 risograph, handmade slipcase, found book unfolded and out of slipcase: 31 x 12″ Artist Statement Nebulae Vague is an anxious book. It is also a book about a book. An anxious book that builds off of a book that documents space in order to examine a fractured sense of place and purpose. In 1946, An Album of Celestial Photographs was published. This was a book that was to give perspective and an “edgewise view of our universe.” It was a glimpse into the void that would allow us as humans to consider what and who we were in relation to all of that out there that was so hard to imagine. Multiple views of outer space were gathered from observatories across the country to develop a composite understanding. Developing Nebulae Vague is an act of re-montage. A process of re-fracturing and disruption. A serene set of views from massive telescopes no longer accurately picture our universe. In order to recontextualize the images presented originally in An Album , I had to insert images gathered from an inward facing, intuitive katabasis. In re-approaching space, by opening up new spaces I hope to reveal a nuanced and undecided consideration of place. I attempt to make space for new ideas and considerations through the layering of drawn images collected through a series of reiki sessions and meditative mark makings. An effort to join an expansive interior space with a rapidly expanding exterior. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774378520973-JAP6DQNM0FXLIFUWD5L7/mcba-prize-2020-Christopher-Kardambikis-Nebulae-Vague-3.jpg Entries & Jurors - 2020 Entries - Christopher Kardambikis Alexandria, Virginia kardambikis.com Nebulae Vague 2019 risograph, handmade slipcase, found book unfolded and out of slipcase: 31 x 12″ Artist Statement Nebulae Vague is an anxious book. It is also a book about a book. An anxious book that builds off of a book that documents space in order to examine a fractured sense of place and purpose. In 1946, An Album of Celestial Photographs was published. This was a book that was to give perspective and an “edgewise view of our universe.” It was a glimpse into the void that would allow us as humans to consider what and who we were in relation to all of that out there that was so hard to imagine. Multiple views of outer space were gathered from observatories across the country to develop a composite understanding. Developing Nebulae Vague is an act of re-montage. A process of re-fracturing and disruption. A serene set of views from massive telescopes no longer accurately picture our universe. In order to recontextualize the images presented originally in An Album , I had to insert images gathered from an inward facing, intuitive katabasis. In re-approaching space, by opening up new spaces I hope to reveal a nuanced and undecided consideration of place. I attempt to make space for new ideas and considerations through the layering of drawn images collected through a series of reiki sessions and meditative mark makings. An effort to join an expansive interior space with a rapidly expanding exterior. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774378522634-8RXKDWOOTR7B1S486JGP/mcba-prize-2020-Christopher-Kardambikis-Nebulae-Vague-2.jpg Entries & Jurors - 2020 Entries - Christopher Kardambikis Alexandria, Virginia kardambikis.com Nebulae Vague 2019 risograph, handmade slipcase, found book unfolded and out of slipcase: 31 x 12″ Artist Statement Nebulae Vague is an anxious book. It is also a book about a book. An anxious book that builds off of a book that documents space in order to examine a fractured sense of place and purpose. In 1946, An Album of Celestial Photographs was published. This was a book that was to give perspective and an “edgewise view of our universe.” It was a glimpse into the void that would allow us as humans to consider what and who we were in relation to all of that out there that was so hard to imagine. Multiple views of outer space were gathered from observatories across the country to develop a composite understanding. Developing Nebulae Vague is an act of re-montage. A process of re-fracturing and disruption. A serene set of views from massive telescopes no longer accurately picture our universe. In order to recontextualize the images presented originally in An Album , I had to insert images gathered from an inward facing, intuitive katabasis. In re-approaching space, by opening up new spaces I hope to reveal a nuanced and undecided consideration of place. I attempt to make space for new ideas and considerations through the layering of drawn images collected through a series of reiki sessions and meditative mark makings. An effort to join an expansive interior space with a rapidly expanding exterior. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774378523696-Z6N94WJA8W7AJ5V2YNGI/mcba-prize-2020-Christopher-Kardambikis-Nebulae-Vague-1.jpg Entries & Jurors - 2020 Entries - Christopher Kardambikis Alexandria, Virginia kardambikis.com Nebulae Vague 2019 risograph, handmade slipcase, found book unfolded and out of slipcase: 31 x 12″ Artist Statement Nebulae Vague is an anxious book. It is also a book about a book. An anxious book that builds off of a book that documents space in order to examine a fractured sense of place and purpose. In 1946, An Album of Celestial Photographs was published. This was a book that was to give perspective and an “edgewise view of our universe.” It was a glimpse into the void that would allow us as humans to consider what and who we were in relation to all of that out there that was so hard to imagine. Multiple views of outer space were gathered from observatories across the country to develop a composite understanding. Developing Nebulae Vague is an act of re-montage. A process of re-fracturing and disruption. A serene set of views from massive telescopes no longer accurately picture our universe. In order to recontextualize the images presented originally in An Album , I had to insert images gathered from an inward facing, intuitive katabasis. In re-approaching space, by opening up new spaces I hope to reveal a nuanced and undecided consideration of place. I attempt to make space for new ideas and considerations through the layering of drawn images collected through a series of reiki sessions and meditative mark makings. An effort to join an expansive interior space with a rapidly expanding exterior. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774379089446-90APZ1DX2FOQ50H1W5CU/mcba-prize-2020-Ravikumar-Kashi-Chest-of-Secrets-5.jpg Entries & Jurors - 2020 Entries - Ravikumar Kashi Bangalore, India ravikashi.com Chest of Secrets 2020 Digital print on cotton and paper, matte lamination. L13” x W12” x H5.5” Artist Statement What we reveal to the outside world is a largely filtered version of ourselves . Our inner world is convoluted, complex, and chaotic. “Chest of secrets” is a book that gives a visual form to these intertwined narratives that fill our mind, to the way it is difficult to find the beginning or the end of a thought. One thought leads, merges into another, and keeps circling back around hope, desire, doubt, fear, regrets, guilt and secrets. While “Chest of Secrets” can be read in bits and pieces, it is mostly intended to be seen as a visual metaphor for the illegible inner world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774379089849-5YFJOI1UOA0UEENPO6VQ/mcba-prize-2020-Ravikumar-Kashi-Chest-of-Secrets-4.jpg Entries & Jurors - 2020 Entries - Ravikumar Kashi Bangalore, India ravikashi.com Chest of Secrets 2020 Digital print on cotton and paper, matte lamination. L13” x W12” x H5.5” Artist Statement What we reveal to the outside world is a largely filtered version of ourselves . Our inner world is convoluted, complex, and chaotic. “Chest of secrets” is a book that gives a visual form to these intertwined narratives that fill our mind, to the way it is difficult to find the beginning or the end of a thought. One thought leads, merges into another, and keeps circling back around hope, desire, doubt, fear, regrets, guilt and secrets. While “Chest of Secrets” can be read in bits and pieces, it is mostly intended to be seen as a visual metaphor for the illegible inner world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774379090964-AT12CMLHHPE0EHSNM2I4/mcba-prize-2020-Ravikumar-Kashi-Chest-of-Secrets-3.jpg Entries & Jurors - 2020 Entries - Ravikumar Kashi Bangalore, India ravikashi.com Chest of Secrets 2020 Digital print on cotton and paper, matte lamination. L13” x W12” x H5.5” Artist Statement What we reveal to the outside world is a largely filtered version of ourselves . Our inner world is convoluted, complex, and chaotic. “Chest of secrets” is a book that gives a visual form to these intertwined narratives that fill our mind, to the way it is difficult to find the beginning or the end of a thought. One thought leads, merges into another, and keeps circling back around hope, desire, doubt, fear, regrets, guilt and secrets. While “Chest of Secrets” can be read in bits and pieces, it is mostly intended to be seen as a visual metaphor for the illegible inner world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774379091832-H5QM40MJ0AUQDRR59M38/mcba-prize-2020-Ravikumar-Kashi-Chest-of-Secrets-2.jpg Entries & Jurors - 2020 Entries - Ravikumar Kashi Bangalore, India ravikashi.com Chest of Secrets 2020 Digital print on cotton and paper, matte lamination. L13” x W12” x H5.5” Artist Statement What we reveal to the outside world is a largely filtered version of ourselves . Our inner world is convoluted, complex, and chaotic. “Chest of secrets” is a book that gives a visual form to these intertwined narratives that fill our mind, to the way it is difficult to find the beginning or the end of a thought. One thought leads, merges into another, and keeps circling back around hope, desire, doubt, fear, regrets, guilt and secrets. While “Chest of Secrets” can be read in bits and pieces, it is mostly intended to be seen as a visual metaphor for the illegible inner world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774379092838-8HJM59646J7F99VTCSU5/mcba-prize-2020-Ravikumar-Kashi-Chest-of-Secrets-1.jpg Entries & Jurors - 2020 Entries - Ravikumar Kashi Bangalore, India ravikashi.com Chest of Secrets 2020 Digital print on cotton and paper, matte lamination. L13” x W12” x H5.5” Artist Statement What we reveal to the outside world is a largely filtered version of ourselves . Our inner world is convoluted, complex, and chaotic. “Chest of secrets” is a book that gives a visual form to these intertwined narratives that fill our mind, to the way it is difficult to find the beginning or the end of a thought. One thought leads, merges into another, and keeps circling back around hope, desire, doubt, fear, regrets, guilt and secrets. While “Chest of Secrets” can be read in bits and pieces, it is mostly intended to be seen as a visual metaphor for the illegible inner world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774379250262-5K27RXXMBK41RZBH9TID/mcba-prize-2020-Ravikumar-Kashi-Unknown-Terrain-5.jpg Entries & Jurors - 2020 Entries - Ravikumar Kashi Bangalore, India ravikashi.com Unknown Terrain 2020 Cover page – digital print on 300 gsm art paper, matte lamination. Inner sheets – Digital print on Gateway paper, handwritten text. H 8.5” x W 11.5” Artist Statement The work Unknown Terrain is about relating to the body and aging, looking at the surprises the body can yield when seen with different eyes. The resultant images are suggestively erotic, melancholic and surreal. It is also about looking at the body as a landscape which registers the dance of life and death in its million folds; a visual record of the ebb and flow of life. The images were shot on a mobile phone with a special effect filter called “Mirror”, which makes the folds of my hands and legs look like anything other than what they are. The book is interspersed with texts to add another dimension. Skin is the border that separates the inner and outer worlds that, nevertheless, influence one another in myriad ways. All the inner pages have been printed on tracing sheets, resulting in a skin-like feeling for the pages and a translucency which blurs the distinction between layers, much as the border between perceived and imagined is itself ill-defined. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774379250265-XBEEYKEUU220MNDSNVUI/mcba-prize-2020-Ravikumar-Kashi-Unknown-Terrain-4.jpg Entries & Jurors - 2020 Entries - Ravikumar Kashi Bangalore, India ravikashi.com Unknown Terrain 2020 Cover page – digital print on 300 gsm art paper, matte lamination. Inner sheets – Digital print on Gateway paper, handwritten text. H 8.5” x W 11.5” Artist Statement The work Unknown Terrain is about relating to the body and aging, looking at the surprises the body can yield when seen with different eyes. The resultant images are suggestively erotic, melancholic and surreal. It is also about looking at the body as a landscape which registers the dance of life and death in its million folds; a visual record of the ebb and flow of life. The images were shot on a mobile phone with a special effect filter called “Mirror”, which makes the folds of my hands and legs look like anything other than what they are. The book is interspersed with texts to add another dimension. Skin is the border that separates the inner and outer worlds that, nevertheless, influence one another in myriad ways. All the inner pages have been printed on tracing sheets, resulting in a skin-like feeling for the pages and a translucency which blurs the distinction between layers, much as the border between perceived and imagined is itself ill-defined. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774379251611-FIPVF3JT9T0OCKYTA9QS/mcba-prize-2020-Ravikumar-Kashi-Unknown-Terrain-3.jpg Entries & Jurors - 2020 Entries - Ravikumar Kashi Bangalore, India ravikashi.com Unknown Terrain 2020 Cover page – digital print on 300 gsm art paper, matte lamination. Inner sheets – Digital print on Gateway paper, handwritten text. H 8.5” x W 11.5” Artist Statement The work Unknown Terrain is about relating to the body and aging, looking at the surprises the body can yield when seen with different eyes. The resultant images are suggestively erotic, melancholic and surreal. It is also about looking at the body as a landscape which registers the dance of life and death in its million folds; a visual record of the ebb and flow of life. The images were shot on a mobile phone with a special effect filter called “Mirror”, which makes the folds of my hands and legs look like anything other than what they are. The book is interspersed with texts to add another dimension. Skin is the border that separates the inner and outer worlds that, nevertheless, influence one another in myriad ways. All the inner pages have been printed on tracing sheets, resulting in a skin-like feeling for the pages and a translucency which blurs the distinction between layers, much as the border between perceived and imagined is itself ill-defined. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774379251805-9YMWQ5G4ECNXNJEEMP47/mcba-prize-2020-Ravikumar-Kashi-Unknown-Terrain-2.jpg Entries & Jurors - 2020 Entries - Ravikumar Kashi Bangalore, India ravikashi.com Unknown Terrain 2020 Cover page – digital print on 300 gsm art paper, matte lamination. Inner sheets – Digital print on Gateway paper, handwritten text. H 8.5” x W 11.5” Artist Statement The work Unknown Terrain is about relating to the body and aging, looking at the surprises the body can yield when seen with different eyes. The resultant images are suggestively erotic, melancholic and surreal. It is also about looking at the body as a landscape which registers the dance of life and death in its million folds; a visual record of the ebb and flow of life. The images were shot on a mobile phone with a special effect filter called “Mirror”, which makes the folds of my hands and legs look like anything other than what they are. The book is interspersed with texts to add another dimension. Skin is the border that separates the inner and outer worlds that, nevertheless, influence one another in myriad ways. All the inner pages have been printed on tracing sheets, resulting in a skin-like feeling for the pages and a translucency which blurs the distinction between layers, much as the border between perceived and imagined is itself ill-defined. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774379252898-0TQ6K3N022HG5W79F1OJ/mcba-prize-2020-Ravikumar-Kashi-Unknown-Terrain-1.jpg Entries & Jurors - 2020 Entries - Ravikumar Kashi Bangalore, India ravikashi.com Unknown Terrain 2020 Cover page – digital print on 300 gsm art paper, matte lamination. Inner sheets – Digital print on Gateway paper, handwritten text. H 8.5” x W 11.5” Artist Statement The work Unknown Terrain is about relating to the body and aging, looking at the surprises the body can yield when seen with different eyes. The resultant images are suggestively erotic, melancholic and surreal. It is also about looking at the body as a landscape which registers the dance of life and death in its million folds; a visual record of the ebb and flow of life. The images were shot on a mobile phone with a special effect filter called “Mirror”, which makes the folds of my hands and legs look like anything other than what they are. The book is interspersed with texts to add another dimension. Skin is the border that separates the inner and outer worlds that, nevertheless, influence one another in myriad ways. All the inner pages have been printed on tracing sheets, resulting in a skin-like feeling for the pages and a translucency which blurs the distinction between layers, much as the border between perceived and imagined is itself ill-defined. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774379571205-S4YF5TRZPY1TXRT8SOMN/mcba-prize-2020-Ann-Kalmbach-Tatana-Kellner-Whereas-We-Declare-5.jpg Entries & Jurors - 2020 Entries - Tatana Kellner &amp; Ann Kalmbach Kingston, New York tatanakellner.com Whereas, We Declare 2018 silkscreen and digiitally printed 13 x 9 x .5″ Artist Statement In these contentious times, as we’re devolving into an era of historical amnesia, when the memory of the horrors of the past ultra-nationalistic regimes have been forgotten, and new tendencies to control societies are clouded by misinformation and fear- mongering, it is important to remember and celebrate the Declaration of Human Rights, when the leaders of the world came together to establish moral principles of basic human rights and protection from persecution. Whereas, We Declare combines the text from the Universal Declaration of Human Rights (UDHR), proposed to the United Nations by Eleanor Roosevelt in 1948, with drawn images and statistical information about immigration. These texts celebrate accepting immigrants to the USA as historically essential to defining the nation, both by enriching the cultural horizons and contributing significantly to science, industry, and the humanities. Themes of imposed boundaries and borders run throughout the book’s imagery; the inside covers are the UDHR preamble annotated by Roosevelt. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774379685384-0HAVRQ2J17KSZEN64Y44/mcba-prize-2020-Ann-Kalmbach-Tatana-Kellner-Whereas-We-Declare-4.jpg Entries & Jurors - 2020 Entries - Tatana Kellner &amp; Ann Kalmbach Kingston, New York tatanakellner.com Whereas, We Declare 2018 silkscreen and digiitally printed 13 x 9 x .5″ Artist Statement In these contentious times, as we’re devolving into an era of historical amnesia, when the memory of the horrors of the past ultra-nationalistic regimes have been forgotten, and new tendencies to control societies are clouded by misinformation and fear- mongering, it is important to remember and celebrate the Declaration of Human Rights, when the leaders of the world came together to establish moral principles of basic human rights and protection from persecution. Whereas, We Declare combines the text from the Universal Declaration of Human Rights (UDHR), proposed to the United Nations by Eleanor Roosevelt in 1948, with drawn images and statistical information about immigration. These texts celebrate accepting immigrants to the USA as historically essential to defining the nation, both by enriching the cultural horizons and contributing significantly to science, industry, and the humanities. Themes of imposed boundaries and borders run throughout the book’s imagery; the inside covers are the UDHR preamble annotated by Roosevelt. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774379572646-2DKAIJVYOZQTRL7CXTOX/mcba-prize-2020-Ann-Kalmbach-Tatana-Kellner-Whereas-We-Declare-3.jpg Entries & Jurors - 2020 Entries - Tatana Kellner &amp; Ann Kalmbach Kingston, New York tatanakellner.com Whereas, We Declare 2018 silkscreen and digiitally printed 13 x 9 x .5″ Artist Statement In these contentious times, as we’re devolving into an era of historical amnesia, when the memory of the horrors of the past ultra-nationalistic regimes have been forgotten, and new tendencies to control societies are clouded by misinformation and fear- mongering, it is important to remember and celebrate the Declaration of Human Rights, when the leaders of the world came together to establish moral principles of basic human rights and protection from persecution. Whereas, We Declare combines the text from the Universal Declaration of Human Rights (UDHR), proposed to the United Nations by Eleanor Roosevelt in 1948, with drawn images and statistical information about immigration. These texts celebrate accepting immigrants to the USA as historically essential to defining the nation, both by enriching the cultural horizons and contributing significantly to science, industry, and the humanities. Themes of imposed boundaries and borders run throughout the book’s imagery; the inside covers are the UDHR preamble annotated by Roosevelt. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774379574304-6X8JJNK5PJ41B5X1LESS/mcba-prize-2020-Ann-Kalmbach-Tatana-Kellner-Whereas-We-Declare-2.jpg Entries & Jurors - 2020 Entries - Tatana Kellner &amp; Ann Kalmbach Kingston, New York tatanakellner.com Whereas, We Declare 2018 silkscreen and digiitally printed 13 x 9 x .5″ Artist Statement In these contentious times, as we’re devolving into an era of historical amnesia, when the memory of the horrors of the past ultra-nationalistic regimes have been forgotten, and new tendencies to control societies are clouded by misinformation and fear- mongering, it is important to remember and celebrate the Declaration of Human Rights, when the leaders of the world came together to establish moral principles of basic human rights and protection from persecution. Whereas, We Declare combines the text from the Universal Declaration of Human Rights (UDHR), proposed to the United Nations by Eleanor Roosevelt in 1948, with drawn images and statistical information about immigration. These texts celebrate accepting immigrants to the USA as historically essential to defining the nation, both by enriching the cultural horizons and contributing significantly to science, industry, and the humanities. Themes of imposed boundaries and borders run throughout the book’s imagery; the inside covers are the UDHR preamble annotated by Roosevelt. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774379575789-5IB8NLY41Z9ROYHB6YNJ/mcba-prize-2020-Ann-Kalmbach-Tatana-Kellner-Whereas-We-Declare-1.jpg Entries & Jurors - 2020 Entries - Tatana Kellner &amp; Ann Kalmbach Kingston, New York tatanakellner.com Whereas, We Declare 2018 silkscreen and digiitally printed 13 x 9 x .5″ Artist Statement In these contentious times, as we’re devolving into an era of historical amnesia, when the memory of the horrors of the past ultra-nationalistic regimes have been forgotten, and new tendencies to control societies are clouded by misinformation and fear- mongering, it is important to remember and celebrate the Declaration of Human Rights, when the leaders of the world came together to establish moral principles of basic human rights and protection from persecution. Whereas, We Declare combines the text from the Universal Declaration of Human Rights (UDHR), proposed to the United Nations by Eleanor Roosevelt in 1948, with drawn images and statistical information about immigration. These texts celebrate accepting immigrants to the USA as historically essential to defining the nation, both by enriching the cultural horizons and contributing significantly to science, industry, and the humanities. Themes of imposed boundaries and borders run throughout the book’s imagery; the inside covers are the UDHR preamble annotated by Roosevelt. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380037929-8PLTT9OGYSQUFBVYC02F/mcba-prize-2020-RJ-Kern-The-Best-of-the-Best-5.jpg Entries & Jurors - 2020 Entries - R. J. Kern Minneapolis, Minnesota rjkern.com The Best of the Best 2020 From its 11 x 14 x 3 inch box, the accordion-fold book unfolds into a sequence of photographs and three-dimensional pop-ups. The book includes twelve bound salt prints gold-toned along with four pop-up salt prints with salt print backgrounds, waxed with white beeswax and lavender oil. The print folio includes one freestanding salt-over-archival pigment print signed by R. J. Kern; each of these prints is a unique animal pair drawn from an edition of 10. The salt prints were printed and gold-toned by the artist on Fabriano Bristol+ (250 gsm) paper, waxed with white beeswax and lavender oil. The pop-up elements were constructed and hand-cut by Kyle Olmon with the application of a pH-neutral archival polyvinyl acetate (PVA) glue. Keith Taylor created the book binding, book cradle, and print folio. Each of the pages was made with book board, bound using archival materials and processes. The Dragon EF font by Elsner + Flake was used in the embossing and text. The red canvas backdrop used in the photographic project was painted by Sarah Oliphant using acrylic on canvas prepared with gesso. A cut segment from this canvas appears in the book cradle of the wooden box. Jeff Berg built the walnut and maple spline presentation box and prepared the UV-protecting acrylic glazing with pull tab. Contents fit inside 11 x 14 x 3″ box. If exhibited in a rectangle form, dimensions are 41.25 x 31″. Accordion pages (15) open to 12.6′. Artist Statement The Best of the Best records champion animals at the 2018 Minnesota State Fair, one of the most competitive animal contests in the world. Animal breeding, like photography, is an arena of technical and material evolution. This series explores the relationship between the present and the past, drawing parallels between early animal contests at agricultural fairs and the first major exhibition of photography at the 1851 World’s Fair in London. This project documents an event in which 12 pairs of animal species are judged supreme champion— the best of the best. Using a digital camera, the winning exemplars of domesticated animals are photographed then combined with 19th-century salt printing techniques and contemporary inkjet technology into images that emphasize changes in breeds over time and advances in photographic technology. It is science and art; it renders both an objective typology of animal husbandry and commentary on animal contests at this time and place. The hand-crafted portraits reference similarities between the history and development of photography and the advent of animal contests. As with life, animal breeding, and photography, the contributions of chance remind us that we are not in control. Two champions do not guarantee champion offspring. The unforeseen result of science and chance can be the embodiment of beauty or success. When several animals meet and exceed the standards that judges rely on to guide their decisions, the winner becomes a subjective choice. The color red is a unifying element and a nod to French photographer Nadar (Gaspard-Félix Tournachon, 1820–1910), who used the color in marketing his work. Historically, the color red has represented life, health, and victory. It also symbolizes a shared characteristic between the animals: the color of blood, whose principal ingredient is salt— an essential element for mammals and birds. Salt prints, a photographic process popular between 1839-1860, connect to photography’s historical roots; printing on them digitally connects to the present. Combining these two printing processes softens photography’s particularized quality. The subtle tones of salt printing express mood and emotion, a contrast to the sharpness of a digital print. Subject, process, emotion, science, and chance combine to make both an immediate document and a comment on photography’s past, present, and future. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380038921-UOV4CP8OLNCYAQOFO6S8/mcba-prize-2020-RJ-Kern-The-Best-of-the-Best-4.jpg Entries & Jurors - 2020 Entries - R. J. Kern Minneapolis, Minnesota rjkern.com The Best of the Best 2020 From its 11 x 14 x 3 inch box, the accordion-fold book unfolds into a sequence of photographs and three-dimensional pop-ups. The book includes twelve bound salt prints gold-toned along with four pop-up salt prints with salt print backgrounds, waxed with white beeswax and lavender oil. The print folio includes one freestanding salt-over-archival pigment print signed by R. J. Kern; each of these prints is a unique animal pair drawn from an edition of 10. The salt prints were printed and gold-toned by the artist on Fabriano Bristol+ (250 gsm) paper, waxed with white beeswax and lavender oil. The pop-up elements were constructed and hand-cut by Kyle Olmon with the application of a pH-neutral archival polyvinyl acetate (PVA) glue. Keith Taylor created the book binding, book cradle, and print folio. Each of the pages was made with book board, bound using archival materials and processes. The Dragon EF font by Elsner + Flake was used in the embossing and text. The red canvas backdrop used in the photographic project was painted by Sarah Oliphant using acrylic on canvas prepared with gesso. A cut segment from this canvas appears in the book cradle of the wooden box. Jeff Berg built the walnut and maple spline presentation box and prepared the UV-protecting acrylic glazing with pull tab. Contents fit inside 11 x 14 x 3″ box. If exhibited in a rectangle form, dimensions are 41.25 x 31″. Accordion pages (15) open to 12.6′. Artist Statement The Best of the Best records champion animals at the 2018 Minnesota State Fair, one of the most competitive animal contests in the world. Animal breeding, like photography, is an arena of technical and material evolution. This series explores the relationship between the present and the past, drawing parallels between early animal contests at agricultural fairs and the first major exhibition of photography at the 1851 World’s Fair in London. This project documents an event in which 12 pairs of animal species are judged supreme champion— the best of the best. Using a digital camera, the winning exemplars of domesticated animals are photographed then combined with 19th-century salt printing techniques and contemporary inkjet technology into images that emphasize changes in breeds over time and advances in photographic technology. It is science and art; it renders both an objective typology of animal husbandry and commentary on animal contests at this time and place. The hand-crafted portraits reference similarities between the history and development of photography and the advent of animal contests. As with life, animal breeding, and photography, the contributions of chance remind us that we are not in control. Two champions do not guarantee champion offspring. The unforeseen result of science and chance can be the embodiment of beauty or success. When several animals meet and exceed the standards that judges rely on to guide their decisions, the winner becomes a subjective choice. The color red is a unifying element and a nod to French photographer Nadar (Gaspard-Félix Tournachon, 1820–1910), who used the color in marketing his work. Historically, the color red has represented life, health, and victory. It also symbolizes a shared characteristic between the animals: the color of blood, whose principal ingredient is salt— an essential element for mammals and birds. Salt prints, a photographic process popular between 1839-1860, connect to photography’s historical roots; printing on them digitally connects to the present. Combining these two printing processes softens photography’s particularized quality. The subtle tones of salt printing express mood and emotion, a contrast to the sharpness of a digital print. Subject, process, emotion, science, and chance combine to make both an immediate document and a comment on photography’s past, present, and future. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380039486-GLIDKOQDFCKUY4OXTN5H/mcba-prize-2020-RJ-Kern-The-Best-of-the-Best-3.jpg Entries & Jurors - 2020 Entries - R. J. Kern Minneapolis, Minnesota rjkern.com The Best of the Best 2020 From its 11 x 14 x 3 inch box, the accordion-fold book unfolds into a sequence of photographs and three-dimensional pop-ups. The book includes twelve bound salt prints gold-toned along with four pop-up salt prints with salt print backgrounds, waxed with white beeswax and lavender oil. The print folio includes one freestanding salt-over-archival pigment print signed by R. J. Kern; each of these prints is a unique animal pair drawn from an edition of 10. The salt prints were printed and gold-toned by the artist on Fabriano Bristol+ (250 gsm) paper, waxed with white beeswax and lavender oil. The pop-up elements were constructed and hand-cut by Kyle Olmon with the application of a pH-neutral archival polyvinyl acetate (PVA) glue. Keith Taylor created the book binding, book cradle, and print folio. Each of the pages was made with book board, bound using archival materials and processes. The Dragon EF font by Elsner + Flake was used in the embossing and text. The red canvas backdrop used in the photographic project was painted by Sarah Oliphant using acrylic on canvas prepared with gesso. A cut segment from this canvas appears in the book cradle of the wooden box. Jeff Berg built the walnut and maple spline presentation box and prepared the UV-protecting acrylic glazing with pull tab. Contents fit inside 11 x 14 x 3″ box. If exhibited in a rectangle form, dimensions are 41.25 x 31″. Accordion pages (15) open to 12.6′. Artist Statement The Best of the Best records champion animals at the 2018 Minnesota State Fair, one of the most competitive animal contests in the world. Animal breeding, like photography, is an arena of technical and material evolution. This series explores the relationship between the present and the past, drawing parallels between early animal contests at agricultural fairs and the first major exhibition of photography at the 1851 World’s Fair in London. This project documents an event in which 12 pairs of animal species are judged supreme champion— the best of the best. Using a digital camera, the winning exemplars of domesticated animals are photographed then combined with 19th-century salt printing techniques and contemporary inkjet technology into images that emphasize changes in breeds over time and advances in photographic technology. It is science and art; it renders both an objective typology of animal husbandry and commentary on animal contests at this time and place. The hand-crafted portraits reference similarities between the history and development of photography and the advent of animal contests. As with life, animal breeding, and photography, the contributions of chance remind us that we are not in control. Two champions do not guarantee champion offspring. The unforeseen result of science and chance can be the embodiment of beauty or success. When several animals meet and exceed the standards that judges rely on to guide their decisions, the winner becomes a subjective choice. The color red is a unifying element and a nod to French photographer Nadar (Gaspard-Félix Tournachon, 1820–1910), who used the color in marketing his work. Historically, the color red has represented life, health, and victory. It also symbolizes a shared characteristic between the animals: the color of blood, whose principal ingredient is salt— an essential element for mammals and birds. Salt prints, a photographic process popular between 1839-1860, connect to photography’s historical roots; printing on them digitally connects to the present. Combining these two printing processes softens photography’s particularized quality. The subtle tones of salt printing express mood and emotion, a contrast to the sharpness of a digital print. Subject, process, emotion, science, and chance combine to make both an immediate document and a comment on photography’s past, present, and future. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380040508-DTJ0YS9EP4L7OW9I9IMB/mcba-prize-2020-RJ-Kern-The-Best-of-the-Best-2.jpg Entries & Jurors - 2020 Entries - R. J. Kern Minneapolis, Minnesota rjkern.com The Best of the Best 2020 From its 11 x 14 x 3 inch box, the accordion-fold book unfolds into a sequence of photographs and three-dimensional pop-ups. The book includes twelve bound salt prints gold-toned along with four pop-up salt prints with salt print backgrounds, waxed with white beeswax and lavender oil. The print folio includes one freestanding salt-over-archival pigment print signed by R. J. Kern; each of these prints is a unique animal pair drawn from an edition of 10. The salt prints were printed and gold-toned by the artist on Fabriano Bristol+ (250 gsm) paper, waxed with white beeswax and lavender oil. The pop-up elements were constructed and hand-cut by Kyle Olmon with the application of a pH-neutral archival polyvinyl acetate (PVA) glue. Keith Taylor created the book binding, book cradle, and print folio. Each of the pages was made with book board, bound using archival materials and processes. The Dragon EF font by Elsner + Flake was used in the embossing and text. The red canvas backdrop used in the photographic project was painted by Sarah Oliphant using acrylic on canvas prepared with gesso. A cut segment from this canvas appears in the book cradle of the wooden box. Jeff Berg built the walnut and maple spline presentation box and prepared the UV-protecting acrylic glazing with pull tab. Contents fit inside 11 x 14 x 3″ box. If exhibited in a rectangle form, dimensions are 41.25 x 31″. Accordion pages (15) open to 12.6′. Artist Statement The Best of the Best records champion animals at the 2018 Minnesota State Fair, one of the most competitive animal contests in the world. Animal breeding, like photography, is an arena of technical and material evolution. This series explores the relationship between the present and the past, drawing parallels between early animal contests at agricultural fairs and the first major exhibition of photography at the 1851 World’s Fair in London. This project documents an event in which 12 pairs of animal species are judged supreme champion— the best of the best. Using a digital camera, the winning exemplars of domesticated animals are photographed then combined with 19th-century salt printing techniques and contemporary inkjet technology into images that emphasize changes in breeds over time and advances in photographic technology. It is science and art; it renders both an objective typology of animal husbandry and commentary on animal contests at this time and place. The hand-crafted portraits reference similarities between the history and development of photography and the advent of animal contests. As with life, animal breeding, and photography, the contributions of chance remind us that we are not in control. Two champions do not guarantee champion offspring. The unforeseen result of science and chance can be the embodiment of beauty or success. When several animals meet and exceed the standards that judges rely on to guide their decisions, the winner becomes a subjective choice. The color red is a unifying element and a nod to French photographer Nadar (Gaspard-Félix Tournachon, 1820–1910), who used the color in marketing his work. Historically, the color red has represented life, health, and victory. It also symbolizes a shared characteristic between the animals: the color of blood, whose principal ingredient is salt— an essential element for mammals and birds. Salt prints, a photographic process popular between 1839-1860, connect to photography’s historical roots; printing on them digitally connects to the present. Combining these two printing processes softens photography’s particularized quality. The subtle tones of salt printing express mood and emotion, a contrast to the sharpness of a digital print. Subject, process, emotion, science, and chance combine to make both an immediate document and a comment on photography’s past, present, and future. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380041317-QRDCOMWC6OIKKHE4X0EL/mcba-prize-2020-RJ-Kern-The-Best-of-the-Best-1.jpg Entries & Jurors - 2020 Entries - R. J. Kern Minneapolis, Minnesota rjkern.com The Best of the Best 2020 From its 11 x 14 x 3 inch box, the accordion-fold book unfolds into a sequence of photographs and three-dimensional pop-ups. The book includes twelve bound salt prints gold-toned along with four pop-up salt prints with salt print backgrounds, waxed with white beeswax and lavender oil. The print folio includes one freestanding salt-over-archival pigment print signed by R. J. Kern; each of these prints is a unique animal pair drawn from an edition of 10. The salt prints were printed and gold-toned by the artist on Fabriano Bristol+ (250 gsm) paper, waxed with white beeswax and lavender oil. The pop-up elements were constructed and hand-cut by Kyle Olmon with the application of a pH-neutral archival polyvinyl acetate (PVA) glue. Keith Taylor created the book binding, book cradle, and print folio. Each of the pages was made with book board, bound using archival materials and processes. The Dragon EF font by Elsner + Flake was used in the embossing and text. The red canvas backdrop used in the photographic project was painted by Sarah Oliphant using acrylic on canvas prepared with gesso. A cut segment from this canvas appears in the book cradle of the wooden box. Jeff Berg built the walnut and maple spline presentation box and prepared the UV-protecting acrylic glazing with pull tab. Contents fit inside 11 x 14 x 3″ box. If exhibited in a rectangle form, dimensions are 41.25 x 31″. Accordion pages (15) open to 12.6′. Artist Statement The Best of the Best records champion animals at the 2018 Minnesota State Fair, one of the most competitive animal contests in the world. Animal breeding, like photography, is an arena of technical and material evolution. This series explores the relationship between the present and the past, drawing parallels between early animal contests at agricultural fairs and the first major exhibition of photography at the 1851 World’s Fair in London. This project documents an event in which 12 pairs of animal species are judged supreme champion— the best of the best. Using a digital camera, the winning exemplars of domesticated animals are photographed then combined with 19th-century salt printing techniques and contemporary inkjet technology into images that emphasize changes in breeds over time and advances in photographic technology. It is science and art; it renders both an objective typology of animal husbandry and commentary on animal contests at this time and place. The hand-crafted portraits reference similarities between the history and development of photography and the advent of animal contests. As with life, animal breeding, and photography, the contributions of chance remind us that we are not in control. Two champions do not guarantee champion offspring. The unforeseen result of science and chance can be the embodiment of beauty or success. When several animals meet and exceed the standards that judges rely on to guide their decisions, the winner becomes a subjective choice. The color red is a unifying element and a nod to French photographer Nadar (Gaspard-Félix Tournachon, 1820–1910), who used the color in marketing his work. Historically, the color red has represented life, health, and victory. It also symbolizes a shared characteristic between the animals: the color of blood, whose principal ingredient is salt— an essential element for mammals and birds. Salt prints, a photographic process popular between 1839-1860, connect to photography’s historical roots; printing on them digitally connects to the present. Combining these two printing processes softens photography’s particularized quality. The subtle tones of salt printing express mood and emotion, a contrast to the sharpness of a digital print. Subject, process, emotion, science, and chance combine to make both an immediate document and a comment on photography’s past, present, and future. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380242521-3RNTBL0CTBV5C29LAYQD/mcba-prize-2020-Hyunzoo-Kim-Orgasm-5.jpg Entries & Jurors - 2020 Entries - Hyunzoo Kim Paju-si, Republic of Korea Orgasm 2018 Limited Edition, Silk Screen Ink, Acrylic tube, Wood, Leather, Roll Paper 6 X 16.5 X 6 cm Artist Statement Perceptual flow through the senses, which began from the question of ‘what speaks the body?’, is described as the disassembled warping of organisms. It is the deterritorialization of the connections, circuits, segments, fulfillments, and ubiquity of organs that present whole arrangements in a tertiary space. The mass that is not yet existent but becoming isolates itself, grasping unseen senses. An orgasm is the neurotic sloshing of outbreak and extinction. It is a stain. It is a rock. A recapturing. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380242517-UXCNNNGZWR05YRXFASWI/mcba-prize-2020-Hyunzoo-Kim-Orgasm-4.jpg Entries & Jurors - 2020 Entries - Hyunzoo Kim Paju-si, Republic of Korea Orgasm 2018 Limited Edition, Silk Screen Ink, Acrylic tube, Wood, Leather, Roll Paper 6 X 16.5 X 6 cm Artist Statement Perceptual flow through the senses, which began from the question of ‘what speaks the body?’, is described as the disassembled warping of organisms. It is the deterritorialization of the connections, circuits, segments, fulfillments, and ubiquity of organs that present whole arrangements in a tertiary space. The mass that is not yet existent but becoming isolates itself, grasping unseen senses. An orgasm is the neurotic sloshing of outbreak and extinction. It is a stain. It is a rock. A recapturing. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380243736-H7KBU8O4VU58402NV464/mcba-prize-2020-Hyunzoo-Kim-Orgasm-3.jpg Entries & Jurors - 2020 Entries - Hyunzoo Kim Paju-si, Republic of Korea Orgasm 2018 Limited Edition, Silk Screen Ink, Acrylic tube, Wood, Leather, Roll Paper 6 X 16.5 X 6 cm Artist Statement Perceptual flow through the senses, which began from the question of ‘what speaks the body?’, is described as the disassembled warping of organisms. It is the deterritorialization of the connections, circuits, segments, fulfillments, and ubiquity of organs that present whole arrangements in a tertiary space. The mass that is not yet existent but becoming isolates itself, grasping unseen senses. An orgasm is the neurotic sloshing of outbreak and extinction. It is a stain. It is a rock. A recapturing. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380244233-9U3FSI2QGYM6DGBM52BZ/mcba-prize-2020-Hyunzoo-Kim-Orgasm-2.jpg Entries & Jurors - 2020 Entries - Hyunzoo Kim Paju-si, Republic of Korea Orgasm 2018 Limited Edition, Silk Screen Ink, Acrylic tube, Wood, Leather, Roll Paper 6 X 16.5 X 6 cm Artist Statement Perceptual flow through the senses, which began from the question of ‘what speaks the body?’, is described as the disassembled warping of organisms. It is the deterritorialization of the connections, circuits, segments, fulfillments, and ubiquity of organs that present whole arrangements in a tertiary space. The mass that is not yet existent but becoming isolates itself, grasping unseen senses. An orgasm is the neurotic sloshing of outbreak and extinction. It is a stain. It is a rock. A recapturing. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380245132-721F4SNP8COGZNL7TDV3/mcba-prize-2020-Hyunzoo-Kim-Orgasm-1.jpg Entries & Jurors - 2020 Entries - Hyunzoo Kim Paju-si, Republic of Korea Orgasm 2018 Limited Edition, Silk Screen Ink, Acrylic tube, Wood, Leather, Roll Paper 6 X 16.5 X 6 cm Artist Statement Perceptual flow through the senses, which began from the question of ‘what speaks the body?’, is described as the disassembled warping of organisms. It is the deterritorialization of the connections, circuits, segments, fulfillments, and ubiquity of organs that present whole arrangements in a tertiary space. The mass that is not yet existent but becoming isolates itself, grasping unseen senses. An orgasm is the neurotic sloshing of outbreak and extinction. It is a stain. It is a rock. A recapturing. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380697267-RZZQBSA5FF2FJF2YHCGM/mcba-prize-2020-Hyunzoo-Kim-Poetry-3-5.jpg Entries & Jurors - 2020 Entries - Hyunzoo Kim Paju-si, Republic of Korea Poetry( ) No.3 2020 Limited Edition Magazine, Silk Screen Ink, Traditional silk, Wood, Roll Paper, Paperboard Paper 9x 9 x 25cm Artist Statement 시 [si] () no.3, 시체 [sitʃe] / poetry() no. 3, poetry(body) —an ambiguous expression in Korean. ‘poetic body’ or ‘dead body’ The body is a pillar for existence and a reservoir for endless thoughts Matter that suddenly or naturally disappears. Stories about the body that cannot be separated from life and relationships. The body consists materially of 60 trillion cells, 120,000 kilometers of blood vessels, protein, fat, minerals, and water. When the nerves are included, tales of the thoughts and senses cannot be excluded. ‘Where do nerves begin? Are perceptions first or the senses first?’ This work began with the question of ‘What are my senes with regard to life?’ and ‘How would my senses project onto someone’s stories?’ The keywords are oppression, cruelty, ambiguity. The rule and power of language were unraveled through the atypical compositions of my partially cut body images and texts. Words are like nets that get more tangled as the body struggles. They are like a Mobius track that one cannot escape from, from the moment they are born and learn to talk until they die. The influence of words on the pillar referred to as the body. The body is the pillar of existence and a reservoir for endless thoughts, in other words, it was designed to place words and the body in a place that is the whole of learned senses. The beauty of gray. Gray colors in this work are not urban colors or modern metaphors but rather symbols deduced from the lives of artists facing the world. Countless levels of medium brightness between black and while, vague location that are not near or far from the subjects, ambiguous sizes, layouts that seem to have not have grids. These refer to all medium states that lie between the time of ‘yet’ and ‘already’. Various colors coexist within those grays. When various colors mis or when complementary colors meet, our thoughts create gray tones though the combination of the stories of diverse people and furthermore, of information and learned attitudes. Those paragraphs influence each other. From such perspectives, grays may be processes experienced to reach certain points. Poetry ( ) no.3 is the path head towards the ‘becoming’ of average existences. That process of life is unraveled as the methodology of typography. However, the stories exist together with my body images. The influence of this language. The body that is first influenced is my own. The flow of through that affects me through the projection of writing was made into an image and the perspectives of one who has intentions to serve this in a conceptual bowl and who is the first reader of this article was drawn intuitively or metaphorically through my own body. *Publication: Limited Edition, Gong press, 2020 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380697449-G82E4V6QSL2DONYN8E1P/mcba-prize-2020-Hyunzoo-Kim-Poetry-3-4.jpg Entries & Jurors - 2020 Entries - Hyunzoo Kim Paju-si, Republic of Korea Poetry( ) No.3 2020 Limited Edition Magazine, Silk Screen Ink, Traditional silk, Wood, Roll Paper, Paperboard Paper 9x 9 x 25cm Artist Statement 시 [si] () no.3, 시체 [sitʃe] / poetry() no. 3, poetry(body) —an ambiguous expression in Korean. ‘poetic body’ or ‘dead body’ The body is a pillar for existence and a reservoir for endless thoughts Matter that suddenly or naturally disappears. Stories about the body that cannot be separated from life and relationships. The body consists materially of 60 trillion cells, 120,000 kilometers of blood vessels, protein, fat, minerals, and water. When the nerves are included, tales of the thoughts and senses cannot be excluded. ‘Where do nerves begin? Are perceptions first or the senses first?’ This work began with the question of ‘What are my senes with regard to life?’ and ‘How would my senses project onto someone’s stories?’ The keywords are oppression, cruelty, ambiguity. The rule and power of language were unraveled through the atypical compositions of my partially cut body images and texts. Words are like nets that get more tangled as the body struggles. They are like a Mobius track that one cannot escape from, from the moment they are born and learn to talk until they die. The influence of words on the pillar referred to as the body. The body is the pillar of existence and a reservoir for endless thoughts, in other words, it was designed to place words and the body in a place that is the whole of learned senses. The beauty of gray. Gray colors in this work are not urban colors or modern metaphors but rather symbols deduced from the lives of artists facing the world. Countless levels of medium brightness between black and while, vague location that are not near or far from the subjects, ambiguous sizes, layouts that seem to have not have grids. These refer to all medium states that lie between the time of ‘yet’ and ‘already’. Various colors coexist within those grays. When various colors mis or when complementary colors meet, our thoughts create gray tones though the combination of the stories of diverse people and furthermore, of information and learned attitudes. Those paragraphs influence each other. From such perspectives, grays may be processes experienced to reach certain points. Poetry ( ) no.3 is the path head towards the ‘becoming’ of average existences. That process of life is unraveled as the methodology of typography. However, the stories exist together with my body images. The influence of this language. The body that is first influenced is my own. The flow of through that affects me through the projection of writing was made into an image and the perspectives of one who has intentions to serve this in a conceptual bowl and who is the first reader of this article was drawn intuitively or metaphorically through my own body. *Publication: Limited Edition, Gong press, 2020 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380698662-MLIESSEIZTBH2A5C3IBF/mcba-prize-2020-Hyunzoo-Kim-Poetry-3-3.jpg Entries & Jurors - 2020 Entries - Hyunzoo Kim Paju-si, Republic of Korea Poetry( ) No.3 2020 Limited Edition Magazine, Silk Screen Ink, Traditional silk, Wood, Roll Paper, Paperboard Paper 9x 9 x 25cm Artist Statement 시 [si] () no.3, 시체 [sitʃe] / poetry() no. 3, poetry(body) —an ambiguous expression in Korean. ‘poetic body’ or ‘dead body’ The body is a pillar for existence and a reservoir for endless thoughts Matter that suddenly or naturally disappears. Stories about the body that cannot be separated from life and relationships. The body consists materially of 60 trillion cells, 120,000 kilometers of blood vessels, protein, fat, minerals, and water. When the nerves are included, tales of the thoughts and senses cannot be excluded. ‘Where do nerves begin? Are perceptions first or the senses first?’ This work began with the question of ‘What are my senes with regard to life?’ and ‘How would my senses project onto someone’s stories?’ The keywords are oppression, cruelty, ambiguity. The rule and power of language were unraveled through the atypical compositions of my partially cut body images and texts. Words are like nets that get more tangled as the body struggles. They are like a Mobius track that one cannot escape from, from the moment they are born and learn to talk until they die. The influence of words on the pillar referred to as the body. The body is the pillar of existence and a reservoir for endless thoughts, in other words, it was designed to place words and the body in a place that is the whole of learned senses. The beauty of gray. Gray colors in this work are not urban colors or modern metaphors but rather symbols deduced from the lives of artists facing the world. Countless levels of medium brightness between black and while, vague location that are not near or far from the subjects, ambiguous sizes, layouts that seem to have not have grids. These refer to all medium states that lie between the time of ‘yet’ and ‘already’. Various colors coexist within those grays. When various colors mis or when complementary colors meet, our thoughts create gray tones though the combination of the stories of diverse people and furthermore, of information and learned attitudes. Those paragraphs influence each other. From such perspectives, grays may be processes experienced to reach certain points. Poetry ( ) no.3 is the path head towards the ‘becoming’ of average existences. That process of life is unraveled as the methodology of typography. However, the stories exist together with my body images. The influence of this language. The body that is first influenced is my own. The flow of through that affects me through the projection of writing was made into an image and the perspectives of one who has intentions to serve this in a conceptual bowl and who is the first reader of this article was drawn intuitively or metaphorically through my own body. *Publication: Limited Edition, Gong press, 2020 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380699196-3ZAA69UYNTI9IBDD81V3/mcba-prize-2020-Hyunzoo-Kim-Poetry-3-2.jpg Entries & Jurors - 2020 Entries - Hyunzoo Kim Paju-si, Republic of Korea Poetry( ) No.3 2020 Limited Edition Magazine, Silk Screen Ink, Traditional silk, Wood, Roll Paper, Paperboard Paper 9x 9 x 25cm Artist Statement 시 [si] () no.3, 시체 [sitʃe] / poetry() no. 3, poetry(body) —an ambiguous expression in Korean. ‘poetic body’ or ‘dead body’ The body is a pillar for existence and a reservoir for endless thoughts Matter that suddenly or naturally disappears. Stories about the body that cannot be separated from life and relationships. The body consists materially of 60 trillion cells, 120,000 kilometers of blood vessels, protein, fat, minerals, and water. When the nerves are included, tales of the thoughts and senses cannot be excluded. ‘Where do nerves begin? Are perceptions first or the senses first?’ This work began with the question of ‘What are my senes with regard to life?’ and ‘How would my senses project onto someone’s stories?’ The keywords are oppression, cruelty, ambiguity. The rule and power of language were unraveled through the atypical compositions of my partially cut body images and texts. Words are like nets that get more tangled as the body struggles. They are like a Mobius track that one cannot escape from, from the moment they are born and learn to talk until they die. The influence of words on the pillar referred to as the body. The body is the pillar of existence and a reservoir for endless thoughts, in other words, it was designed to place words and the body in a place that is the whole of learned senses. The beauty of gray. Gray colors in this work are not urban colors or modern metaphors but rather symbols deduced from the lives of artists facing the world. Countless levels of medium brightness between black and while, vague location that are not near or far from the subjects, ambiguous sizes, layouts that seem to have not have grids. These refer to all medium states that lie between the time of ‘yet’ and ‘already’. Various colors coexist within those grays. When various colors mis or when complementary colors meet, our thoughts create gray tones though the combination of the stories of diverse people and furthermore, of information and learned attitudes. Those paragraphs influence each other. From such perspectives, grays may be processes experienced to reach certain points. Poetry ( ) no.3 is the path head towards the ‘becoming’ of average existences. That process of life is unraveled as the methodology of typography. However, the stories exist together with my body images. The influence of this language. The body that is first influenced is my own. The flow of through that affects me through the projection of writing was made into an image and the perspectives of one who has intentions to serve this in a conceptual bowl and who is the first reader of this article was drawn intuitively or metaphorically through my own body. *Publication: Limited Edition, Gong press, 2020 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380700904-MBP1WFZ6O59QCI3PPE28/mcba-prize-2020-Hyunzoo-Kim-Poetry-3-1.jpg Entries & Jurors - 2020 Entries - Hyunzoo Kim Paju-si, Republic of Korea Poetry( ) No.3 2020 Limited Edition Magazine, Silk Screen Ink, Traditional silk, Wood, Roll Paper, Paperboard Paper 9x 9 x 25cm Artist Statement 시 [si] () no.3, 시체 [sitʃe] / poetry() no. 3, poetry(body) —an ambiguous expression in Korean. ‘poetic body’ or ‘dead body’ The body is a pillar for existence and a reservoir for endless thoughts Matter that suddenly or naturally disappears. Stories about the body that cannot be separated from life and relationships. The body consists materially of 60 trillion cells, 120,000 kilometers of blood vessels, protein, fat, minerals, and water. When the nerves are included, tales of the thoughts and senses cannot be excluded. ‘Where do nerves begin? Are perceptions first or the senses first?’ This work began with the question of ‘What are my senes with regard to life?’ and ‘How would my senses project onto someone’s stories?’ The keywords are oppression, cruelty, ambiguity. The rule and power of language were unraveled through the atypical compositions of my partially cut body images and texts. Words are like nets that get more tangled as the body struggles. They are like a Mobius track that one cannot escape from, from the moment they are born and learn to talk until they die. The influence of words on the pillar referred to as the body. The body is the pillar of existence and a reservoir for endless thoughts, in other words, it was designed to place words and the body in a place that is the whole of learned senses. The beauty of gray. Gray colors in this work are not urban colors or modern metaphors but rather symbols deduced from the lives of artists facing the world. Countless levels of medium brightness between black and while, vague location that are not near or far from the subjects, ambiguous sizes, layouts that seem to have not have grids. These refer to all medium states that lie between the time of ‘yet’ and ‘already’. Various colors coexist within those grays. When various colors mis or when complementary colors meet, our thoughts create gray tones though the combination of the stories of diverse people and furthermore, of information and learned attitudes. Those paragraphs influence each other. From such perspectives, grays may be processes experienced to reach certain points. Poetry ( ) no.3 is the path head towards the ‘becoming’ of average existences. That process of life is unraveled as the methodology of typography. However, the stories exist together with my body images. The influence of this language. The body that is first influenced is my own. The flow of through that affects me through the projection of writing was made into an image and the perspectives of one who has intentions to serve this in a conceptual bowl and who is the first reader of this article was drawn intuitively or metaphorically through my own body. *Publication: Limited Edition, Gong press, 2020 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380816139-P4P18EBYUKVDLP2N18T0/mcba-prize-2020-Marketa-Kinterova-What-you-see-is-what-you-think-5.jpg Entries & Jurors - 2020 Entries - Markéta Kinterová Prague 10, Czech Republic marketakinterova.cz/?portfolio=kam-oci-tam-hlava What You See Is What You Think 2020 book 10 x 14 x 0.4″ Artist Statement The publication is based on the author’s original book, completed as one piece of work of art and created by taking down a 5 × 2,5m Euro format billboard, unfolding it and binding it into a book. The reproduction of the billboard book serves as a platform that refutes some rules of the traditional concept of reading of a book with pictures. It is also a form of annexes with text that offer a look into the alternative reading of public space. How do we see the cityscape and its periphery? Can we read these as a composition of volumes pasted over with brand labels and messages? The appearance of our cities is a mirror image of the state of our culture. People read and interpret the city based on a form of text written by the private sector and the state. What does our urban public space tell us? The present artist book responds to visual strategies deployed in public space with the intention to consolidate and entrench a repressive system of control, turning citizens into consumers. “Most advertisements are conceived like commercial magazine layouts. Walking through a city on foot is akin to walking through a giant magazine. I nd a similarity between the experience of urban space and the print medium. The sheer scale of the individual advertising boards and degree of visual smog impacts my orientation in the urban environment, and I look for ways to test strategies of conveying this visually. I may not take the optimum route, and instead choose the path of the completely utopian: to carefully unpeel one billboard, whole and undamaged, under conditions of ideal humidity, when the glue and paper will allow for such operations, and at the same time have it remain in one piece. Then size that format down to a human-scale that can be handled as a book…“ (an excerpt from the book) Description of the Work The artist’s book “What You See Is What You Think” combines photographic, artistic and research based approaches. The author discusses the dystopia of post-capitalism by means of experiments with the book, the billboard format and the selection of images. Theoretical text reflects today’s experience with public space. The book is published as the creative part of the doctoral thesis Oppositional Reading of Public Space, undertaken at the Academy of Art and Design in Prague. Concept, Texts, Images: Markéta Kinterová, Published by: AMU Press, the Publishing House of the Academy of Performing Arts in Prague (NAMU), 2020. Printrun: 300 copies. Bio Markéta Kinterová (*1981) focuses on conceptual photography, oftentimes overlapping into public space. She studied photography at the Faculty of Art and Design at the Jan Evangelista Purkyně University in Ústí nad Labem, Czech Republic. The author’s book is published as the artistic part of the doctoral thesis Oppositional Reading of Public Space, which she defended last year at the Academy of Arts, Architecture and Design in Prague. She has been the head of the Documentary Photography Studio at the Film and TV School of the Academy of Performing Arts in Prague (FAMU) since 2016. She has taken part in several independent and group exhibitions. She is the editor-in-chief of the Fotograf magazine and the executive director of the Fotograf Festival in Prague. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380815646-UP6P5Q5Z8F2FXMUOWUUR/mcba-prize-2020-Marketa-Kinterova-What-you-see-is-what-you-think-4.jpg Entries & Jurors - 2020 Entries - Markéta Kinterová Prague 10, Czech Republic marketakinterova.cz/?portfolio=kam-oci-tam-hlava What You See Is What You Think 2020 book 10 x 14 x 0.4″ Artist Statement The publication is based on the author’s original book, completed as one piece of work of art and created by taking down a 5 × 2,5m Euro format billboard, unfolding it and binding it into a book. The reproduction of the billboard book serves as a platform that refutes some rules of the traditional concept of reading of a book with pictures. It is also a form of annexes with text that offer a look into the alternative reading of public space. How do we see the cityscape and its periphery? Can we read these as a composition of volumes pasted over with brand labels and messages? The appearance of our cities is a mirror image of the state of our culture. People read and interpret the city based on a form of text written by the private sector and the state. What does our urban public space tell us? The present artist book responds to visual strategies deployed in public space with the intention to consolidate and entrench a repressive system of control, turning citizens into consumers. “Most advertisements are conceived like commercial magazine layouts. Walking through a city on foot is akin to walking through a giant magazine. I nd a similarity between the experience of urban space and the print medium. The sheer scale of the individual advertising boards and degree of visual smog impacts my orientation in the urban environment, and I look for ways to test strategies of conveying this visually. I may not take the optimum route, and instead choose the path of the completely utopian: to carefully unpeel one billboard, whole and undamaged, under conditions of ideal humidity, when the glue and paper will allow for such operations, and at the same time have it remain in one piece. Then size that format down to a human-scale that can be handled as a book…“ (an excerpt from the book) Description of the Work The artist’s book “What You See Is What You Think” combines photographic, artistic and research based approaches. The author discusses the dystopia of post-capitalism by means of experiments with the book, the billboard format and the selection of images. Theoretical text reflects today’s experience with public space. The book is published as the creative part of the doctoral thesis Oppositional Reading of Public Space, undertaken at the Academy of Art and Design in Prague. Concept, Texts, Images: Markéta Kinterová, Published by: AMU Press, the Publishing House of the Academy of Performing Arts in Prague (NAMU), 2020. Printrun: 300 copies. Bio Markéta Kinterová (*1981) focuses on conceptual photography, oftentimes overlapping into public space. She studied photography at the Faculty of Art and Design at the Jan Evangelista Purkyně University in Ústí nad Labem, Czech Republic. The author’s book is published as the artistic part of the doctoral thesis Oppositional Reading of Public Space, which she defended last year at the Academy of Arts, Architecture and Design in Prague. She has been the head of the Documentary Photography Studio at the Film and TV School of the Academy of Performing Arts in Prague (FAMU) since 2016. She has taken part in several independent and group exhibitions. She is the editor-in-chief of the Fotograf magazine and the executive director of the Fotograf Festival in Prague. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380817244-32E9Q9HFLSN4LYL80VCI/mcba-prize-2020-Marketa-Kinterova-What-you-see-is-what-you-think-3.jpg Entries & Jurors - 2020 Entries - Markéta Kinterová Prague 10, Czech Republic marketakinterova.cz/?portfolio=kam-oci-tam-hlava What You See Is What You Think 2020 book 10 x 14 x 0.4″ Artist Statement The publication is based on the author’s original book, completed as one piece of work of art and created by taking down a 5 × 2,5m Euro format billboard, unfolding it and binding it into a book. The reproduction of the billboard book serves as a platform that refutes some rules of the traditional concept of reading of a book with pictures. It is also a form of annexes with text that offer a look into the alternative reading of public space. How do we see the cityscape and its periphery? Can we read these as a composition of volumes pasted over with brand labels and messages? The appearance of our cities is a mirror image of the state of our culture. People read and interpret the city based on a form of text written by the private sector and the state. What does our urban public space tell us? The present artist book responds to visual strategies deployed in public space with the intention to consolidate and entrench a repressive system of control, turning citizens into consumers. “Most advertisements are conceived like commercial magazine layouts. Walking through a city on foot is akin to walking through a giant magazine. I nd a similarity between the experience of urban space and the print medium. The sheer scale of the individual advertising boards and degree of visual smog impacts my orientation in the urban environment, and I look for ways to test strategies of conveying this visually. I may not take the optimum route, and instead choose the path of the completely utopian: to carefully unpeel one billboard, whole and undamaged, under conditions of ideal humidity, when the glue and paper will allow for such operations, and at the same time have it remain in one piece. Then size that format down to a human-scale that can be handled as a book…“ (an excerpt from the book) Description of the Work The artist’s book “What You See Is What You Think” combines photographic, artistic and research based approaches. The author discusses the dystopia of post-capitalism by means of experiments with the book, the billboard format and the selection of images. Theoretical text reflects today’s experience with public space. The book is published as the creative part of the doctoral thesis Oppositional Reading of Public Space, undertaken at the Academy of Art and Design in Prague. Concept, Texts, Images: Markéta Kinterová, Published by: AMU Press, the Publishing House of the Academy of Performing Arts in Prague (NAMU), 2020. Printrun: 300 copies. Bio Markéta Kinterová (*1981) focuses on conceptual photography, oftentimes overlapping into public space. She studied photography at the Faculty of Art and Design at the Jan Evangelista Purkyně University in Ústí nad Labem, Czech Republic. The author’s book is published as the artistic part of the doctoral thesis Oppositional Reading of Public Space, which she defended last year at the Academy of Arts, Architecture and Design in Prague. She has been the head of the Documentary Photography Studio at the Film and TV School of the Academy of Performing Arts in Prague (FAMU) since 2016. She has taken part in several independent and group exhibitions. She is the editor-in-chief of the Fotograf magazine and the executive director of the Fotograf Festival in Prague. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380818104-QCOQMEQB0492COIF20HI/mcba-prize-2020-Marketa-Kinterova-What-you-see-is-what-you-think-2.jpg Entries & Jurors - 2020 Entries - Markéta Kinterová Prague 10, Czech Republic marketakinterova.cz/?portfolio=kam-oci-tam-hlava What You See Is What You Think 2020 book 10 x 14 x 0.4″ Artist Statement The publication is based on the author’s original book, completed as one piece of work of art and created by taking down a 5 × 2,5m Euro format billboard, unfolding it and binding it into a book. The reproduction of the billboard book serves as a platform that refutes some rules of the traditional concept of reading of a book with pictures. It is also a form of annexes with text that offer a look into the alternative reading of public space. How do we see the cityscape and its periphery? Can we read these as a composition of volumes pasted over with brand labels and messages? The appearance of our cities is a mirror image of the state of our culture. People read and interpret the city based on a form of text written by the private sector and the state. What does our urban public space tell us? The present artist book responds to visual strategies deployed in public space with the intention to consolidate and entrench a repressive system of control, turning citizens into consumers. “Most advertisements are conceived like commercial magazine layouts. Walking through a city on foot is akin to walking through a giant magazine. I nd a similarity between the experience of urban space and the print medium. The sheer scale of the individual advertising boards and degree of visual smog impacts my orientation in the urban environment, and I look for ways to test strategies of conveying this visually. I may not take the optimum route, and instead choose the path of the completely utopian: to carefully unpeel one billboard, whole and undamaged, under conditions of ideal humidity, when the glue and paper will allow for such operations, and at the same time have it remain in one piece. Then size that format down to a human-scale that can be handled as a book…“ (an excerpt from the book) Description of the Work The artist’s book “What You See Is What You Think” combines photographic, artistic and research based approaches. The author discusses the dystopia of post-capitalism by means of experiments with the book, the billboard format and the selection of images. Theoretical text reflects today’s experience with public space. The book is published as the creative part of the doctoral thesis Oppositional Reading of Public Space, undertaken at the Academy of Art and Design in Prague. Concept, Texts, Images: Markéta Kinterová, Published by: AMU Press, the Publishing House of the Academy of Performing Arts in Prague (NAMU), 2020. Printrun: 300 copies. Bio Markéta Kinterová (*1981) focuses on conceptual photography, oftentimes overlapping into public space. She studied photography at the Faculty of Art and Design at the Jan Evangelista Purkyně University in Ústí nad Labem, Czech Republic. The author’s book is published as the artistic part of the doctoral thesis Oppositional Reading of Public Space, which she defended last year at the Academy of Arts, Architecture and Design in Prague. She has been the head of the Documentary Photography Studio at the Film and TV School of the Academy of Performing Arts in Prague (FAMU) since 2016. She has taken part in several independent and group exhibitions. She is the editor-in-chief of the Fotograf magazine and the executive director of the Fotograf Festival in Prague. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380818915-YT11G5ONMJ1BBHC8DSMZ/mcba-prize-2020-Marketa-Kinterova-What-you-see-is-what-you-think-1.jpg Entries & Jurors - 2020 Entries - Markéta Kinterová Prague 10, Czech Republic marketakinterova.cz/?portfolio=kam-oci-tam-hlava What You See Is What You Think 2020 book 10 x 14 x 0.4″ Artist Statement The publication is based on the author’s original book, completed as one piece of work of art and created by taking down a 5 × 2,5m Euro format billboard, unfolding it and binding it into a book. The reproduction of the billboard book serves as a platform that refutes some rules of the traditional concept of reading of a book with pictures. It is also a form of annexes with text that offer a look into the alternative reading of public space. How do we see the cityscape and its periphery? Can we read these as a composition of volumes pasted over with brand labels and messages? The appearance of our cities is a mirror image of the state of our culture. People read and interpret the city based on a form of text written by the private sector and the state. What does our urban public space tell us? The present artist book responds to visual strategies deployed in public space with the intention to consolidate and entrench a repressive system of control, turning citizens into consumers. “Most advertisements are conceived like commercial magazine layouts. Walking through a city on foot is akin to walking through a giant magazine. I nd a similarity between the experience of urban space and the print medium. The sheer scale of the individual advertising boards and degree of visual smog impacts my orientation in the urban environment, and I look for ways to test strategies of conveying this visually. I may not take the optimum route, and instead choose the path of the completely utopian: to carefully unpeel one billboard, whole and undamaged, under conditions of ideal humidity, when the glue and paper will allow for such operations, and at the same time have it remain in one piece. Then size that format down to a human-scale that can be handled as a book…“ (an excerpt from the book) Description of the Work The artist’s book “What You See Is What You Think” combines photographic, artistic and research based approaches. The author discusses the dystopia of post-capitalism by means of experiments with the book, the billboard format and the selection of images. Theoretical text reflects today’s experience with public space. The book is published as the creative part of the doctoral thesis Oppositional Reading of Public Space, undertaken at the Academy of Art and Design in Prague. Concept, Texts, Images: Markéta Kinterová, Published by: AMU Press, the Publishing House of the Academy of Performing Arts in Prague (NAMU), 2020. Printrun: 300 copies. Bio Markéta Kinterová (*1981) focuses on conceptual photography, oftentimes overlapping into public space. She studied photography at the Faculty of Art and Design at the Jan Evangelista Purkyně University in Ústí nad Labem, Czech Republic. The author’s book is published as the artistic part of the doctoral thesis Oppositional Reading of Public Space, which she defended last year at the Academy of Arts, Architecture and Design in Prague. She has been the head of the Documentary Photography Studio at the Film and TV School of the Academy of Performing Arts in Prague (FAMU) since 2016. She has taken part in several independent and group exhibitions. She is the editor-in-chief of the Fotograf magazine and the executive director of the Fotograf Festival in Prague. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381023419-PUZL2TK3KKUUAJMDNEJQ/mcba-prize-2020-Mike-Koppa-Typesetting-on-a-winters-afternoon-5.jpg Entries & Jurors - 2020 Entries - Mike Koppa Viroqua, Wisconsin heavydutypress.com Typesetting on a Winter’s Afternoon2019 book 6.49 x 4.52″ Artist Statement Typesetting on a Winter’s Afternoon by Raymond S. (“Stan”) Nelson, Jr. Stan’s manuscript, previously published in Parenthesis No. 3 (May 1999), cleverly includes many terms of the trade, and is presented here on translucent pages of tightly registered cascading text blocks. True to the story, the pages of the book (type and illustrations) were hand-set (and printed, and bound) through three successive winters of afternoons. The non-adhesive binding and one-of-a-kind covers feature folios from the 1923 Specimen Book and Catalog of The American Type Founders Company. 26 copies, signed by the author and the printer. Prospectus supplied by the artist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381023312-5J207V797X5210LBL9X0/mcba-prize-2020-Mike-Koppa-Typesetting-on-a-winters-afternoon-4.jpg Entries & Jurors - 2020 Entries - Mike Koppa Viroqua, Wisconsin heavydutypress.com Typesetting on a Winter’s Afternoon2019 book 6.49 x 4.52″ Artist Statement Typesetting on a Winter’s Afternoon by Raymond S. (“Stan”) Nelson, Jr. Stan’s manuscript, previously published in Parenthesis No. 3 (May 1999), cleverly includes many terms of the trade, and is presented here on translucent pages of tightly registered cascading text blocks. True to the story, the pages of the book (type and illustrations) were hand-set (and printed, and bound) through three successive winters of afternoons. The non-adhesive binding and one-of-a-kind covers feature folios from the 1923 Specimen Book and Catalog of The American Type Founders Company. 26 copies, signed by the author and the printer. Prospectus supplied by the artist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381027106-79OUJDZ9Z1CDEQDLU7ST/mcba-prize-2020-Mike-Koppa-Typesetting-on-a-winters-afternoon-3.jpg Entries & Jurors - 2020 Entries - Mike Koppa Viroqua, Wisconsin heavydutypress.com Typesetting on a Winter’s Afternoon2019 book 6.49 x 4.52″ Artist Statement Typesetting on a Winter’s Afternoon by Raymond S. (“Stan”) Nelson, Jr. Stan’s manuscript, previously published in Parenthesis No. 3 (May 1999), cleverly includes many terms of the trade, and is presented here on translucent pages of tightly registered cascading text blocks. True to the story, the pages of the book (type and illustrations) were hand-set (and printed, and bound) through three successive winters of afternoons. The non-adhesive binding and one-of-a-kind covers feature folios from the 1923 Specimen Book and Catalog of The American Type Founders Company. 26 copies, signed by the author and the printer. Prospectus supplied by the artist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381027717-E6ZSSE8LUU2Q0TSF27XJ/mcba-prize-2020-Mike-Koppa-Typesetting-on-a-winters-afternoon-2.jpg Entries & Jurors - 2020 Entries - Mike Koppa Viroqua, Wisconsin heavydutypress.com Typesetting on a Winter’s Afternoon2019 book 6.49 x 4.52″ Artist Statement Typesetting on a Winter’s Afternoon by Raymond S. (“Stan”) Nelson, Jr. Stan’s manuscript, previously published in Parenthesis No. 3 (May 1999), cleverly includes many terms of the trade, and is presented here on translucent pages of tightly registered cascading text blocks. True to the story, the pages of the book (type and illustrations) were hand-set (and printed, and bound) through three successive winters of afternoons. The non-adhesive binding and one-of-a-kind covers feature folios from the 1923 Specimen Book and Catalog of The American Type Founders Company. 26 copies, signed by the author and the printer. Prospectus supplied by the artist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381029900-VBC51PTZAM5UR6777RVF/mcba-prize-2020-Mike-Koppa-Typesetting-on-a-winters-afternoon-1.jpg Entries & Jurors - 2020 Entries - Mike Koppa Viroqua, Wisconsin heavydutypress.com Typesetting on a Winter’s Afternoon2019 book 6.49 x 4.52″ Artist Statement Typesetting on a Winter’s Afternoon by Raymond S. (“Stan”) Nelson, Jr. Stan’s manuscript, previously published in Parenthesis No. 3 (May 1999), cleverly includes many terms of the trade, and is presented here on translucent pages of tightly registered cascading text blocks. True to the story, the pages of the book (type and illustrations) were hand-set (and printed, and bound) through three successive winters of afternoons. The non-adhesive binding and one-of-a-kind covers feature folios from the 1923 Specimen Book and Catalog of The American Type Founders Company. 26 copies, signed by the author and the printer. Prospectus supplied by the artist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381194534-FHGLGNOQF7BY8ZIP35OC/mcba-prize-2020-Colleen-Lawrence-Concrete-Uncertainty-5.jpg Entries & Jurors - 2020 Entries - Colleen Lawrence Jacksonville, North Carolina Concrete Uncertainty 2020 Handmade paper, letterpress printing 50 x 8 x 10 inches open Artist Statement Concrete Uncertainty questions whether concrete can hold when the earth is shifting under our feet. The book, in its writing and structure, delves into our desire for control by considering structures built along the Mississippi River. The Mississippi River has meandered some 7000 years, and only for the past 200 years or so have attempts been made to fix its path. The desire to control its flow is largely monetarily driven, and yields long-term devastation to the coastal environment. In the early 1900s, it became clear that the Mississippi River was preparing to change its course. The Army Corps of Engineers was tasked with keeping it on its current course, which led to the construction of the Old River Control Structure. The structure is at war with the river, attempting to prevent it from taking its natural course. On my first research trip, I visited the Mississippi River Basin Model in Jackson, Mississippi, an outdoor scale model built in the 1940s and long abandoned. There, I found concrete waterways and piles of steel mesh folded into accordions to mimic sediment when the river model was in use. The book is built to emulate those accordions and the shifting of stable ground, as erosion is a product of river control. The sewn accordion uses flaps to expand the landscape of the page, as well as to tuck writing away. The book is a place where the reader gets a little lost, where information can be seen but not immediately accessed, where the future is unknown, where everything feels a little unwieldy. The shaped, transparent pages lend a depth and deception to the process of moving through the book. In creating and assembling a book about control, the book became a living entity of its own. In the 1980s, John McPhee researched and wrote about the project in The Control of Nature. Interviews with workers yielded comments about the inevitability of failure, and the pomposity of human intervention. Instead of allowing the river to run its course and adapt to it, we choose to make defiant demands. This desire for control has a wide reach, from our interactions with the natural world to trying to plan our own futures. We must learn to bask in the unknown, to take a long view of time, and consider the impact of our actions. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381194409-58SXHSNQK2J99S9B9M7T/mcba-prize-2020-Colleen-Lawrence-Concrete-Uncertainty-4.jpg Entries & Jurors - 2020 Entries - Colleen Lawrence Jacksonville, North Carolina Concrete Uncertainty 2020 Handmade paper, letterpress printing 50 x 8 x 10 inches open Artist Statement Concrete Uncertainty questions whether concrete can hold when the earth is shifting under our feet. The book, in its writing and structure, delves into our desire for control by considering structures built along the Mississippi River. The Mississippi River has meandered some 7000 years, and only for the past 200 years or so have attempts been made to fix its path. The desire to control its flow is largely monetarily driven, and yields long-term devastation to the coastal environment. In the early 1900s, it became clear that the Mississippi River was preparing to change its course. The Army Corps of Engineers was tasked with keeping it on its current course, which led to the construction of the Old River Control Structure. The structure is at war with the river, attempting to prevent it from taking its natural course. On my first research trip, I visited the Mississippi River Basin Model in Jackson, Mississippi, an outdoor scale model built in the 1940s and long abandoned. There, I found concrete waterways and piles of steel mesh folded into accordions to mimic sediment when the river model was in use. The book is built to emulate those accordions and the shifting of stable ground, as erosion is a product of river control. The sewn accordion uses flaps to expand the landscape of the page, as well as to tuck writing away. The book is a place where the reader gets a little lost, where information can be seen but not immediately accessed, where the future is unknown, where everything feels a little unwieldy. The shaped, transparent pages lend a depth and deception to the process of moving through the book. In creating and assembling a book about control, the book became a living entity of its own. In the 1980s, John McPhee researched and wrote about the project in The Control of Nature. Interviews with workers yielded comments about the inevitability of failure, and the pomposity of human intervention. Instead of allowing the river to run its course and adapt to it, we choose to make defiant demands. This desire for control has a wide reach, from our interactions with the natural world to trying to plan our own futures. We must learn to bask in the unknown, to take a long view of time, and consider the impact of our actions. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381197784-ETFEOGRJTALJZI1V4LYA/mcba-prize-2020-Colleen-Lawrence-Concrete-Uncertainty-3.jpg Entries & Jurors - 2020 Entries - Colleen Lawrence Jacksonville, North Carolina Concrete Uncertainty 2020 Handmade paper, letterpress printing 50 x 8 x 10 inches open Artist Statement Concrete Uncertainty questions whether concrete can hold when the earth is shifting under our feet. The book, in its writing and structure, delves into our desire for control by considering structures built along the Mississippi River. The Mississippi River has meandered some 7000 years, and only for the past 200 years or so have attempts been made to fix its path. The desire to control its flow is largely monetarily driven, and yields long-term devastation to the coastal environment. In the early 1900s, it became clear that the Mississippi River was preparing to change its course. The Army Corps of Engineers was tasked with keeping it on its current course, which led to the construction of the Old River Control Structure. The structure is at war with the river, attempting to prevent it from taking its natural course. On my first research trip, I visited the Mississippi River Basin Model in Jackson, Mississippi, an outdoor scale model built in the 1940s and long abandoned. There, I found concrete waterways and piles of steel mesh folded into accordions to mimic sediment when the river model was in use. The book is built to emulate those accordions and the shifting of stable ground, as erosion is a product of river control. The sewn accordion uses flaps to expand the landscape of the page, as well as to tuck writing away. The book is a place where the reader gets a little lost, where information can be seen but not immediately accessed, where the future is unknown, where everything feels a little unwieldy. The shaped, transparent pages lend a depth and deception to the process of moving through the book. In creating and assembling a book about control, the book became a living entity of its own. In the 1980s, John McPhee researched and wrote about the project in The Control of Nature. Interviews with workers yielded comments about the inevitability of failure, and the pomposity of human intervention. Instead of allowing the river to run its course and adapt to it, we choose to make defiant demands. This desire for control has a wide reach, from our interactions with the natural world to trying to plan our own futures. We must learn to bask in the unknown, to take a long view of time, and consider the impact of our actions. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381198059-UZDURQNLT0X834G8LCFI/mcba-prize-2020-Colleen-Lawrence-Concrete-Uncertainty-2.jpg Entries & Jurors - 2020 Entries - Colleen Lawrence Jacksonville, North Carolina Concrete Uncertainty 2020 Handmade paper, letterpress printing 50 x 8 x 10 inches open Artist Statement Concrete Uncertainty questions whether concrete can hold when the earth is shifting under our feet. The book, in its writing and structure, delves into our desire for control by considering structures built along the Mississippi River. The Mississippi River has meandered some 7000 years, and only for the past 200 years or so have attempts been made to fix its path. The desire to control its flow is largely monetarily driven, and yields long-term devastation to the coastal environment. In the early 1900s, it became clear that the Mississippi River was preparing to change its course. The Army Corps of Engineers was tasked with keeping it on its current course, which led to the construction of the Old River Control Structure. The structure is at war with the river, attempting to prevent it from taking its natural course. On my first research trip, I visited the Mississippi River Basin Model in Jackson, Mississippi, an outdoor scale model built in the 1940s and long abandoned. There, I found concrete waterways and piles of steel mesh folded into accordions to mimic sediment when the river model was in use. The book is built to emulate those accordions and the shifting of stable ground, as erosion is a product of river control. The sewn accordion uses flaps to expand the landscape of the page, as well as to tuck writing away. The book is a place where the reader gets a little lost, where information can be seen but not immediately accessed, where the future is unknown, where everything feels a little unwieldy. The shaped, transparent pages lend a depth and deception to the process of moving through the book. In creating and assembling a book about control, the book became a living entity of its own. In the 1980s, John McPhee researched and wrote about the project in The Control of Nature. Interviews with workers yielded comments about the inevitability of failure, and the pomposity of human intervention. Instead of allowing the river to run its course and adapt to it, we choose to make defiant demands. This desire for control has a wide reach, from our interactions with the natural world to trying to plan our own futures. We must learn to bask in the unknown, to take a long view of time, and consider the impact of our actions. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381200374-0X4DCT8QRWP82YX053LW/mcba-prize-2020-Colleen-Lawrence-Concrete-Uncertainty-1.jpg Entries & Jurors - 2020 Entries - Colleen Lawrence Jacksonville, North Carolina Concrete Uncertainty 2020 Handmade paper, letterpress printing 50 x 8 x 10 inches open Artist Statement Concrete Uncertainty questions whether concrete can hold when the earth is shifting under our feet. The book, in its writing and structure, delves into our desire for control by considering structures built along the Mississippi River. The Mississippi River has meandered some 7000 years, and only for the past 200 years or so have attempts been made to fix its path. The desire to control its flow is largely monetarily driven, and yields long-term devastation to the coastal environment. In the early 1900s, it became clear that the Mississippi River was preparing to change its course. The Army Corps of Engineers was tasked with keeping it on its current course, which led to the construction of the Old River Control Structure. The structure is at war with the river, attempting to prevent it from taking its natural course. On my first research trip, I visited the Mississippi River Basin Model in Jackson, Mississippi, an outdoor scale model built in the 1940s and long abandoned. There, I found concrete waterways and piles of steel mesh folded into accordions to mimic sediment when the river model was in use. The book is built to emulate those accordions and the shifting of stable ground, as erosion is a product of river control. The sewn accordion uses flaps to expand the landscape of the page, as well as to tuck writing away. The book is a place where the reader gets a little lost, where information can be seen but not immediately accessed, where the future is unknown, where everything feels a little unwieldy. The shaped, transparent pages lend a depth and deception to the process of moving through the book. In creating and assembling a book about control, the book became a living entity of its own. In the 1980s, John McPhee researched and wrote about the project in The Control of Nature. Interviews with workers yielded comments about the inevitability of failure, and the pomposity of human intervention. Instead of allowing the river to run its course and adapt to it, we choose to make defiant demands. This desire for control has a wide reach, from our interactions with the natural world to trying to plan our own futures. We must learn to bask in the unknown, to take a long view of time, and consider the impact of our actions. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381302080-9F9I33X28DJ7MOH72I1N/mcba-prize-2020-Aimee-Lee-Peculiar-and-Commonplace-5.jpg Entries & Jurors - 2020 Entries - Aimee Lee Cleveland, Ohio aimeelee.net Peculiar & Commonplace 2018 pen, pencil, and inkjet printing on hanji, handmade papers, thread, manipulated papers and materials (including but not limited to natural dye, beeswax, ink, suminagashi, woven and knitted paper, ribbon, and fabric) Open: 56″ x 8″; Closed 20 x 8 x 3″ Artist Statement About Peculiar & Commonplace This book combs through observations from various people’s lives—anonymous to protect privacy—and pairs these stories with quotations from books and media that I have read or consumed for almost 15 years. These quotes are included in the spirit of commonplace books and reflect my lifelong practices of compiling inspiration, organization, and filing. A mostly silent but omnipresent narrative accompanies the text through drawings and objects. Aside from obvious illustration, they mimic an instruction manual on how to create and sew paper garment, which appears at the end of the book. This dress is constructed from discarded prints that accumulated in the making of the book. These tip-ins balance the tension and anxiety of the stories. The sewing scraps attempt to be neutral, a safe location for the reader to place their own biographies. Further info: A year or two prior to finally constructing this book, I saw an auction image of a book with a real dress sewn into it, folded to fit within the pages, with instructions on the verso with smaller examples of sewing. I was captivated by this simple way to synthesize my previously distinct work of making paper dresses and making paper books. I was drawn to the idea of instructions and manuals because so many people ask me for ‘how-to’ books without understanding how difficult they are to make. But making a pretend instructional manual would be much more fun, and probably even more instructive. Since 2003, I have made and used a system of notetaking while reading, to help me hold onto the most compelling quotes. For this book, I went through all of my files to pull the appropriate quotes for the array of stories I wanted to highlight. It felt the same as making and compiling all of the physical materials I needed to tip in: bits of thread, ribbon, tape, paper, and so on. The specific becomes the universal, and what we think is so peculiar in our lives is replicated around the world countless times. We feel so apart from others and anxious, and this book was a way to reconcile some of those feelings while combining so many things I love to do, like drawing, writing, and making books and dresses. The edition is variable, including the paper for the pages, which vary throughout the edition. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381302207-TJ0VCSDBZDE83MBIWEAO/mcba-prize-2020-Aimee-Lee-Peculiar-and-Commonplace-4.jpg Entries & Jurors - 2020 Entries - Aimee Lee Cleveland, Ohio aimeelee.net Peculiar & Commonplace 2018 pen, pencil, and inkjet printing on hanji, handmade papers, thread, manipulated papers and materials (including but not limited to natural dye, beeswax, ink, suminagashi, woven and knitted paper, ribbon, and fabric) Open: 56″ x 8″; Closed 20 x 8 x 3″ Artist Statement About Peculiar & Commonplace This book combs through observations from various people’s lives—anonymous to protect privacy—and pairs these stories with quotations from books and media that I have read or consumed for almost 15 years. These quotes are included in the spirit of commonplace books and reflect my lifelong practices of compiling inspiration, organization, and filing. A mostly silent but omnipresent narrative accompanies the text through drawings and objects. Aside from obvious illustration, they mimic an instruction manual on how to create and sew paper garment, which appears at the end of the book. This dress is constructed from discarded prints that accumulated in the making of the book. These tip-ins balance the tension and anxiety of the stories. The sewing scraps attempt to be neutral, a safe location for the reader to place their own biographies. Further info: A year or two prior to finally constructing this book, I saw an auction image of a book with a real dress sewn into it, folded to fit within the pages, with instructions on the verso with smaller examples of sewing. I was captivated by this simple way to synthesize my previously distinct work of making paper dresses and making paper books. I was drawn to the idea of instructions and manuals because so many people ask me for ‘how-to’ books without understanding how difficult they are to make. But making a pretend instructional manual would be much more fun, and probably even more instructive. Since 2003, I have made and used a system of notetaking while reading, to help me hold onto the most compelling quotes. For this book, I went through all of my files to pull the appropriate quotes for the array of stories I wanted to highlight. It felt the same as making and compiling all of the physical materials I needed to tip in: bits of thread, ribbon, tape, paper, and so on. The specific becomes the universal, and what we think is so peculiar in our lives is replicated around the world countless times. We feel so apart from others and anxious, and this book was a way to reconcile some of those feelings while combining so many things I love to do, like drawing, writing, and making books and dresses. The edition is variable, including the paper for the pages, which vary throughout the edition. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381303411-1QIRM02DOW2936DW026J/mcba-prize-2020-Aimee-Lee-Peculiar-and-Commonplace-3.jpg Entries & Jurors - 2020 Entries - Aimee Lee Cleveland, Ohio aimeelee.net Peculiar & Commonplace 2018 pen, pencil, and inkjet printing on hanji, handmade papers, thread, manipulated papers and materials (including but not limited to natural dye, beeswax, ink, suminagashi, woven and knitted paper, ribbon, and fabric) Open: 56″ x 8″; Closed 20 x 8 x 3″ Artist Statement About Peculiar & Commonplace This book combs through observations from various people’s lives—anonymous to protect privacy—and pairs these stories with quotations from books and media that I have read or consumed for almost 15 years. These quotes are included in the spirit of commonplace books and reflect my lifelong practices of compiling inspiration, organization, and filing. A mostly silent but omnipresent narrative accompanies the text through drawings and objects. Aside from obvious illustration, they mimic an instruction manual on how to create and sew paper garment, which appears at the end of the book. This dress is constructed from discarded prints that accumulated in the making of the book. These tip-ins balance the tension and anxiety of the stories. The sewing scraps attempt to be neutral, a safe location for the reader to place their own biographies. Further info: A year or two prior to finally constructing this book, I saw an auction image of a book with a real dress sewn into it, folded to fit within the pages, with instructions on the verso with smaller examples of sewing. I was captivated by this simple way to synthesize my previously distinct work of making paper dresses and making paper books. I was drawn to the idea of instructions and manuals because so many people ask me for ‘how-to’ books without understanding how difficult they are to make. But making a pretend instructional manual would be much more fun, and probably even more instructive. Since 2003, I have made and used a system of notetaking while reading, to help me hold onto the most compelling quotes. For this book, I went through all of my files to pull the appropriate quotes for the array of stories I wanted to highlight. It felt the same as making and compiling all of the physical materials I needed to tip in: bits of thread, ribbon, tape, paper, and so on. The specific becomes the universal, and what we think is so peculiar in our lives is replicated around the world countless times. We feel so apart from others and anxious, and this book was a way to reconcile some of those feelings while combining so many things I love to do, like drawing, writing, and making books and dresses. The edition is variable, including the paper for the pages, which vary throughout the edition. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381303847-QMNIBPLU20OQ26DO0UH9/mcba-prize-2020-Aimee-Lee-Peculiar-and-Commonplace-2.jpg Entries & Jurors - 2020 Entries - Aimee Lee Cleveland, Ohio aimeelee.net Peculiar & Commonplace 2018 pen, pencil, and inkjet printing on hanji, handmade papers, thread, manipulated papers and materials (including but not limited to natural dye, beeswax, ink, suminagashi, woven and knitted paper, ribbon, and fabric) Open: 56″ x 8″; Closed 20 x 8 x 3″ Artist Statement About Peculiar & Commonplace This book combs through observations from various people’s lives—anonymous to protect privacy—and pairs these stories with quotations from books and media that I have read or consumed for almost 15 years. These quotes are included in the spirit of commonplace books and reflect my lifelong practices of compiling inspiration, organization, and filing. A mostly silent but omnipresent narrative accompanies the text through drawings and objects. Aside from obvious illustration, they mimic an instruction manual on how to create and sew paper garment, which appears at the end of the book. This dress is constructed from discarded prints that accumulated in the making of the book. These tip-ins balance the tension and anxiety of the stories. The sewing scraps attempt to be neutral, a safe location for the reader to place their own biographies. Further info: A year or two prior to finally constructing this book, I saw an auction image of a book with a real dress sewn into it, folded to fit within the pages, with instructions on the verso with smaller examples of sewing. I was captivated by this simple way to synthesize my previously distinct work of making paper dresses and making paper books. I was drawn to the idea of instructions and manuals because so many people ask me for ‘how-to’ books without understanding how difficult they are to make. But making a pretend instructional manual would be much more fun, and probably even more instructive. Since 2003, I have made and used a system of notetaking while reading, to help me hold onto the most compelling quotes. For this book, I went through all of my files to pull the appropriate quotes for the array of stories I wanted to highlight. It felt the same as making and compiling all of the physical materials I needed to tip in: bits of thread, ribbon, tape, paper, and so on. The specific becomes the universal, and what we think is so peculiar in our lives is replicated around the world countless times. We feel so apart from others and anxious, and this book was a way to reconcile some of those feelings while combining so many things I love to do, like drawing, writing, and making books and dresses. The edition is variable, including the paper for the pages, which vary throughout the edition. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381304757-3R2DC00HGHWHNQBVAYDG/mcba-prize-2020-Aimee-Lee-Peculiar-and-Commonplace-1.jpg Entries & Jurors - 2020 Entries - Aimee Lee Cleveland, Ohio aimeelee.net Peculiar & Commonplace 2018 pen, pencil, and inkjet printing on hanji, handmade papers, thread, manipulated papers and materials (including but not limited to natural dye, beeswax, ink, suminagashi, woven and knitted paper, ribbon, and fabric) Open: 56″ x 8″; Closed 20 x 8 x 3″ Artist Statement About Peculiar & Commonplace This book combs through observations from various people’s lives—anonymous to protect privacy—and pairs these stories with quotations from books and media that I have read or consumed for almost 15 years. These quotes are included in the spirit of commonplace books and reflect my lifelong practices of compiling inspiration, organization, and filing. A mostly silent but omnipresent narrative accompanies the text through drawings and objects. Aside from obvious illustration, they mimic an instruction manual on how to create and sew paper garment, which appears at the end of the book. This dress is constructed from discarded prints that accumulated in the making of the book. These tip-ins balance the tension and anxiety of the stories. The sewing scraps attempt to be neutral, a safe location for the reader to place their own biographies. Further info: A year or two prior to finally constructing this book, I saw an auction image of a book with a real dress sewn into it, folded to fit within the pages, with instructions on the verso with smaller examples of sewing. I was captivated by this simple way to synthesize my previously distinct work of making paper dresses and making paper books. I was drawn to the idea of instructions and manuals because so many people ask me for ‘how-to’ books without understanding how difficult they are to make. But making a pretend instructional manual would be much more fun, and probably even more instructive. Since 2003, I have made and used a system of notetaking while reading, to help me hold onto the most compelling quotes. For this book, I went through all of my files to pull the appropriate quotes for the array of stories I wanted to highlight. It felt the same as making and compiling all of the physical materials I needed to tip in: bits of thread, ribbon, tape, paper, and so on. The specific becomes the universal, and what we think is so peculiar in our lives is replicated around the world countless times. We feel so apart from others and anxious, and this book was a way to reconcile some of those feelings while combining so many things I love to do, like drawing, writing, and making books and dresses. The edition is variable, including the paper for the pages, which vary throughout the edition. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381424102-VAHZYED8JX8CKD25Q3T0/mcba-prize-2020-Christina-Lilly-Cavern-of-Memory-5.jpg Entries & Jurors - 2020 Entries - Christina Lilly Birmingham, Alabama Cavern of Memory 2019 letterpress, artist’s book (stretched flat) 56″ w x 8″ h (display dimensions) approx. 20–40″ w x 8″ h x 3″ d Artist Statement Cavern of Memory is a letterpress printed artist book in an edition of 30. It is a woven accordion structure with a handmade paper cover, housed in a clamshell box with a woven handmade paper inset on the cover. The inspiration for this book came from my studies in medieval literature during my undergraduate career. The Anglo-Saxon poem entitled “The Wife’s Lament” makes up the horizontal text of the book, while my own poetry makes up the text found on the woven vertical strips. The poem resonated with me initially because of the beauty of the language, in addition to the universal themes touched upon so eloquently in the verse. A rarity in the Anglo-Saxon tradition, the poem is one of the only works attributed to a woman. The poem deals with themes of love and loss, isolation, grief, and longing. I knew I had to work with it for this project, but the problem was how I would express these themes and the powerful way it has affected me all these years. As a writer myself, I first planned to pen a direct response to the poem. The mingling of the anonymous woman’s voice and mine, and the interaction of the two texts on the page, would be central to the experience of my book. However, despite my efforts, this direct response just wasn’t working. I couldn’t figure out why, and I was frustrated and discouraged. Finally, I realized that I didn’t need to try to force a dialogue between me and this woman of the distant past; my poetry already spoke to the same themes as the work from thousands of years ago. It was an exciting discovery that inspired the woven structure of the book. The visual connection between the texts with weaving was more than enough to achieve the mingling of voices that I wanted. To keep with the weaving theme, I printed a fabric texture in the background, with the text overlayed in a strategic pattern. The vertical woven strips remain un-tipped to the accordion, giving a distinct feeling of fragility that speaks to the ethereal connection felt between myself, the viewer/reader, and this anonymous woman from long ago. Through this book, our two voices speak together through the distance of time and place in a way which might alleviate the pain of isolation and loss so integral to the human experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381424492-M658E5GLUPKNXHX8A3W3/mcba-prize-2020-Christina-Lilly-Cavern-of-Memory-4.jpg Entries & Jurors - 2020 Entries - Christina Lilly Birmingham, Alabama Cavern of Memory 2019 letterpress, artist’s book (stretched flat) 56″ w x 8″ h (display dimensions) approx. 20–40″ w x 8″ h x 3″ d Artist Statement Cavern of Memory is a letterpress printed artist book in an edition of 30. It is a woven accordion structure with a handmade paper cover, housed in a clamshell box with a woven handmade paper inset on the cover. The inspiration for this book came from my studies in medieval literature during my undergraduate career. The Anglo-Saxon poem entitled “The Wife’s Lament” makes up the horizontal text of the book, while my own poetry makes up the text found on the woven vertical strips. The poem resonated with me initially because of the beauty of the language, in addition to the universal themes touched upon so eloquently in the verse. A rarity in the Anglo-Saxon tradition, the poem is one of the only works attributed to a woman. The poem deals with themes of love and loss, isolation, grief, and longing. I knew I had to work with it for this project, but the problem was how I would express these themes and the powerful way it has affected me all these years. As a writer myself, I first planned to pen a direct response to the poem. The mingling of the anonymous woman’s voice and mine, and the interaction of the two texts on the page, would be central to the experience of my book. However, despite my efforts, this direct response just wasn’t working. I couldn’t figure out why, and I was frustrated and discouraged. Finally, I realized that I didn’t need to try to force a dialogue between me and this woman of the distant past; my poetry already spoke to the same themes as the work from thousands of years ago. It was an exciting discovery that inspired the woven structure of the book. The visual connection between the texts with weaving was more than enough to achieve the mingling of voices that I wanted. To keep with the weaving theme, I printed a fabric texture in the background, with the text overlayed in a strategic pattern. The vertical woven strips remain un-tipped to the accordion, giving a distinct feeling of fragility that speaks to the ethereal connection felt between myself, the viewer/reader, and this anonymous woman from long ago. Through this book, our two voices speak together through the distance of time and place in a way which might alleviate the pain of isolation and loss so integral to the human experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381425736-UQSJAPJYNOMIUEF4751T/mcba-prize-2020-Christina-Lilly-Cavern-of-Memory-3.jpg Entries & Jurors - 2020 Entries - Christina Lilly Birmingham, Alabama Cavern of Memory 2019 letterpress, artist’s book (stretched flat) 56″ w x 8″ h (display dimensions) approx. 20–40″ w x 8″ h x 3″ d Artist Statement Cavern of Memory is a letterpress printed artist book in an edition of 30. It is a woven accordion structure with a handmade paper cover, housed in a clamshell box with a woven handmade paper inset on the cover. The inspiration for this book came from my studies in medieval literature during my undergraduate career. The Anglo-Saxon poem entitled “The Wife’s Lament” makes up the horizontal text of the book, while my own poetry makes up the text found on the woven vertical strips. The poem resonated with me initially because of the beauty of the language, in addition to the universal themes touched upon so eloquently in the verse. A rarity in the Anglo-Saxon tradition, the poem is one of the only works attributed to a woman. The poem deals with themes of love and loss, isolation, grief, and longing. I knew I had to work with it for this project, but the problem was how I would express these themes and the powerful way it has affected me all these years. As a writer myself, I first planned to pen a direct response to the poem. The mingling of the anonymous woman’s voice and mine, and the interaction of the two texts on the page, would be central to the experience of my book. However, despite my efforts, this direct response just wasn’t working. I couldn’t figure out why, and I was frustrated and discouraged. Finally, I realized that I didn’t need to try to force a dialogue between me and this woman of the distant past; my poetry already spoke to the same themes as the work from thousands of years ago. It was an exciting discovery that inspired the woven structure of the book. The visual connection between the texts with weaving was more than enough to achieve the mingling of voices that I wanted. To keep with the weaving theme, I printed a fabric texture in the background, with the text overlayed in a strategic pattern. The vertical woven strips remain un-tipped to the accordion, giving a distinct feeling of fragility that speaks to the ethereal connection felt between myself, the viewer/reader, and this anonymous woman from long ago. Through this book, our two voices speak together through the distance of time and place in a way which might alleviate the pain of isolation and loss so integral to the human experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381427707-HFG80NGQ5P9PC44OZRT6/mcba-prize-2020-Christina-Lilly-Cavern-of-Memory-2.jpg Entries & Jurors - 2020 Entries - Christina Lilly Birmingham, Alabama Cavern of Memory 2019 letterpress, artist’s book (stretched flat) 56″ w x 8″ h (display dimensions) approx. 20–40″ w x 8″ h x 3″ d Artist Statement Cavern of Memory is a letterpress printed artist book in an edition of 30. It is a woven accordion structure with a handmade paper cover, housed in a clamshell box with a woven handmade paper inset on the cover. The inspiration for this book came from my studies in medieval literature during my undergraduate career. The Anglo-Saxon poem entitled “The Wife’s Lament” makes up the horizontal text of the book, while my own poetry makes up the text found on the woven vertical strips. The poem resonated with me initially because of the beauty of the language, in addition to the universal themes touched upon so eloquently in the verse. A rarity in the Anglo-Saxon tradition, the poem is one of the only works attributed to a woman. The poem deals with themes of love and loss, isolation, grief, and longing. I knew I had to work with it for this project, but the problem was how I would express these themes and the powerful way it has affected me all these years. As a writer myself, I first planned to pen a direct response to the poem. The mingling of the anonymous woman’s voice and mine, and the interaction of the two texts on the page, would be central to the experience of my book. However, despite my efforts, this direct response just wasn’t working. I couldn’t figure out why, and I was frustrated and discouraged. Finally, I realized that I didn’t need to try to force a dialogue between me and this woman of the distant past; my poetry already spoke to the same themes as the work from thousands of years ago. It was an exciting discovery that inspired the woven structure of the book. The visual connection between the texts with weaving was more than enough to achieve the mingling of voices that I wanted. To keep with the weaving theme, I printed a fabric texture in the background, with the text overlayed in a strategic pattern. The vertical woven strips remain un-tipped to the accordion, giving a distinct feeling of fragility that speaks to the ethereal connection felt between myself, the viewer/reader, and this anonymous woman from long ago. Through this book, our two voices speak together through the distance of time and place in a way which might alleviate the pain of isolation and loss so integral to the human experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381428339-9Q2QOZ9PTA4JBCCHPLU8/mcba-prize-2020-Christina-Lilly-Cavern-of-Memory-1.jpg Entries & Jurors - 2020 Entries - Christina Lilly Birmingham, Alabama Cavern of Memory 2019 letterpress, artist’s book (stretched flat) 56″ w x 8″ h (display dimensions) approx. 20–40″ w x 8″ h x 3″ d Artist Statement Cavern of Memory is a letterpress printed artist book in an edition of 30. It is a woven accordion structure with a handmade paper cover, housed in a clamshell box with a woven handmade paper inset on the cover. The inspiration for this book came from my studies in medieval literature during my undergraduate career. The Anglo-Saxon poem entitled “The Wife’s Lament” makes up the horizontal text of the book, while my own poetry makes up the text found on the woven vertical strips. The poem resonated with me initially because of the beauty of the language, in addition to the universal themes touched upon so eloquently in the verse. A rarity in the Anglo-Saxon tradition, the poem is one of the only works attributed to a woman. The poem deals with themes of love and loss, isolation, grief, and longing. I knew I had to work with it for this project, but the problem was how I would express these themes and the powerful way it has affected me all these years. As a writer myself, I first planned to pen a direct response to the poem. The mingling of the anonymous woman’s voice and mine, and the interaction of the two texts on the page, would be central to the experience of my book. However, despite my efforts, this direct response just wasn’t working. I couldn’t figure out why, and I was frustrated and discouraged. Finally, I realized that I didn’t need to try to force a dialogue between me and this woman of the distant past; my poetry already spoke to the same themes as the work from thousands of years ago. It was an exciting discovery that inspired the woven structure of the book. The visual connection between the texts with weaving was more than enough to achieve the mingling of voices that I wanted. To keep with the weaving theme, I printed a fabric texture in the background, with the text overlayed in a strategic pattern. The vertical woven strips remain un-tipped to the accordion, giving a distinct feeling of fragility that speaks to the ethereal connection felt between myself, the viewer/reader, and this anonymous woman from long ago. Through this book, our two voices speak together through the distance of time and place in a way which might alleviate the pain of isolation and loss so integral to the human experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381593312-MNG4P5MRXYJ778FMJJ4R/mcba-prize-2020-Lanxuan-Liu-Intertwined-5.jpg Entries & Jurors - 2020 Entries - Lanxuan Liu Chicago, Illinois florenceliu.com Intertwined 2020 Abaca paper, cotton threads OPEN: 36″ X 24″ CLOSED: 18″ X 24″ Artist Statement The unique editioned artist book Intertwined portrayed an imagery of the feminine body in which various systems and patterns are embedded within each layer of the skin. Each sheet of paper is handmade using abaca skin fiber and cotton thread inclusion. The evidence of repetition and labor is key to the work. It reflects the struggles of compromising and confronting the system of order; the contrast between the conscious and the subconscious; the relationship between the origin and the otherness; the contrast between the forced and the failures. The book is a channel to delve deeper into the subconscious mind, to reflect on how the female body is shaped by society and how to react to the unpredictable challenges. The tangible action of flipping through the pages is challenged by the tangled threads to create a sense of struggle and chaos. By overcoming the tangle and getting to the next page, the process reveals what is underneath each layer of the skin. The action of tangling and untangling is a performance to self-reflection, self-investigation and to self-meditation. It is about searching for the order within the randomness and appreciating randomness within the order. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381593361-7QH3ABYEFRB5D61MYLLN/mcba-prize-2020-Lanxuan-Liu-Intertwined-4.jpg Entries & Jurors - 2020 Entries - Lanxuan Liu Chicago, Illinois florenceliu.com Intertwined 2020 Abaca paper, cotton threads OPEN: 36″ X 24″ CLOSED: 18″ X 24″ Artist Statement The unique editioned artist book Intertwined portrayed an imagery of the feminine body in which various systems and patterns are embedded within each layer of the skin. Each sheet of paper is handmade using abaca skin fiber and cotton thread inclusion. The evidence of repetition and labor is key to the work. It reflects the struggles of compromising and confronting the system of order; the contrast between the conscious and the subconscious; the relationship between the origin and the otherness; the contrast between the forced and the failures. The book is a channel to delve deeper into the subconscious mind, to reflect on how the female body is shaped by society and how to react to the unpredictable challenges. The tangible action of flipping through the pages is challenged by the tangled threads to create a sense of struggle and chaos. By overcoming the tangle and getting to the next page, the process reveals what is underneath each layer of the skin. The action of tangling and untangling is a performance to self-reflection, self-investigation and to self-meditation. It is about searching for the order within the randomness and appreciating randomness within the order. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381596833-JWF6X7NY2FFCOYI9502P/mcba-prize-2020-Lanxuan-Liu-Intertwined-3.jpg Entries & Jurors - 2020 Entries - Lanxuan Liu Chicago, Illinois florenceliu.com Intertwined 2020 Abaca paper, cotton threads OPEN: 36″ X 24″ CLOSED: 18″ X 24″ Artist Statement The unique editioned artist book Intertwined portrayed an imagery of the feminine body in which various systems and patterns are embedded within each layer of the skin. Each sheet of paper is handmade using abaca skin fiber and cotton thread inclusion. The evidence of repetition and labor is key to the work. It reflects the struggles of compromising and confronting the system of order; the contrast between the conscious and the subconscious; the relationship between the origin and the otherness; the contrast between the forced and the failures. The book is a channel to delve deeper into the subconscious mind, to reflect on how the female body is shaped by society and how to react to the unpredictable challenges. The tangible action of flipping through the pages is challenged by the tangled threads to create a sense of struggle and chaos. By overcoming the tangle and getting to the next page, the process reveals what is underneath each layer of the skin. The action of tangling and untangling is a performance to self-reflection, self-investigation and to self-meditation. It is about searching for the order within the randomness and appreciating randomness within the order. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381597023-3GF2FRXCK3D659YOHY7Z/mcba-prize-2020-Lanxuan-Liu-Intertwined-2.jpg Entries & Jurors - 2020 Entries - Lanxuan Liu Chicago, Illinois florenceliu.com Intertwined 2020 Abaca paper, cotton threads OPEN: 36″ X 24″ CLOSED: 18″ X 24″ Artist Statement The unique editioned artist book Intertwined portrayed an imagery of the feminine body in which various systems and patterns are embedded within each layer of the skin. Each sheet of paper is handmade using abaca skin fiber and cotton thread inclusion. The evidence of repetition and labor is key to the work. It reflects the struggles of compromising and confronting the system of order; the contrast between the conscious and the subconscious; the relationship between the origin and the otherness; the contrast between the forced and the failures. The book is a channel to delve deeper into the subconscious mind, to reflect on how the female body is shaped by society and how to react to the unpredictable challenges. The tangible action of flipping through the pages is challenged by the tangled threads to create a sense of struggle and chaos. By overcoming the tangle and getting to the next page, the process reveals what is underneath each layer of the skin. The action of tangling and untangling is a performance to self-reflection, self-investigation and to self-meditation. It is about searching for the order within the randomness and appreciating randomness within the order. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381598272-2E4GQUIVUH1M1MACZII5/mcba-prize-2020-Lanxuan-Liu-Intertwined-1.jpg Entries & Jurors - 2020 Entries - Lanxuan Liu Chicago, Illinois florenceliu.com Intertwined 2020 Abaca paper, cotton threads OPEN: 36″ X 24″ CLOSED: 18″ X 24″ Artist Statement The unique editioned artist book Intertwined portrayed an imagery of the feminine body in which various systems and patterns are embedded within each layer of the skin. Each sheet of paper is handmade using abaca skin fiber and cotton thread inclusion. The evidence of repetition and labor is key to the work. It reflects the struggles of compromising and confronting the system of order; the contrast between the conscious and the subconscious; the relationship between the origin and the otherness; the contrast between the forced and the failures. The book is a channel to delve deeper into the subconscious mind, to reflect on how the female body is shaped by society and how to react to the unpredictable challenges. The tangible action of flipping through the pages is challenged by the tangled threads to create a sense of struggle and chaos. By overcoming the tangle and getting to the next page, the process reveals what is underneath each layer of the skin. The action of tangling and untangling is a performance to self-reflection, self-investigation and to self-meditation. It is about searching for the order within the randomness and appreciating randomness within the order. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381717299-RHE8J01OTKD757OFN6BC/mcba-prize-2020-Eddy-Lopez-Nicaragua-Surviving-the-legacy-of-US-Intervention-1.jpg Entries & Jurors - 2020 Entries - Eddy Lopez Lewisburg, Pennsylvania eddyalopez.com Nicaragua: Surviving the Legacy of US Intervention 2018 archival print 64 x 36″ Artist Statement My artwork amalgamates archives, books, and memories of war into abstractions of vibrant colors, patterns, and shapes. Through wide- scale collages, I use print media, big data, and averaging algorithms to create compositions that try to find beauty in a chaotic world. Nicaragua: Surving the Legacy of US Policy is a composite print of all the pages of Paul Dix and Pamela Fitzpatrick’s book by the same title. In amalgamating all the pages in to one, the memories captured in the pages are mercifully obfuscated into a serene, abstracted book. As a survivor of war and a war refugee, I explore the relationship between lived experience and representation, between remembering and forgetting. My work interrogates if it is right to seek inspiration from atrocities and searches for the proper artistic response to pain and suffering. Can that pain be transformed? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381796200-4L87NDAC0TREIEWBPJBR/mcba-prize-2020-Julie-Shaw-Lutts-The-VOTE-5.jpg Entries & Jurors - 2020 Entries - Julie Shaw Lutts Salem, Massachusetts julieshawlutts.com The VOTE 2020 mixed media artist’s book Closed 11 x 8 x 4.5″; Open: 30 x 16 x 4.5″ Artist Statement To commemorate the centennial of a woman’s right to vote in the United States of America, I created this artist book titled, The VOTE. It was 100 years ago this year, after decades of work by both women and men, that women earned the right to vote. Suffragettes marched, rallied, spoke out, suffered jail, hardship and death, all to prove to the politicians with the power—generally old white men—that they deserved to cast their vote, to be heard, to be respected as equals alongside men. The 19th Amendment is simple, only 28 words, which have stayed the same since it was first proposed in 1878; The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any state on account of sex. My book was created using a vintage wooden box where the 22 pages are housed. The pages are vintage kid leather gloves. Many of these gloves were given to me by a friend whose mother had actually worn them as she cast her vote. As you read the book, you are invited to touch history, to place the gloved pages by your own hands, to read out the simple, true, fair 28 words that empowered women to vote then and now. This power has given women a voice throughout these past 100 years, which has led us to our me-too world, where women are still fighting to be heard, believed, and respected as equals. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381796065-LSU12P2WNTMKEYAMZ5PP/mcba-prize-2020-Julie-Shaw-Lutts-The-VOTE-4.jpg Entries & Jurors - 2020 Entries - Julie Shaw Lutts Salem, Massachusetts julieshawlutts.com The VOTE 2020 mixed media artist’s book Closed 11 x 8 x 4.5″; Open: 30 x 16 x 4.5″ Artist Statement To commemorate the centennial of a woman’s right to vote in the United States of America, I created this artist book titled, The VOTE. It was 100 years ago this year, after decades of work by both women and men, that women earned the right to vote. Suffragettes marched, rallied, spoke out, suffered jail, hardship and death, all to prove to the politicians with the power—generally old white men—that they deserved to cast their vote, to be heard, to be respected as equals alongside men. The 19th Amendment is simple, only 28 words, which have stayed the same since it was first proposed in 1878; The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any state on account of sex. My book was created using a vintage wooden box where the 22 pages are housed. The pages are vintage kid leather gloves. Many of these gloves were given to me by a friend whose mother had actually worn them as she cast her vote. As you read the book, you are invited to touch history, to place the gloved pages by your own hands, to read out the simple, true, fair 28 words that empowered women to vote then and now. This power has given women a voice throughout these past 100 years, which has led us to our me-too world, where women are still fighting to be heard, believed, and respected as equals. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381799534-XYV06EBQURW48X21VEEZ/mcba-prize-2020-Julie-Shaw-Lutts-The-VOTE-3.jpg Entries & Jurors - 2020 Entries - Julie Shaw Lutts Salem, Massachusetts julieshawlutts.com The VOTE 2020 mixed media artist’s book Closed 11 x 8 x 4.5″; Open: 30 x 16 x 4.5″ Artist Statement To commemorate the centennial of a woman’s right to vote in the United States of America, I created this artist book titled, The VOTE. It was 100 years ago this year, after decades of work by both women and men, that women earned the right to vote. Suffragettes marched, rallied, spoke out, suffered jail, hardship and death, all to prove to the politicians with the power—generally old white men—that they deserved to cast their vote, to be heard, to be respected as equals alongside men. The 19th Amendment is simple, only 28 words, which have stayed the same since it was first proposed in 1878; The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any state on account of sex. My book was created using a vintage wooden box where the 22 pages are housed. The pages are vintage kid leather gloves. Many of these gloves were given to me by a friend whose mother had actually worn them as she cast her vote. As you read the book, you are invited to touch history, to place the gloved pages by your own hands, to read out the simple, true, fair 28 words that empowered women to vote then and now. This power has given women a voice throughout these past 100 years, which has led us to our me-too world, where women are still fighting to be heard, believed, and respected as equals. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381798555-SFUX6O9HZI4VFC8RKGHB/mcba-prize-2020-Julie-Shaw-Lutts-The-VOTE-2.jpg Entries & Jurors - 2020 Entries - Julie Shaw Lutts Salem, Massachusetts julieshawlutts.com The VOTE 2020 mixed media artist’s book Closed 11 x 8 x 4.5″; Open: 30 x 16 x 4.5″ Artist Statement To commemorate the centennial of a woman’s right to vote in the United States of America, I created this artist book titled, The VOTE. It was 100 years ago this year, after decades of work by both women and men, that women earned the right to vote. Suffragettes marched, rallied, spoke out, suffered jail, hardship and death, all to prove to the politicians with the power—generally old white men—that they deserved to cast their vote, to be heard, to be respected as equals alongside men. The 19th Amendment is simple, only 28 words, which have stayed the same since it was first proposed in 1878; The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any state on account of sex. My book was created using a vintage wooden box where the 22 pages are housed. The pages are vintage kid leather gloves. Many of these gloves were given to me by a friend whose mother had actually worn them as she cast her vote. As you read the book, you are invited to touch history, to place the gloved pages by your own hands, to read out the simple, true, fair 28 words that empowered women to vote then and now. This power has given women a voice throughout these past 100 years, which has led us to our me-too world, where women are still fighting to be heard, believed, and respected as equals. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381801321-7D05KO6G984T7H0OW7T3/mcba-prize-2020-Julie-Shaw-Lutts-The-VOTE-1.jpg Entries & Jurors - 2020 Entries - Julie Shaw Lutts Salem, Massachusetts julieshawlutts.com The VOTE 2020 mixed media artist’s book Closed 11 x 8 x 4.5″; Open: 30 x 16 x 4.5″ Artist Statement To commemorate the centennial of a woman’s right to vote in the United States of America, I created this artist book titled, The VOTE. It was 100 years ago this year, after decades of work by both women and men, that women earned the right to vote. Suffragettes marched, rallied, spoke out, suffered jail, hardship and death, all to prove to the politicians with the power—generally old white men—that they deserved to cast their vote, to be heard, to be respected as equals alongside men. The 19th Amendment is simple, only 28 words, which have stayed the same since it was first proposed in 1878; The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any state on account of sex. My book was created using a vintage wooden box where the 22 pages are housed. The pages are vintage kid leather gloves. Many of these gloves were given to me by a friend whose mother had actually worn them as she cast her vote. As you read the book, you are invited to touch history, to place the gloved pages by your own hands, to read out the simple, true, fair 28 words that empowered women to vote then and now. This power has given women a voice throughout these past 100 years, which has led us to our me-too world, where women are still fighting to be heard, believed, and respected as equals. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381937914-463MYMSCK42PJIGIGBSM/mcba-prize-2020-Marlene-MacCallum-Shadow-5.jpg Entries & Jurors - 2020 Entries - Marlene MacCallum Ameliasburg, Ontario, Canada marlenemaccallum.com Shadow – Canto One: Still Life 2018 hand bound artist’s book with slipcase, pamphlet binding with gatefold structure, digital pigment print on Digital Aya paper Closed: 9.3 x 6.8 x .4″; Open: 9.21x 13.4″ Artist Statement Shadow is an ongoing project, an artist’s book variation on the long poem format. Each piece, or canto, is a discrete and distinct manifestation of “shadow” within the context of domestic and private spaces. Each canto is subtitled to refer to an undervalued art genre, and reflects my personal politic of attending to the overlooked and dismissed aspects of our daily lives. The first canto, Still Life, began when a cedar waxwing flew into a picture window and died. Avian fatalities are tragically common because of the excessive size of our windows. The emotional experience triggered a memory of the first canto from Vladimir Nabokov’s Pale Fire, “I was the shadow of the waxwing slain by the false azure in the windowpane…” and the fictitious poet then proceeds to create imagery of the viewer seeing reflections and doublings of the interior and exterior spaces. Building on this literary source, my visual recording of the incident evolved into both an elegy and a musing on the nature of stilled lives. The cover of Still Life is a close-up view of a window screen and distant blurred trees. The title page brings the trees into focus and reveals a reflected window hovering within the branches. The next pair of images turns the viewer inwards to face the projection of the window light and tree shadows playing on the wall. The following pages create pairings of still life images. The waxwing floats above a layered version of Canto One from Pale Fire and is juxtaposed with a fallen weathervane in the form of a heron. On the verso of the final spread, the same weathervane is poised for flight within an interior space and, on the recto, the image of the waxwing has been liberated and replaced with the window view. The poem is written from the bird’s perspective. The sequence of images plays with formal and spatial qualities. The gatefold structure allows the viewer to create their own pairings. The experience of the piece is that of moving through the interior structure of the book while contemplating images of interiority and the nature of the “still life” and the stilled life. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381938009-A3YYPVIKH48VA0C02K08/mcba-prize-2020-Marlene-MacCallum-Shadow-4.jpg Entries & Jurors - 2020 Entries - Marlene MacCallum Ameliasburg, Ontario, Canada marlenemaccallum.com Shadow – Canto One: Still Life 2018 hand bound artist’s book with slipcase, pamphlet binding with gatefold structure, digital pigment print on Digital Aya paper Closed: 9.3 x 6.8 x .4″; Open: 9.21x 13.4″ Artist Statement Shadow is an ongoing project, an artist’s book variation on the long poem format. Each piece, or canto, is a discrete and distinct manifestation of “shadow” within the context of domestic and private spaces. Each canto is subtitled to refer to an undervalued art genre, and reflects my personal politic of attending to the overlooked and dismissed aspects of our daily lives. The first canto, Still Life, began when a cedar waxwing flew into a picture window and died. Avian fatalities are tragically common because of the excessive size of our windows. The emotional experience triggered a memory of the first canto from Vladimir Nabokov’s Pale Fire, “I was the shadow of the waxwing slain by the false azure in the windowpane…” and the fictitious poet then proceeds to create imagery of the viewer seeing reflections and doublings of the interior and exterior spaces. Building on this literary source, my visual recording of the incident evolved into both an elegy and a musing on the nature of stilled lives. The cover of Still Life is a close-up view of a window screen and distant blurred trees. The title page brings the trees into focus and reveals a reflected window hovering within the branches. The next pair of images turns the viewer inwards to face the projection of the window light and tree shadows playing on the wall. The following pages create pairings of still life images. The waxwing floats above a layered version of Canto One from Pale Fire and is juxtaposed with a fallen weathervane in the form of a heron. On the verso of the final spread, the same weathervane is poised for flight within an interior space and, on the recto, the image of the waxwing has been liberated and replaced with the window view. The poem is written from the bird’s perspective. The sequence of images plays with formal and spatial qualities. The gatefold structure allows the viewer to create their own pairings. The experience of the piece is that of moving through the interior structure of the book while contemplating images of interiority and the nature of the “still life” and the stilled life. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381939986-HIBBPDYI4MN3DP5CZ4AA/mcba-prize-2020-Marlene-MacCallum-Shadow-3.jpg Entries & Jurors - 2020 Entries - Marlene MacCallum Ameliasburg, Ontario, Canada marlenemaccallum.com Shadow – Canto One: Still Life 2018 hand bound artist’s book with slipcase, pamphlet binding with gatefold structure, digital pigment print on Digital Aya paper Closed: 9.3 x 6.8 x .4″; Open: 9.21x 13.4″ Artist Statement Shadow is an ongoing project, an artist’s book variation on the long poem format. Each piece, or canto, is a discrete and distinct manifestation of “shadow” within the context of domestic and private spaces. Each canto is subtitled to refer to an undervalued art genre, and reflects my personal politic of attending to the overlooked and dismissed aspects of our daily lives. The first canto, Still Life, began when a cedar waxwing flew into a picture window and died. Avian fatalities are tragically common because of the excessive size of our windows. The emotional experience triggered a memory of the first canto from Vladimir Nabokov’s Pale Fire, “I was the shadow of the waxwing slain by the false azure in the windowpane…” and the fictitious poet then proceeds to create imagery of the viewer seeing reflections and doublings of the interior and exterior spaces. Building on this literary source, my visual recording of the incident evolved into both an elegy and a musing on the nature of stilled lives. The cover of Still Life is a close-up view of a window screen and distant blurred trees. The title page brings the trees into focus and reveals a reflected window hovering within the branches. The next pair of images turns the viewer inwards to face the projection of the window light and tree shadows playing on the wall. The following pages create pairings of still life images. The waxwing floats above a layered version of Canto One from Pale Fire and is juxtaposed with a fallen weathervane in the form of a heron. On the verso of the final spread, the same weathervane is poised for flight within an interior space and, on the recto, the image of the waxwing has been liberated and replaced with the window view. The poem is written from the bird’s perspective. The sequence of images plays with formal and spatial qualities. The gatefold structure allows the viewer to create their own pairings. The experience of the piece is that of moving through the interior structure of the book while contemplating images of interiority and the nature of the “still life” and the stilled life. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381940656-95Y8CMNMS1M9V02Q3HX4/mcba-prize-2020-Marlene-MacCallum-Shadow-2.jpg Entries & Jurors - 2020 Entries - Marlene MacCallum Ameliasburg, Ontario, Canada marlenemaccallum.com Shadow – Canto One: Still Life 2018 hand bound artist’s book with slipcase, pamphlet binding with gatefold structure, digital pigment print on Digital Aya paper Closed: 9.3 x 6.8 x .4″; Open: 9.21x 13.4″ Artist Statement Shadow is an ongoing project, an artist’s book variation on the long poem format. Each piece, or canto, is a discrete and distinct manifestation of “shadow” within the context of domestic and private spaces. Each canto is subtitled to refer to an undervalued art genre, and reflects my personal politic of attending to the overlooked and dismissed aspects of our daily lives. The first canto, Still Life, began when a cedar waxwing flew into a picture window and died. Avian fatalities are tragically common because of the excessive size of our windows. The emotional experience triggered a memory of the first canto from Vladimir Nabokov’s Pale Fire, “I was the shadow of the waxwing slain by the false azure in the windowpane…” and the fictitious poet then proceeds to create imagery of the viewer seeing reflections and doublings of the interior and exterior spaces. Building on this literary source, my visual recording of the incident evolved into both an elegy and a musing on the nature of stilled lives. The cover of Still Life is a close-up view of a window screen and distant blurred trees. The title page brings the trees into focus and reveals a reflected window hovering within the branches. The next pair of images turns the viewer inwards to face the projection of the window light and tree shadows playing on the wall. The following pages create pairings of still life images. The waxwing floats above a layered version of Canto One from Pale Fire and is juxtaposed with a fallen weathervane in the form of a heron. On the verso of the final spread, the same weathervane is poised for flight within an interior space and, on the recto, the image of the waxwing has been liberated and replaced with the window view. The poem is written from the bird’s perspective. The sequence of images plays with formal and spatial qualities. The gatefold structure allows the viewer to create their own pairings. The experience of the piece is that of moving through the interior structure of the book while contemplating images of interiority and the nature of the “still life” and the stilled life. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381941515-8A37LPBSEX3L25QJW6N4/mcba-prize-2020-Marlene-MacCallum-Shadow-1.jpg Entries & Jurors - 2020 Entries - Marlene MacCallum Ameliasburg, Ontario, Canada marlenemaccallum.com Shadow – Canto One: Still Life 2018 hand bound artist’s book with slipcase, pamphlet binding with gatefold structure, digital pigment print on Digital Aya paper Closed: 9.3 x 6.8 x .4″; Open: 9.21x 13.4″ Artist Statement Shadow is an ongoing project, an artist’s book variation on the long poem format. Each piece, or canto, is a discrete and distinct manifestation of “shadow” within the context of domestic and private spaces. Each canto is subtitled to refer to an undervalued art genre, and reflects my personal politic of attending to the overlooked and dismissed aspects of our daily lives. The first canto, Still Life, began when a cedar waxwing flew into a picture window and died. Avian fatalities are tragically common because of the excessive size of our windows. The emotional experience triggered a memory of the first canto from Vladimir Nabokov’s Pale Fire, “I was the shadow of the waxwing slain by the false azure in the windowpane…” and the fictitious poet then proceeds to create imagery of the viewer seeing reflections and doublings of the interior and exterior spaces. Building on this literary source, my visual recording of the incident evolved into both an elegy and a musing on the nature of stilled lives. The cover of Still Life is a close-up view of a window screen and distant blurred trees. The title page brings the trees into focus and reveals a reflected window hovering within the branches. The next pair of images turns the viewer inwards to face the projection of the window light and tree shadows playing on the wall. The following pages create pairings of still life images. The waxwing floats above a layered version of Canto One from Pale Fire and is juxtaposed with a fallen weathervane in the form of a heron. On the verso of the final spread, the same weathervane is poised for flight within an interior space and, on the recto, the image of the waxwing has been liberated and replaced with the window view. The poem is written from the bird’s perspective. The sequence of images plays with formal and spatial qualities. The gatefold structure allows the viewer to create their own pairings. The experience of the piece is that of moving through the interior structure of the book while contemplating images of interiority and the nature of the “still life” and the stilled life. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382092864-B469ODRYDEBT9ST9RJWK/mcba-prize-2020-Marlene-MacCallum-Shadow-Incidental-Music-5.jpg Entries & Jurors - 2020 Entries - Marlene MacCallum Ameliasburg, Ontario, Canada marlenemaccallum.com Shadow – Canto Three: Incidental Music 2019 Hand bound artist’s book with image accordion suspended over text accordion and concertina spacer. Images are digital pigment prints on Digital Aya. Two-part text of hand set letterpress poem set in 12 point Goudy Old Style and blind embossed soundscape letterpress set in 16 point Univers Bold. Case bound with digital pigment print covers on Anasazi Canvas around Eterno boards. Closed: 9.33 x 6.25 x .43″; Open: 9.62 x 11.81″ Artist Statement Shadow is an ongoing project, an artist’s book variation on the long poem format. Each piece, or canto, is a discrete and distinct manifestation of “shadow” within the context of domestic and private spaces. Each canto is subtitled to refer to an undervalued art genre, and reflects my personal politic of attending to the overlooked and dismissed aspects of our daily lives. The third canto, Incidental Music, presents itself as a straightforward codex but upon opening reveals a cascade of nested accordion-fold structures. Naturally occurring patterns of light and shadow create cyclical but transient intrusions into interior spaces. Sunlight progresses through the time and space of the pages with a brief shadow-play balancing-act performed mid- way through. The images hover over and almost obscure the poem and soundscape components quietly awaiting detection within the folds below. The poem rests within the base of the text accordion. It is a variation on the villanelle and cycles through psychological states. The blind embossed soundscape floats within the uppermost folds. It evokes subtle movements in a space so quiet that you can hear the most minute sound. Each component of the piece — image, poems, folded structures — exists independently and plays out its own rhythmic logic and integrity; a visual, poetic and material ostinati. The components complement each other by their shared manifestation of transitions. Incidental music bridges one scene to the next. In this piece, however, the interlude is the significant event; the condition of being the present. The past and future remain unknown. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382093254-KNMTYNNW68ICTL3TVH7F/mcba-prize-2020-Marlene-MacCallum-Shadow-Incidental-Music-4.jpg Entries & Jurors - 2020 Entries - Marlene MacCallum Ameliasburg, Ontario, Canada marlenemaccallum.com Shadow – Canto Three: Incidental Music 2019 Hand bound artist’s book with image accordion suspended over text accordion and concertina spacer. Images are digital pigment prints on Digital Aya. Two-part text of hand set letterpress poem set in 12 point Goudy Old Style and blind embossed soundscape letterpress set in 16 point Univers Bold. Case bound with digital pigment print covers on Anasazi Canvas around Eterno boards. Closed: 9.33 x 6.25 x .43″; Open: 9.62 x 11.81″ Artist Statement Shadow is an ongoing project, an artist’s book variation on the long poem format. Each piece, or canto, is a discrete and distinct manifestation of “shadow” within the context of domestic and private spaces. Each canto is subtitled to refer to an undervalued art genre, and reflects my personal politic of attending to the overlooked and dismissed aspects of our daily lives. The third canto, Incidental Music, presents itself as a straightforward codex but upon opening reveals a cascade of nested accordion-fold structures. Naturally occurring patterns of light and shadow create cyclical but transient intrusions into interior spaces. Sunlight progresses through the time and space of the pages with a brief shadow-play balancing-act performed mid- way through. The images hover over and almost obscure the poem and soundscape components quietly awaiting detection within the folds below. The poem rests within the base of the text accordion. It is a variation on the villanelle and cycles through psychological states. The blind embossed soundscape floats within the uppermost folds. It evokes subtle movements in a space so quiet that you can hear the most minute sound. Each component of the piece — image, poems, folded structures — exists independently and plays out its own rhythmic logic and integrity; a visual, poetic and material ostinati. The components complement each other by their shared manifestation of transitions. Incidental music bridges one scene to the next. In this piece, however, the interlude is the significant event; the condition of being the present. The past and future remain unknown. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382095016-RHVI1K56KBNLV0YDPFA3/mcba-prize-2020-Marlene-MacCallum-Shadow-Incidental-Music-3.jpg Entries & Jurors - 2020 Entries - Marlene MacCallum Ameliasburg, Ontario, Canada marlenemaccallum.com Shadow – Canto Three: Incidental Music 2019 Hand bound artist’s book with image accordion suspended over text accordion and concertina spacer. Images are digital pigment prints on Digital Aya. Two-part text of hand set letterpress poem set in 12 point Goudy Old Style and blind embossed soundscape letterpress set in 16 point Univers Bold. Case bound with digital pigment print covers on Anasazi Canvas around Eterno boards. Closed: 9.33 x 6.25 x .43″; Open: 9.62 x 11.81″ Artist Statement Shadow is an ongoing project, an artist’s book variation on the long poem format. Each piece, or canto, is a discrete and distinct manifestation of “shadow” within the context of domestic and private spaces. Each canto is subtitled to refer to an undervalued art genre, and reflects my personal politic of attending to the overlooked and dismissed aspects of our daily lives. The third canto, Incidental Music, presents itself as a straightforward codex but upon opening reveals a cascade of nested accordion-fold structures. Naturally occurring patterns of light and shadow create cyclical but transient intrusions into interior spaces. Sunlight progresses through the time and space of the pages with a brief shadow-play balancing-act performed mid- way through. The images hover over and almost obscure the poem and soundscape components quietly awaiting detection within the folds below. The poem rests within the base of the text accordion. It is a variation on the villanelle and cycles through psychological states. The blind embossed soundscape floats within the uppermost folds. It evokes subtle movements in a space so quiet that you can hear the most minute sound. Each component of the piece — image, poems, folded structures — exists independently and plays out its own rhythmic logic and integrity; a visual, poetic and material ostinati. The components complement each other by their shared manifestation of transitions. Incidental music bridges one scene to the next. In this piece, however, the interlude is the significant event; the condition of being the present. The past and future remain unknown. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382094726-R5HME1HSJJAGUX0DFMR1/mcba-prize-2020-Marlene-MacCallum-Shadow-Incidental-Music-2.jpg Entries & Jurors - 2020 Entries - Marlene MacCallum Ameliasburg, Ontario, Canada marlenemaccallum.com Shadow – Canto Three: Incidental Music 2019 Hand bound artist’s book with image accordion suspended over text accordion and concertina spacer. Images are digital pigment prints on Digital Aya. Two-part text of hand set letterpress poem set in 12 point Goudy Old Style and blind embossed soundscape letterpress set in 16 point Univers Bold. Case bound with digital pigment print covers on Anasazi Canvas around Eterno boards. Closed: 9.33 x 6.25 x .43″; Open: 9.62 x 11.81″ Artist Statement Shadow is an ongoing project, an artist’s book variation on the long poem format. Each piece, or canto, is a discrete and distinct manifestation of “shadow” within the context of domestic and private spaces. Each canto is subtitled to refer to an undervalued art genre, and reflects my personal politic of attending to the overlooked and dismissed aspects of our daily lives. The third canto, Incidental Music, presents itself as a straightforward codex but upon opening reveals a cascade of nested accordion-fold structures. Naturally occurring patterns of light and shadow create cyclical but transient intrusions into interior spaces. Sunlight progresses through the time and space of the pages with a brief shadow-play balancing-act performed mid- way through. The images hover over and almost obscure the poem and soundscape components quietly awaiting detection within the folds below. The poem rests within the base of the text accordion. It is a variation on the villanelle and cycles through psychological states. The blind embossed soundscape floats within the uppermost folds. It evokes subtle movements in a space so quiet that you can hear the most minute sound. Each component of the piece — image, poems, folded structures — exists independently and plays out its own rhythmic logic and integrity; a visual, poetic and material ostinati. The components complement each other by their shared manifestation of transitions. Incidental music bridges one scene to the next. In this piece, however, the interlude is the significant event; the condition of being the present. The past and future remain unknown. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382096451-YGNXWFPIKQ8T4X7WIC86/mcba-prize-2020-Marlene-MacCallum-Shadow-Incidental-Music-1.jpg Entries & Jurors - 2020 Entries - Marlene MacCallum Ameliasburg, Ontario, Canada marlenemaccallum.com Shadow – Canto Three: Incidental Music 2019 Hand bound artist’s book with image accordion suspended over text accordion and concertina spacer. Images are digital pigment prints on Digital Aya. Two-part text of hand set letterpress poem set in 12 point Goudy Old Style and blind embossed soundscape letterpress set in 16 point Univers Bold. Case bound with digital pigment print covers on Anasazi Canvas around Eterno boards. Closed: 9.33 x 6.25 x .43″; Open: 9.62 x 11.81″ Artist Statement Shadow is an ongoing project, an artist’s book variation on the long poem format. Each piece, or canto, is a discrete and distinct manifestation of “shadow” within the context of domestic and private spaces. Each canto is subtitled to refer to an undervalued art genre, and reflects my personal politic of attending to the overlooked and dismissed aspects of our daily lives. The third canto, Incidental Music, presents itself as a straightforward codex but upon opening reveals a cascade of nested accordion-fold structures. Naturally occurring patterns of light and shadow create cyclical but transient intrusions into interior spaces. Sunlight progresses through the time and space of the pages with a brief shadow-play balancing-act performed mid- way through. The images hover over and almost obscure the poem and soundscape components quietly awaiting detection within the folds below. The poem rests within the base of the text accordion. It is a variation on the villanelle and cycles through psychological states. The blind embossed soundscape floats within the uppermost folds. It evokes subtle movements in a space so quiet that you can hear the most minute sound. Each component of the piece — image, poems, folded structures — exists independently and plays out its own rhythmic logic and integrity; a visual, poetic and material ostinati. The components complement each other by their shared manifestation of transitions. Incidental music bridges one scene to the next. In this piece, however, the interlude is the significant event; the condition of being the present. The past and future remain unknown. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382232953-1T4CE8WX6FKGX26KZWB0/mcba-prize-2020-Miranda-Maher-Crotch-5.jpg Entries & Jurors - 2020 Entries - Miranda Maher Brooklyn, New York miranda-maher.com Crotch 2020 Codex of 108 Sumi Ink drawings 6 x 8.5 x 1.25″ Artist Statement My work begins with discrepancies, mistakes or even lies. I’ve dug into our self-deceptions about warfare and sexual violence; unpacked cultural delusions about femininity and explored our narcissism in relating to animals and nature. Lately, I’ve pared down to ink on paper and the exquisite moment of making a mark… combining it with things older or bigger than my moment by restraining the ink in gilding, or by combining it with astronomical diagrams or 19th century photographs. I continue to explore human violence and delusion, but after working with that darkness for 25 years, it feels better when contained in book forms. I work in series, components or other repetitions. For me it is not possible to make one thing that expresses my thoughts and feelings around an idea: I consider my series as single projects; I create installations of 10, 100 or 1000 components; In my recent ink work, making marks on many pages is a way of understanding consciousness and awareness and a moment in time… of the passage of time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382232899-J2C95FVF0INIU22JWXK1/mcba-prize-2020-Miranda-Maher-Crotch-4.jpg Entries & Jurors - 2020 Entries - Miranda Maher Brooklyn, New York miranda-maher.com Crotch 2020 Codex of 108 Sumi Ink drawings 6 x 8.5 x 1.25″ Artist Statement My work begins with discrepancies, mistakes or even lies. I’ve dug into our self-deceptions about warfare and sexual violence; unpacked cultural delusions about femininity and explored our narcissism in relating to animals and nature. Lately, I’ve pared down to ink on paper and the exquisite moment of making a mark… combining it with things older or bigger than my moment by restraining the ink in gilding, or by combining it with astronomical diagrams or 19th century photographs. I continue to explore human violence and delusion, but after working with that darkness for 25 years, it feels better when contained in book forms. I work in series, components or other repetitions. For me it is not possible to make one thing that expresses my thoughts and feelings around an idea: I consider my series as single projects; I create installations of 10, 100 or 1000 components; In my recent ink work, making marks on many pages is a way of understanding consciousness and awareness and a moment in time… of the passage of time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382234439-JFJG0SH0KHMEJMDLB4XK/mcba-prize-2020-Miranda-Maher-Crotch-3.jpg Entries & Jurors - 2020 Entries - Miranda Maher Brooklyn, New York miranda-maher.com Crotch 2020 Codex of 108 Sumi Ink drawings 6 x 8.5 x 1.25″ Artist Statement My work begins with discrepancies, mistakes or even lies. I’ve dug into our self-deceptions about warfare and sexual violence; unpacked cultural delusions about femininity and explored our narcissism in relating to animals and nature. Lately, I’ve pared down to ink on paper and the exquisite moment of making a mark… combining it with things older or bigger than my moment by restraining the ink in gilding, or by combining it with astronomical diagrams or 19th century photographs. I continue to explore human violence and delusion, but after working with that darkness for 25 years, it feels better when contained in book forms. I work in series, components or other repetitions. For me it is not possible to make one thing that expresses my thoughts and feelings around an idea: I consider my series as single projects; I create installations of 10, 100 or 1000 components; In my recent ink work, making marks on many pages is a way of understanding consciousness and awareness and a moment in time… of the passage of time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382235244-X3EDWVZS771UF8EOJXEP/mcba-prize-2020-Miranda-Maher-Crotch-2.jpg Entries & Jurors - 2020 Entries - Miranda Maher Brooklyn, New York miranda-maher.com Crotch 2020 Codex of 108 Sumi Ink drawings 6 x 8.5 x 1.25″ Artist Statement My work begins with discrepancies, mistakes or even lies. I’ve dug into our self-deceptions about warfare and sexual violence; unpacked cultural delusions about femininity and explored our narcissism in relating to animals and nature. Lately, I’ve pared down to ink on paper and the exquisite moment of making a mark… combining it with things older or bigger than my moment by restraining the ink in gilding, or by combining it with astronomical diagrams or 19th century photographs. I continue to explore human violence and delusion, but after working with that darkness for 25 years, it feels better when contained in book forms. I work in series, components or other repetitions. For me it is not possible to make one thing that expresses my thoughts and feelings around an idea: I consider my series as single projects; I create installations of 10, 100 or 1000 components; In my recent ink work, making marks on many pages is a way of understanding consciousness and awareness and a moment in time… of the passage of time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382236191-9OBYG89PYLGC5K2F673J/mcba-prize-2020-Miranda-Maher-Crotch-1.jpg Entries & Jurors - 2020 Entries - Miranda Maher Brooklyn, New York miranda-maher.com Crotch 2020 Codex of 108 Sumi Ink drawings 6 x 8.5 x 1.25″ Artist Statement My work begins with discrepancies, mistakes or even lies. I’ve dug into our self-deceptions about warfare and sexual violence; unpacked cultural delusions about femininity and explored our narcissism in relating to animals and nature. Lately, I’ve pared down to ink on paper and the exquisite moment of making a mark… combining it with things older or bigger than my moment by restraining the ink in gilding, or by combining it with astronomical diagrams or 19th century photographs. I continue to explore human violence and delusion, but after working with that darkness for 25 years, it feels better when contained in book forms. I work in series, components or other repetitions. For me it is not possible to make one thing that expresses my thoughts and feelings around an idea: I consider my series as single projects; I create installations of 10, 100 or 1000 components; In my recent ink work, making marks on many pages is a way of understanding consciousness and awareness and a moment in time… of the passage of time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382399636-BZZAP562KBERN1FRRAU6/mcba-prize-2020-Miranda-Maher-Library-5.jpg Entries & Jurors - 2020 Entries - Miranda Maher Brooklyn, New York miranda-maher.com Library (Meandering Canon) 2020 Accordion Book. Laser Print/Injet Print on Arche paper Open: 7.5 x 65.0″ Closed: 7.5 x 5.5 x .5″ Artist Statement My work begins with discrepancies, mistakes or even lies. I’ve dug into our self-deceptions about warfare and sexual violence; unpacked cultural delusions about femininity and explored our narcissism in relating to animals and nature. Lately, I’ve pared down to ink on paper and the exquisite moment of making a mark… combining it with things older or bigger than my moment by restraining the ink in gilding, or by combining it with astronomical diagrams or 19th century photographs. I continue to explore human violence and delusion, but after working with that darkness for 25 years, it feels better when contained in book forms. I work in series, components or other repetitions. For me it is not possible to make one thing that expresses my thoughts and feelings around an idea: I consider my series as single projects; I create installations of 10, 100 or 1000 components; In my recent ink work, making marks on many pages is a way of understanding consciousness and awareness and a moment in time… of the passage of time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382399356-NNECAA12HMQIUKRRV2YC/mcba-prize-2020-Miranda-Maher-Library-4.jpg Entries & Jurors - 2020 Entries - Miranda Maher Brooklyn, New York miranda-maher.com Library (Meandering Canon) 2020 Accordion Book. Laser Print/Injet Print on Arche paper Open: 7.5 x 65.0″ Closed: 7.5 x 5.5 x .5″ Artist Statement My work begins with discrepancies, mistakes or even lies. I’ve dug into our self-deceptions about warfare and sexual violence; unpacked cultural delusions about femininity and explored our narcissism in relating to animals and nature. Lately, I’ve pared down to ink on paper and the exquisite moment of making a mark… combining it with things older or bigger than my moment by restraining the ink in gilding, or by combining it with astronomical diagrams or 19th century photographs. I continue to explore human violence and delusion, but after working with that darkness for 25 years, it feels better when contained in book forms. I work in series, components or other repetitions. For me it is not possible to make one thing that expresses my thoughts and feelings around an idea: I consider my series as single projects; I create installations of 10, 100 or 1000 components; In my recent ink work, making marks on many pages is a way of understanding consciousness and awareness and a moment in time… of the passage of time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382403279-6097E6CPA0QDGX9TSHSA/mcba-prize-2020-Miranda-Maher-Library-3.jpg Entries & Jurors - 2020 Entries - Miranda Maher Brooklyn, New York miranda-maher.com Library (Meandering Canon) 2020 Accordion Book. Laser Print/Injet Print on Arche paper Open: 7.5 x 65.0″ Closed: 7.5 x 5.5 x .5″ Artist Statement My work begins with discrepancies, mistakes or even lies. I’ve dug into our self-deceptions about warfare and sexual violence; unpacked cultural delusions about femininity and explored our narcissism in relating to animals and nature. Lately, I’ve pared down to ink on paper and the exquisite moment of making a mark… combining it with things older or bigger than my moment by restraining the ink in gilding, or by combining it with astronomical diagrams or 19th century photographs. I continue to explore human violence and delusion, but after working with that darkness for 25 years, it feels better when contained in book forms. I work in series, components or other repetitions. For me it is not possible to make one thing that expresses my thoughts and feelings around an idea: I consider my series as single projects; I create installations of 10, 100 or 1000 components; In my recent ink work, making marks on many pages is a way of understanding consciousness and awareness and a moment in time… of the passage of time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382403381-IERYU88KZMBHAUT1FAR4/mcba-prize-2020-Miranda-Maher-Library-2.jpg Entries & Jurors - 2020 Entries - Miranda Maher Brooklyn, New York miranda-maher.com Library (Meandering Canon) 2020 Accordion Book. Laser Print/Injet Print on Arche paper Open: 7.5 x 65.0″ Closed: 7.5 x 5.5 x .5″ Artist Statement My work begins with discrepancies, mistakes or even lies. I’ve dug into our self-deceptions about warfare and sexual violence; unpacked cultural delusions about femininity and explored our narcissism in relating to animals and nature. Lately, I’ve pared down to ink on paper and the exquisite moment of making a mark… combining it with things older or bigger than my moment by restraining the ink in gilding, or by combining it with astronomical diagrams or 19th century photographs. I continue to explore human violence and delusion, but after working with that darkness for 25 years, it feels better when contained in book forms. I work in series, components or other repetitions. For me it is not possible to make one thing that expresses my thoughts and feelings around an idea: I consider my series as single projects; I create installations of 10, 100 or 1000 components; In my recent ink work, making marks on many pages is a way of understanding consciousness and awareness and a moment in time… of the passage of time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382405257-011QXQOXAG241VWGJOJ0/mcba-prize-2020-Miranda-Maher-Library-1.jpg Entries & Jurors - 2020 Entries - Miranda Maher Brooklyn, New York miranda-maher.com Library (Meandering Canon) 2020 Accordion Book. Laser Print/Injet Print on Arche paper Open: 7.5 x 65.0″ Closed: 7.5 x 5.5 x .5″ Artist Statement My work begins with discrepancies, mistakes or even lies. I’ve dug into our self-deceptions about warfare and sexual violence; unpacked cultural delusions about femininity and explored our narcissism in relating to animals and nature. Lately, I’ve pared down to ink on paper and the exquisite moment of making a mark… combining it with things older or bigger than my moment by restraining the ink in gilding, or by combining it with astronomical diagrams or 19th century photographs. I continue to explore human violence and delusion, but after working with that darkness for 25 years, it feels better when contained in book forms. I work in series, components or other repetitions. For me it is not possible to make one thing that expresses my thoughts and feelings around an idea: I consider my series as single projects; I create installations of 10, 100 or 1000 components; In my recent ink work, making marks on many pages is a way of understanding consciousness and awareness and a moment in time… of the passage of time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382517535-RYGU2UTW0102FVUKDDRT/mcba-prize-2020-Joanna-Manning-Inside-the-Hollows-It-Calls-5.jpg Entries & Jurors - 2020 Entries - Joanna Manning New Brighton, Minnesota Inside the Hollows It Calls 2019 red stoneware ceramic, felt, wool, leather cord 8 x 8 x 1.25″ Artist Statement I use the book medium to provide an intimate experience with the viewer. Each page alternates between fired clay and felted wool bound together by leather cord. Images in the light pink fired clay are achieved with collagraph printmaking plates impressed upon clay when still in a semi-plastic stage. After firing, each textural impression is highlighted with a painted layer of slip, a watered-down state of clay. Light brown felt pages softly cushion the clay pages. Using the needle felting process I create wool forms on felt pages. Needle felting requires a special needle that has sharp, barbed blades with which I separate and interlock wool fibers to form condensed material that I attach to the felt pages. Referencing the form and scale of organs from the human body, I abstract and repeat their forms in Inside the Hollows It Calls. Textures found on surfaces of the work feel soft, smooth, rough, cold, or hard. The felt and clay construction mirror a durable yet fragile body: humans are naked inside clothes and creatures of blood-circulating organs. My work also explores questions of gender and sexuality by embracing the stereotypically female color palette of pinks and claiming these as universal colors that exist inside and within all bodies. Further, I extend and acknowledge nuances in these colors that exist in the whole body, including sexual organs. Isolated forms are centered on the page, creating a tactile and conceptual sequence. The abstract quality of the images leave room for the viewer to imagine a visceral narrative unfolding. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382517401-AI9RFRAM5DA37O0OYOF5/mcba-prize-2020-Joanna-Manning-Inside-the-Hollows-It-Calls-4.jpg Entries & Jurors - 2020 Entries - Joanna Manning New Brighton, Minnesota Inside the Hollows It Calls 2019 red stoneware ceramic, felt, wool, leather cord 8 x 8 x 1.25″ Artist Statement I use the book medium to provide an intimate experience with the viewer. Each page alternates between fired clay and felted wool bound together by leather cord. Images in the light pink fired clay are achieved with collagraph printmaking plates impressed upon clay when still in a semi-plastic stage. After firing, each textural impression is highlighted with a painted layer of slip, a watered-down state of clay. Light brown felt pages softly cushion the clay pages. Using the needle felting process I create wool forms on felt pages. Needle felting requires a special needle that has sharp, barbed blades with which I separate and interlock wool fibers to form condensed material that I attach to the felt pages. Referencing the form and scale of organs from the human body, I abstract and repeat their forms in Inside the Hollows It Calls. Textures found on surfaces of the work feel soft, smooth, rough, cold, or hard. The felt and clay construction mirror a durable yet fragile body: humans are naked inside clothes and creatures of blood-circulating organs. My work also explores questions of gender and sexuality by embracing the stereotypically female color palette of pinks and claiming these as universal colors that exist inside and within all bodies. Further, I extend and acknowledge nuances in these colors that exist in the whole body, including sexual organs. Isolated forms are centered on the page, creating a tactile and conceptual sequence. The abstract quality of the images leave room for the viewer to imagine a visceral narrative unfolding. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382519008-FAH58WEJDN2OIEDPKXAH/mcba-prize-2020-Joanna-Manning-Inside-the-Hollows-It-Calls-3.jpg Entries & Jurors - 2020 Entries - Joanna Manning New Brighton, Minnesota Inside the Hollows It Calls 2019 red stoneware ceramic, felt, wool, leather cord 8 x 8 x 1.25″ Artist Statement I use the book medium to provide an intimate experience with the viewer. Each page alternates between fired clay and felted wool bound together by leather cord. Images in the light pink fired clay are achieved with collagraph printmaking plates impressed upon clay when still in a semi-plastic stage. After firing, each textural impression is highlighted with a painted layer of slip, a watered-down state of clay. Light brown felt pages softly cushion the clay pages. Using the needle felting process I create wool forms on felt pages. Needle felting requires a special needle that has sharp, barbed blades with which I separate and interlock wool fibers to form condensed material that I attach to the felt pages. Referencing the form and scale of organs from the human body, I abstract and repeat their forms in Inside the Hollows It Calls. Textures found on surfaces of the work feel soft, smooth, rough, cold, or hard. The felt and clay construction mirror a durable yet fragile body: humans are naked inside clothes and creatures of blood-circulating organs. My work also explores questions of gender and sexuality by embracing the stereotypically female color palette of pinks and claiming these as universal colors that exist inside and within all bodies. Further, I extend and acknowledge nuances in these colors that exist in the whole body, including sexual organs. Isolated forms are centered on the page, creating a tactile and conceptual sequence. The abstract quality of the images leave room for the viewer to imagine a visceral narrative unfolding. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382519428-2EPLYJQWRL8QQKMPO6JB/mcba-prize-2020-Joanna-Manning-Inside-the-Hollows-It-Calls-2.jpg Entries & Jurors - 2020 Entries - Joanna Manning New Brighton, Minnesota Inside the Hollows It Calls 2019 red stoneware ceramic, felt, wool, leather cord 8 x 8 x 1.25″ Artist Statement I use the book medium to provide an intimate experience with the viewer. Each page alternates between fired clay and felted wool bound together by leather cord. Images in the light pink fired clay are achieved with collagraph printmaking plates impressed upon clay when still in a semi-plastic stage. After firing, each textural impression is highlighted with a painted layer of slip, a watered-down state of clay. Light brown felt pages softly cushion the clay pages. Using the needle felting process I create wool forms on felt pages. Needle felting requires a special needle that has sharp, barbed blades with which I separate and interlock wool fibers to form condensed material that I attach to the felt pages. Referencing the form and scale of organs from the human body, I abstract and repeat their forms in Inside the Hollows It Calls. Textures found on surfaces of the work feel soft, smooth, rough, cold, or hard. The felt and clay construction mirror a durable yet fragile body: humans are naked inside clothes and creatures of blood-circulating organs. My work also explores questions of gender and sexuality by embracing the stereotypically female color palette of pinks and claiming these as universal colors that exist inside and within all bodies. Further, I extend and acknowledge nuances in these colors that exist in the whole body, including sexual organs. Isolated forms are centered on the page, creating a tactile and conceptual sequence. The abstract quality of the images leave room for the viewer to imagine a visceral narrative unfolding. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382520462-F2E3D88RDDYZ17SVYWLE/mcba-prize-2020-Joanna-Manning-Inside-the-Hollows-It-Calls-1.jpg Entries & Jurors - 2020 Entries - Joanna Manning New Brighton, Minnesota Inside the Hollows It Calls 2019 red stoneware ceramic, felt, wool, leather cord 8 x 8 x 1.25″ Artist Statement I use the book medium to provide an intimate experience with the viewer. Each page alternates between fired clay and felted wool bound together by leather cord. Images in the light pink fired clay are achieved with collagraph printmaking plates impressed upon clay when still in a semi-plastic stage. After firing, each textural impression is highlighted with a painted layer of slip, a watered-down state of clay. Light brown felt pages softly cushion the clay pages. Using the needle felting process I create wool forms on felt pages. Needle felting requires a special needle that has sharp, barbed blades with which I separate and interlock wool fibers to form condensed material that I attach to the felt pages. Referencing the form and scale of organs from the human body, I abstract and repeat their forms in Inside the Hollows It Calls. Textures found on surfaces of the work feel soft, smooth, rough, cold, or hard. The felt and clay construction mirror a durable yet fragile body: humans are naked inside clothes and creatures of blood-circulating organs. My work also explores questions of gender and sexuality by embracing the stereotypically female color palette of pinks and claiming these as universal colors that exist inside and within all bodies. Further, I extend and acknowledge nuances in these colors that exist in the whole body, including sexual organs. Isolated forms are centered on the page, creating a tactile and conceptual sequence. The abstract quality of the images leave room for the viewer to imagine a visceral narrative unfolding. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382733552-0O24L82ADDK4RMR925C3/mcba-prize-2020-Darren-marsh-Weneverstoodapart-4.jpg Entries & Jurors - 2020 Entries - Darren Marsh Manchester, United Kingdom darrenmarsh.co.uk weneverstoodapart 2020 archival digital print on 280gsm Titanium Lustre silver resin coated paper. Archival linen hinges. Mirri Blanco Pearl 220gsm covers. Archival digital printed labels with spot varnish. Blue and gold inked paper banderole Each book an 8 page concertina fold, 66 x 11″ Artist Statement Curiosity is an attunement to multi species entanglement, complexity, and the shimmer all around us. —Deborah Bird Rose weneverstoodapart is a visual poem about our relationship with other beings, both human and non-human. We have constructed our worlds with humans always in a dominant or central position, and so find ourselves in an ecological and political era which mirrors to us the impact this brings to all life and the planet. Any civilisation that chooses to drive ecological change, while refusing to acknowledge its own interdependence and interconnectedness with all life, psychologically disconnects and isolates itself from itself and the entire biosphere. To act as if the world beyond humans is composed of “things” for human use is a catastrophic assault on the diversity, complexity, abundance, and beauty of life. We are entangled with other species we cannot live without. Our current thinking and world view no longer holds. — weneverstoodapart folds ideas from the life sciences and thermodynamics with drawing and digital image making to generate a visual poem for our times. Form, structure and process coalesce into a dynamic texture echoing the sympoietic nature of all life. Book 1 – A traumatic loss of coordinates Book 2 – Things are exactly as they are, yet never as they seem Book 3 – How enmeshed we are An edition of 6 published 2020. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382733626-62803YS9L14OE9NVK7IC/mcba-prize-2020-Darren-marsh-Weneverstoodapart-3.jpg Entries & Jurors - 2020 Entries - Darren Marsh Manchester, United Kingdom darrenmarsh.co.uk weneverstoodapart 2020 archival digital print on 280gsm Titanium Lustre silver resin coated paper. Archival linen hinges. Mirri Blanco Pearl 220gsm covers. Archival digital printed labels with spot varnish. Blue and gold inked paper banderole Each book an 8 page concertina fold, 66 x 11″ Artist Statement Curiosity is an attunement to multi species entanglement, complexity, and the shimmer all around us. —Deborah Bird Rose weneverstoodapart is a visual poem about our relationship with other beings, both human and non-human. We have constructed our worlds with humans always in a dominant or central position, and so find ourselves in an ecological and political era which mirrors to us the impact this brings to all life and the planet. Any civilisation that chooses to drive ecological change, while refusing to acknowledge its own interdependence and interconnectedness with all life, psychologically disconnects and isolates itself from itself and the entire biosphere. To act as if the world beyond humans is composed of “things” for human use is a catastrophic assault on the diversity, complexity, abundance, and beauty of life. We are entangled with other species we cannot live without. Our current thinking and world view no longer holds. — weneverstoodapart folds ideas from the life sciences and thermodynamics with drawing and digital image making to generate a visual poem for our times. Form, structure and process coalesce into a dynamic texture echoing the sympoietic nature of all life. Book 1 – A traumatic loss of coordinates Book 2 – Things are exactly as they are, yet never as they seem Book 3 – How enmeshed we are An edition of 6 published 2020. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382736225-D06EIFJJD8BJF70Y4U0C/mcba-prize-2020-Darren-marsh-Weneverstoodapart-2.jpg Entries & Jurors - 2020 Entries - Darren Marsh Manchester, United Kingdom darrenmarsh.co.uk weneverstoodapart 2020 archival digital print on 280gsm Titanium Lustre silver resin coated paper. Archival linen hinges. Mirri Blanco Pearl 220gsm covers. Archival digital printed labels with spot varnish. Blue and gold inked paper banderole Each book an 8 page concertina fold, 66 x 11″ Artist Statement Curiosity is an attunement to multi species entanglement, complexity, and the shimmer all around us. —Deborah Bird Rose weneverstoodapart is a visual poem about our relationship with other beings, both human and non-human. We have constructed our worlds with humans always in a dominant or central position, and so find ourselves in an ecological and political era which mirrors to us the impact this brings to all life and the planet. Any civilisation that chooses to drive ecological change, while refusing to acknowledge its own interdependence and interconnectedness with all life, psychologically disconnects and isolates itself from itself and the entire biosphere. To act as if the world beyond humans is composed of “things” for human use is a catastrophic assault on the diversity, complexity, abundance, and beauty of life. We are entangled with other species we cannot live without. Our current thinking and world view no longer holds. — weneverstoodapart folds ideas from the life sciences and thermodynamics with drawing and digital image making to generate a visual poem for our times. Form, structure and process coalesce into a dynamic texture echoing the sympoietic nature of all life. Book 1 – A traumatic loss of coordinates Book 2 – Things are exactly as they are, yet never as they seem Book 3 – How enmeshed we are An edition of 6 published 2020. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382736763-G5QM1FAWB0N8IYDGJ8G2/mcba-prize-2020-Darren-marsh-Weneverstoodapart-1.jpg Entries & Jurors - 2020 Entries - Darren Marsh Manchester, United Kingdom darrenmarsh.co.uk weneverstoodapart 2020 archival digital print on 280gsm Titanium Lustre silver resin coated paper. Archival linen hinges. Mirri Blanco Pearl 220gsm covers. Archival digital printed labels with spot varnish. Blue and gold inked paper banderole Each book an 8 page concertina fold, 66 x 11″ Artist Statement Curiosity is an attunement to multi species entanglement, complexity, and the shimmer all around us. —Deborah Bird Rose weneverstoodapart is a visual poem about our relationship with other beings, both human and non-human. We have constructed our worlds with humans always in a dominant or central position, and so find ourselves in an ecological and political era which mirrors to us the impact this brings to all life and the planet. Any civilisation that chooses to drive ecological change, while refusing to acknowledge its own interdependence and interconnectedness with all life, psychologically disconnects and isolates itself from itself and the entire biosphere. To act as if the world beyond humans is composed of “things” for human use is a catastrophic assault on the diversity, complexity, abundance, and beauty of life. We are entangled with other species we cannot live without. Our current thinking and world view no longer holds. — weneverstoodapart folds ideas from the life sciences and thermodynamics with drawing and digital image making to generate a visual poem for our times. Form, structure and process coalesce into a dynamic texture echoing the sympoietic nature of all life. Book 1 – A traumatic loss of coordinates Book 2 – Things are exactly as they are, yet never as they seem Book 3 – How enmeshed we are An edition of 6 published 2020. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382877637-7L2IGBAENJ94HWT2GVYX/mcba-prize-2020-Mary-Marsh-TABLOID-5.jpg Entries & Jurors - 2020 Entries - Mary V. Marsh Oakland, California mvmarsh.com TABLOID! 2018 handset type, linoleum cut, and vintage cuts on Rives Lightweight, with slipcover Closed: 12.5 x 9.5″, 8 pages Artist Statement I’m interested in the transformation of communication technology and changes in our reading habits. At a time when major city daily papers have been reduced from broadside to tabloid format, like my hometown paper, The Oregonian, this project became a reaction to and a processing of the tabloid voice that comes from the White House. The tabloid format and tone both satirizes and reveals our current news environment. I collected headlines and articles that made me feel anxious about technological changes in our communication systems, and political changes affecting access and control. Most were found in the Friday New York Times which I buy every week, from January–July 2018. I handset the headlines with lead and wood type, selecting typefaces to emphasize the hyperbole. I hand-carved linoleum blocks of newspaper articles and photos, the historic technique contrasting with the continually updated digital information on our screens. Printing each element on a Vandercook proof press, in a similar way as early newspapers, I slowly filled the eight pages. The soft and delicate Arches Lightweight gives a luxurious feel to what would be a throwaway item. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382878058-1Q1JH92ZAMS9OBOKH3AB/mcba-prize-2020-Mary-Marsh-TABLOID-4.jpg Entries & Jurors - 2020 Entries - Mary V. Marsh Oakland, California mvmarsh.com TABLOID! 2018 handset type, linoleum cut, and vintage cuts on Rives Lightweight, with slipcover Closed: 12.5 x 9.5″, 8 pages Artist Statement I’m interested in the transformation of communication technology and changes in our reading habits. At a time when major city daily papers have been reduced from broadside to tabloid format, like my hometown paper, The Oregonian, this project became a reaction to and a processing of the tabloid voice that comes from the White House. The tabloid format and tone both satirizes and reveals our current news environment. I collected headlines and articles that made me feel anxious about technological changes in our communication systems, and political changes affecting access and control. Most were found in the Friday New York Times which I buy every week, from January–July 2018. I handset the headlines with lead and wood type, selecting typefaces to emphasize the hyperbole. I hand-carved linoleum blocks of newspaper articles and photos, the historic technique contrasting with the continually updated digital information on our screens. Printing each element on a Vandercook proof press, in a similar way as early newspapers, I slowly filled the eight pages. The soft and delicate Arches Lightweight gives a luxurious feel to what would be a throwaway item. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382880726-MBZK7CFMTJ1CGTB2K1E9/mcba-prize-2020-Mary-Marsh-TABLOID-3.jpg Entries & Jurors - 2020 Entries - Mary V. Marsh Oakland, California mvmarsh.com TABLOID! 2018 handset type, linoleum cut, and vintage cuts on Rives Lightweight, with slipcover Closed: 12.5 x 9.5″, 8 pages Artist Statement I’m interested in the transformation of communication technology and changes in our reading habits. At a time when major city daily papers have been reduced from broadside to tabloid format, like my hometown paper, The Oregonian, this project became a reaction to and a processing of the tabloid voice that comes from the White House. The tabloid format and tone both satirizes and reveals our current news environment. I collected headlines and articles that made me feel anxious about technological changes in our communication systems, and political changes affecting access and control. Most were found in the Friday New York Times which I buy every week, from January–July 2018. I handset the headlines with lead and wood type, selecting typefaces to emphasize the hyperbole. I hand-carved linoleum blocks of newspaper articles and photos, the historic technique contrasting with the continually updated digital information on our screens. Printing each element on a Vandercook proof press, in a similar way as early newspapers, I slowly filled the eight pages. The soft and delicate Arches Lightweight gives a luxurious feel to what would be a throwaway item. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382881455-T860LZ94LHV7DCW9Q0RZ/mcba-prize-2020-Mary-Marsh-TABLOID-2.jpg Entries & Jurors - 2020 Entries - Mary V. Marsh Oakland, California mvmarsh.com TABLOID! 2018 handset type, linoleum cut, and vintage cuts on Rives Lightweight, with slipcover Closed: 12.5 x 9.5″, 8 pages Artist Statement I’m interested in the transformation of communication technology and changes in our reading habits. At a time when major city daily papers have been reduced from broadside to tabloid format, like my hometown paper, The Oregonian, this project became a reaction to and a processing of the tabloid voice that comes from the White House. The tabloid format and tone both satirizes and reveals our current news environment. I collected headlines and articles that made me feel anxious about technological changes in our communication systems, and political changes affecting access and control. Most were found in the Friday New York Times which I buy every week, from January–July 2018. I handset the headlines with lead and wood type, selecting typefaces to emphasize the hyperbole. I hand-carved linoleum blocks of newspaper articles and photos, the historic technique contrasting with the continually updated digital information on our screens. Printing each element on a Vandercook proof press, in a similar way as early newspapers, I slowly filled the eight pages. The soft and delicate Arches Lightweight gives a luxurious feel to what would be a throwaway item. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382883123-FO8PY6NAOTXBIKQHPWXF/mcba-prize-2020-Mary-Marsh-TABLOID-1.jpg Entries & Jurors - 2020 Entries - Mary V. Marsh Oakland, California mvmarsh.com TABLOID! 2018 handset type, linoleum cut, and vintage cuts on Rives Lightweight, with slipcover Closed: 12.5 x 9.5″, 8 pages Artist Statement I’m interested in the transformation of communication technology and changes in our reading habits. At a time when major city daily papers have been reduced from broadside to tabloid format, like my hometown paper, The Oregonian, this project became a reaction to and a processing of the tabloid voice that comes from the White House. The tabloid format and tone both satirizes and reveals our current news environment. I collected headlines and articles that made me feel anxious about technological changes in our communication systems, and political changes affecting access and control. Most were found in the Friday New York Times which I buy every week, from January–July 2018. I handset the headlines with lead and wood type, selecting typefaces to emphasize the hyperbole. I hand-carved linoleum blocks of newspaper articles and photos, the historic technique contrasting with the continually updated digital information on our screens. Printing each element on a Vandercook proof press, in a similar way as early newspapers, I slowly filled the eight pages. The soft and delicate Arches Lightweight gives a luxurious feel to what would be a throwaway item. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383064886-CK27EQKDUOVROPIGSU1E/mcba-prize-2020-Codex-Polaris-Bibliotek-Nordica-1.jpg Entries & Jurors - 2020 Entries - Codex Polaris Group: Codex Polaris Cooridnator: Imi Maufe Collaborator: Megan Adie Collaborator: Bent Kvisgaard Bergen, Norway codexpolaris.com Bibliotek Nordica 2019 A birch ply wooden box, containing books made in paper, wood, leather, plastic, cloth, using a wide variety of techniques from concertina and loose leaf booklets, to intricate bindings. 43 x 36.5 x 15.5 cm – each individual book is A6 – 10.5×14.8cm and various thicknesses. Artist Statement A library collection of 82 artists’ books by invited artists from Denmark, Finland, Iceland, Norway and Sweden gives a unique insight into the practice of making books in this part of the world at this moment (2019). The books, housed in a hand built box, are all A6 size (14,8 x 10,5cm) with a maximum width of 2cm. Each of the invited artists contributed with an edition of 11 books, produced specially for this project. The library has been made in an edition of 10, with the 11th book being exchanged between all the artists. The project is both a collection and a book work in its own right, existing as set of explorations in a box, instead of a codex form. The A6 book formats range from concertina, pamphlet, multiple section hand stitched, Japanese stab bound, hard and soft bound, map folds and several unique constructions.The works incorporate a variety of techniques such as screen print, Riso, etching, relief, woodcut, linocut, lithograph, digital, drawing, painting and collage. Materials include paper, card, cloth, wood, plastic, metal and leather.There is also a comprehensive catalogue of the works and a letterpress printed poster, alongside a collection of critical writings about artists’ books from this geographical region in each library.These writings are produced as A6 pamphlets and will be added to, as a continuation of the project. Bibliotek Nordica is a Codex Polaris production coordinated by Imi Maufe in collaboration with Megan Adie and Bent Kvisgaard. It was created for the international Nordic focus at the Codex Book Fair and Seminar in the San Francisco Bay Area, USA in February 2019 and was also launched at the Codex Fair, since then it has been shown at Malmö Kunsthall and Göteberg Biennale, Sweden; Frankfurt Book Fair, Germany, and Bristol Artists Book Event, UK, and with future exhibitions at Kristiansand Kunsthall, Norway; Iceland’s National Bibliotek, Reykjavik; Risk(U), Stockholm; and Small Publisher’s Fair, London (all 2021). Behind Bibliotek Nordica Imi Maufe (UK / NO) is a visual artist with a MA in Multi–disciplinary Printmaking from the University of the West of England, Bristol, 2004. Imi works with collaborative and solo projects that often include book arts, far fl ung residencies and inititates projects for Codex Polaris. Her work is found in collections including the Tate Library Collection, British Library, Victoria and Albert Museum, Bavarian State Library and Yale Center for British Arts. www.imimaufe.com Aviary Press is the imprint under which Megan Adie (USA / DK) publishes artist books, prints and ephemera. Established in Santa Barbara in 2000, Aviary Press publications can be found in public, university and private collections including the Danish Royal Library, Oxford University, Leipzig National Library, New York Public Library, and Stanford University. Megan is the founder of Edition/Basel, Switzerland, and is also principal bassist with Concerto Copenhagen. www.meganadie.com OFFICINA typographica KVISGAARDENSIS in Viborg, Denmark was established in 1980 as a non-commercial private printing offi ce and museum by Bent Kvisgaard. He qualifi ed as a typesetter in 1968 followed by qualifi cation as a master printer and worked at newspapers, publishers, advertising agencies and printing offi ces. Bent owns a comprehensive collection of lead and wooden type to keep the fascination of typography and letterpress alive today! www.kvisgaardensis.dk Bibliotek Nordica was assembled at Vingaards Officin Book Printing Museum, with the help of VO members, CC Tryk (printers), Morten Jørgensen (carpenter), and Bruunshaab Cardboard and Box Museum, all in Viborg, Denmark.Thanks to Katarzyna Roman for graphic design input. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383064403-5KU87FSG64J77DP8LZST/mcba-prize-2020-Codex-Polaris-Bibliotek-Nordica-2.jpg Entries & Jurors - 2020 Entries - Codex Polaris Group: Codex Polaris Cooridnator: Imi Maufe Collaborator: Megan Adie Collaborator: Bent Kvisgaard Bergen, Norway codexpolaris.com Bibliotek Nordica 2019 A birch ply wooden box, containing books made in paper, wood, leather, plastic, cloth, using a wide variety of techniques from concertina and loose leaf booklets, to intricate bindings. 43 x 36.5 x 15.5 cm – each individual book is A6 – 10.5×14.8cm and various thicknesses. Artist Statement A library collection of 82 artists’ books by invited artists from Denmark, Finland, Iceland, Norway and Sweden gives a unique insight into the practice of making books in this part of the world at this moment (2019). The books, housed in a hand built box, are all A6 size (14,8 x 10,5cm) with a maximum width of 2cm. Each of the invited artists contributed with an edition of 11 books, produced specially for this project. The library has been made in an edition of 10, with the 11th book being exchanged between all the artists. The project is both a collection and a book work in its own right, existing as set of explorations in a box, instead of a codex form. The A6 book formats range from concertina, pamphlet, multiple section hand stitched, Japanese stab bound, hard and soft bound, map folds and several unique constructions.The works incorporate a variety of techniques such as screen print, Riso, etching, relief, woodcut, linocut, lithograph, digital, drawing, painting and collage. Materials include paper, card, cloth, wood, plastic, metal and leather.There is also a comprehensive catalogue of the works and a letterpress printed poster, alongside a collection of critical writings about artists’ books from this geographical region in each library.These writings are produced as A6 pamphlets and will be added to, as a continuation of the project. Bibliotek Nordica is a Codex Polaris production coordinated by Imi Maufe in collaboration with Megan Adie and Bent Kvisgaard. It was created for the international Nordic focus at the Codex Book Fair and Seminar in the San Francisco Bay Area, USA in February 2019 and was also launched at the Codex Fair, since then it has been shown at Malmö Kunsthall and Göteberg Biennale, Sweden; Frankfurt Book Fair, Germany, and Bristol Artists Book Event, UK, and with future exhibitions at Kristiansand Kunsthall, Norway; Iceland’s National Bibliotek, Reykjavik; Risk(U), Stockholm; and Small Publisher’s Fair, London (all 2021). Behind Bibliotek Nordica Imi Maufe (UK / NO) is a visual artist with a MA in Multi–disciplinary Printmaking from the University of the West of England, Bristol, 2004. Imi works with collaborative and solo projects that often include book arts, far fl ung residencies and inititates projects for Codex Polaris. Her work is found in collections including the Tate Library Collection, British Library, Victoria and Albert Museum, Bavarian State Library and Yale Center for British Arts. www.imimaufe.com Aviary Press is the imprint under which Megan Adie (USA / DK) publishes artist books, prints and ephemera. Established in Santa Barbara in 2000, Aviary Press publications can be found in public, university and private collections including the Danish Royal Library, Oxford University, Leipzig National Library, New York Public Library, and Stanford University. Megan is the founder of Edition/Basel, Switzerland, and is also principal bassist with Concerto Copenhagen. www.meganadie.com OFFICINA typographica KVISGAARDENSIS in Viborg, Denmark was established in 1980 as a non-commercial private printing offi ce and museum by Bent Kvisgaard. He qualifi ed as a typesetter in 1968 followed by qualifi cation as a master printer and worked at newspapers, publishers, advertising agencies and printing offi ces. Bent owns a comprehensive collection of lead and wooden type to keep the fascination of typography and letterpress alive today! www.kvisgaardensis.dk Bibliotek Nordica was assembled at Vingaards Officin Book Printing Museum, with the help of VO members, CC Tryk (printers), Morten Jørgensen (carpenter), and Bruunshaab Cardboard and Box Museum, all in Viborg, Denmark.Thanks to Katarzyna Roman for graphic design input. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383063564-YQ8BMAMDWPOFGXJ4SI6S/mcba-prize-2020-Codex-Polaris-Bibliotek-Nordica-3.jpg Entries & Jurors - 2020 Entries - Codex Polaris Group: Codex Polaris Cooridnator: Imi Maufe Collaborator: Megan Adie Collaborator: Bent Kvisgaard Bergen, Norway codexpolaris.com Bibliotek Nordica 2019 A birch ply wooden box, containing books made in paper, wood, leather, plastic, cloth, using a wide variety of techniques from concertina and loose leaf booklets, to intricate bindings. 43 x 36.5 x 15.5 cm – each individual book is A6 – 10.5×14.8cm and various thicknesses. Artist Statement A library collection of 82 artists’ books by invited artists from Denmark, Finland, Iceland, Norway and Sweden gives a unique insight into the practice of making books in this part of the world at this moment (2019). The books, housed in a hand built box, are all A6 size (14,8 x 10,5cm) with a maximum width of 2cm. Each of the invited artists contributed with an edition of 11 books, produced specially for this project. The library has been made in an edition of 10, with the 11th book being exchanged between all the artists. The project is both a collection and a book work in its own right, existing as set of explorations in a box, instead of a codex form. The A6 book formats range from concertina, pamphlet, multiple section hand stitched, Japanese stab bound, hard and soft bound, map folds and several unique constructions.The works incorporate a variety of techniques such as screen print, Riso, etching, relief, woodcut, linocut, lithograph, digital, drawing, painting and collage. Materials include paper, card, cloth, wood, plastic, metal and leather.There is also a comprehensive catalogue of the works and a letterpress printed poster, alongside a collection of critical writings about artists’ books from this geographical region in each library.These writings are produced as A6 pamphlets and will be added to, as a continuation of the project. Bibliotek Nordica is a Codex Polaris production coordinated by Imi Maufe in collaboration with Megan Adie and Bent Kvisgaard. It was created for the international Nordic focus at the Codex Book Fair and Seminar in the San Francisco Bay Area, USA in February 2019 and was also launched at the Codex Fair, since then it has been shown at Malmö Kunsthall and Göteberg Biennale, Sweden; Frankfurt Book Fair, Germany, and Bristol Artists Book Event, UK, and with future exhibitions at Kristiansand Kunsthall, Norway; Iceland’s National Bibliotek, Reykjavik; Risk(U), Stockholm; and Small Publisher’s Fair, London (all 2021). Behind Bibliotek Nordica Imi Maufe (UK / NO) is a visual artist with a MA in Multi–disciplinary Printmaking from the University of the West of England, Bristol, 2004. Imi works with collaborative and solo projects that often include book arts, far fl ung residencies and inititates projects for Codex Polaris. Her work is found in collections including the Tate Library Collection, British Library, Victoria and Albert Museum, Bavarian State Library and Yale Center for British Arts. www.imimaufe.com Aviary Press is the imprint under which Megan Adie (USA / DK) publishes artist books, prints and ephemera. Established in Santa Barbara in 2000, Aviary Press publications can be found in public, university and private collections including the Danish Royal Library, Oxford University, Leipzig National Library, New York Public Library, and Stanford University. Megan is the founder of Edition/Basel, Switzerland, and is also principal bassist with Concerto Copenhagen. www.meganadie.com OFFICINA typographica KVISGAARDENSIS in Viborg, Denmark was established in 1980 as a non-commercial private printing offi ce and museum by Bent Kvisgaard. He qualifi ed as a typesetter in 1968 followed by qualifi cation as a master printer and worked at newspapers, publishers, advertising agencies and printing offi ces. Bent owns a comprehensive collection of lead and wooden type to keep the fascination of typography and letterpress alive today! www.kvisgaardensis.dk Bibliotek Nordica was assembled at Vingaards Officin Book Printing Museum, with the help of VO members, CC Tryk (printers), Morten Jørgensen (carpenter), and Bruunshaab Cardboard and Box Museum, all in Viborg, Denmark.Thanks to Katarzyna Roman for graphic design input. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383062392-74JOZC007A5IPBW3KQSX/mcba-prize-2020-Codex-Polaris-Bibliotek-Nordica-4.jpg Entries & Jurors - 2020 Entries - Codex Polaris Group: Codex Polaris Cooridnator: Imi Maufe Collaborator: Megan Adie Collaborator: Bent Kvisgaard Bergen, Norway codexpolaris.com Bibliotek Nordica 2019 A birch ply wooden box, containing books made in paper, wood, leather, plastic, cloth, using a wide variety of techniques from concertina and loose leaf booklets, to intricate bindings. 43 x 36.5 x 15.5 cm – each individual book is A6 – 10.5×14.8cm and various thicknesses. Artist Statement A library collection of 82 artists’ books by invited artists from Denmark, Finland, Iceland, Norway and Sweden gives a unique insight into the practice of making books in this part of the world at this moment (2019). The books, housed in a hand built box, are all A6 size (14,8 x 10,5cm) with a maximum width of 2cm. Each of the invited artists contributed with an edition of 11 books, produced specially for this project. The library has been made in an edition of 10, with the 11th book being exchanged between all the artists. The project is both a collection and a book work in its own right, existing as set of explorations in a box, instead of a codex form. The A6 book formats range from concertina, pamphlet, multiple section hand stitched, Japanese stab bound, hard and soft bound, map folds and several unique constructions.The works incorporate a variety of techniques such as screen print, Riso, etching, relief, woodcut, linocut, lithograph, digital, drawing, painting and collage. Materials include paper, card, cloth, wood, plastic, metal and leather.There is also a comprehensive catalogue of the works and a letterpress printed poster, alongside a collection of critical writings about artists’ books from this geographical region in each library.These writings are produced as A6 pamphlets and will be added to, as a continuation of the project. Bibliotek Nordica is a Codex Polaris production coordinated by Imi Maufe in collaboration with Megan Adie and Bent Kvisgaard. It was created for the international Nordic focus at the Codex Book Fair and Seminar in the San Francisco Bay Area, USA in February 2019 and was also launched at the Codex Fair, since then it has been shown at Malmö Kunsthall and Göteberg Biennale, Sweden; Frankfurt Book Fair, Germany, and Bristol Artists Book Event, UK, and with future exhibitions at Kristiansand Kunsthall, Norway; Iceland’s National Bibliotek, Reykjavik; Risk(U), Stockholm; and Small Publisher’s Fair, London (all 2021). Behind Bibliotek Nordica Imi Maufe (UK / NO) is a visual artist with a MA in Multi–disciplinary Printmaking from the University of the West of England, Bristol, 2004. Imi works with collaborative and solo projects that often include book arts, far fl ung residencies and inititates projects for Codex Polaris. Her work is found in collections including the Tate Library Collection, British Library, Victoria and Albert Museum, Bavarian State Library and Yale Center for British Arts. www.imimaufe.com Aviary Press is the imprint under which Megan Adie (USA / DK) publishes artist books, prints and ephemera. Established in Santa Barbara in 2000, Aviary Press publications can be found in public, university and private collections including the Danish Royal Library, Oxford University, Leipzig National Library, New York Public Library, and Stanford University. Megan is the founder of Edition/Basel, Switzerland, and is also principal bassist with Concerto Copenhagen. www.meganadie.com OFFICINA typographica KVISGAARDENSIS in Viborg, Denmark was established in 1980 as a non-commercial private printing offi ce and museum by Bent Kvisgaard. He qualifi ed as a typesetter in 1968 followed by qualifi cation as a master printer and worked at newspapers, publishers, advertising agencies and printing offi ces. Bent owns a comprehensive collection of lead and wooden type to keep the fascination of typography and letterpress alive today! www.kvisgaardensis.dk Bibliotek Nordica was assembled at Vingaards Officin Book Printing Museum, with the help of VO members, CC Tryk (printers), Morten Jørgensen (carpenter), and Bruunshaab Cardboard and Box Museum, all in Viborg, Denmark.Thanks to Katarzyna Roman for graphic design input. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383062225-6JJQ4ZTSDHR4VI25EYBC/mcba-prize-2020-Codex-Polaris-Bibliotek-Nordica-5.jpg Entries & Jurors - 2020 Entries - Codex Polaris Group: Codex Polaris Cooridnator: Imi Maufe Collaborator: Megan Adie Collaborator: Bent Kvisgaard Bergen, Norway codexpolaris.com Bibliotek Nordica 2019 A birch ply wooden box, containing books made in paper, wood, leather, plastic, cloth, using a wide variety of techniques from concertina and loose leaf booklets, to intricate bindings. 43 x 36.5 x 15.5 cm – each individual book is A6 – 10.5×14.8cm and various thicknesses. Artist Statement A library collection of 82 artists’ books by invited artists from Denmark, Finland, Iceland, Norway and Sweden gives a unique insight into the practice of making books in this part of the world at this moment (2019). The books, housed in a hand built box, are all A6 size (14,8 x 10,5cm) with a maximum width of 2cm. Each of the invited artists contributed with an edition of 11 books, produced specially for this project. The library has been made in an edition of 10, with the 11th book being exchanged between all the artists. The project is both a collection and a book work in its own right, existing as set of explorations in a box, instead of a codex form. The A6 book formats range from concertina, pamphlet, multiple section hand stitched, Japanese stab bound, hard and soft bound, map folds and several unique constructions.The works incorporate a variety of techniques such as screen print, Riso, etching, relief, woodcut, linocut, lithograph, digital, drawing, painting and collage. Materials include paper, card, cloth, wood, plastic, metal and leather.There is also a comprehensive catalogue of the works and a letterpress printed poster, alongside a collection of critical writings about artists’ books from this geographical region in each library.These writings are produced as A6 pamphlets and will be added to, as a continuation of the project. Bibliotek Nordica is a Codex Polaris production coordinated by Imi Maufe in collaboration with Megan Adie and Bent Kvisgaard. It was created for the international Nordic focus at the Codex Book Fair and Seminar in the San Francisco Bay Area, USA in February 2019 and was also launched at the Codex Fair, since then it has been shown at Malmö Kunsthall and Göteberg Biennale, Sweden; Frankfurt Book Fair, Germany, and Bristol Artists Book Event, UK, and with future exhibitions at Kristiansand Kunsthall, Norway; Iceland’s National Bibliotek, Reykjavik; Risk(U), Stockholm; and Small Publisher’s Fair, London (all 2021). Behind Bibliotek Nordica Imi Maufe (UK / NO) is a visual artist with a MA in Multi–disciplinary Printmaking from the University of the West of England, Bristol, 2004. Imi works with collaborative and solo projects that often include book arts, far fl ung residencies and inititates projects for Codex Polaris. Her work is found in collections including the Tate Library Collection, British Library, Victoria and Albert Museum, Bavarian State Library and Yale Center for British Arts. www.imimaufe.com Aviary Press is the imprint under which Megan Adie (USA / DK) publishes artist books, prints and ephemera. Established in Santa Barbara in 2000, Aviary Press publications can be found in public, university and private collections including the Danish Royal Library, Oxford University, Leipzig National Library, New York Public Library, and Stanford University. Megan is the founder of Edition/Basel, Switzerland, and is also principal bassist with Concerto Copenhagen. www.meganadie.com OFFICINA typographica KVISGAARDENSIS in Viborg, Denmark was established in 1980 as a non-commercial private printing offi ce and museum by Bent Kvisgaard. He qualifi ed as a typesetter in 1968 followed by qualifi cation as a master printer and worked at newspapers, publishers, advertising agencies and printing offi ces. Bent owns a comprehensive collection of lead and wooden type to keep the fascination of typography and letterpress alive today! www.kvisgaardensis.dk Bibliotek Nordica was assembled at Vingaards Officin Book Printing Museum, with the help of VO members, CC Tryk (printers), Morten Jørgensen (carpenter), and Bruunshaab Cardboard and Box Museum, all in Viborg, Denmark.Thanks to Katarzyna Roman for graphic design input. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383224701-I012K0V1OPUX0RC69T4X/mcba-prize-2020-Rachel-Melis-Of-Pregnancy-5.jpg Entries & Jurors - 2020 Entries - Rachel Melis St. Cloud, Minnesota rachelmelis.com Of Pregnancy, Stranger, and Pilgrimage by Emily Dyer Barker 2019 mulberry paper pages, handmade paper covers, book cloth envelope, dyed leather binding, miscellaneous paper cut-outs, and metal findings 4 x .25 x 14″ (exact size varies depending on the length of the leather used for the binding) Artist Statement My book’s colophon includes a statement, by curator Aime Tullies that I am including here, to provide context for my own exhibition statement (below). You are holding a chapter of a traveling literary journal. Eleven other chapters are spread out on train lines across the country, riding the rails for one week before they regroup. Each chapter is a collaboration between one writer and one printmaker and each tract is a unique piece of art. Feel free to make notes on the chapter: thoughts, where you’ve been, what you’ve seen on your journey, etc. Also, we’d love to see pictures of where you are in the world as you’re reading and traveling— tag #traintracts2019 on Instagram. You can also check that hashtag to see the other copies of your chapter, as well as the others, with different writers and different artists. Please be sure to drop this in the mail by February 22, 2019. Your chapter needs to get back in time for an exhibition at the Rio Gallery in Salt Lake City to celebrate the 150th anniversary of the Transcontinental Railroad. Thanks for playing. My chapter of the traveling literary journal, Train Tracts, consisted of then-pregnant author, Emily Dyer Barker’s, comparison of a fetus to a passenger on an unpredictable train ride (inspired by a poem by Sylvia Plath that likens pregnancy to trains, rising bread, and “money in a purse”). As the text itself contained ample imagery, I chose to add only a repeated circle motif on the enclosures, and where the author had asterisks at paragraph breaks. Instead I focused on the binding and created a multi-piece, organic, and organ-like, girdle-book, with a built-in act of birth or dismemberment. The horizontal concertina structure includes two vertical concertinas that unfurl like two maps or train tracks, one with the book’s text and one with the book’s instructions. I added my own directions to the curator’s, asking readers to complete my book’s particular process. Open [the leather piece], untie the leather cord in the middle of the book, remove the book from the leather piece, and seal the book jacket closed. Then you can put the book in the mail. The leather and cord are yours to keep, repurpose, or give away. I think of Emily Dyer Barker’s Of Pregnancy, Strangers, and Pilgrimage as a public art and collaborative piece on many levels. I created it in response to a curator and author, in conjunction with other artists making their own chapters, and, like the other artists, allowed it to be completed by the readers—entrusting it freely to unknown travelers—a metaphor for what it means to be a writer or artist (or mother). Only a couple of the copies of my book that toured the country made it to Salt Lake City, which suggests that some of the strangers kept their copies, or the inner envelopes, once detached, got lost in the mail, being very small. Even this loss completes the metaphors present in the author’s text and my binding. Plus, I built extra books into the edition for exhibition. The books come stamped and addressed, as if they could still be mailed to their final-destination, which, as with all books and beings, can never be known. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383224623-1QEWJ98NI2BK5PY8Z08P/mcba-prize-2020-Rachel-Melis-Of-Pregnancy-4.jpg Entries & Jurors - 2020 Entries - Rachel Melis St. Cloud, Minnesota rachelmelis.com Of Pregnancy, Stranger, and Pilgrimage by Emily Dyer Barker 2019 mulberry paper pages, handmade paper covers, book cloth envelope, dyed leather binding, miscellaneous paper cut-outs, and metal findings 4 x .25 x 14″ (exact size varies depending on the length of the leather used for the binding) Artist Statement My book’s colophon includes a statement, by curator Aime Tullies that I am including here, to provide context for my own exhibition statement (below). You are holding a chapter of a traveling literary journal. Eleven other chapters are spread out on train lines across the country, riding the rails for one week before they regroup. Each chapter is a collaboration between one writer and one printmaker and each tract is a unique piece of art. Feel free to make notes on the chapter: thoughts, where you’ve been, what you’ve seen on your journey, etc. Also, we’d love to see pictures of where you are in the world as you’re reading and traveling— tag #traintracts2019 on Instagram. You can also check that hashtag to see the other copies of your chapter, as well as the others, with different writers and different artists. Please be sure to drop this in the mail by February 22, 2019. Your chapter needs to get back in time for an exhibition at the Rio Gallery in Salt Lake City to celebrate the 150th anniversary of the Transcontinental Railroad. Thanks for playing. My chapter of the traveling literary journal, Train Tracts, consisted of then-pregnant author, Emily Dyer Barker’s, comparison of a fetus to a passenger on an unpredictable train ride (inspired by a poem by Sylvia Plath that likens pregnancy to trains, rising bread, and “money in a purse”). As the text itself contained ample imagery, I chose to add only a repeated circle motif on the enclosures, and where the author had asterisks at paragraph breaks. Instead I focused on the binding and created a multi-piece, organic, and organ-like, girdle-book, with a built-in act of birth or dismemberment. The horizontal concertina structure includes two vertical concertinas that unfurl like two maps or train tracks, one with the book’s text and one with the book’s instructions. I added my own directions to the curator’s, asking readers to complete my book’s particular process. Open [the leather piece], untie the leather cord in the middle of the book, remove the book from the leather piece, and seal the book jacket closed. Then you can put the book in the mail. The leather and cord are yours to keep, repurpose, or give away. I think of Emily Dyer Barker’s Of Pregnancy, Strangers, and Pilgrimage as a public art and collaborative piece on many levels. I created it in response to a curator and author, in conjunction with other artists making their own chapters, and, like the other artists, allowed it to be completed by the readers—entrusting it freely to unknown travelers—a metaphor for what it means to be a writer or artist (or mother). Only a couple of the copies of my book that toured the country made it to Salt Lake City, which suggests that some of the strangers kept their copies, or the inner envelopes, once detached, got lost in the mail, being very small. Even this loss completes the metaphors present in the author’s text and my binding. Plus, I built extra books into the edition for exhibition. The books come stamped and addressed, as if they could still be mailed to their final-destination, which, as with all books and beings, can never be known. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383226647-GNJCT27ZUQYVS5XWYG5J/mcba-prize-2020-Rachel-Melis-Of-Pregnancy-3.jpg Entries & Jurors - 2020 Entries - Rachel Melis St. Cloud, Minnesota rachelmelis.com Of Pregnancy, Stranger, and Pilgrimage by Emily Dyer Barker 2019 mulberry paper pages, handmade paper covers, book cloth envelope, dyed leather binding, miscellaneous paper cut-outs, and metal findings 4 x .25 x 14″ (exact size varies depending on the length of the leather used for the binding) Artist Statement My book’s colophon includes a statement, by curator Aime Tullies that I am including here, to provide context for my own exhibition statement (below). You are holding a chapter of a traveling literary journal. Eleven other chapters are spread out on train lines across the country, riding the rails for one week before they regroup. Each chapter is a collaboration between one writer and one printmaker and each tract is a unique piece of art. Feel free to make notes on the chapter: thoughts, where you’ve been, what you’ve seen on your journey, etc. Also, we’d love to see pictures of where you are in the world as you’re reading and traveling— tag #traintracts2019 on Instagram. You can also check that hashtag to see the other copies of your chapter, as well as the others, with different writers and different artists. Please be sure to drop this in the mail by February 22, 2019. Your chapter needs to get back in time for an exhibition at the Rio Gallery in Salt Lake City to celebrate the 150th anniversary of the Transcontinental Railroad. Thanks for playing. My chapter of the traveling literary journal, Train Tracts, consisted of then-pregnant author, Emily Dyer Barker’s, comparison of a fetus to a passenger on an unpredictable train ride (inspired by a poem by Sylvia Plath that likens pregnancy to trains, rising bread, and “money in a purse”). As the text itself contained ample imagery, I chose to add only a repeated circle motif on the enclosures, and where the author had asterisks at paragraph breaks. Instead I focused on the binding and created a multi-piece, organic, and organ-like, girdle-book, with a built-in act of birth or dismemberment. The horizontal concertina structure includes two vertical concertinas that unfurl like two maps or train tracks, one with the book’s text and one with the book’s instructions. I added my own directions to the curator’s, asking readers to complete my book’s particular process. Open [the leather piece], untie the leather cord in the middle of the book, remove the book from the leather piece, and seal the book jacket closed. Then you can put the book in the mail. The leather and cord are yours to keep, repurpose, or give away. I think of Emily Dyer Barker’s Of Pregnancy, Strangers, and Pilgrimage as a public art and collaborative piece on many levels. I created it in response to a curator and author, in conjunction with other artists making their own chapters, and, like the other artists, allowed it to be completed by the readers—entrusting it freely to unknown travelers—a metaphor for what it means to be a writer or artist (or mother). Only a couple of the copies of my book that toured the country made it to Salt Lake City, which suggests that some of the strangers kept their copies, or the inner envelopes, once detached, got lost in the mail, being very small. Even this loss completes the metaphors present in the author’s text and my binding. Plus, I built extra books into the edition for exhibition. The books come stamped and addressed, as if they could still be mailed to their final-destination, which, as with all books and beings, can never be known. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383227088-XAH3UZVVKQNY9ESWLLY8/mcba-prize-2020-Rachel-Melis-Of-Pregnancy-2.jpg Entries & Jurors - 2020 Entries - Rachel Melis St. Cloud, Minnesota rachelmelis.com Of Pregnancy, Stranger, and Pilgrimage by Emily Dyer Barker 2019 mulberry paper pages, handmade paper covers, book cloth envelope, dyed leather binding, miscellaneous paper cut-outs, and metal findings 4 x .25 x 14″ (exact size varies depending on the length of the leather used for the binding) Artist Statement My book’s colophon includes a statement, by curator Aime Tullies that I am including here, to provide context for my own exhibition statement (below). You are holding a chapter of a traveling literary journal. Eleven other chapters are spread out on train lines across the country, riding the rails for one week before they regroup. Each chapter is a collaboration between one writer and one printmaker and each tract is a unique piece of art. Feel free to make notes on the chapter: thoughts, where you’ve been, what you’ve seen on your journey, etc. Also, we’d love to see pictures of where you are in the world as you’re reading and traveling— tag #traintracts2019 on Instagram. You can also check that hashtag to see the other copies of your chapter, as well as the others, with different writers and different artists. Please be sure to drop this in the mail by February 22, 2019. Your chapter needs to get back in time for an exhibition at the Rio Gallery in Salt Lake City to celebrate the 150th anniversary of the Transcontinental Railroad. Thanks for playing. My chapter of the traveling literary journal, Train Tracts, consisted of then-pregnant author, Emily Dyer Barker’s, comparison of a fetus to a passenger on an unpredictable train ride (inspired by a poem by Sylvia Plath that likens pregnancy to trains, rising bread, and “money in a purse”). As the text itself contained ample imagery, I chose to add only a repeated circle motif on the enclosures, and where the author had asterisks at paragraph breaks. Instead I focused on the binding and created a multi-piece, organic, and organ-like, girdle-book, with a built-in act of birth or dismemberment. The horizontal concertina structure includes two vertical concertinas that unfurl like two maps or train tracks, one with the book’s text and one with the book’s instructions. I added my own directions to the curator’s, asking readers to complete my book’s particular process. Open [the leather piece], untie the leather cord in the middle of the book, remove the book from the leather piece, and seal the book jacket closed. Then you can put the book in the mail. The leather and cord are yours to keep, repurpose, or give away. I think of Emily Dyer Barker’s Of Pregnancy, Strangers, and Pilgrimage as a public art and collaborative piece on many levels. I created it in response to a curator and author, in conjunction with other artists making their own chapters, and, like the other artists, allowed it to be completed by the readers—entrusting it freely to unknown travelers—a metaphor for what it means to be a writer or artist (or mother). Only a couple of the copies of my book that toured the country made it to Salt Lake City, which suggests that some of the strangers kept their copies, or the inner envelopes, once detached, got lost in the mail, being very small. Even this loss completes the metaphors present in the author’s text and my binding. Plus, I built extra books into the edition for exhibition. The books come stamped and addressed, as if they could still be mailed to their final-destination, which, as with all books and beings, can never be known. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383228480-7K4CRGE5MKIGJUNR1XHN/mcba-prize-2020-Rachel-Melis-Of-Pregnancy-1.jpg Entries & Jurors - 2020 Entries - Rachel Melis St. Cloud, Minnesota rachelmelis.com Of Pregnancy, Stranger, and Pilgrimage by Emily Dyer Barker 2019 mulberry paper pages, handmade paper covers, book cloth envelope, dyed leather binding, miscellaneous paper cut-outs, and metal findings 4 x .25 x 14″ (exact size varies depending on the length of the leather used for the binding) Artist Statement My book’s colophon includes a statement, by curator Aime Tullies that I am including here, to provide context for my own exhibition statement (below). You are holding a chapter of a traveling literary journal. Eleven other chapters are spread out on train lines across the country, riding the rails for one week before they regroup. Each chapter is a collaboration between one writer and one printmaker and each tract is a unique piece of art. Feel free to make notes on the chapter: thoughts, where you’ve been, what you’ve seen on your journey, etc. Also, we’d love to see pictures of where you are in the world as you’re reading and traveling— tag #traintracts2019 on Instagram. You can also check that hashtag to see the other copies of your chapter, as well as the others, with different writers and different artists. Please be sure to drop this in the mail by February 22, 2019. Your chapter needs to get back in time for an exhibition at the Rio Gallery in Salt Lake City to celebrate the 150th anniversary of the Transcontinental Railroad. Thanks for playing. My chapter of the traveling literary journal, Train Tracts, consisted of then-pregnant author, Emily Dyer Barker’s, comparison of a fetus to a passenger on an unpredictable train ride (inspired by a poem by Sylvia Plath that likens pregnancy to trains, rising bread, and “money in a purse”). As the text itself contained ample imagery, I chose to add only a repeated circle motif on the enclosures, and where the author had asterisks at paragraph breaks. Instead I focused on the binding and created a multi-piece, organic, and organ-like, girdle-book, with a built-in act of birth or dismemberment. The horizontal concertina structure includes two vertical concertinas that unfurl like two maps or train tracks, one with the book’s text and one with the book’s instructions. I added my own directions to the curator’s, asking readers to complete my book’s particular process. Open [the leather piece], untie the leather cord in the middle of the book, remove the book from the leather piece, and seal the book jacket closed. Then you can put the book in the mail. The leather and cord are yours to keep, repurpose, or give away. I think of Emily Dyer Barker’s Of Pregnancy, Strangers, and Pilgrimage as a public art and collaborative piece on many levels. I created it in response to a curator and author, in conjunction with other artists making their own chapters, and, like the other artists, allowed it to be completed by the readers—entrusting it freely to unknown travelers—a metaphor for what it means to be a writer or artist (or mother). Only a couple of the copies of my book that toured the country made it to Salt Lake City, which suggests that some of the strangers kept their copies, or the inner envelopes, once detached, got lost in the mail, being very small. Even this loss completes the metaphors present in the author’s text and my binding. Plus, I built extra books into the edition for exhibition. The books come stamped and addressed, as if they could still be mailed to their final-destination, which, as with all books and beings, can never be known. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383398060-Z3URCBY9LR2Q9FQE11Y1/mcba-prize-2020-Maria-G-Pisano-Via-Dolorosa-5.jpg Entries & Jurors - 2020 Entries - Maria G. Pisano Plainsboro, New Jersey mariagpisano.com Via Dolorosa: From Sea to Shining Sea 2019 laser printed Open: 65 x 10 x 12.25″; Closed: 2 x 10 x 12.25″ Artist Statement This artist’s book highlights the USA’s current administration push to build a Southern border wall, at all costs – reflecting government prejudices and policies that disregard our laws and human rights and attempts to keep certain immigrants out of our country as a result of hate and discrimination. This country is made up of immigrants like myself and it is richer for it, destroying the diversity of who we are as a nation, disregarding damage to the environment – both fauna and flora, Native American burial grounds, etc., are some of the consequences resulting from this pursuit. Side A of the work depicts fences and maps of the entire US/Mexico border from the Pacific Ocean to the Gulf of Mexico with symbolic migrants/asylum seekers reinforcing it. Side B highlights the plight of immigrants, laws that have been passed to prevent them to even apply, information on ICE, separation and incarceration of children and families, etc. The structure is a herringbone accordion book with walls on both sides. The book is laser printed and open it measures 65”W x 12.25”H x 10”D and closed 12.25”H x 10”W x 2”D. The drawings are from elementary school children. The poem, The New Colossus is by Emma Lazarus, 1883. Open edition – Designed and bound by the artist Maria G. Pisano – Memory Press © 2019 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383397806-8UDATW9WVR82QAYOQMJ9/mcba-prize-2020-Maria-G-Pisano-Via-Dolorosa-4.jpg Entries & Jurors - 2020 Entries - Maria G. Pisano Plainsboro, New Jersey mariagpisano.com Via Dolorosa: From Sea to Shining Sea 2019 laser printed Open: 65 x 10 x 12.25″; Closed: 2 x 10 x 12.25″ Artist Statement This artist’s book highlights the USA’s current administration push to build a Southern border wall, at all costs – reflecting government prejudices and policies that disregard our laws and human rights and attempts to keep certain immigrants out of our country as a result of hate and discrimination. This country is made up of immigrants like myself and it is richer for it, destroying the diversity of who we are as a nation, disregarding damage to the environment – both fauna and flora, Native American burial grounds, etc., are some of the consequences resulting from this pursuit. Side A of the work depicts fences and maps of the entire US/Mexico border from the Pacific Ocean to the Gulf of Mexico with symbolic migrants/asylum seekers reinforcing it. Side B highlights the plight of immigrants, laws that have been passed to prevent them to even apply, information on ICE, separation and incarceration of children and families, etc. The structure is a herringbone accordion book with walls on both sides. The book is laser printed and open it measures 65”W x 12.25”H x 10”D and closed 12.25”H x 10”W x 2”D. The drawings are from elementary school children. The poem, The New Colossus is by Emma Lazarus, 1883. Open edition – Designed and bound by the artist Maria G. Pisano – Memory Press © 2019 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383400666-AIT9GJK9AB7B6JN6A51Y/mcba-prize-2020-Maria-G-Pisano-Via-Dolorosa-3.jpg Entries & Jurors - 2020 Entries - Maria G. Pisano Plainsboro, New Jersey mariagpisano.com Via Dolorosa: From Sea to Shining Sea 2019 laser printed Open: 65 x 10 x 12.25″; Closed: 2 x 10 x 12.25″ Artist Statement This artist’s book highlights the USA’s current administration push to build a Southern border wall, at all costs – reflecting government prejudices and policies that disregard our laws and human rights and attempts to keep certain immigrants out of our country as a result of hate and discrimination. This country is made up of immigrants like myself and it is richer for it, destroying the diversity of who we are as a nation, disregarding damage to the environment – both fauna and flora, Native American burial grounds, etc., are some of the consequences resulting from this pursuit. Side A of the work depicts fences and maps of the entire US/Mexico border from the Pacific Ocean to the Gulf of Mexico with symbolic migrants/asylum seekers reinforcing it. Side B highlights the plight of immigrants, laws that have been passed to prevent them to even apply, information on ICE, separation and incarceration of children and families, etc. The structure is a herringbone accordion book with walls on both sides. The book is laser printed and open it measures 65”W x 12.25”H x 10”D and closed 12.25”H x 10”W x 2”D. The drawings are from elementary school children. The poem, The New Colossus is by Emma Lazarus, 1883. Open edition – Designed and bound by the artist Maria G. Pisano – Memory Press © 2019 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383400736-VNJJQJB1JG2W710R1T8F/mcba-prize-2020-Maria-G-Pisano-Via-Dolorosa-2.jpg Entries & Jurors - 2020 Entries - Maria G. Pisano Plainsboro, New Jersey mariagpisano.com Via Dolorosa: From Sea to Shining Sea 2019 laser printed Open: 65 x 10 x 12.25″; Closed: 2 x 10 x 12.25″ Artist Statement This artist’s book highlights the USA’s current administration push to build a Southern border wall, at all costs – reflecting government prejudices and policies that disregard our laws and human rights and attempts to keep certain immigrants out of our country as a result of hate and discrimination. This country is made up of immigrants like myself and it is richer for it, destroying the diversity of who we are as a nation, disregarding damage to the environment – both fauna and flora, Native American burial grounds, etc., are some of the consequences resulting from this pursuit. Side A of the work depicts fences and maps of the entire US/Mexico border from the Pacific Ocean to the Gulf of Mexico with symbolic migrants/asylum seekers reinforcing it. Side B highlights the plight of immigrants, laws that have been passed to prevent them to even apply, information on ICE, separation and incarceration of children and families, etc. The structure is a herringbone accordion book with walls on both sides. The book is laser printed and open it measures 65”W x 12.25”H x 10”D and closed 12.25”H x 10”W x 2”D. The drawings are from elementary school children. The poem, The New Colossus is by Emma Lazarus, 1883. Open edition – Designed and bound by the artist Maria G. Pisano – Memory Press © 2019 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383402617-9B2CU185T1JZG2C4QZMV/mcba-prize-2020-Maria-G-Pisano-Via-Dolorosa-1.jpg Entries & Jurors - 2020 Entries - Maria G. Pisano Plainsboro, New Jersey mariagpisano.com Via Dolorosa: From Sea to Shining Sea 2019 laser printed Open: 65 x 10 x 12.25″; Closed: 2 x 10 x 12.25″ Artist Statement This artist’s book highlights the USA’s current administration push to build a Southern border wall, at all costs – reflecting government prejudices and policies that disregard our laws and human rights and attempts to keep certain immigrants out of our country as a result of hate and discrimination. This country is made up of immigrants like myself and it is richer for it, destroying the diversity of who we are as a nation, disregarding damage to the environment – both fauna and flora, Native American burial grounds, etc., are some of the consequences resulting from this pursuit. Side A of the work depicts fences and maps of the entire US/Mexico border from the Pacific Ocean to the Gulf of Mexico with symbolic migrants/asylum seekers reinforcing it. Side B highlights the plight of immigrants, laws that have been passed to prevent them to even apply, information on ICE, separation and incarceration of children and families, etc. The structure is a herringbone accordion book with walls on both sides. The book is laser printed and open it measures 65”W x 12.25”H x 10”D and closed 12.25”H x 10”W x 2”D. The drawings are from elementary school children. The poem, The New Colossus is by Emma Lazarus, 1883. Open edition – Designed and bound by the artist Maria G. Pisano – Memory Press © 2019 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383556424-975596OJRSCP7TC644Y5/mcba-prize-2020-Liese-A-Ricketts-Quipu-5.jpg Entries & Jurors - 2020 Entries - Liese A. Ricketts Homewood, Illinois deadphoto.com Quipu 2020 artist’s book 8 x 8 x 1.5″ Artist Statement Quipu is my recent artist book, handmade and bound with my own images, collages, and story/text. A quipu is an ancient Incan device for recording information, consisting of variously colored threads knotted in different ways. I have used the knotting with linen thread on the binding that tells the story of my relationship to Inca Tupac Yupanqui, my 21st great grandfather. Since June of last year, I was utterly obsessed with my family genealogy, spending 12 hours a day every day, trying to find out what I did not know. I had no idea why. I was searching fanatically for an unknown. I found that this period of intense research was akin to the characters in Close Encounters of the Third Kind, building mud towers in their living rooms, not understanding the reason but compelled to do so. In November I discovered my direct link to Tupac Yupanqui. What was the most unusual aspect of this discovery is that I had lived in the small village of Chinchero in Perú in 1972, the same small village where he had been poisoned in his fortress in 1493. We had each walked the same stone streets and seen the same virtually untouched landscape 500 years apart from each other. I am the sole person in my family to know this story. This book is a testament to the synchronicity of this past and present. The story appears along with my collaged images in the spreads, in text either handwritten or typed, placed in small envelopes or incorporated with collage elements. I am planning a self-produced solo exhibition of this work in that same village, for 2022. A friend, a well-known Peruvian filmmaker, Miguel Barreda Delgado, and I plan to create a film based on this. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383557047-ETFPTEXMFVCYDUM8X5T5/mcba-prize-2020-Liese-A-Ricketts-Quipu-4.jpg Entries & Jurors - 2020 Entries - Liese A. Ricketts Homewood, Illinois deadphoto.com Quipu 2020 artist’s book 8 x 8 x 1.5″ Artist Statement Quipu is my recent artist book, handmade and bound with my own images, collages, and story/text. A quipu is an ancient Incan device for recording information, consisting of variously colored threads knotted in different ways. I have used the knotting with linen thread on the binding that tells the story of my relationship to Inca Tupac Yupanqui, my 21st great grandfather. Since June of last year, I was utterly obsessed with my family genealogy, spending 12 hours a day every day, trying to find out what I did not know. I had no idea why. I was searching fanatically for an unknown. I found that this period of intense research was akin to the characters in Close Encounters of the Third Kind, building mud towers in their living rooms, not understanding the reason but compelled to do so. In November I discovered my direct link to Tupac Yupanqui. What was the most unusual aspect of this discovery is that I had lived in the small village of Chinchero in Perú in 1972, the same small village where he had been poisoned in his fortress in 1493. We had each walked the same stone streets and seen the same virtually untouched landscape 500 years apart from each other. I am the sole person in my family to know this story. This book is a testament to the synchronicity of this past and present. The story appears along with my collaged images in the spreads, in text either handwritten or typed, placed in small envelopes or incorporated with collage elements. I am planning a self-produced solo exhibition of this work in that same village, for 2022. A friend, a well-known Peruvian filmmaker, Miguel Barreda Delgado, and I plan to create a film based on this. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383558229-2U838NMPSCKN6THX84SQ/mcba-prize-2020-Liese-A-Ricketts-Quipu-3.jpg Entries & Jurors - 2020 Entries - Liese A. Ricketts Homewood, Illinois deadphoto.com Quipu 2020 artist’s book 8 x 8 x 1.5″ Artist Statement Quipu is my recent artist book, handmade and bound with my own images, collages, and story/text. A quipu is an ancient Incan device for recording information, consisting of variously colored threads knotted in different ways. I have used the knotting with linen thread on the binding that tells the story of my relationship to Inca Tupac Yupanqui, my 21st great grandfather. Since June of last year, I was utterly obsessed with my family genealogy, spending 12 hours a day every day, trying to find out what I did not know. I had no idea why. I was searching fanatically for an unknown. I found that this period of intense research was akin to the characters in Close Encounters of the Third Kind, building mud towers in their living rooms, not understanding the reason but compelled to do so. In November I discovered my direct link to Tupac Yupanqui. What was the most unusual aspect of this discovery is that I had lived in the small village of Chinchero in Perú in 1972, the same small village where he had been poisoned in his fortress in 1493. We had each walked the same stone streets and seen the same virtually untouched landscape 500 years apart from each other. I am the sole person in my family to know this story. This book is a testament to the synchronicity of this past and present. The story appears along with my collaged images in the spreads, in text either handwritten or typed, placed in small envelopes or incorporated with collage elements. I am planning a self-produced solo exhibition of this work in that same village, for 2022. A friend, a well-known Peruvian filmmaker, Miguel Barreda Delgado, and I plan to create a film based on this. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383559226-DAWKH4NMDFN3FD9LINU3/mcba-prize-2020-Liese-A-Ricketts-Quipu-2.jpg Entries & Jurors - 2020 Entries - Liese A. Ricketts Homewood, Illinois deadphoto.com Quipu 2020 artist’s book 8 x 8 x 1.5″ Artist Statement Quipu is my recent artist book, handmade and bound with my own images, collages, and story/text. A quipu is an ancient Incan device for recording information, consisting of variously colored threads knotted in different ways. I have used the knotting with linen thread on the binding that tells the story of my relationship to Inca Tupac Yupanqui, my 21st great grandfather. Since June of last year, I was utterly obsessed with my family genealogy, spending 12 hours a day every day, trying to find out what I did not know. I had no idea why. I was searching fanatically for an unknown. I found that this period of intense research was akin to the characters in Close Encounters of the Third Kind, building mud towers in their living rooms, not understanding the reason but compelled to do so. In November I discovered my direct link to Tupac Yupanqui. What was the most unusual aspect of this discovery is that I had lived in the small village of Chinchero in Perú in 1972, the same small village where he had been poisoned in his fortress in 1493. We had each walked the same stone streets and seen the same virtually untouched landscape 500 years apart from each other. I am the sole person in my family to know this story. This book is a testament to the synchronicity of this past and present. The story appears along with my collaged images in the spreads, in text either handwritten or typed, placed in small envelopes or incorporated with collage elements. I am planning a self-produced solo exhibition of this work in that same village, for 2022. A friend, a well-known Peruvian filmmaker, Miguel Barreda Delgado, and I plan to create a film based on this. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383560975-FYXURJKKPF2NISUV50W5/mcba-prize-2020-Liese-A-Ricketts-Quipu-1.jpg Entries & Jurors - 2020 Entries - Liese A. Ricketts Homewood, Illinois deadphoto.com Quipu 2020 artist’s book 8 x 8 x 1.5″ Artist Statement Quipu is my recent artist book, handmade and bound with my own images, collages, and story/text. A quipu is an ancient Incan device for recording information, consisting of variously colored threads knotted in different ways. I have used the knotting with linen thread on the binding that tells the story of my relationship to Inca Tupac Yupanqui, my 21st great grandfather. Since June of last year, I was utterly obsessed with my family genealogy, spending 12 hours a day every day, trying to find out what I did not know. I had no idea why. I was searching fanatically for an unknown. I found that this period of intense research was akin to the characters in Close Encounters of the Third Kind, building mud towers in their living rooms, not understanding the reason but compelled to do so. In November I discovered my direct link to Tupac Yupanqui. What was the most unusual aspect of this discovery is that I had lived in the small village of Chinchero in Perú in 1972, the same small village where he had been poisoned in his fortress in 1493. We had each walked the same stone streets and seen the same virtually untouched landscape 500 years apart from each other. I am the sole person in my family to know this story. This book is a testament to the synchronicity of this past and present. The story appears along with my collaged images in the spreads, in text either handwritten or typed, placed in small envelopes or incorporated with collage elements. I am planning a self-produced solo exhibition of this work in that same village, for 2022. A friend, a well-known Peruvian filmmaker, Miguel Barreda Delgado, and I plan to create a film based on this. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383694479-UC4Z5V1NKZ9DNCDEO11C/mcba-prize-2020-Erika-Rier-PAGEANT-5.jpg Entries & Jurors - 2020 Entries - Erika Rier Portland, Oregon erikarier.com PAGEANT 2019 photocopy, risograph, adhesive, staples, paper Open: 8.5 x 10.5 x 40″ Artist Statement My work is particularly focused on portraying the inner life of womxn as well as changing our expectations of womxn’s roles as a subject within art. It is my mission to create art depicting womxn engaged with their world and shaping their reality, rather than depicting passive womxn shaped by the male gaze. It is important to me that when a female-identifying person looks at my work they see their own struggles and realities and dreams reflected back at them and that they see the beauty we each possess is our ability as womxn to persist no matter the obstacles. Using ink, watercolor, gouache, and graphite on paper I create work in a style I call folk surrealism. I’m focused on developing a visual narrative which I have been building over the past decade built with pattern, color, and line. I create pieces that draw viewers in with their bright colors and delicate line work but as the viewer delves deeper into the piece they find themselves immersed in a complex narrative. The narrative thread in my work is constantly evolving, each drawing is almost the next page in a wordless book. My work draws heavily upon folk tales and mythology as a means to examine themes of the modern world. I seek to twist narratives to make old themes feel new and of- the-moment. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383694446-R5HLNHLEUCETC0MEUBNU/mcba-prize-2020-Erika-Rier-PAGEANT-4.jpg Entries & Jurors - 2020 Entries - Erika Rier Portland, Oregon erikarier.com PAGEANT 2019 photocopy, risograph, adhesive, staples, paper Open: 8.5 x 10.5 x 40″ Artist Statement My work is particularly focused on portraying the inner life of womxn as well as changing our expectations of womxn’s roles as a subject within art. It is my mission to create art depicting womxn engaged with their world and shaping their reality, rather than depicting passive womxn shaped by the male gaze. It is important to me that when a female-identifying person looks at my work they see their own struggles and realities and dreams reflected back at them and that they see the beauty we each possess is our ability as womxn to persist no matter the obstacles. Using ink, watercolor, gouache, and graphite on paper I create work in a style I call folk surrealism. I’m focused on developing a visual narrative which I have been building over the past decade built with pattern, color, and line. I create pieces that draw viewers in with their bright colors and delicate line work but as the viewer delves deeper into the piece they find themselves immersed in a complex narrative. The narrative thread in my work is constantly evolving, each drawing is almost the next page in a wordless book. My work draws heavily upon folk tales and mythology as a means to examine themes of the modern world. I seek to twist narratives to make old themes feel new and of- the-moment. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383696629-0WNRK2GE7MHAS5WN6G7J/mcba-prize-2020-Erika-Rier-PAGEANT-3.jpg Entries & Jurors - 2020 Entries - Erika Rier Portland, Oregon erikarier.com PAGEANT 2019 photocopy, risograph, adhesive, staples, paper Open: 8.5 x 10.5 x 40″ Artist Statement My work is particularly focused on portraying the inner life of womxn as well as changing our expectations of womxn’s roles as a subject within art. It is my mission to create art depicting womxn engaged with their world and shaping their reality, rather than depicting passive womxn shaped by the male gaze. It is important to me that when a female-identifying person looks at my work they see their own struggles and realities and dreams reflected back at them and that they see the beauty we each possess is our ability as womxn to persist no matter the obstacles. Using ink, watercolor, gouache, and graphite on paper I create work in a style I call folk surrealism. I’m focused on developing a visual narrative which I have been building over the past decade built with pattern, color, and line. I create pieces that draw viewers in with their bright colors and delicate line work but as the viewer delves deeper into the piece they find themselves immersed in a complex narrative. The narrative thread in my work is constantly evolving, each drawing is almost the next page in a wordless book. My work draws heavily upon folk tales and mythology as a means to examine themes of the modern world. I seek to twist narratives to make old themes feel new and of- the-moment. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383697466-DG7KGF7NKCLANXPNH680/mcba-prize-2020-Erika-Rier-PAGEANT-2.jpg Entries & Jurors - 2020 Entries - Erika Rier Portland, Oregon erikarier.com PAGEANT 2019 photocopy, risograph, adhesive, staples, paper Open: 8.5 x 10.5 x 40″ Artist Statement My work is particularly focused on portraying the inner life of womxn as well as changing our expectations of womxn’s roles as a subject within art. It is my mission to create art depicting womxn engaged with their world and shaping their reality, rather than depicting passive womxn shaped by the male gaze. It is important to me that when a female-identifying person looks at my work they see their own struggles and realities and dreams reflected back at them and that they see the beauty we each possess is our ability as womxn to persist no matter the obstacles. Using ink, watercolor, gouache, and graphite on paper I create work in a style I call folk surrealism. I’m focused on developing a visual narrative which I have been building over the past decade built with pattern, color, and line. I create pieces that draw viewers in with their bright colors and delicate line work but as the viewer delves deeper into the piece they find themselves immersed in a complex narrative. The narrative thread in my work is constantly evolving, each drawing is almost the next page in a wordless book. My work draws heavily upon folk tales and mythology as a means to examine themes of the modern world. I seek to twist narratives to make old themes feel new and of- the-moment. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383698924-ABZKMCEY8XRL2CNJXCRX/mcba-prize-2020-Erika-Rier-PAGEANT-1.jpg Entries & Jurors - 2020 Entries - Erika Rier Portland, Oregon erikarier.com PAGEANT 2019 photocopy, risograph, adhesive, staples, paper Open: 8.5 x 10.5 x 40″ Artist Statement My work is particularly focused on portraying the inner life of womxn as well as changing our expectations of womxn’s roles as a subject within art. It is my mission to create art depicting womxn engaged with their world and shaping their reality, rather than depicting passive womxn shaped by the male gaze. It is important to me that when a female-identifying person looks at my work they see their own struggles and realities and dreams reflected back at them and that they see the beauty we each possess is our ability as womxn to persist no matter the obstacles. Using ink, watercolor, gouache, and graphite on paper I create work in a style I call folk surrealism. I’m focused on developing a visual narrative which I have been building over the past decade built with pattern, color, and line. I create pieces that draw viewers in with their bright colors and delicate line work but as the viewer delves deeper into the piece they find themselves immersed in a complex narrative. The narrative thread in my work is constantly evolving, each drawing is almost the next page in a wordless book. My work draws heavily upon folk tales and mythology as a means to examine themes of the modern world. I seek to twist narratives to make old themes feel new and of- the-moment. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383813785-SJFU25LDCA4OKBINPZW7/mcba-prize-2020-Marilyn-R-Rosenberg-Untitled-Scroll-4.jpg Entries & Jurors - 2020 Entries - Marilyn R. Rosenberg Cortlandt Manor, New York Untitled SCROLL 2018 scroll, asemic poetry, 90lb, acid free paper, gouache, graphite, color pencil, ink, and other misc. mark making materials 65 x 18″ Artist Statement There are arcs and circles and stencil marks and asemic writing on Vellum finish, 90lb, acid free Borden and Riley #116 paper, with gouache, graphite, color pencil, ink, and other misc. mark making materials. ARTISTS BOOK AS SCROLL, is a drawing/ asemic long poem, 65 inches long by 18 inches wide. There are fractured lines and painterly marks. The interior time warp and present aging are motivations. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383816803-852CJNU47U883SSVFMN9/mcba-prize-2020-Marilyn-R-Rosenberg-Untitled-Scroll-3.jpg Entries & Jurors - 2020 Entries - Marilyn R. Rosenberg Cortlandt Manor, New York Untitled SCROLL 2018 scroll, asemic poetry, 90lb, acid free paper, gouache, graphite, color pencil, ink, and other misc. mark making materials 65 x 18″ Artist Statement There are arcs and circles and stencil marks and asemic writing on Vellum finish, 90lb, acid free Borden and Riley #116 paper, with gouache, graphite, color pencil, ink, and other misc. mark making materials. ARTISTS BOOK AS SCROLL, is a drawing/ asemic long poem, 65 inches long by 18 inches wide. There are fractured lines and painterly marks. The interior time warp and present aging are motivations. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383816425-N8LNEWOLBE9A6429FTKK/mcba-prize-2020-Marilyn-R-Rosenberg-Untitled-Scroll-2.jpg Entries & Jurors - 2020 Entries - Marilyn R. Rosenberg Cortlandt Manor, New York Untitled SCROLL 2018 scroll, asemic poetry, 90lb, acid free paper, gouache, graphite, color pencil, ink, and other misc. mark making materials 65 x 18″ Artist Statement There are arcs and circles and stencil marks and asemic writing on Vellum finish, 90lb, acid free Borden and Riley #116 paper, with gouache, graphite, color pencil, ink, and other misc. mark making materials. ARTISTS BOOK AS SCROLL, is a drawing/ asemic long poem, 65 inches long by 18 inches wide. There are fractured lines and painterly marks. The interior time warp and present aging are motivations. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383818072-NKUAAH58NL16FQGGCUAU/mcba-prize-2020-Marilyn-R-Rosenberg-Untitled-Scroll-1.jpg Entries & Jurors - 2020 Entries - Marilyn R. Rosenberg Cortlandt Manor, New York Untitled SCROLL 2018 scroll, asemic poetry, 90lb, acid free paper, gouache, graphite, color pencil, ink, and other misc. mark making materials 65 x 18″ Artist Statement There are arcs and circles and stencil marks and asemic writing on Vellum finish, 90lb, acid free Borden and Riley #116 paper, with gouache, graphite, color pencil, ink, and other misc. mark making materials. ARTISTS BOOK AS SCROLL, is a drawing/ asemic long poem, 65 inches long by 18 inches wide. There are fractured lines and painterly marks. The interior time warp and present aging are motivations. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383813696-QMSO1310KDYXHXKII7KU/mcba-prize-2020-Marilyn-R-Rosenberg-Untitled-Scroll-5.jpg Entries & Jurors - 2020 Entries - Marilyn R. Rosenberg Cortlandt Manor, New York Untitled SCROLL 2018 scroll, asemic poetry, 90lb, acid free paper, gouache, graphite, color pencil, ink, and other misc. mark making materials 65 x 18″ Artist Statement There are arcs and circles and stencil marks and asemic writing on Vellum finish, 90lb, acid free Borden and Riley #116 paper, with gouache, graphite, color pencil, ink, and other misc. mark making materials. ARTISTS BOOK AS SCROLL, is a drawing/ asemic long poem, 65 inches long by 18 inches wide. There are fractured lines and painterly marks. The interior time warp and present aging are motivations. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383981738-88X6GV80XBI6HHSG9SVB/mcba-prize-2020-Veronika-Schapers-Pyongyang-5.jpg Entries & Jurors - 2020 Entries - Veronika Schäpers Karlsruhe, Germany Pyongyang, North Korea, May 2004 // Pyongyang, North Korea, September 2018 2019 North Korea, May 2004: Inkjet print on Chinese bamboo paper, laminated withNorth Korea, September 2018: 6 picture viewers with 10 images each. Box made from white and green acrylic glass with screen printed title. Pyongyang, North Korea, September 2018: Chinese Kozo paper and primed with konnyaku nori. Flexible binding made from Satogami paper with a cutting from a North Korean propaganda poster, inkjet printed. 32cm x 45cm x 7cm Artist Statement In the spring of 2004, I had the chance to take part in an organized trip to North Korea. It started with a request from the Goethe Institute in Seoul for projects comparing North and South Korea, for which I wanted to submit a proposal. I had visited South Korea several times by that point, and I was surprised and shocked by how strongly the period of Japanese occupation, the Korean War, and its status as a divided nation continued to affect the country. That made me all the more curious to see how North Koreans lived. The photos 2004 show my impressions of this trip. Except for the last photo – of the main thoroughfare in Kaesong – all of the images were taken in Pyongyang, where we spent five of our seven days under the constant supervision of two tour guides, who also dictated what we could photograph. My original idea of capturing everyday life unfortunately turned out to be impossible – so I started photographing small details, and the buildings next to the monuments that our tour guide was showing us. I had the impression that many of the things we were shown were not normal everyday life, but rather a production staged for foreigners, and it seemed that only small details on the sidelines could break through this staging. The dominant gray color of the buildings, interrupted only by red slogans, made the city feel very dismal. The impression was reinforced by the fact that there was no visible sign of its inhabitants – no flowerboxes on the balconies or laundry hung out to dry. Later, from a hotel room on a higher floor, I was able to confirm that those things did exist, but only below the level of the balcony railings. From the bird’s-eye perspective of my hotel room, I saw another example of the strict regulations imposed on the population. The intersection in front of the hotel was almost empty of cars; many minutes could pass before even one car drove by. Nonetheless, all of the pedestrians – of which there were many – used the designated underground crossings; no one dared to simply cross the street. In the summer of 2018 I was talking with a good friend, a professor of Korean studies who visits North Korea occasionally. She told me how much the city had changed. In addition to numerous new buildings, many of the formerly gray buildings have been painted in colorful shades. More kiosks are opening in the downtown area, and people’s clothes have become more colorful and varied. Mobile phones and cars are now normal sights, along with electric bikes. I became curious and asked her to take photos of the same places I had depicted in 2004 so I could compare them. However, I ended up with so many pictures that I decided to divide them into 6 groups and make a “picture viewer” TV for each one – a popular city souvenir from the 1960s that, to me, seems to suit North Korea’s still very artificial, staged-feeling architecture and aesthetics. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383981738-8QLET091LQX93NTDXVVZ/mcba-prize-2020-Veronika-Schapers-Pyongyang-4.jpg Entries & Jurors - 2020 Entries - Veronika Schäpers Karlsruhe, Germany Pyongyang, North Korea, May 2004 // Pyongyang, North Korea, September 2018 2019 North Korea, May 2004: Inkjet print on Chinese bamboo paper, laminated withNorth Korea, September 2018: 6 picture viewers with 10 images each. Box made from white and green acrylic glass with screen printed title. Pyongyang, North Korea, September 2018: Chinese Kozo paper and primed with konnyaku nori. Flexible binding made from Satogami paper with a cutting from a North Korean propaganda poster, inkjet printed. 32cm x 45cm x 7cm Artist Statement In the spring of 2004, I had the chance to take part in an organized trip to North Korea. It started with a request from the Goethe Institute in Seoul for projects comparing North and South Korea, for which I wanted to submit a proposal. I had visited South Korea several times by that point, and I was surprised and shocked by how strongly the period of Japanese occupation, the Korean War, and its status as a divided nation continued to affect the country. That made me all the more curious to see how North Koreans lived. The photos 2004 show my impressions of this trip. Except for the last photo – of the main thoroughfare in Kaesong – all of the images were taken in Pyongyang, where we spent five of our seven days under the constant supervision of two tour guides, who also dictated what we could photograph. My original idea of capturing everyday life unfortunately turned out to be impossible – so I started photographing small details, and the buildings next to the monuments that our tour guide was showing us. I had the impression that many of the things we were shown were not normal everyday life, but rather a production staged for foreigners, and it seemed that only small details on the sidelines could break through this staging. The dominant gray color of the buildings, interrupted only by red slogans, made the city feel very dismal. The impression was reinforced by the fact that there was no visible sign of its inhabitants – no flowerboxes on the balconies or laundry hung out to dry. Later, from a hotel room on a higher floor, I was able to confirm that those things did exist, but only below the level of the balcony railings. From the bird’s-eye perspective of my hotel room, I saw another example of the strict regulations imposed on the population. The intersection in front of the hotel was almost empty of cars; many minutes could pass before even one car drove by. Nonetheless, all of the pedestrians – of which there were many – used the designated underground crossings; no one dared to simply cross the street. In the summer of 2018 I was talking with a good friend, a professor of Korean studies who visits North Korea occasionally. She told me how much the city had changed. In addition to numerous new buildings, many of the formerly gray buildings have been painted in colorful shades. More kiosks are opening in the downtown area, and people’s clothes have become more colorful and varied. Mobile phones and cars are now normal sights, along with electric bikes. I became curious and asked her to take photos of the same places I had depicted in 2004 so I could compare them. However, I ended up with so many pictures that I decided to divide them into 6 groups and make a “picture viewer” TV for each one – a popular city souvenir from the 1960s that, to me, seems to suit North Korea’s still very artificial, staged-feeling architecture and aesthetics. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383983139-HUEQGQVZ9GAOCX2C9R6U/mcba-prize-2020-Veronika-Schapers-Pyongyang-3.jpg Entries & Jurors - 2020 Entries - Veronika Schäpers Karlsruhe, Germany Pyongyang, North Korea, May 2004 // Pyongyang, North Korea, September 2018 2019 North Korea, May 2004: Inkjet print on Chinese bamboo paper, laminated withNorth Korea, September 2018: 6 picture viewers with 10 images each. Box made from white and green acrylic glass with screen printed title. Pyongyang, North Korea, September 2018: Chinese Kozo paper and primed with konnyaku nori. Flexible binding made from Satogami paper with a cutting from a North Korean propaganda poster, inkjet printed. 32cm x 45cm x 7cm Artist Statement In the spring of 2004, I had the chance to take part in an organized trip to North Korea. It started with a request from the Goethe Institute in Seoul for projects comparing North and South Korea, for which I wanted to submit a proposal. I had visited South Korea several times by that point, and I was surprised and shocked by how strongly the period of Japanese occupation, the Korean War, and its status as a divided nation continued to affect the country. That made me all the more curious to see how North Koreans lived. The photos 2004 show my impressions of this trip. Except for the last photo – of the main thoroughfare in Kaesong – all of the images were taken in Pyongyang, where we spent five of our seven days under the constant supervision of two tour guides, who also dictated what we could photograph. My original idea of capturing everyday life unfortunately turned out to be impossible – so I started photographing small details, and the buildings next to the monuments that our tour guide was showing us. I had the impression that many of the things we were shown were not normal everyday life, but rather a production staged for foreigners, and it seemed that only small details on the sidelines could break through this staging. The dominant gray color of the buildings, interrupted only by red slogans, made the city feel very dismal. The impression was reinforced by the fact that there was no visible sign of its inhabitants – no flowerboxes on the balconies or laundry hung out to dry. Later, from a hotel room on a higher floor, I was able to confirm that those things did exist, but only below the level of the balcony railings. From the bird’s-eye perspective of my hotel room, I saw another example of the strict regulations imposed on the population. The intersection in front of the hotel was almost empty of cars; many minutes could pass before even one car drove by. Nonetheless, all of the pedestrians – of which there were many – used the designated underground crossings; no one dared to simply cross the street. In the summer of 2018 I was talking with a good friend, a professor of Korean studies who visits North Korea occasionally. She told me how much the city had changed. In addition to numerous new buildings, many of the formerly gray buildings have been painted in colorful shades. More kiosks are opening in the downtown area, and people’s clothes have become more colorful and varied. Mobile phones and cars are now normal sights, along with electric bikes. I became curious and asked her to take photos of the same places I had depicted in 2004 so I could compare them. However, I ended up with so many pictures that I decided to divide them into 6 groups and make a “picture viewer” TV for each one – a popular city souvenir from the 1960s that, to me, seems to suit North Korea’s still very artificial, staged-feeling architecture and aesthetics. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383983378-7J61G3UWFXUMFR2MOG33/mcba-prize-2020-Veronika-Schapers-Pyongyang-2.jpg Entries & Jurors - 2020 Entries - Veronika Schäpers Karlsruhe, Germany Pyongyang, North Korea, May 2004 // Pyongyang, North Korea, September 2018 2019 North Korea, May 2004: Inkjet print on Chinese bamboo paper, laminated withNorth Korea, September 2018: 6 picture viewers with 10 images each. Box made from white and green acrylic glass with screen printed title. Pyongyang, North Korea, September 2018: Chinese Kozo paper and primed with konnyaku nori. Flexible binding made from Satogami paper with a cutting from a North Korean propaganda poster, inkjet printed. 32cm x 45cm x 7cm Artist Statement In the spring of 2004, I had the chance to take part in an organized trip to North Korea. It started with a request from the Goethe Institute in Seoul for projects comparing North and South Korea, for which I wanted to submit a proposal. I had visited South Korea several times by that point, and I was surprised and shocked by how strongly the period of Japanese occupation, the Korean War, and its status as a divided nation continued to affect the country. That made me all the more curious to see how North Koreans lived. The photos 2004 show my impressions of this trip. Except for the last photo – of the main thoroughfare in Kaesong – all of the images were taken in Pyongyang, where we spent five of our seven days under the constant supervision of two tour guides, who also dictated what we could photograph. My original idea of capturing everyday life unfortunately turned out to be impossible – so I started photographing small details, and the buildings next to the monuments that our tour guide was showing us. I had the impression that many of the things we were shown were not normal everyday life, but rather a production staged for foreigners, and it seemed that only small details on the sidelines could break through this staging. The dominant gray color of the buildings, interrupted only by red slogans, made the city feel very dismal. The impression was reinforced by the fact that there was no visible sign of its inhabitants – no flowerboxes on the balconies or laundry hung out to dry. Later, from a hotel room on a higher floor, I was able to confirm that those things did exist, but only below the level of the balcony railings. From the bird’s-eye perspective of my hotel room, I saw another example of the strict regulations imposed on the population. The intersection in front of the hotel was almost empty of cars; many minutes could pass before even one car drove by. Nonetheless, all of the pedestrians – of which there were many – used the designated underground crossings; no one dared to simply cross the street. In the summer of 2018 I was talking with a good friend, a professor of Korean studies who visits North Korea occasionally. She told me how much the city had changed. In addition to numerous new buildings, many of the formerly gray buildings have been painted in colorful shades. More kiosks are opening in the downtown area, and people’s clothes have become more colorful and varied. Mobile phones and cars are now normal sights, along with electric bikes. I became curious and asked her to take photos of the same places I had depicted in 2004 so I could compare them. However, I ended up with so many pictures that I decided to divide them into 6 groups and make a “picture viewer” TV for each one – a popular city souvenir from the 1960s that, to me, seems to suit North Korea’s still very artificial, staged-feeling architecture and aesthetics. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383984351-PIUGHW5WXKE87IJ8IL6N/mcba-prize-2020-Veronika-Schapers-Pyongyang-1.jpg Entries & Jurors - 2020 Entries - Veronika Schäpers Karlsruhe, Germany Pyongyang, North Korea, May 2004 // Pyongyang, North Korea, September 2018 2019 North Korea, May 2004: Inkjet print on Chinese bamboo paper, laminated withNorth Korea, September 2018: 6 picture viewers with 10 images each. Box made from white and green acrylic glass with screen printed title. Pyongyang, North Korea, September 2018: Chinese Kozo paper and primed with konnyaku nori. Flexible binding made from Satogami paper with a cutting from a North Korean propaganda poster, inkjet printed. 32cm x 45cm x 7cm Artist Statement In the spring of 2004, I had the chance to take part in an organized trip to North Korea. It started with a request from the Goethe Institute in Seoul for projects comparing North and South Korea, for which I wanted to submit a proposal. I had visited South Korea several times by that point, and I was surprised and shocked by how strongly the period of Japanese occupation, the Korean War, and its status as a divided nation continued to affect the country. That made me all the more curious to see how North Koreans lived. The photos 2004 show my impressions of this trip. Except for the last photo – of the main thoroughfare in Kaesong – all of the images were taken in Pyongyang, where we spent five of our seven days under the constant supervision of two tour guides, who also dictated what we could photograph. My original idea of capturing everyday life unfortunately turned out to be impossible – so I started photographing small details, and the buildings next to the monuments that our tour guide was showing us. I had the impression that many of the things we were shown were not normal everyday life, but rather a production staged for foreigners, and it seemed that only small details on the sidelines could break through this staging. The dominant gray color of the buildings, interrupted only by red slogans, made the city feel very dismal. The impression was reinforced by the fact that there was no visible sign of its inhabitants – no flowerboxes on the balconies or laundry hung out to dry. Later, from a hotel room on a higher floor, I was able to confirm that those things did exist, but only below the level of the balcony railings. From the bird’s-eye perspective of my hotel room, I saw another example of the strict regulations imposed on the population. The intersection in front of the hotel was almost empty of cars; many minutes could pass before even one car drove by. Nonetheless, all of the pedestrians – of which there were many – used the designated underground crossings; no one dared to simply cross the street. In the summer of 2018 I was talking with a good friend, a professor of Korean studies who visits North Korea occasionally. She told me how much the city had changed. In addition to numerous new buildings, many of the formerly gray buildings have been painted in colorful shades. More kiosks are opening in the downtown area, and people’s clothes have become more colorful and varied. Mobile phones and cars are now normal sights, along with electric bikes. I became curious and asked her to take photos of the same places I had depicted in 2004 so I could compare them. However, I ended up with so many pictures that I decided to divide them into 6 groups and make a “picture viewer” TV for each one – a popular city souvenir from the 1960s that, to me, seems to suit North Korea’s still very artificial, staged-feeling architecture and aesthetics. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384105166-ETGSWGNB4O46BXUSWTUU/mcba-prize-2020-Keri-Schroeder-Influxstructure-5.jpg Entries & Jurors - 2020 Entries - Keri Schroeder San Antonio, Texas kerischroeder.com Influxstructure: A Topography of Ghosts 2018 Artist Book – letterpress printing, pressure printing, mixed media Open: 209*”x38”x1” Closed: 10”x10”x2” Artist Statement There is a connection between the natural internal systems within our own bodies, and the manmade external systems that we build into the earth. Influxstructure: A Topography of Ghosts is an exploration of how we use these systems to communicate and navigate space, both on a micro and macro scale. Influxstructure contains topographical imagery of a nuclear weapons test site, brain synapses, Peruvian Nazca geoglyphs, nervous system, U.S. Highways, the heart and circulatory system. One common element present within all these systems is iron. When the book is closed, iron filings encased in glass gather tightly into a circle over a hidden magnet. The reader’s touch separates the filings from the magnet by opening the cover; the iron scatters into formless dust. Inside, the map-fold variation structure allows images to be peeled back layer by layer, alternating between images of the minuscule to the immense. Letterpress printed text alternates from prose poems on each page to cited research as side-notes. Holes bored through the pages highlight the interconnectivity of the systems. Each pressure printed image is from a vantage point that is either too close or too far away for the viewer have a complete or clear perspective, either hovering above the earth or deep within our own bodies. There is a connection to be drawn between these monumental and quietly intrinsic spaces. From the Nazca earthworks to our firing brain synapses, we determine consciously or unconsciously what is necessary to remember. We have created complex highway structures to move across the earth while our circulatory system moves blood throughout our bodies; we can locate ourselves on a planet of this size, yet cannot pinpoint where we exist within our own bodies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384105384-5IBHZX8RPR1IDWHK53XT/mcba-prize-2020-Keri-Schroeder-Influxstructure-4.jpg Entries & Jurors - 2020 Entries - Keri Schroeder San Antonio, Texas kerischroeder.com Influxstructure: A Topography of Ghosts 2018 Artist Book – letterpress printing, pressure printing, mixed media Open: 209*”x38”x1” Closed: 10”x10”x2” Artist Statement There is a connection between the natural internal systems within our own bodies, and the manmade external systems that we build into the earth. Influxstructure: A Topography of Ghosts is an exploration of how we use these systems to communicate and navigate space, both on a micro and macro scale. Influxstructure contains topographical imagery of a nuclear weapons test site, brain synapses, Peruvian Nazca geoglyphs, nervous system, U.S. Highways, the heart and circulatory system. One common element present within all these systems is iron. When the book is closed, iron filings encased in glass gather tightly into a circle over a hidden magnet. The reader’s touch separates the filings from the magnet by opening the cover; the iron scatters into formless dust. Inside, the map-fold variation structure allows images to be peeled back layer by layer, alternating between images of the minuscule to the immense. Letterpress printed text alternates from prose poems on each page to cited research as side-notes. Holes bored through the pages highlight the interconnectivity of the systems. Each pressure printed image is from a vantage point that is either too close or too far away for the viewer have a complete or clear perspective, either hovering above the earth or deep within our own bodies. There is a connection to be drawn between these monumental and quietly intrinsic spaces. From the Nazca earthworks to our firing brain synapses, we determine consciously or unconsciously what is necessary to remember. We have created complex highway structures to move across the earth while our circulatory system moves blood throughout our bodies; we can locate ourselves on a planet of this size, yet cannot pinpoint where we exist within our own bodies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384107278-7HK6DF7JF0KGK49QHOQ5/mcba-prize-2020-Keri-Schroeder-Influxstructure-3.jpg Entries & Jurors - 2020 Entries - Keri Schroeder San Antonio, Texas kerischroeder.com Influxstructure: A Topography of Ghosts 2018 Artist Book – letterpress printing, pressure printing, mixed media Open: 209*”x38”x1” Closed: 10”x10”x2” Artist Statement There is a connection between the natural internal systems within our own bodies, and the manmade external systems that we build into the earth. Influxstructure: A Topography of Ghosts is an exploration of how we use these systems to communicate and navigate space, both on a micro and macro scale. Influxstructure contains topographical imagery of a nuclear weapons test site, brain synapses, Peruvian Nazca geoglyphs, nervous system, U.S. Highways, the heart and circulatory system. One common element present within all these systems is iron. When the book is closed, iron filings encased in glass gather tightly into a circle over a hidden magnet. The reader’s touch separates the filings from the magnet by opening the cover; the iron scatters into formless dust. Inside, the map-fold variation structure allows images to be peeled back layer by layer, alternating between images of the minuscule to the immense. Letterpress printed text alternates from prose poems on each page to cited research as side-notes. Holes bored through the pages highlight the interconnectivity of the systems. Each pressure printed image is from a vantage point that is either too close or too far away for the viewer have a complete or clear perspective, either hovering above the earth or deep within our own bodies. There is a connection to be drawn between these monumental and quietly intrinsic spaces. From the Nazca earthworks to our firing brain synapses, we determine consciously or unconsciously what is necessary to remember. We have created complex highway structures to move across the earth while our circulatory system moves blood throughout our bodies; we can locate ourselves on a planet of this size, yet cannot pinpoint where we exist within our own bodies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384108056-AOHBGUSWM5YKV7P47S0M/mcba-prize-2020-Keri-Schroeder-Influxstructure-2.jpg Entries & Jurors - 2020 Entries - Keri Schroeder San Antonio, Texas kerischroeder.com Influxstructure: A Topography of Ghosts 2018 Artist Book – letterpress printing, pressure printing, mixed media Open: 209*”x38”x1” Closed: 10”x10”x2” Artist Statement There is a connection between the natural internal systems within our own bodies, and the manmade external systems that we build into the earth. Influxstructure: A Topography of Ghosts is an exploration of how we use these systems to communicate and navigate space, both on a micro and macro scale. Influxstructure contains topographical imagery of a nuclear weapons test site, brain synapses, Peruvian Nazca geoglyphs, nervous system, U.S. Highways, the heart and circulatory system. One common element present within all these systems is iron. When the book is closed, iron filings encased in glass gather tightly into a circle over a hidden magnet. The reader’s touch separates the filings from the magnet by opening the cover; the iron scatters into formless dust. Inside, the map-fold variation structure allows images to be peeled back layer by layer, alternating between images of the minuscule to the immense. Letterpress printed text alternates from prose poems on each page to cited research as side-notes. Holes bored through the pages highlight the interconnectivity of the systems. Each pressure printed image is from a vantage point that is either too close or too far away for the viewer have a complete or clear perspective, either hovering above the earth or deep within our own bodies. There is a connection to be drawn between these monumental and quietly intrinsic spaces. From the Nazca earthworks to our firing brain synapses, we determine consciously or unconsciously what is necessary to remember. We have created complex highway structures to move across the earth while our circulatory system moves blood throughout our bodies; we can locate ourselves on a planet of this size, yet cannot pinpoint where we exist within our own bodies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384109371-D871NXUKE03DWDF114VM/mcba-prize-2020-Keri-Schroeder-Influxstructure-1.jpg Entries & Jurors - 2020 Entries - Keri Schroeder San Antonio, Texas kerischroeder.com Influxstructure: A Topography of Ghosts 2018 Artist Book – letterpress printing, pressure printing, mixed media Open: 209*”x38”x1” Closed: 10”x10”x2” Artist Statement There is a connection between the natural internal systems within our own bodies, and the manmade external systems that we build into the earth. Influxstructure: A Topography of Ghosts is an exploration of how we use these systems to communicate and navigate space, both on a micro and macro scale. Influxstructure contains topographical imagery of a nuclear weapons test site, brain synapses, Peruvian Nazca geoglyphs, nervous system, U.S. Highways, the heart and circulatory system. One common element present within all these systems is iron. When the book is closed, iron filings encased in glass gather tightly into a circle over a hidden magnet. The reader’s touch separates the filings from the magnet by opening the cover; the iron scatters into formless dust. Inside, the map-fold variation structure allows images to be peeled back layer by layer, alternating between images of the minuscule to the immense. Letterpress printed text alternates from prose poems on each page to cited research as side-notes. Holes bored through the pages highlight the interconnectivity of the systems. Each pressure printed image is from a vantage point that is either too close or too far away for the viewer have a complete or clear perspective, either hovering above the earth or deep within our own bodies. There is a connection to be drawn between these monumental and quietly intrinsic spaces. From the Nazca earthworks to our firing brain synapses, we determine consciously or unconsciously what is necessary to remember. We have created complex highway structures to move across the earth while our circulatory system moves blood throughout our bodies; we can locate ourselves on a planet of this size, yet cannot pinpoint where we exist within our own bodies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384215395-URF0PK9E3S6HFPH2N6K1/mcba-prize-2020-Ana-Serio-Unpeopled-Landscape-5.jpg Entries & Jurors - 2020 Entries - Ana Sério Carcavelos, Portugal anaserio.com Unpeopled Landscape #2 2019 Unique book Monotype and ink on Arches and Fabriano paper with hand-bookbinding, hand stained leather cover with dry-etching. With box. 52 pages Closed: 10.6 x 14.1 x 1.3″; Open: 10.6 x 28 in/10.6 x 41″. Book closed inside box: 11.4 x1 5.3 x 1.8″ Artist Statement The sudden light unfolds the pilgrimage along the four walls, makes shadows the colour of fire waver on the stucco (in the landscape). I sleep over purple and stone forests. Carlos de Oliveira, Finisterra (Land’s End) The artist’s book I’m presenting is included within the scope of the aesthetic research I have been doing since 2016 about a plastic manner of dealing with the landscape of the Gândara region that is the narrative core of the twentieth century Portuguese writer Carlos de Oliveira’s literary production. It is important to say that this particular landscape is present not only in his novels (namely his novel Finisterra – paisagem e povoamento (Land’s End – landscape and peopling) but also in his poetry. If Carlos de Oliveira (1921-1981) is not the greatest twentieth century Portuguese writer, then he is one of the greatest. His entire literary production and its complex characters are deeply related to this unique region. Geographically speaking, Gândara is part of an area bounded by the Vouga River estuary to the north, the fields of the Mondego River to the south, the vineyard county Bairrada to the east and the coastal sand dunes to the west, comprising the Municipalities of Cantanhede, Mira, Vagos, Figeira da Foz and Montemor-o-Velho (Portugal). In Carlos de Oliveira’s work, Gândara1 is neither a geographical reference nor a mere backdrop but is at the very root of the whole of his literary discourse. Belonging to Gândara are the places, characters, the world of the imagination, the social struggles, the figures, the underwater forests and the childish drawings that permeate everything he wrote. One could say without the risk of erring, that Gândara means to Carlos de Oliveira what Yoknapatawpha County means to William Faulkner. Inspired by his novel Finisterra – paisagem e povoamento, I sought to represent the various (physical and psychological) landscapes which the author constructs from the standpoint of the narrator at different stages in his life (as a child and adult). By projecting a needy fleeting light on the moors – the gândara – among the procedures he uses, the narrator employs resources such as children’s drawings, pyrography and photography that are essential for building the narrative: dunes, trees, lagoons, limestone, moss, sun in this land’s end that is the «bitter ground» of a harsh yet touching beauty. Unpeopled landscape #2 is the second artist’s book, unique hand-printed monotypes, painted and bound with a natural leather cover, hand stained with a dry-etching. I used a cream and white paper and the pages were cut in a different way with different dimensions. The words displayed in some pages belong to the drawings and are expressions that Carlos the Oliveira used in his novels and poems. All visual elements are a metaphor of submerged forests that the retreat of the sea and the strong winds buried under the weight of the dunes. Footnote: In Portuguese, apart from being the name of a region, the word gândara is of pre-Roman origin. It comes from the Latin gandĕra which means unpeopled heath or moorland. It may be sandy and covered with hardy bushes and ground creepers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384215119-231419684L00OCSI2DHB/mcba-prize-2020-Ana-Serio-Unpeopled-Landscape-4.jpg Entries & Jurors - 2020 Entries - Ana Sério Carcavelos, Portugal anaserio.com Unpeopled Landscape #2 2019 Unique book Monotype and ink on Arches and Fabriano paper with hand-bookbinding, hand stained leather cover with dry-etching. With box. 52 pages Closed: 10.6 x 14.1 x 1.3″; Open: 10.6 x 28 in/10.6 x 41″. Book closed inside box: 11.4 x1 5.3 x 1.8″ Artist Statement The sudden light unfolds the pilgrimage along the four walls, makes shadows the colour of fire waver on the stucco (in the landscape). I sleep over purple and stone forests. Carlos de Oliveira, Finisterra (Land’s End) The artist’s book I’m presenting is included within the scope of the aesthetic research I have been doing since 2016 about a plastic manner of dealing with the landscape of the Gândara region that is the narrative core of the twentieth century Portuguese writer Carlos de Oliveira’s literary production. It is important to say that this particular landscape is present not only in his novels (namely his novel Finisterra – paisagem e povoamento (Land’s End – landscape and peopling) but also in his poetry. If Carlos de Oliveira (1921-1981) is not the greatest twentieth century Portuguese writer, then he is one of the greatest. His entire literary production and its complex characters are deeply related to this unique region. Geographically speaking, Gândara is part of an area bounded by the Vouga River estuary to the north, the fields of the Mondego River to the south, the vineyard county Bairrada to the east and the coastal sand dunes to the west, comprising the Municipalities of Cantanhede, Mira, Vagos, Figeira da Foz and Montemor-o-Velho (Portugal). In Carlos de Oliveira’s work, Gândara1 is neither a geographical reference nor a mere backdrop but is at the very root of the whole of his literary discourse. Belonging to Gândara are the places, characters, the world of the imagination, the social struggles, the figures, the underwater forests and the childish drawings that permeate everything he wrote. One could say without the risk of erring, that Gândara means to Carlos de Oliveira what Yoknapatawpha County means to William Faulkner. Inspired by his novel Finisterra – paisagem e povoamento, I sought to represent the various (physical and psychological) landscapes which the author constructs from the standpoint of the narrator at different stages in his life (as a child and adult). By projecting a needy fleeting light on the moors – the gândara – among the procedures he uses, the narrator employs resources such as children’s drawings, pyrography and photography that are essential for building the narrative: dunes, trees, lagoons, limestone, moss, sun in this land’s end that is the «bitter ground» of a harsh yet touching beauty. Unpeopled landscape #2 is the second artist’s book, unique hand-printed monotypes, painted and bound with a natural leather cover, hand stained with a dry-etching. I used a cream and white paper and the pages were cut in a different way with different dimensions. The words displayed in some pages belong to the drawings and are expressions that Carlos the Oliveira used in his novels and poems. All visual elements are a metaphor of submerged forests that the retreat of the sea and the strong winds buried under the weight of the dunes. Footnote: In Portuguese, apart from being the name of a region, the word gândara is of pre-Roman origin. It comes from the Latin gandĕra which means unpeopled heath or moorland. It may be sandy and covered with hardy bushes and ground creepers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384216508-IDE9JU43P4FCUEKAPUTT/mcba-prize-2020-Ana-Serio-Unpeopled-Landscape-3.jpg Entries & Jurors - 2020 Entries - Ana Sério Carcavelos, Portugal anaserio.com Unpeopled Landscape #2 2019 Unique book Monotype and ink on Arches and Fabriano paper with hand-bookbinding, hand stained leather cover with dry-etching. With box. 52 pages Closed: 10.6 x 14.1 x 1.3″; Open: 10.6 x 28 in/10.6 x 41″. Book closed inside box: 11.4 x1 5.3 x 1.8″ Artist Statement The sudden light unfolds the pilgrimage along the four walls, makes shadows the colour of fire waver on the stucco (in the landscape). I sleep over purple and stone forests. Carlos de Oliveira, Finisterra (Land’s End) The artist’s book I’m presenting is included within the scope of the aesthetic research I have been doing since 2016 about a plastic manner of dealing with the landscape of the Gândara region that is the narrative core of the twentieth century Portuguese writer Carlos de Oliveira’s literary production. It is important to say that this particular landscape is present not only in his novels (namely his novel Finisterra – paisagem e povoamento (Land’s End – landscape and peopling) but also in his poetry. If Carlos de Oliveira (1921-1981) is not the greatest twentieth century Portuguese writer, then he is one of the greatest. His entire literary production and its complex characters are deeply related to this unique region. Geographically speaking, Gândara is part of an area bounded by the Vouga River estuary to the north, the fields of the Mondego River to the south, the vineyard county Bairrada to the east and the coastal sand dunes to the west, comprising the Municipalities of Cantanhede, Mira, Vagos, Figeira da Foz and Montemor-o-Velho (Portugal). In Carlos de Oliveira’s work, Gândara1 is neither a geographical reference nor a mere backdrop but is at the very root of the whole of his literary discourse. Belonging to Gândara are the places, characters, the world of the imagination, the social struggles, the figures, the underwater forests and the childish drawings that permeate everything he wrote. One could say without the risk of erring, that Gândara means to Carlos de Oliveira what Yoknapatawpha County means to William Faulkner. Inspired by his novel Finisterra – paisagem e povoamento, I sought to represent the various (physical and psychological) landscapes which the author constructs from the standpoint of the narrator at different stages in his life (as a child and adult). By projecting a needy fleeting light on the moors – the gândara – among the procedures he uses, the narrator employs resources such as children’s drawings, pyrography and photography that are essential for building the narrative: dunes, trees, lagoons, limestone, moss, sun in this land’s end that is the «bitter ground» of a harsh yet touching beauty. Unpeopled landscape #2 is the second artist’s book, unique hand-printed monotypes, painted and bound with a natural leather cover, hand stained with a dry-etching. I used a cream and white paper and the pages were cut in a different way with different dimensions. The words displayed in some pages belong to the drawings and are expressions that Carlos the Oliveira used in his novels and poems. All visual elements are a metaphor of submerged forests that the retreat of the sea and the strong winds buried under the weight of the dunes. Footnote: In Portuguese, apart from being the name of a region, the word gândara is of pre-Roman origin. It comes from the Latin gandĕra which means unpeopled heath or moorland. It may be sandy and covered with hardy bushes and ground creepers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384216737-OU1WY36YUO84PN46LBFE/mcba-prize-2020-Ana-Serio-Unpeopled-Landscape-2.jpg Entries & Jurors - 2020 Entries - Ana Sério Carcavelos, Portugal anaserio.com Unpeopled Landscape #2 2019 Unique book Monotype and ink on Arches and Fabriano paper with hand-bookbinding, hand stained leather cover with dry-etching. With box. 52 pages Closed: 10.6 x 14.1 x 1.3″; Open: 10.6 x 28 in/10.6 x 41″. Book closed inside box: 11.4 x1 5.3 x 1.8″ Artist Statement The sudden light unfolds the pilgrimage along the four walls, makes shadows the colour of fire waver on the stucco (in the landscape). I sleep over purple and stone forests. Carlos de Oliveira, Finisterra (Land’s End) The artist’s book I’m presenting is included within the scope of the aesthetic research I have been doing since 2016 about a plastic manner of dealing with the landscape of the Gândara region that is the narrative core of the twentieth century Portuguese writer Carlos de Oliveira’s literary production. It is important to say that this particular landscape is present not only in his novels (namely his novel Finisterra – paisagem e povoamento (Land’s End – landscape and peopling) but also in his poetry. If Carlos de Oliveira (1921-1981) is not the greatest twentieth century Portuguese writer, then he is one of the greatest. His entire literary production and its complex characters are deeply related to this unique region. Geographically speaking, Gândara is part of an area bounded by the Vouga River estuary to the north, the fields of the Mondego River to the south, the vineyard county Bairrada to the east and the coastal sand dunes to the west, comprising the Municipalities of Cantanhede, Mira, Vagos, Figeira da Foz and Montemor-o-Velho (Portugal). In Carlos de Oliveira’s work, Gândara1 is neither a geographical reference nor a mere backdrop but is at the very root of the whole of his literary discourse. Belonging to Gândara are the places, characters, the world of the imagination, the social struggles, the figures, the underwater forests and the childish drawings that permeate everything he wrote. One could say without the risk of erring, that Gândara means to Carlos de Oliveira what Yoknapatawpha County means to William Faulkner. Inspired by his novel Finisterra – paisagem e povoamento, I sought to represent the various (physical and psychological) landscapes which the author constructs from the standpoint of the narrator at different stages in his life (as a child and adult). By projecting a needy fleeting light on the moors – the gândara – among the procedures he uses, the narrator employs resources such as children’s drawings, pyrography and photography that are essential for building the narrative: dunes, trees, lagoons, limestone, moss, sun in this land’s end that is the «bitter ground» of a harsh yet touching beauty. Unpeopled landscape #2 is the second artist’s book, unique hand-printed monotypes, painted and bound with a natural leather cover, hand stained with a dry-etching. I used a cream and white paper and the pages were cut in a different way with different dimensions. The words displayed in some pages belong to the drawings and are expressions that Carlos the Oliveira used in his novels and poems. All visual elements are a metaphor of submerged forests that the retreat of the sea and the strong winds buried under the weight of the dunes. Footnote: In Portuguese, apart from being the name of a region, the word gândara is of pre-Roman origin. It comes from the Latin gandĕra which means unpeopled heath or moorland. It may be sandy and covered with hardy bushes and ground creepers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384217652-A8WR3BJC1QBPWRLBDY5A/mcba-prize-2020-Ana-Serio-Unpeopled-Landscape-1.jpg Entries & Jurors - 2020 Entries - Ana Sério Carcavelos, Portugal anaserio.com Unpeopled Landscape #2 2019 Unique book Monotype and ink on Arches and Fabriano paper with hand-bookbinding, hand stained leather cover with dry-etching. With box. 52 pages Closed: 10.6 x 14.1 x 1.3″; Open: 10.6 x 28 in/10.6 x 41″. Book closed inside box: 11.4 x1 5.3 x 1.8″ Artist Statement The sudden light unfolds the pilgrimage along the four walls, makes shadows the colour of fire waver on the stucco (in the landscape). I sleep over purple and stone forests. Carlos de Oliveira, Finisterra (Land’s End) The artist’s book I’m presenting is included within the scope of the aesthetic research I have been doing since 2016 about a plastic manner of dealing with the landscape of the Gândara region that is the narrative core of the twentieth century Portuguese writer Carlos de Oliveira’s literary production. It is important to say that this particular landscape is present not only in his novels (namely his novel Finisterra – paisagem e povoamento (Land’s End – landscape and peopling) but also in his poetry. If Carlos de Oliveira (1921-1981) is not the greatest twentieth century Portuguese writer, then he is one of the greatest. His entire literary production and its complex characters are deeply related to this unique region. Geographically speaking, Gândara is part of an area bounded by the Vouga River estuary to the north, the fields of the Mondego River to the south, the vineyard county Bairrada to the east and the coastal sand dunes to the west, comprising the Municipalities of Cantanhede, Mira, Vagos, Figeira da Foz and Montemor-o-Velho (Portugal). In Carlos de Oliveira’s work, Gândara1 is neither a geographical reference nor a mere backdrop but is at the very root of the whole of his literary discourse. Belonging to Gândara are the places, characters, the world of the imagination, the social struggles, the figures, the underwater forests and the childish drawings that permeate everything he wrote. One could say without the risk of erring, that Gândara means to Carlos de Oliveira what Yoknapatawpha County means to William Faulkner. Inspired by his novel Finisterra – paisagem e povoamento, I sought to represent the various (physical and psychological) landscapes which the author constructs from the standpoint of the narrator at different stages in his life (as a child and adult). By projecting a needy fleeting light on the moors – the gândara – among the procedures he uses, the narrator employs resources such as children’s drawings, pyrography and photography that are essential for building the narrative: dunes, trees, lagoons, limestone, moss, sun in this land’s end that is the «bitter ground» of a harsh yet touching beauty. Unpeopled landscape #2 is the second artist’s book, unique hand-printed monotypes, painted and bound with a natural leather cover, hand stained with a dry-etching. I used a cream and white paper and the pages were cut in a different way with different dimensions. The words displayed in some pages belong to the drawings and are expressions that Carlos the Oliveira used in his novels and poems. All visual elements are a metaphor of submerged forests that the retreat of the sea and the strong winds buried under the weight of the dunes. Footnote: In Portuguese, apart from being the name of a region, the word gândara is of pre-Roman origin. It comes from the Latin gandĕra which means unpeopled heath or moorland. It may be sandy and covered with hardy bushes and ground creepers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384426654-486VDFBF7A4YT44WXJEN/mcba-prize-2020-Ellen-Sheffield-Ages-of-Peonies-5.jpg Entries & Jurors - 2020 Entries - Ellen Sheffield Gambier, Ohio ellensheffield.com The Ages of Peonies 2018 artist book: letterpress & digital images 9 x 6.375 x .625″ Artist Statement Peony (Paeonia) bushes can live for a century. Mine was transplanted from my husband’s grandmother’s garden after her death. Grandma Bertha Hammonds was a so-called colored cleaning woman her entire life in our small town where Marian Anderson performed in 1930. So too were Ethel Reynolds, Gertrude Jones, Viola Booker, Mable Mayle, Anna Sites and Midge McGee all members of the Colored Women’s Glee Club. Miss Anderson’s mother in Philadelphia also scrubbed floors to support her young daughters. This artist’s book is inspired by these women and their drive to bring beauty into their communities in the face of exclusion and racial prejudice. My thanks to Ric Sheffield and to Nancy Zafris for their research and writing about the colored women’s clubs and this concert and to the Morgan Conservatory Artist’s Residency Program during which I printed the text in letterpress from polymer plates and wood type. The book includes inkjet prints and letterpress on Rives paper with handmade Morgan cotton abaca paper on the covers and a musical score in Miss Anderson’s handwriting printed on a book cloth spine (18 pages using drum leaf binding). Images used in my original collages are courtesy of the Shared Shelf Commons of Penn Library’s Rare Book & Manuscript Library Image Collection Marian Anderson Archives and the Knox County Black History Archive. Additional images include my photos of Mt. Vernon, Ohio’s historic Woodward Opera House’s vintage wallpaper and Grandma Hammonds still blooming peonies. The Ages of Peonies is my “found” poem constructed from newspaper accounts and historical research. A pdf of the text of this poem is included in this application. Additional text in the book includes the lyrics to the spiritual song Sometimes I Feel Like a Motherless Child performed by Miss Anderson at the Mt. Vernon concert. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384425928-S1Y0B8KHS4GLVCD4CWX2/mcba-prize-2020-Ellen-Sheffield-Ages-of-Peonies-4.jpg Entries & Jurors - 2020 Entries - Ellen Sheffield Gambier, Ohio ellensheffield.com The Ages of Peonies 2018 artist book: letterpress & digital images 9 x 6.375 x .625″ Artist Statement Peony (Paeonia) bushes can live for a century. Mine was transplanted from my husband’s grandmother’s garden after her death. Grandma Bertha Hammonds was a so-called colored cleaning woman her entire life in our small town where Marian Anderson performed in 1930. So too were Ethel Reynolds, Gertrude Jones, Viola Booker, Mable Mayle, Anna Sites and Midge McGee all members of the Colored Women’s Glee Club. Miss Anderson’s mother in Philadelphia also scrubbed floors to support her young daughters. This artist’s book is inspired by these women and their drive to bring beauty into their communities in the face of exclusion and racial prejudice. My thanks to Ric Sheffield and to Nancy Zafris for their research and writing about the colored women’s clubs and this concert and to the Morgan Conservatory Artist’s Residency Program during which I printed the text in letterpress from polymer plates and wood type. The book includes inkjet prints and letterpress on Rives paper with handmade Morgan cotton abaca paper on the covers and a musical score in Miss Anderson’s handwriting printed on a book cloth spine (18 pages using drum leaf binding). Images used in my original collages are courtesy of the Shared Shelf Commons of Penn Library’s Rare Book & Manuscript Library Image Collection Marian Anderson Archives and the Knox County Black History Archive. Additional images include my photos of Mt. Vernon, Ohio’s historic Woodward Opera House’s vintage wallpaper and Grandma Hammonds still blooming peonies. The Ages of Peonies is my “found” poem constructed from newspaper accounts and historical research. A pdf of the text of this poem is included in this application. Additional text in the book includes the lyrics to the spiritual song Sometimes I Feel Like a Motherless Child performed by Miss Anderson at the Mt. Vernon concert.Gambier, Ohio ellensheffield.com The Ages of Peonies 2018 artist book: letterpress & digital images 9 x 6.375 x .625″ Artist Statement Peony (Paeonia) bushes can live for a century. Mine was transplanted from my husband’s grandmother’s garden after her death. Grandma Bertha Hammonds was a so-called colored cleaning woman her entire life in our small town where Marian Anderson performed in 1930. So too were Ethel Reynolds, Gertrude Jones, Viola Booker, Mable Mayle, Anna Sites and Midge McGee all members of the Colored Women’s Glee Club. Miss Anderson’s mother in Philadelphia also scrubbed floors to support her young daughters. This artist’s book is inspired by these women and their drive to bring beauty into their communities in the face of exclusion and racial prejudice. My thanks to Ric Sheffield and to Nancy Zafris for their research and writing about the colored women’s clubs and this concert and to the Morgan Conservatory Artist’s Residency Program during which I printed the text in letterpress from polymer plates and wood type. The book includes inkjet prints and letterpress on Rives paper with handmade Morgan cotton abaca paper on the covers and a musical score in Miss Anderson’s handwriting printed on a book cloth spine (18 pages using drum leaf binding). Images used in my original collages are courtesy of the Shared Shelf Commons of Penn Library’s Rare Book & Manuscript Library Image Collection Marian Anderson Archives and the Knox County Black History Archive. Additional images include my photos of Mt. Vernon, Ohio’s historic Woodward Opera House’s vintage wallpaper and Grandma Hammonds still blooming peonies. The Ages of Peonies is my “found” poem constructed from newspaper accounts and historical research. A pdf of the text of this poem is included in this application. Additional text in the book includes the lyrics to the spiritual song Sometimes I Feel Like a Motherless Child performed by Miss Anderson at the Mt. Vernon concert. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384427631-X6NGCT03L8BEXSNAKZTP/mcba-prize-2020-Ellen-Sheffield-Ages-of-Peonies-3.jpg Entries & Jurors - 2020 Entries - Ellen Sheffield Gambier, Ohio ellensheffield.com The Ages of Peonies 2018 artist book: letterpress & digital images 9 x 6.375 x .625″ Artist Statement Peony (Paeonia) bushes can live for a century. Mine was transplanted from my husband’s grandmother’s garden after her death. Grandma Bertha Hammonds was a so-called colored cleaning woman her entire life in our small town where Marian Anderson performed in 1930. So too were Ethel Reynolds, Gertrude Jones, Viola Booker, Mable Mayle, Anna Sites and Midge McGee all members of the Colored Women’s Glee Club. Miss Anderson’s mother in Philadelphia also scrubbed floors to support her young daughters. This artist’s book is inspired by these women and their drive to bring beauty into their communities in the face of exclusion and racial prejudice. My thanks to Ric Sheffield and to Nancy Zafris for their research and writing about the colored women’s clubs and this concert and to the Morgan Conservatory Artist’s Residency Program during which I printed the text in letterpress from polymer plates and wood type. The book includes inkjet prints and letterpress on Rives paper with handmade Morgan cotton abaca paper on the covers and a musical score in Miss Anderson’s handwriting printed on a book cloth spine (18 pages using drum leaf binding). Images used in my original collages are courtesy of the Shared Shelf Commons of Penn Library’s Rare Book & Manuscript Library Image Collection Marian Anderson Archives and the Knox County Black History Archive. Additional images include my photos of Mt. Vernon, Ohio’s historic Woodward Opera House’s vintage wallpaper and Grandma Hammonds still blooming peonies. The Ages of Peonies is my “found” poem constructed from newspaper accounts and historical research. A pdf of the text of this poem is included in this application. Additional text in the book includes the lyrics to the spiritual song Sometimes I Feel Like a Motherless Child performed by Miss Anderson at the Mt. Vernon concert. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384428241-J1GZU4TZGTW9NHFY1AZ4/mcba-prize-2020-Ellen-Sheffield-Ages-of-Peonies-2.jpg Entries & Jurors - 2020 Entries - Ellen Sheffield Gambier, Ohio ellensheffield.com The Ages of Peonies 2018 artist book: letterpress & digital images 9 x 6.375 x .625″ Artist Statement Peony (Paeonia) bushes can live for a century. Mine was transplanted from my husband’s grandmother’s garden after her death. Grandma Bertha Hammonds was a so-called colored cleaning woman her entire life in our small town where Marian Anderson performed in 1930. So too were Ethel Reynolds, Gertrude Jones, Viola Booker, Mable Mayle, Anna Sites and Midge McGee all members of the Colored Women’s Glee Club. Miss Anderson’s mother in Philadelphia also scrubbed floors to support her young daughters. This artist’s book is inspired by these women and their drive to bring beauty into their communities in the face of exclusion and racial prejudice. My thanks to Ric Sheffield and to Nancy Zafris for their research and writing about the colored women’s clubs and this concert and to the Morgan Conservatory Artist’s Residency Program during which I printed the text in letterpress from polymer plates and wood type. The book includes inkjet prints and letterpress on Rives paper with handmade Morgan cotton abaca paper on the covers and a musical score in Miss Anderson’s handwriting printed on a book cloth spine (18 pages using drum leaf binding). Images used in my original collages are courtesy of the Shared Shelf Commons of Penn Library’s Rare Book & Manuscript Library Image Collection Marian Anderson Archives and the Knox County Black History Archive. Additional images include my photos of Mt. Vernon, Ohio’s historic Woodward Opera House’s vintage wallpaper and Grandma Hammonds still blooming peonies. The Ages of Peonies is my “found” poem constructed from newspaper accounts and historical research. A pdf of the text of this poem is included in this application. Additional text in the book includes the lyrics to the spiritual song Sometimes I Feel Like a Motherless Child performed by Miss Anderson at the Mt. Vernon concert. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384429232-OIG8QQOFGM0H9A34GC8J/mcba-prize-2020-Ellen-Sheffield-Ages-of-Peonies-1.jpg Entries & Jurors - 2020 Entries - Ellen Sheffield Gambier, Ohio ellensheffield.com The Ages of Peonies 2018 artist book: letterpress & digital images 9 x 6.375 x .625″ Artist Statement Peony (Paeonia) bushes can live for a century. Mine was transplanted from my husband’s grandmother’s garden after her death. Grandma Bertha Hammonds was a so-called colored cleaning woman her entire life in our small town where Marian Anderson performed in 1930. So too were Ethel Reynolds, Gertrude Jones, Viola Booker, Mable Mayle, Anna Sites and Midge McGee all members of the Colored Women’s Glee Club. Miss Anderson’s mother in Philadelphia also scrubbed floors to support her young daughters. This artist’s book is inspired by these women and their drive to bring beauty into their communities in the face of exclusion and racial prejudice. My thanks to Ric Sheffield and to Nancy Zafris for their research and writing about the colored women’s clubs and this concert and to the Morgan Conservatory Artist’s Residency Program during which I printed the text in letterpress from polymer plates and wood type. The book includes inkjet prints and letterpress on Rives paper with handmade Morgan cotton abaca paper on the covers and a musical score in Miss Anderson’s handwriting printed on a book cloth spine (18 pages using drum leaf binding). Images used in my original collages are courtesy of the Shared Shelf Commons of Penn Library’s Rare Book & Manuscript Library Image Collection Marian Anderson Archives and the Knox County Black History Archive. Additional images include my photos of Mt. Vernon, Ohio’s historic Woodward Opera House’s vintage wallpaper and Grandma Hammonds still blooming peonies. The Ages of Peonies is my “found” poem constructed from newspaper accounts and historical research. A pdf of the text of this poem is included in this application. Additional text in the book includes the lyrics to the spiritual song Sometimes I Feel Like a Motherless Child performed by Miss Anderson at the Mt. Vernon concert. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384575697-AO5GQES3BZW9VY0PQOVQ/mcba-prize-2020-Shift-Lab-Team-REF-5.jpg Entries & Jurors - 2020 Entries - Shift Lab Team Shift-lab Team (shift-lab.org) Katie Baldwin, Huntsville Alabama (katieameliabaldwin.com) Denise Bookwalter, Tallahassee, Florida (denisebookwalter.com) Sarah Bryant, Tuscaloosa, Alabama (bigjumppress.com) Macy Chadwick, Petaluma, California (macychadwick.com) Tricia Treacy, Boone, North Carolina (triciatreacy.com) REF 2019 printing methods include letterpress, risograph, screenprinting, and digital printing variable sized books housed in a flip top box Artist Statement REF is an investigation into the erosion of the physical reference area of the library, and the fundamental shift taking place in the way we ask and answer questions. Reference sources evolved over hundreds of years to answer specific types of questions that have emerged over time as we have sought to engage with information. Atlases, chronologies, encyclopedias, directories, and other, related reference types each satisfied a particular method of seeking information. Where? When? Who was responsible? What else was happening during this time? How was this accomplished? We have moved away from the use of these resources toward the use of keyword searches. As a result, we are able to access information with great speed, but are losing the aspect of translation that enabled us to seek nuanced answers to carefully posed questions. For this artist book, a collective of five artists worked together to produce a complete reference section. 15 components, each inspired by a traditional reference type, are housed together in a custom flip top document box. As an organizing principle for the project, artists selected a set of dates related to the shift away from the use of physical reference texts toward our reliance on algorithmic relevance: 1963 The publication of Automation and the Library of Congress (also known as “The King Report”) 1991 The High Performance Computing Act (also known as The Gore Bill) and the advent of the World Wide Web 1993 The publication of Planning Second Generation Automated Library Systems and the release of Mosaic, the first web browser which popularized the World Wide Web 2001 The release of Wikipedia References to these dates and events can be found in each component, alongside other themes related to mapping, information, and documentation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384575968-2PKZAL03N1EIF3GWYI9L/mcba-prize-2020-Shift-Lab-Team-REF-4.jpg Entries & Jurors - 2020 Entries - Shift Lab Team Shift-lab Team (shift-lab.org) Katie Baldwin, Huntsville Alabama (katieameliabaldwin.com) Denise Bookwalter, Tallahassee, Florida (denisebookwalter.com) Sarah Bryant, Tuscaloosa, Alabama (bigjumppress.com) Macy Chadwick, Petaluma, California (macychadwick.com) Tricia Treacy, Boone, North Carolina (triciatreacy.com) REF 2019 printing methods include letterpress, risograph, screenprinting, and digital printing variable sized books housed in a flip top box Artist Statement REF is an investigation into the erosion of the physical reference area of the library, and the fundamental shift taking place in the way we ask and answer questions. Reference sources evolved over hundreds of years to answer specific types of questions that have emerged over time as we have sought to engage with information. Atlases, chronologies, encyclopedias, directories, and other, related reference types each satisfied a particular method of seeking information. Where? When? Who was responsible? What else was happening during this time? How was this accomplished? We have moved away from the use of these resources toward the use of keyword searches. As a result, we are able to access information with great speed, but are losing the aspect of translation that enabled us to seek nuanced answers to carefully posed questions. For this artist book, a collective of five artists worked together to produce a complete reference section. 15 components, each inspired by a traditional reference type, are housed together in a custom flip top document box. As an organizing principle for the project, artists selected a set of dates related to the shift away from the use of physical reference texts toward our reliance on algorithmic relevance: 1963 The publication of Automation and the Library of Congress (also known as “The King Report”) 1991 The High Performance Computing Act (also known as The Gore Bill) and the advent of the World Wide Web 1993 The publication of Planning Second Generation Automated Library Systems and the release of Mosaic, the first web browser which popularized the World Wide Web 2001 The release of Wikipedia References to these dates and events can be found in each component, alongside other themes related to mapping, information, and documentation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384577754-MB36W2CVS5XCQ2XFCIYC/mcba-prize-2020-Shift-Lab-Team-REF-3.jpg Entries & Jurors - 2020 Entries - Shift Lab Team Shift-lab Team (shift-lab.org) Katie Baldwin, Huntsville Alabama (katieameliabaldwin.com) Denise Bookwalter, Tallahassee, Florida (denisebookwalter.com) Sarah Bryant, Tuscaloosa, Alabama (bigjumppress.com) Macy Chadwick, Petaluma, California (macychadwick.com) Tricia Treacy, Boone, North Carolina (triciatreacy.com) REF 2019 printing methods include letterpress, risograph, screenprinting, and digital printing variable sized books housed in a flip top box Artist Statement REF is an investigation into the erosion of the physical reference area of the library, and the fundamental shift taking place in the way we ask and answer questions. Reference sources evolved over hundreds of years to answer specific types of questions that have emerged over time as we have sought to engage with information. Atlases, chronologies, encyclopedias, directories, and other, related reference types each satisfied a particular method of seeking information. Where? When? Who was responsible? What else was happening during this time? How was this accomplished? We have moved away from the use of these resources toward the use of keyword searches. As a result, we are able to access information with great speed, but are losing the aspect of translation that enabled us to seek nuanced answers to carefully posed questions. For this artist book, a collective of five artists worked together to produce a complete reference section. 15 components, each inspired by a traditional reference type, are housed together in a custom flip top document box. As an organizing principle for the project, artists selected a set of dates related to the shift away from the use of physical reference texts toward our reliance on algorithmic relevance: 1963 The publication of Automation and the Library of Congress (also known as “The King Report”) 1991 The High Performance Computing Act (also known as The Gore Bill) and the advent of the World Wide Web 1993 The publication of Planning Second Generation Automated Library Systems and the release of Mosaic, the first web browser which popularized the World Wide Web 2001 The release of Wikipedia References to these dates and events can be found in each component, alongside other themes related to mapping, information, and documentation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384578584-ILKMPQFL6SHZQOYSFEJR/mcba-prize-2020-Shift-Lab-Team-REF-2.jpg Entries & Jurors - 2020 Entries - Shift Lab Team Shift-lab Team (shift-lab.org) Katie Baldwin, Huntsville Alabama (katieameliabaldwin.com) Denise Bookwalter, Tallahassee, Florida (denisebookwalter.com) Sarah Bryant, Tuscaloosa, Alabama (bigjumppress.com) Macy Chadwick, Petaluma, California (macychadwick.com) Tricia Treacy, Boone, North Carolina (triciatreacy.com) REF 2019 printing methods include letterpress, risograph, screenprinting, and digital printing variable sized books housed in a flip top box Artist Statement REF is an investigation into the erosion of the physical reference area of the library, and the fundamental shift taking place in the way we ask and answer questions. Reference sources evolved over hundreds of years to answer specific types of questions that have emerged over time as we have sought to engage with information. Atlases, chronologies, encyclopedias, directories, and other, related reference types each satisfied a particular method of seeking information. Where? When? Who was responsible? What else was happening during this time? How was this accomplished? We have moved away from the use of these resources toward the use of keyword searches. As a result, we are able to access information with great speed, but are losing the aspect of translation that enabled us to seek nuanced answers to carefully posed questions. For this artist book, a collective of five artists worked together to produce a complete reference section. 15 components, each inspired by a traditional reference type, are housed together in a custom flip top document box. As an organizing principle for the project, artists selected a set of dates related to the shift away from the use of physical reference texts toward our reliance on algorithmic relevance: 1963 The publication of Automation and the Library of Congress (also known as “The King Report”) 1991 The High Performance Computing Act (also known as The Gore Bill) and the advent of the World Wide Web 1993 The publication of Planning Second Generation Automated Library Systems and the release of Mosaic, the first web browser which popularized the World Wide Web 2001 The release of Wikipedia References to these dates and events can be found in each component, alongside other themes related to mapping, information, and documentation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384579850-X62ZCS1MI2G3XOSDFYOE/mcba-prize-2020-Shift-Lab-Team-REF-1.jpg Entries & Jurors - 2020 Entries - Shift Lab Team Shift-lab Team (shift-lab.org) Katie Baldwin, Huntsville Alabama (katieameliabaldwin.com) Denise Bookwalter, Tallahassee, Florida (denisebookwalter.com) Sarah Bryant, Tuscaloosa, Alabama (bigjumppress.com) Macy Chadwick, Petaluma, California (macychadwick.com) Tricia Treacy, Boone, North Carolina (triciatreacy.com) REF 2019 printing methods include letterpress, risograph, screenprinting, and digital printing variable sized books housed in a flip top box Artist Statement REF is an investigation into the erosion of the physical reference area of the library, and the fundamental shift taking place in the way we ask and answer questions. Reference sources evolved over hundreds of years to answer specific types of questions that have emerged over time as we have sought to engage with information. Atlases, chronologies, encyclopedias, directories, and other, related reference types each satisfied a particular method of seeking information. Where? When? Who was responsible? What else was happening during this time? How was this accomplished? We have moved away from the use of these resources toward the use of keyword searches. As a result, we are able to access information with great speed, but are losing the aspect of translation that enabled us to seek nuanced answers to carefully posed questions. For this artist book, a collective of five artists worked together to produce a complete reference section. 15 components, each inspired by a traditional reference type, are housed together in a custom flip top document box. As an organizing principle for the project, artists selected a set of dates related to the shift away from the use of physical reference texts toward our reliance on algorithmic relevance: 1963 The publication of Automation and the Library of Congress (also known as “The King Report”) 1991 The High Performance Computing Act (also known as The Gore Bill) and the advent of the World Wide Web 1993 The publication of Planning Second Generation Automated Library Systems and the release of Mosaic, the first web browser which popularized the World Wide Web 2001 The release of Wikipedia References to these dates and events can be found in each component, alongside other themes related to mapping, information, and documentation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384737360-N7WQYSUI02CAFO4W2JCT/mcba-prize-2020-Paul-Shortt-How-to-Art-Book-Fair-5.jpg Entries & Jurors - 2020 Entries - Paul Shortt Gainesville, Florida paulshortt.com How to Art Book Fair 2019 zine, risograph printed on French Paper Company, pop-tone bubble gum pink, 36 pages 5.5 x 8.5″ Artist Statement After having participated in over 30 art book and zine fairs, I created How to Art Book Fair to help both the amateur and professional bookmaker prepare, participate, and succeed at an art book or zine fair. In looking at the contemporary art book world, I realized that there was no guide on how to sell your books at an art book fair, and how important the events have become to growing the community of art book makers nationally and internationally. The book features sections on pricing, selling, table layout, being a good tablemate, talking to fair organizers, trading, community and more. With extra advice from over 15 art book fair experts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384737237-NMK5ZHYBAO7RFIU3ZF8A/mcba-prize-2020-Paul-Shortt-How-to-Art-Book-Fair-4.jpg Entries & Jurors - 2020 Entries - Paul Shortt Gainesville, Florida paulshortt.com How to Art Book Fair 2019 zine, risograph printed on French Paper Company, pop-tone bubble gum pink, 36 pages 5.5 x 8.5″ Artist Statement After having participated in over 30 art book and zine fairs, I created How to Art Book Fair to help both the amateur and professional bookmaker prepare, participate, and succeed at an art book or zine fair. In looking at the contemporary art book world, I realized that there was no guide on how to sell your books at an art book fair, and how important the events have become to growing the community of art book makers nationally and internationally. The book features sections on pricing, selling, table layout, being a good tablemate, talking to fair organizers, trading, community and more. With extra advice from over 15 art book fair experts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384741124-RTVH4231Q4MV1POS2V39/mcba-prize-2020-Paul-Shortt-How-to-Art-Book-Fair-3.jpg Entries & Jurors - 2020 Entries - Paul Shortt Gainesville, Florida paulshortt.com How to Art Book Fair 2019 zine, risograph printed on French Paper Company, pop-tone bubble gum pink, 36 pages 5.5 x 8.5″ Artist Statement After having participated in over 30 art book and zine fairs, I created How to Art Book Fair to help both the amateur and professional bookmaker prepare, participate, and succeed at an art book or zine fair. In looking at the contemporary art book world, I realized that there was no guide on how to sell your books at an art book fair, and how important the events have become to growing the community of art book makers nationally and internationally. The book features sections on pricing, selling, table layout, being a good tablemate, talking to fair organizers, trading, community and more. With extra advice from over 15 art book fair experts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384741688-BYFCE2EB9CXL4LL17BHC/mcba-prize-2020-Paul-Shortt-How-to-Art-Book-Fair-2.jpg Entries & Jurors - 2020 Entries - Paul Shortt Gainesville, Florida paulshortt.com How to Art Book Fair 2019 zine, risograph printed on French Paper Company, pop-tone bubble gum pink, 36 pages 5.5 x 8.5″ Artist Statement After having participated in over 30 art book and zine fairs, I created How to Art Book Fair to help both the amateur and professional bookmaker prepare, participate, and succeed at an art book or zine fair. In looking at the contemporary art book world, I realized that there was no guide on how to sell your books at an art book fair, and how important the events have become to growing the community of art book makers nationally and internationally. The book features sections on pricing, selling, table layout, being a good tablemate, talking to fair organizers, trading, community and more. With extra advice from over 15 art book fair experts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384743055-GH7RDNEBE6CZ7ZFCIKT5/mcba-prize-2020-Paul-Shortt-How-to-Art-Book-Fair-1.jpg Entries & Jurors - 2020 Entries - Paul Shortt Gainesville, Florida paulshortt.com How to Art Book Fair 2019 zine, risograph printed on French Paper Company, pop-tone bubble gum pink, 36 pages 5.5 x 8.5″ Artist Statement After having participated in over 30 art book and zine fairs, I created How to Art Book Fair to help both the amateur and professional bookmaker prepare, participate, and succeed at an art book or zine fair. In looking at the contemporary art book world, I realized that there was no guide on how to sell your books at an art book fair, and how important the events have become to growing the community of art book makers nationally and internationally. The book features sections on pricing, selling, table layout, being a good tablemate, talking to fair organizers, trading, community and more. With extra advice from over 15 art book fair experts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384855537-YWW00YG1I824KJFFVT0O/mcba-prize-2020-Jillian-Sico-Mycorrhizae-5.jpg Entries & Jurors - 2020 Entries - Jillian Sico Tuscaloosa, Alabama frogsongpress.com Mycorrhizae 2020 letterpress, linen/flax paper with charcoal, tree-retted linen paper, bleached flax paper, Alabama kozo paper with watermarks, recycled paper with chanterelle mushroom spores, recycled paper with polypore mushrooms, thread, board, Duo bookcloth 10.75 x 5.8 x .75″ Artist Statement My work is inspired by the slow, quiet reality encountered in wild places and natural processes. My content is influenced by philosophical, scientific, and religious texts that explore the visible and invisible layers of meaning embedded in natural systems. In-depth, on-site research, especially related to ecology and papermaking traditions, is a key part of my process. Mycorrhizae explores connectivity and loss from a personal and ecological perspective through an examination of mycorrhizal fungi. Mycorrhizae are necessary symbiotic associations between fungi and plant roots. Mycorrhizal fungi uptake and distribute essential nutrients to plants, store carbon in the soil, and help communicate information among and between plant species. Research for this project took place in the Cohutta Wilderness and Wildlife Management Area in the mountains of North Georgia. Throughout the course of the project, personal reflections on love and loss became intertwined with research about mycorrhizae and the history of the forest. I knew that I was documenting only a moment in time: this place as I knew and remembered it would one day be gone. North Georgia was logged extensively from the 1880s through the 1950s, leaving only 2% of its original old-growth forest. In October 2016, the catastrophic Rough Ridge wildfire burned almost 28,000 acres in the Cohutta Wilderness. Other disruptions, such as disease and invasive pests, continue to alter the forest landscape, including the hidden, underground landscape that sustains it. But although we may lose a place, we can adjust and form new connections while still earnestly mourning the loss of what was. I used papermaking as a performative medium to tie the book materially to a specific place and time. I formed sheets from linen fibers that had been buried at the base of a tulip poplar tree in the Cohutta, intertwining with mycelium, fine roots, insects, and worms, and drew organic patterns in the pulp with charcoal harvested from the same tree. I created watermarks based on images of mycelium I saw in soil samples under a microscope, scanned tree roots, and poured jugs of mushroom spores into paper pulp. The sound and texture of the finished paper, along with reflective text and images, recreate for the reader the experience of genuine connection with the forest. Mycorrhizae is a collaboration that includes a personal, reflective text by the author and an accompanying informational text by ecologist Katie Beidler. The collaboration highlights both the personal, specific and scientific, universal aspects of mycorrhizal connections in a forest ecosystem. Both books were letterpress printed on a Vandercook #4 press in Tuscaloosa, Alabama. The type is Baskerville and the images are based on root scans and mycelium imagery, printed from photopolymer plates. The forest scene is printed from wood veneer. All paper for the edition was made by hand. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384854929-1GW599U12SI04RIVJKNT/mcba-prize-2020-Jillian-Sico-Mycorrhizae-4.jpg Entries & Jurors - 2020 Entries - Jillian Sico Tuscaloosa, Alabama frogsongpress.com Mycorrhizae 2020 letterpress, linen/flax paper with charcoal, tree-retted linen paper, bleached flax paper, Alabama kozo paper with watermarks, recycled paper with chanterelle mushroom spores, recycled paper with polypore mushrooms, thread, board, Duo bookcloth 10.75 x 5.8 x .75″ Artist Statement My work is inspired by the slow, quiet reality encountered in wild places and natural processes. My content is influenced by philosophical, scientific, and religious texts that explore the visible and invisible layers of meaning embedded in natural systems. In-depth, on-site research, especially related to ecology and papermaking traditions, is a key part of my process. Mycorrhizae explores connectivity and loss from a personal and ecological perspective through an examination of mycorrhizal fungi. Mycorrhizae are necessary symbiotic associations between fungi and plant roots. Mycorrhizal fungi uptake and distribute essential nutrients to plants, store carbon in the soil, and help communicate information among and between plant species. Research for this project took place in the Cohutta Wilderness and Wildlife Management Area in the mountains of North Georgia. Throughout the course of the project, personal reflections on love and loss became intertwined with research about mycorrhizae and the history of the forest. I knew that I was documenting only a moment in time: this place as I knew and remembered it would one day be gone. North Georgia was logged extensively from the 1880s through the 1950s, leaving only 2% of its original old-growth forest. In October 2016, the catastrophic Rough Ridge wildfire burned almost 28,000 acres in the Cohutta Wilderness. Other disruptions, such as disease and invasive pests, continue to alter the forest landscape, including the hidden, underground landscape that sustains it. But although we may lose a place, we can adjust and form new connections while still earnestly mourning the loss of what was. I used papermaking as a performative medium to tie the book materially to a specific place and time. I formed sheets from linen fibers that had been buried at the base of a tulip poplar tree in the Cohutta, intertwining with mycelium, fine roots, insects, and worms, and drew organic patterns in the pulp with charcoal harvested from the same tree. I created watermarks based on images of mycelium I saw in soil samples under a microscope, scanned tree roots, and poured jugs of mushroom spores into paper pulp. The sound and texture of the finished paper, along with reflective text and images, recreate for the reader the experience of genuine connection with the forest. Mycorrhizae is a collaboration that includes a personal, reflective text by the author and an accompanying informational text by ecologist Katie Beidler. The collaboration highlights both the personal, specific and scientific, universal aspects of mycorrhizal connections in a forest ecosystem. Both books were letterpress printed on a Vandercook #4 press in Tuscaloosa, Alabama. The type is Baskerville and the images are based on root scans and mycelium imagery, printed from photopolymer plates. The forest scene is printed from wood veneer. All paper for the edition was made by hand. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384856528-W4ANGGIN6Y8UOB3T9QGM/mcba-prize-2020-Jillian-Sico-Mycorrhizae-3.jpg Entries & Jurors - 2020 Entries - Jillian Sico Tuscaloosa, Alabama frogsongpress.com Mycorrhizae 2020 letterpress, linen/flax paper with charcoal, tree-retted linen paper, bleached flax paper, Alabama kozo paper with watermarks, recycled paper with chanterelle mushroom spores, recycled paper with polypore mushrooms, thread, board, Duo bookcloth 10.75 x 5.8 x .75″ Artist Statement My work is inspired by the slow, quiet reality encountered in wild places and natural processes. My content is influenced by philosophical, scientific, and religious texts that explore the visible and invisible layers of meaning embedded in natural systems. In-depth, on-site research, especially related to ecology and papermaking traditions, is a key part of my process. Mycorrhizae explores connectivity and loss from a personal and ecological perspective through an examination of mycorrhizal fungi. Mycorrhizae are necessary symbiotic associations between fungi and plant roots. Mycorrhizal fungi uptake and distribute essential nutrients to plants, store carbon in the soil, and help communicate information among and between plant species. Research for this project took place in the Cohutta Wilderness and Wildlife Management Area in the mountains of North Georgia. Throughout the course of the project, personal reflections on love and loss became intertwined with research about mycorrhizae and the history of the forest. I knew that I was documenting only a moment in time: this place as I knew and remembered it would one day be gone. North Georgia was logged extensively from the 1880s through the 1950s, leaving only 2% of its original old-growth forest. In October 2016, the catastrophic Rough Ridge wildfire burned almost 28,000 acres in the Cohutta Wilderness. Other disruptions, such as disease and invasive pests, continue to alter the forest landscape, including the hidden, underground landscape that sustains it. But although we may lose a place, we can adjust and form new connections while still earnestly mourning the loss of what was. I used papermaking as a performative medium to tie the book materially to a specific place and time. I formed sheets from linen fibers that had been buried at the base of a tulip poplar tree in the Cohutta, intertwining with mycelium, fine roots, insects, and worms, and drew organic patterns in the pulp with charcoal harvested from the same tree. I created watermarks based on images of mycelium I saw in soil samples under a microscope, scanned tree roots, and poured jugs of mushroom spores into paper pulp. The sound and texture of the finished paper, along with reflective text and images, recreate for the reader the experience of genuine connection with the forest. Mycorrhizae is a collaboration that includes a personal, reflective text by the author and an accompanying informational text by ecologist Katie Beidler. The collaboration highlights both the personal, specific and scientific, universal aspects of mycorrhizal connections in a forest ecosystem. Both books were letterpress printed on a Vandercook #4 press in Tuscaloosa, Alabama. The type is Baskerville and the images are based on root scans and mycelium imagery, printed from photopolymer plates. The forest scene is printed from wood veneer. All paper for the edition was made by hand. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384857291-XW0W7YJE9K0BLDSOMTNG/mcba-prize-2020-Jillian-Sico-Mycorrhizae-2.jpg Entries & Jurors - 2020 Entries - Jillian Sico Tuscaloosa, Alabama frogsongpress.com Mycorrhizae 2020 letterpress, linen/flax paper with charcoal, tree-retted linen paper, bleached flax paper, Alabama kozo paper with watermarks, recycled paper with chanterelle mushroom spores, recycled paper with polypore mushrooms, thread, board, Duo bookcloth 10.75 x 5.8 x .75″ Artist Statement My work is inspired by the slow, quiet reality encountered in wild places and natural processes. My content is influenced by philosophical, scientific, and religious texts that explore the visible and invisible layers of meaning embedded in natural systems. In-depth, on-site research, especially related to ecology and papermaking traditions, is a key part of my process. Mycorrhizae explores connectivity and loss from a personal and ecological perspective through an examination of mycorrhizal fungi. Mycorrhizae are necessary symbiotic associations between fungi and plant roots. Mycorrhizal fungi uptake and distribute essential nutrients to plants, store carbon in the soil, and help communicate information among and between plant species. Research for this project took place in the Cohutta Wilderness and Wildlife Management Area in the mountains of North Georgia. Throughout the course of the project, personal reflections on love and loss became intertwined with research about mycorrhizae and the history of the forest. I knew that I was documenting only a moment in time: this place as I knew and remembered it would one day be gone. North Georgia was logged extensively from the 1880s through the 1950s, leaving only 2% of its original old-growth forest. In October 2016, the catastrophic Rough Ridge wildfire burned almost 28,000 acres in the Cohutta Wilderness. Other disruptions, such as disease and invasive pests, continue to alter the forest landscape, including the hidden, underground landscape that sustains it. But although we may lose a place, we can adjust and form new connections while still earnestly mourning the loss of what was. I used papermaking as a performative medium to tie the book materially to a specific place and time. I formed sheets from linen fibers that had been buried at the base of a tulip poplar tree in the Cohutta, intertwining with mycelium, fine roots, insects, and worms, and drew organic patterns in the pulp with charcoal harvested from the same tree. I created watermarks based on images of mycelium I saw in soil samples under a microscope, scanned tree roots, and poured jugs of mushroom spores into paper pulp. The sound and texture of the finished paper, along with reflective text and images, recreate for the reader the experience of genuine connection with the forest. Mycorrhizae is a collaboration that includes a personal, reflective text by the author and an accompanying informational text by ecologist Katie Beidler. The collaboration highlights both the personal, specific and scientific, universal aspects of mycorrhizal connections in a forest ecosystem. Both books were letterpress printed on a Vandercook #4 press in Tuscaloosa, Alabama. The type is Baskerville and the images are based on root scans and mycelium imagery, printed from photopolymer plates. The forest scene is printed from wood veneer. All paper for the edition was made by hand. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384858431-EGA8QF3LKV8N0YDI7MO1/mcba-prize-2020-Jillian-Sico-Mycorrhizae-1.jpg Entries & Jurors - 2020 Entries - Jillian Sico Tuscaloosa, Alabama frogsongpress.com Mycorrhizae 2020 letterpress, linen/flax paper with charcoal, tree-retted linen paper, bleached flax paper, Alabama kozo paper with watermarks, recycled paper with chanterelle mushroom spores, recycled paper with polypore mushrooms, thread, board, Duo bookcloth 10.75 x 5.8 x .75″ Artist Statement My work is inspired by the slow, quiet reality encountered in wild places and natural processes. My content is influenced by philosophical, scientific, and religious texts that explore the visible and invisible layers of meaning embedded in natural systems. In-depth, on-site research, especially related to ecology and papermaking traditions, is a key part of my process. Mycorrhizae explores connectivity and loss from a personal and ecological perspective through an examination of mycorrhizal fungi. Mycorrhizae are necessary symbiotic associations between fungi and plant roots. Mycorrhizal fungi uptake and distribute essential nutrients to plants, store carbon in the soil, and help communicate information among and between plant species. Research for this project took place in the Cohutta Wilderness and Wildlife Management Area in the mountains of North Georgia. Throughout the course of the project, personal reflections on love and loss became intertwined with research about mycorrhizae and the history of the forest. I knew that I was documenting only a moment in time: this place as I knew and remembered it would one day be gone. North Georgia was logged extensively from the 1880s through the 1950s, leaving only 2% of its original old-growth forest. In October 2016, the catastrophic Rough Ridge wildfire burned almost 28,000 acres in the Cohutta Wilderness. Other disruptions, such as disease and invasive pests, continue to alter the forest landscape, including the hidden, underground landscape that sustains it. But although we may lose a place, we can adjust and form new connections while still earnestly mourning the loss of what was. I used papermaking as a performative medium to tie the book materially to a specific place and time. I formed sheets from linen fibers that had been buried at the base of a tulip poplar tree in the Cohutta, intertwining with mycelium, fine roots, insects, and worms, and drew organic patterns in the pulp with charcoal harvested from the same tree. I created watermarks based on images of mycelium I saw in soil samples under a microscope, scanned tree roots, and poured jugs of mushroom spores into paper pulp. The sound and texture of the finished paper, along with reflective text and images, recreate for the reader the experience of genuine connection with the forest. Mycorrhizae is a collaboration that includes a personal, reflective text by the author and an accompanying informational text by ecologist Katie Beidler. The collaboration highlights both the personal, specific and scientific, universal aspects of mycorrhizal connections in a forest ecosystem. Both books were letterpress printed on a Vandercook #4 press in Tuscaloosa, Alabama. The type is Baskerville and the images are based on root scans and mycelium imagery, printed from photopolymer plates. The forest scene is printed from wood veneer. All paper for the edition was made by hand. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385101020-VXZNXAJXYQP83H9KXY51/mcba-prize-2020-Robbin-Silverberg-I-write-what-I-know-5.jpg Entries & Jurors - 2020 Entries - Robbin Silverberg Brooklyn, New York robbinamisilverberg.com I write what I know on one side and what I don’t on the other 2020 printed vinyl strips on the risers of a staircase—installation 53 pieces: 4.5″ x 81.5″ each (on a 3 story staircase, 6 sections in all) Artist Statement My 30-year retrospective exhibition is called Read Me. Like a Book. a phrase taken from the installation: I write what I know on one side and what I don’t on the other (this phrase references a Carl Sandburg poem). Sixty-eight artist books are exhibited on three floors of the central atrium in Pratt Institute Library where the central staircase is located. As such, movement between the exhibited work necessitates climbing up this marble staircase, and led me to consider its function as a vehicle of transition between the ideas in the show, along with its larger role as an aspirational architectural structure. As such, the stairs became an artist book, literally ‘read’ while moving up to the higher floors. The text that I wrote to be attached to the inset on the risers creates a dialogue between ‘stairs’ and ‘books’, where each riser becomes a page and locus for a thought and the stairs a sequence of ideas. Because there are three sections with landing between floors, I used that format to write six paragraphs, of which five of them are in the photographs chosen here. The first paragraph presents the idea of ritual as movement, and movement as reading. The second paragraph explores the act of making books as a form of thinking. The third paragraph confirms that ‘the book is an essential part of who I am’. The fourth examines book space and reading as traveling. The fifth examines disparate ideas of communicating stories, paper & movement. The final paragraph confirms the interrelationship between stairs & books. And, that the stairs of the library can be seen as a stack of books. Behind the text, the viewer can see printed imagery of an MTA subway map that has been filigree-cut for another book of mine about psycho-geographical movement through NYC. This imagery seemed appropriate, as I would consider myself a paper / book / language artist, who makes descriptive and emotional responses to environments. Maps name places, tracing their shape and form, declaring their existence as simulacrums. They are not the place itself but its referent, just as books are containers of ideas, and not the thing itself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385100965-TAR72SSQXXRYDM83QT2U/mcba-prize-2020-Robbin-Silverberg-I-write-what-I-know-4.jpg Entries & Jurors - 2020 Entries - Robbin Silverberg Brooklyn, New York robbinamisilverberg.com I write what I know on one side and what I don’t on the other 2020 printed vinyl strips on the risers of a staircase—installation 53 pieces: 4.5″ x 81.5″ each (on a 3 story staircase, 6 sections in all) Artist Statement My 30-year retrospective exhibition is called Read Me. Like a Book. a phrase taken from the installation: I write what I know on one side and what I don’t on the other (this phrase references a Carl Sandburg poem). Sixty-eight artist books are exhibited on three floors of the central atrium in Pratt Institute Library where the central staircase is located. As such, movement between the exhibited work necessitates climbing up this marble staircase, and led me to consider its function as a vehicle of transition between the ideas in the show, along with its larger role as an aspirational architectural structure. As such, the stairs became an artist book, literally ‘read’ while moving up to the higher floors. The text that I wrote to be attached to the inset on the risers creates a dialogue between ‘stairs’ and ‘books’, where each riser becomes a page and locus for a thought and the stairs a sequence of ideas. Because there are three sections with landing between floors, I used that format to write six paragraphs, of which five of them are in the photographs chosen here. The first paragraph presents the idea of ritual as movement, and movement as reading. The second paragraph explores the act of making books as a form of thinking. The third paragraph confirms that ‘the book is an essential part of who I am’. The fourth examines book space and reading as traveling. The fifth examines disparate ideas of communicating stories, paper & movement. The final paragraph confirms the interrelationship between stairs & books. And, that the stairs of the library can be seen as a stack of books. Behind the text, the viewer can see printed imagery of an MTA subway map that has been filigree-cut for another book of mine about psycho-geographical movement through NYC. This imagery seemed appropriate, as I would consider myself a paper / book / language artist, who makes descriptive and emotional responses to environments. Maps name places, tracing their shape and form, declaring their existence as simulacrums. They are not the place itself but its referent, just as books are containers of ideas, and not the thing itself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385103520-S4NPDIPOI79CX2YXLE72/mcba-prize-2020-Robbin-Silverberg-I-write-what-I-know-3.jpg Entries & Jurors - 2020 Entries - Robbin Silverberg Brooklyn, New York robbinamisilverberg.com I write what I know on one side and what I don’t on the other 2020 printed vinyl strips on the risers of a staircase—installation 53 pieces: 4.5″ x 81.5″ each (on a 3 story staircase, 6 sections in all) Artist Statement My 30-year retrospective exhibition is called Read Me. Like a Book. a phrase taken from the installation: I write what I know on one side and what I don’t on the other (this phrase references a Carl Sandburg poem). Sixty-eight artist books are exhibited on three floors of the central atrium in Pratt Institute Library where the central staircase is located. As such, movement between the exhibited work necessitates climbing up this marble staircase, and led me to consider its function as a vehicle of transition between the ideas in the show, along with its larger role as an aspirational architectural structure. As such, the stairs became an artist book, literally ‘read’ while moving up to the higher floors. The text that I wrote to be attached to the inset on the risers creates a dialogue between ‘stairs’ and ‘books’, where each riser becomes a page and locus for a thought and the stairs a sequence of ideas. Because there are three sections with landing between floors, I used that format to write six paragraphs, of which five of them are in the photographs chosen here. The first paragraph presents the idea of ritual as movement, and movement as reading. The second paragraph explores the act of making books as a form of thinking. The third paragraph confirms that ‘the book is an essential part of who I am’. The fourth examines book space and reading as traveling. The fifth examines disparate ideas of communicating stories, paper & movement. The final paragraph confirms the interrelationship between stairs & books. And, that the stairs of the library can be seen as a stack of books. Behind the text, the viewer can see printed imagery of an MTA subway map that has been filigree-cut for another book of mine about psycho-geographical movement through NYC. This imagery seemed appropriate, as I would consider myself a paper / book / language artist, who makes descriptive and emotional responses to environments. Maps name places, tracing their shape and form, declaring their existence as simulacrums. They are not the place itself but its referent, just as books are containers of ideas, and not the thing itself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385103976-TAGLTDNJ3OI8W4U8NAD5/mcba-prize-2020-Robbin-Silverberg-I-write-what-I-know-2.jpg Entries & Jurors - 2020 Entries - Robbin Silverberg Brooklyn, New York robbinamisilverberg.com I write what I know on one side and what I don’t on the other 2020 printed vinyl strips on the risers of a staircase—installation 53 pieces: 4.5″ x 81.5″ each (on a 3 story staircase, 6 sections in all) Artist Statement My 30-year retrospective exhibition is called Read Me. Like a Book. a phrase taken from the installation: I write what I know on one side and what I don’t on the other (this phrase references a Carl Sandburg poem). Sixty-eight artist books are exhibited on three floors of the central atrium in Pratt Institute Library where the central staircase is located. As such, movement between the exhibited work necessitates climbing up this marble staircase, and led me to consider its function as a vehicle of transition between the ideas in the show, along with its larger role as an aspirational architectural structure. As such, the stairs became an artist book, literally ‘read’ while moving up to the higher floors. The text that I wrote to be attached to the inset on the risers creates a dialogue between ‘stairs’ and ‘books’, where each riser becomes a page and locus for a thought and the stairs a sequence of ideas. Because there are three sections with landing between floors, I used that format to write six paragraphs, of which five of them are in the photographs chosen here. The first paragraph presents the idea of ritual as movement, and movement as reading. The second paragraph explores the act of making books as a form of thinking. The third paragraph confirms that ‘the book is an essential part of who I am’. The fourth examines book space and reading as traveling. The fifth examines disparate ideas of communicating stories, paper & movement. The final paragraph confirms the interrelationship between stairs & books. And, that the stairs of the library can be seen as a stack of books. Behind the text, the viewer can see printed imagery of an MTA subway map that has been filigree-cut for another book of mine about psycho-geographical movement through NYC. This imagery seemed appropriate, as I would consider myself a paper / book / language artist, who makes descriptive and emotional responses to environments. Maps name places, tracing their shape and form, declaring their existence as simulacrums. They are not the place itself but its referent, just as books are containers of ideas, and not the thing itself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385105194-YE7U2GFVSXJ5Q0X25CFX/mcba-prize-2020-Robbin-Silverberg-I-write-what-I-know-1.jpg Entries & Jurors - 2020 Entries - Robbin Silverberg Brooklyn, New York robbinamisilverberg.com I write what I know on one side and what I don’t on the other 2020 printed vinyl strips on the risers of a staircase—installation 53 pieces: 4.5″ x 81.5″ each (on a 3 story staircase, 6 sections in all) Artist Statement My 30-year retrospective exhibition is called Read Me. Like a Book. a phrase taken from the installation: I write what I know on one side and what I don’t on the other (this phrase references a Carl Sandburg poem). Sixty-eight artist books are exhibited on three floors of the central atrium in Pratt Institute Library where the central staircase is located. As such, movement between the exhibited work necessitates climbing up this marble staircase, and led me to consider its function as a vehicle of transition between the ideas in the show, along with its larger role as an aspirational architectural structure. As such, the stairs became an artist book, literally ‘read’ while moving up to the higher floors. The text that I wrote to be attached to the inset on the risers creates a dialogue between ‘stairs’ and ‘books’, where each riser becomes a page and locus for a thought and the stairs a sequence of ideas. Because there are three sections with landing between floors, I used that format to write six paragraphs, of which five of them are in the photographs chosen here. The first paragraph presents the idea of ritual as movement, and movement as reading. The second paragraph explores the act of making books as a form of thinking. The third paragraph confirms that ‘the book is an essential part of who I am’. The fourth examines book space and reading as traveling. The fifth examines disparate ideas of communicating stories, paper & movement. The final paragraph confirms the interrelationship between stairs & books. And, that the stairs of the library can be seen as a stack of books. Behind the text, the viewer can see printed imagery of an MTA subway map that has been filigree-cut for another book of mine about psycho-geographical movement through NYC. This imagery seemed appropriate, as I would consider myself a paper / book / language artist, who makes descriptive and emotional responses to environments. Maps name places, tracing their shape and form, declaring their existence as simulacrums. They are not the place itself but its referent, just as books are containers of ideas, and not the thing itself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385231607-967OBF1WNWVBRC0OLXG5/mcba-prize-2020-Robbin-Silverberg-Memory-Walk-5.jpg Entries & Jurors - 2020 Entries - Robbin Silverberg Brooklyn, New York robbinamisilverberg.com Memory Walk 2018 archival inkjet printing & tempera painting on Dobbin Mill papers, cassette tape 9.75″ x 14″ x 1″ (closed) Artist Statement The memory palace is an ancient mnemonic device, which works with architectural space in one’s mind. Over the years, I have created my own, with specific objects of personal importance in order to remember them. This book presents three different memory palaces designed as walks: on the streets of Montevideo, Uruguay, in my home & studio in Brooklyn, and within the galleries of the Rijksmuseum in Amsterdam. As such, spatial and temporal memory all converge in this French Door structure, consisting of a stab binding of layered translucency on the left, along with a pamphlet on the right side, with throw-out pages. Memory Walk in Montevideo presents walls that I had photographed in the streets of that city, then painted & re-photographed. Within its translucent pages are sheets with images of my objects. Memory Walk in the Rijksmuseum contains a text I wrote along with photos of those same objects juxtaposed with masterpieces in the museum’s collection. The memory walk in Brooklyn is presented by maps in the back of the book. I repurposed a set of my handmade papers that had been painted using 2 robots (Artbots built by Käthe Wenzel, Berlin) for another project that was never completed. I went back into these paintings, adding my own lines of movement that indicate the travel from one object to another. Each copy of the edition has an embedded cassette tape, a unique recording that connects to distinct memories: – Mozart, Queen of the Night aria – Weather Report, Black Market – Penguin Café Orchestra – Busi Mhlonga – Billy Cobham – Archie Shepp – Lucio Dalla & Lucio Battisti – The Roches, Maggie Adams, Joan Armatrading – Bob Marley (artist proof) The images, the objects, and locations all function as visual poetry… and the movement through spaces & pages of the book creates a dialogue and poetic logic for the reader to enjoy. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385231352-WXJ80NLYWE0LBCNLANWS/mcba-prize-2020-Robbin-Silverberg-Memory-Walk-4.jpg Entries & Jurors - 2020 Entries - Robbin Silverberg Brooklyn, New York robbinamisilverberg.com Memory Walk 2018 archival inkjet printing & tempera painting on Dobbin Mill papers, cassette tape 9.75″ x 14″ x 1″ (closed) Artist Statement The memory palace is an ancient mnemonic device, which works with architectural space in one’s mind. Over the years, I have created my own, with specific objects of personal importance in order to remember them. This book presents three different memory palaces designed as walks: on the streets of Montevideo, Uruguay, in my home & studio in Brooklyn, and within the galleries of the Rijksmuseum in Amsterdam. As such, spatial and temporal memory all converge in this French Door structure, consisting of a stab binding of layered translucency on the left, along with a pamphlet on the right side, with throw-out pages. Memory Walk in Montevideo presents walls that I had photographed in the streets of that city, then painted & re-photographed. Within its translucent pages are sheets with images of my objects. Memory Walk in the Rijksmuseum contains a text I wrote along with photos of those same objects juxtaposed with masterpieces in the museum’s collection. The memory walk in Brooklyn is presented by maps in the back of the book. I repurposed a set of my handmade papers that had been painted using 2 robots (Artbots built by Käthe Wenzel, Berlin) for another project that was never completed. I went back into these paintings, adding my own lines of movement that indicate the travel from one object to another. Each copy of the edition has an embedded cassette tape, a unique recording that connects to distinct memories: – Mozart, Queen of the Night aria – Weather Report, Black Market – Penguin Café Orchestra – Busi Mhlonga – Billy Cobham – Archie Shepp – Lucio Dalla & Lucio Battisti – The Roches, Maggie Adams, Joan Armatrading – Bob Marley (artist proof) The images, the objects, and locations all function as visual poetry… and the movement through spaces & pages of the book creates a dialogue and poetic logic for the reader to enjoy. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385232638-TPG0EUTXBFRMZC1613PS/mcba-prize-2020-Robbin-Silverberg-Memory-Walk-3.jpg Entries & Jurors - 2020 Entries - Robbin Silverberg Brooklyn, New York robbinamisilverberg.com Memory Walk 2018 archival inkjet printing & tempera painting on Dobbin Mill papers, cassette tape 9.75″ x 14″ x 1″ (closed) Artist Statement The memory palace is an ancient mnemonic device, which works with architectural space in one’s mind. Over the years, I have created my own, with specific objects of personal importance in order to remember them. This book presents three different memory palaces designed as walks: on the streets of Montevideo, Uruguay, in my home & studio in Brooklyn, and within the galleries of the Rijksmuseum in Amsterdam. As such, spatial and temporal memory all converge in this French Door structure, consisting of a stab binding of layered translucency on the left, along with a pamphlet on the right side, with throw-out pages. Memory Walk in Montevideo presents walls that I had photographed in the streets of that city, then painted & re-photographed. Within its translucent pages are sheets with images of my objects. Memory Walk in the Rijksmuseum contains a text I wrote along with photos of those same objects juxtaposed with masterpieces in the museum’s collection. The memory walk in Brooklyn is presented by maps in the back of the book. I repurposed a set of my handmade papers that had been painted using 2 robots (Artbots built by Käthe Wenzel, Berlin) for another project that was never completed. I went back into these paintings, adding my own lines of movement that indicate the travel from one object to another. Each copy of the edition has an embedded cassette tape, a unique recording that connects to distinct memories: – Mozart, Queen of the Night aria – Weather Report, Black Market – Penguin Café Orchestra – Busi Mhlonga – Billy Cobham – Archie Shepp – Lucio Dalla & Lucio Battisti – The Roches, Maggie Adams, Joan Armatrading – Bob Marley (artist proof) The images, the objects, and locations all function as visual poetry… and the movement through spaces & pages of the book creates a dialogue and poetic logic for the reader to enjoy. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385233749-69X5WNLPIYHPD6S6BGV7/mcba-prize-2020-Robbin-Silverberg-Memory-Walk-2.jpg Entries & Jurors - 2020 Entries - Robbin Silverberg Brooklyn, New York robbinamisilverberg.com Memory Walk 2018 archival inkjet printing & tempera painting on Dobbin Mill papers, cassette tape 9.75″ x 14″ x 1″ (closed) Artist Statement The memory palace is an ancient mnemonic device, which works with architectural space in one’s mind. Over the years, I have created my own, with specific objects of personal importance in order to remember them. This book presents three different memory palaces designed as walks: on the streets of Montevideo, Uruguay, in my home & studio in Brooklyn, and within the galleries of the Rijksmuseum in Amsterdam. As such, spatial and temporal memory all converge in this French Door structure, consisting of a stab binding of layered translucency on the left, along with a pamphlet on the right side, with throw-out pages. Memory Walk in Montevideo presents walls that I had photographed in the streets of that city, then painted & re-photographed. Within its translucent pages are sheets with images of my objects. Memory Walk in the Rijksmuseum contains a text I wrote along with photos of those same objects juxtaposed with masterpieces in the museum’s collection. The memory walk in Brooklyn is presented by maps in the back of the book. I repurposed a set of my handmade papers that had been painted using 2 robots (Artbots built by Käthe Wenzel, Berlin) for another project that was never completed. I went back into these paintings, adding my own lines of movement that indicate the travel from one object to another. Each copy of the edition has an embedded cassette tape, a unique recording that connects to distinct memories: – Mozart, Queen of the Night aria – Weather Report, Black Market – Penguin Café Orchestra – Busi Mhlonga – Billy Cobham – Archie Shepp – Lucio Dalla & Lucio Battisti – The Roches, Maggie Adams, Joan Armatrading – Bob Marley (artist proof) The images, the objects, and locations all function as visual poetry… and the movement through spaces & pages of the book creates a dialogue and poetic logic for the reader to enjoy. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385234808-CHM569KWT4QI16A4XI15/mcba-prize-2020-Robbin-Silverberg-Memory-Walk-1.jpg Entries & Jurors - 2020 Entries - Robbin Silverberg Brooklyn, New York robbinamisilverberg.com Memory Walk 2018 archival inkjet printing & tempera painting on Dobbin Mill papers, cassette tape 9.75″ x 14″ x 1″ (closed) Artist Statement The memory palace is an ancient mnemonic device, which works with architectural space in one’s mind. Over the years, I have created my own, with specific objects of personal importance in order to remember them. This book presents three different memory palaces designed as walks: on the streets of Montevideo, Uruguay, in my home & studio in Brooklyn, and within the galleries of the Rijksmuseum in Amsterdam. As such, spatial and temporal memory all converge in this French Door structure, consisting of a stab binding of layered translucency on the left, along with a pamphlet on the right side, with throw-out pages. Memory Walk in Montevideo presents walls that I had photographed in the streets of that city, then painted & re-photographed. Within its translucent pages are sheets with images of my objects. Memory Walk in the Rijksmuseum contains a text I wrote along with photos of those same objects juxtaposed with masterpieces in the museum’s collection. The memory walk in Brooklyn is presented by maps in the back of the book. I repurposed a set of my handmade papers that had been painted using 2 robots (Artbots built by Käthe Wenzel, Berlin) for another project that was never completed. I went back into these paintings, adding my own lines of movement that indicate the travel from one object to another. Each copy of the edition has an embedded cassette tape, a unique recording that connects to distinct memories: – Mozart, Queen of the Night aria – Weather Report, Black Market – Penguin Café Orchestra – Busi Mhlonga – Billy Cobham – Archie Shepp – Lucio Dalla & Lucio Battisti – The Roches, Maggie Adams, Joan Armatrading – Bob Marley (artist proof) The images, the objects, and locations all function as visual poetry… and the movement through spaces & pages of the book creates a dialogue and poetic logic for the reader to enjoy. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385335820-A3N4BI9KYABC2FRTIGJT/mcba-prize-2020-Sarah-Simmons-Underneath-5.jpg Entries & Jurors - 2020 Entries - Sarah Simmons Moon Twp, Pennsylvania sarahsimmonsart.com Underneath 2020 Mixed media: fabric scraps from making masks, cutting board, nails, embroidery thread 9 x 26 x 6″ Artist Statement I created Underneath during the Covid-19 stay at home order. Using vintage fabric, pieces from making face masks, and other scraps, I sewed pages together with text meant to be touched. Using senses other than our eyes to discern a story force us to slow down our investigation. We cannot assume. We work for closer contact. We need to talk and ask questions and listen. The viewer should not be distracted by what they think they see but should look underneath. This closer look can be factual research, or a search within our shared humanity. The book’s resting position should be open to the center with velvety green expanse covering each side, waiting for the reader to search underneath. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385335576-GRNVXCNV1BAL2BUMMAIL/mcba-prize-2020-Sarah-Simmons-Underneath-4.jpg Entries & Jurors - 2020 Entries - Sarah Simmons Moon Twp, Pennsylvania sarahsimmonsart.com Underneath 2020 Mixed media: fabric scraps from making masks, cutting board, nails, embroidery thread 9 x 26 x 6″ Artist Statement I created Underneath during the Covid-19 stay at home order. Using vintage fabric, pieces from making face masks, and other scraps, I sewed pages together with text meant to be touched. Using senses other than our eyes to discern a story force us to slow down our investigation. We cannot assume. We work for closer contact. We need to talk and ask questions and listen. The viewer should not be distracted by what they think they see but should look underneath. This closer look can be factual research, or a search within our shared humanity. The book’s resting position should be open to the center with velvety green expanse covering each side, waiting for the reader to search underneath. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385337739-QO7BBPWQ25BDV5WWER2I/mcba-prize-2020-Sarah-Simmons-Underneath-3.jpg Entries & Jurors - 2020 Entries - Sarah Simmons Moon Twp, Pennsylvania sarahsimmonsart.com Underneath 2020 Mixed media: fabric scraps from making masks, cutting board, nails, embroidery thread 9 x 26 x 6″ Artist Statement I created Underneath during the Covid-19 stay at home order. Using vintage fabric, pieces from making face masks, and other scraps, I sewed pages together with text meant to be touched. Using senses other than our eyes to discern a story force us to slow down our investigation. We cannot assume. We work for closer contact. We need to talk and ask questions and listen. The viewer should not be distracted by what they think they see but should look underneath. This closer look can be factual research, or a search within our shared humanity. The book’s resting position should be open to the center with velvety green expanse covering each side, waiting for the reader to search underneath. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385338063-NXTQV4KUNT2XUDDDXWMZ/mcba-prize-2020-Sarah-Simmons-Underneath-2.jpg Entries & Jurors - 2020 Entries - Sarah Simmons Moon Twp, Pennsylvania sarahsimmonsart.com Underneath 2020 Mixed media: fabric scraps from making masks, cutting board, nails, embroidery thread 9 x 26 x 6″ Artist Statement I created Underneath during the Covid-19 stay at home order. Using vintage fabric, pieces from making face masks, and other scraps, I sewed pages together with text meant to be touched. Using senses other than our eyes to discern a story force us to slow down our investigation. We cannot assume. We work for closer contact. We need to talk and ask questions and listen. The viewer should not be distracted by what they think they see but should look underneath. This closer look can be factual research, or a search within our shared humanity. The book’s resting position should be open to the center with velvety green expanse covering each side, waiting for the reader to search underneath. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385339452-OZYKEDR8TJ3J50D6GE21/mcba-prize-2020-Sarah-Simmons-Underneath-1.jpg Entries & Jurors - 2020 Entries - Sarah Simmons Moon Twp, Pennsylvania sarahsimmonsart.com Underneath 2020 Mixed media: fabric scraps from making masks, cutting board, nails, embroidery thread 9 x 26 x 6″ Artist Statement I created Underneath during the Covid-19 stay at home order. Using vintage fabric, pieces from making face masks, and other scraps, I sewed pages together with text meant to be touched. Using senses other than our eyes to discern a story force us to slow down our investigation. We cannot assume. We work for closer contact. We need to talk and ask questions and listen. The viewer should not be distracted by what they think they see but should look underneath. This closer look can be factual research, or a search within our shared humanity. The book’s resting position should be open to the center with velvety green expanse covering each side, waiting for the reader to search underneath. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385470833-BX475XXEZMPJPSJPC2P1/mcba-prize-2020-Sarah-Smith-Units-5.jpg Entries & Jurors - 2020 Entries - Sarah Smith White River Junction, Vermont olfactorygleanings.com Units 2018 letterpress with photo polymer plates made from ink drawings Closed: 4 x 3 x .75″ Artist Statement Units is a set of 27 letterpress printed cards in a folded enclosure. The concept is based on the repurposing of architecture and the seemingly interchangeable lives conducted within. On one side of the cards is the outside of a building (loosely based on downtown White River Junction, VT). The other side of the cards show the people and activity on the inside. Some cards even show the top and bottom views of the goings on. The cards are slotted to allow assembly of different buildings and configuration of occupants. Pen and ink illustrations, letterpress printed with photo polymer plates on French Speckletone paper. Edition of 50. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385470582-S1TGJODCOAD6D9V4EVI8/mcba-prize-2020-Sarah-Smith-Units-4.jpg Entries & Jurors - 2020 Entries - Sarah Smith White River Junction, Vermont olfactorygleanings.com Units 2018 letterpress with photo polymer plates made from ink drawings Closed: 4 x 3 x .75″ Artist Statement Units is a set of 27 letterpress printed cards in a folded enclosure. The concept is based on the repurposing of architecture and the seemingly interchangeable lives conducted within. On one side of the cards is the outside of a building (loosely based on downtown White River Junction, VT). The other side of the cards show the people and activity on the inside. Some cards even show the top and bottom views of the goings on. The cards are slotted to allow assembly of different buildings and configuration of occupants. Pen and ink illustrations, letterpress printed with photo polymer plates on French Speckletone paper. Edition of 50. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385474490-9UVCBH2WHBXR52015WAI/mcba-prize-2020-Sarah-Smith-Units-3.jpg Entries & Jurors - 2020 Entries - Sarah Smith White River Junction, Vermont olfactorygleanings.com Units 2018 letterpress with photo polymer plates made from ink drawings Closed: 4 x 3 x .75″ Artist Statement Units is a set of 27 letterpress printed cards in a folded enclosure. The concept is based on the repurposing of architecture and the seemingly interchangeable lives conducted within. On one side of the cards is the outside of a building (loosely based on downtown White River Junction, VT). The other side of the cards show the people and activity on the inside. Some cards even show the top and bottom views of the goings on. The cards are slotted to allow assembly of different buildings and configuration of occupants. Pen and ink illustrations, letterpress printed with photo polymer plates on French Speckletone paper. Edition of 50. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385474995-ZKNE9RM5HR6VNNULWWG3/mcba-prize-2020-Sarah-Smith-Units-2.jpg Entries & Jurors - 2020 Entries - Sarah Smith White River Junction, Vermont olfactorygleanings.com Units 2018 letterpress with photo polymer plates made from ink drawings Closed: 4 x 3 x .75″ Artist Statement Units is a set of 27 letterpress printed cards in a folded enclosure. The concept is based on the repurposing of architecture and the seemingly interchangeable lives conducted within. On one side of the cards is the outside of a building (loosely based on downtown White River Junction, VT). The other side of the cards show the people and activity on the inside. Some cards even show the top and bottom views of the goings on. The cards are slotted to allow assembly of different buildings and configuration of occupants. Pen and ink illustrations, letterpress printed with photo polymer plates on French Speckletone paper. Edition of 50. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385476564-BH211GTGN23418AMA7T3/mcba-prize-2020-Sarah-Smith-Units-1.jpg Entries & Jurors - 2020 Entries - Sarah Smith White River Junction, Vermont olfactorygleanings.com Units 2018 letterpress with photo polymer plates made from ink drawings Closed: 4 x 3 x .75″ Artist Statement Units is a set of 27 letterpress printed cards in a folded enclosure. The concept is based on the repurposing of architecture and the seemingly interchangeable lives conducted within. On one side of the cards is the outside of a building (loosely based on downtown White River Junction, VT). The other side of the cards show the people and activity on the inside. Some cards even show the top and bottom views of the goings on. The cards are slotted to allow assembly of different buildings and configuration of occupants. Pen and ink illustrations, letterpress printed with photo polymer plates on French Speckletone paper. Edition of 50. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385584116-NOGTBGYF8KB6JRPY4VXS/mcba-prize-2020-Chris-Sperandio-Pinko-Joe-5.jpg Entries & Jurors - 2020 Entries - Chris Sperandio Houston, Texas pinkojoe.com Pinko Joe 2020 graphic novel 10.25 x 7.625 x .5″ Artist Statement A NEW KIND OF GRAPHIC NOVEL MINES VINTAGE POPULAR COMICS FOR FAST-PACED SOCIAL JUSTICE NARRATIVE A New Super Hero / Activist Crusader Arrives in May—Not a Minute too Soon!! Houston-based artist and comics maven Christopher Sperandio will unveil a new super anti-hero and a whole new method of graphic storytelling in April 2020. PINKO JOE is a troubled anti-hero wage-slave from another planet who battles to save earthlings from gun-toting corporate raiders and out-of-control oligarchs. His is a timely tale, which Sperandio tells by patching together and re-inking original pages from old public domain comics. “It came to me that ‘50 comics were perfectly suited to the true crime story of today–the seemingly inexorable destruction of our democracy by vested corporate interests. So, once I had my subject, I combed through thousands and thousands of issues, selecting pages from disparate genres–crime, science fiction, horror and romance—and linked them together visually,” said Sperandio. “Once the remix fell into place, I wrote new dialogue and re-inked all 96 pages. Although my own hand is evident, I’vebasically been able to tell a whole new story in comics form without making new layouts and characters.” “It was a hellishly painstaking production process, actually,” concludes the artist, “but it allowed me to reflect on present-day perils while honoring the history of comics—and indulging my love of cursing. A trifecta!” The casebound cover for PINKO JOE bundles floppy, news print-like pages into three 32-page chapters. And, what’s more, this comic for the 99% is only the first installment in a forthcoming trilogy: volume two is entitled GREENIE JOSEPHINIE and volume three, RED WHITE AND U BLEW IT ALL 2 HELL. Never-Before-Used Process In making PINKO JOE, Christopher Sperandio intentionally references the assembly-line nature of comic production in the heyday of the ‘50s, when a writer would write dialogue, one artist would pencil, and another artist would ink. Sperandio set rules for himself: he tried to use complete stories and he interfered as little as possible with his found material. He adhered to a period-specific color palette of 64 colors and even rather insanely strove to reproduce the poor printing quality achieved so effortlessly back in the day. He lettered pages on computer in a font he made himself from an original Leroy lettering template, the same kind used to letter EC Comics in the ‘50s and ‘60s. Aware that he was giving the too-little-known artists of yore no option but to collaborate with him, Sperandio has entitled hisforthcoming trio of books the Forced Collaboration Trilogy, and in PINKO JOE acknowledges such masters as Lin Streeter, Fred Guardineer, Ralph Mayo, Alex Schomburg, Louis Zansky, Leonard Starr, Jerry Siegel, Murphy Anderson, and Jim McLaughlin. Yes, There’s More History In the ‘60s, an artist movement in France known as the Situationist International modified comics via collage techniques tocriticize the French government. Called détournement, or hi-jacking, these re-workings have a parallel in today’s mainstream comics, where an artist will `borrow’ a page or a panel from another artist in an act dubbed swiping or employ another form of remix described as pastiche. (Two words, nerds: Squadron Supreme!) About the Artist Christopher Sperandio has produced 22 comics books as artworks, including Modern Masters for the Museum of Modern Art (2012) since putting himself through college working as a truck driver. He is currently a professor of drawing and painting at Rice University, Houston, TX, where he founded the Comic Art Teaching and Study Workshop (CATS). He has written widely on art for newspapers and magazines, as well as publications. PINKO JOE is his first solo graphic novel. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385584267-8RUBI5URN0KLI4A9DYW5/mcba-prize-2020-Chris-Sperandio-Pinko-Joe-4.jpg Entries & Jurors - 2020 Entries - Chris Sperandio Houston, Texas pinkojoe.com Pinko Joe 2020 graphic novel 10.25 x 7.625 x .5″ Artist Statement A NEW KIND OF GRAPHIC NOVEL MINES VINTAGE POPULAR COMICS FOR FAST-PACED SOCIAL JUSTICE NARRATIVE A New Super Hero / Activist Crusader Arrives in May—Not a Minute too Soon!! Houston-based artist and comics maven Christopher Sperandio will unveil a new super anti-hero and a whole new method of graphic storytelling in April 2020. PINKO JOE is a troubled anti-hero wage-slave from another planet who battles to save earthlings from gun-toting corporate raiders and out-of-control oligarchs. His is a timely tale, which Sperandio tells by patching together and re-inking original pages from old public domain comics. “It came to me that ‘50 comics were perfectly suited to the true crime story of today–the seemingly inexorable destruction of our democracy by vested corporate interests. So, once I had my subject, I combed through thousands and thousands of issues, selecting pages from disparate genres–crime, science fiction, horror and romance—and linked them together visually,” said Sperandio. “Once the remix fell into place, I wrote new dialogue and re-inked all 96 pages. Although my own hand is evident, I’vebasically been able to tell a whole new story in comics form without making new layouts and characters.” “It was a hellishly painstaking production process, actually,” concludes the artist, “but it allowed me to reflect on present-day perils while honoring the history of comics—and indulging my love of cursing. A trifecta!” The casebound cover for PINKO JOE bundles floppy, news print-like pages into three 32-page chapters. And, what’s more, this comic for the 99% is only the first installment in a forthcoming trilogy: volume two is entitled GREENIE JOSEPHINIE and volume three, RED WHITE AND U BLEW IT ALL 2 HELL. Never-Before-Used Process In making PINKO JOE, Christopher Sperandio intentionally references the assembly-line nature of comic production in the heyday of the ‘50s, when a writer would write dialogue, one artist would pencil, and another artist would ink. Sperandio set rules for himself: he tried to use complete stories and he interfered as little as possible with his found material. He adhered to a period-specific color palette of 64 colors and even rather insanely strove to reproduce the poor printing quality achieved so effortlessly back in the day. He lettered pages on computer in a font he made himself from an original Leroy lettering template, the same kind used to letter EC Comics in the ‘50s and ‘60s. Aware that he was giving the too-little-known artists of yore no option but to collaborate with him, Sperandio has entitled hisforthcoming trio of books the Forced Collaboration Trilogy, and in PINKO JOE acknowledges such masters as Lin Streeter, Fred Guardineer, Ralph Mayo, Alex Schomburg, Louis Zansky, Leonard Starr, Jerry Siegel, Murphy Anderson, and Jim McLaughlin. Yes, There’s More History In the ‘60s, an artist movement in France known as the Situationist International modified comics via collage techniques tocriticize the French government. Called détournement, or hi-jacking, these re-workings have a parallel in today’s mainstream comics, where an artist will `borrow’ a page or a panel from another artist in an act dubbed swiping or employ another form of remix described as pastiche. (Two words, nerds: Squadron Supreme!) About the Artist Christopher Sperandio has produced 22 comics books as artworks, including Modern Masters for the Museum of Modern Art (2012) since putting himself through college working as a truck driver. He is currently a professor of drawing and painting at Rice University, Houston, TX, where he founded the Comic Art Teaching and Study Workshop (CATS). He has written widely on art for newspapers and magazines, as well as publications. PINKO JOE is his first solo graphic novel. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385587558-8PXKQ3K1TIGJW4W09A9N/mcba-prize-2020-Chris-Sperandio-Pinko-Joe-3.jpg Entries & Jurors - 2020 Entries - Chris Sperandio Houston, Texas pinkojoe.com Pinko Joe 2020 graphic novel 10.25 x 7.625 x .5″ Artist Statement A NEW KIND OF GRAPHIC NOVEL MINES VINTAGE POPULAR COMICS FOR FAST-PACED SOCIAL JUSTICE NARRATIVE A New Super Hero / Activist Crusader Arrives in May—Not a Minute too Soon!! Houston-based artist and comics maven Christopher Sperandio will unveil a new super anti-hero and a whole new method of graphic storytelling in April 2020. PINKO JOE is a troubled anti-hero wage-slave from another planet who battles to save earthlings from gun-toting corporate raiders and out-of-control oligarchs. His is a timely tale, which Sperandio tells by patching together and re-inking original pages from old public domain comics. “It came to me that ‘50 comics were perfectly suited to the true crime story of today–the seemingly inexorable destruction of our democracy by vested corporate interests. So, once I had my subject, I combed through thousands and thousands of issues, selecting pages from disparate genres–crime, science fiction, horror and romance—and linked them together visually,” said Sperandio. “Once the remix fell into place, I wrote new dialogue and re-inked all 96 pages. Although my own hand is evident, I’vebasically been able to tell a whole new story in comics form without making new layouts and characters.” “It was a hellishly painstaking production process, actually,” concludes the artist, “but it allowed me to reflect on present-day perils while honoring the history of comics—and indulging my love of cursing. A trifecta!” The casebound cover for PINKO JOE bundles floppy, news print-like pages into three 32-page chapters. And, what’s more, this comic for the 99% is only the first installment in a forthcoming trilogy: volume two is entitled GREENIE JOSEPHINIE and volume three, RED WHITE AND U BLEW IT ALL 2 HELL. Never-Before-Used Process In making PINKO JOE, Christopher Sperandio intentionally references the assembly-line nature of comic production in the heyday of the ‘50s, when a writer would write dialogue, one artist would pencil, and another artist would ink. Sperandio set rules for himself: he tried to use complete stories and he interfered as little as possible with his found material. He adhered to a period-specific color palette of 64 colors and even rather insanely strove to reproduce the poor printing quality achieved so effortlessly back in the day. He lettered pages on computer in a font he made himself from an original Leroy lettering template, the same kind used to letter EC Comics in the ‘50s and ‘60s. Aware that he was giving the too-little-known artists of yore no option but to collaborate with him, Sperandio has entitled hisforthcoming trio of books the Forced Collaboration Trilogy, and in PINKO JOE acknowledges such masters as Lin Streeter, Fred Guardineer, Ralph Mayo, Alex Schomburg, Louis Zansky, Leonard Starr, Jerry Siegel, Murphy Anderson, and Jim McLaughlin. Yes, There’s More History In the ‘60s, an artist movement in France known as the Situationist International modified comics via collage techniques tocriticize the French government. Called détournement, or hi-jacking, these re-workings have a parallel in today’s mainstream comics, where an artist will `borrow’ a page or a panel from another artist in an act dubbed swiping or employ another form of remix described as pastiche. (Two words, nerds: Squadron Supreme!) About the Artist Christopher Sperandio has produced 22 comics books as artworks, including Modern Masters for the Museum of Modern Art (2012) since putting himself through college working as a truck driver. He is currently a professor of drawing and painting at Rice University, Houston, TX, where he founded the Comic Art Teaching and Study Workshop (CATS). He has written widely on art for newspapers and magazines, as well as publications. PINKO JOE is his first solo graphic novel. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385587805-D3WQUKQMQKZQ0QKD3I5P/mcba-prize-2020-Chris-Sperandio-Pinko-Joe-2.jpg Entries & Jurors - 2020 Entries - Chris Sperandio Houston, Texas pinkojoe.com Pinko Joe 2020 graphic novel 10.25 x 7.625 x .5″ Artist Statement A NEW KIND OF GRAPHIC NOVEL MINES VINTAGE POPULAR COMICS FOR FAST-PACED SOCIAL JUSTICE NARRATIVE A New Super Hero / Activist Crusader Arrives in May—Not a Minute too Soon!! Houston-based artist and comics maven Christopher Sperandio will unveil a new super anti-hero and a whole new method of graphic storytelling in April 2020. PINKO JOE is a troubled anti-hero wage-slave from another planet who battles to save earthlings from gun-toting corporate raiders and out-of-control oligarchs. His is a timely tale, which Sperandio tells by patching together and re-inking original pages from old public domain comics. “It came to me that ‘50 comics were perfectly suited to the true crime story of today–the seemingly inexorable destruction of our democracy by vested corporate interests. So, once I had my subject, I combed through thousands and thousands of issues, selecting pages from disparate genres–crime, science fiction, horror and romance—and linked them together visually,” said Sperandio. “Once the remix fell into place, I wrote new dialogue and re-inked all 96 pages. Although my own hand is evident, I’vebasically been able to tell a whole new story in comics form without making new layouts and characters.” “It was a hellishly painstaking production process, actually,” concludes the artist, “but it allowed me to reflect on present-day perils while honoring the history of comics—and indulging my love of cursing. A trifecta!” The casebound cover for PINKO JOE bundles floppy, news print-like pages into three 32-page chapters. And, what’s more, this comic for the 99% is only the first installment in a forthcoming trilogy: volume two is entitled GREENIE JOSEPHINIE and volume three, RED WHITE AND U BLEW IT ALL 2 HELL. Never-Before-Used Process In making PINKO JOE, Christopher Sperandio intentionally references the assembly-line nature of comic production in the heyday of the ‘50s, when a writer would write dialogue, one artist would pencil, and another artist would ink. Sperandio set rules for himself: he tried to use complete stories and he interfered as little as possible with his found material. He adhered to a period-specific color palette of 64 colors and even rather insanely strove to reproduce the poor printing quality achieved so effortlessly back in the day. He lettered pages on computer in a font he made himself from an original Leroy lettering template, the same kind used to letter EC Comics in the ‘50s and ‘60s. Aware that he was giving the too-little-known artists of yore no option but to collaborate with him, Sperandio has entitled hisforthcoming trio of books the Forced Collaboration Trilogy, and in PINKO JOE acknowledges such masters as Lin Streeter, Fred Guardineer, Ralph Mayo, Alex Schomburg, Louis Zansky, Leonard Starr, Jerry Siegel, Murphy Anderson, and Jim McLaughlin. Yes, There’s More History In the ‘60s, an artist movement in France known as the Situationist International modified comics via collage techniques tocriticize the French government. Called détournement, or hi-jacking, these re-workings have a parallel in today’s mainstream comics, where an artist will `borrow’ a page or a panel from another artist in an act dubbed swiping or employ another form of remix described as pastiche. (Two words, nerds: Squadron Supreme!) About the Artist Christopher Sperandio has produced 22 comics books as artworks, including Modern Masters for the Museum of Modern Art (2012) since putting himself through college working as a truck driver. He is currently a professor of drawing and painting at Rice University, Houston, TX, where he founded the Comic Art Teaching and Study Workshop (CATS). He has written widely on art for newspapers and magazines, as well as publications. PINKO JOE is his first solo graphic novel. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385590135-CCEJ5ZFJCVJAIWL6T9QF/mcba-prize-2020-Chris-Sperandio-Pinko-Joe-1.jpg Entries & Jurors - 2020 Entries - Chris Sperandio Houston, Texas pinkojoe.com Pinko Joe 2020 graphic novel 10.25 x 7.625 x .5″ Artist Statement A NEW KIND OF GRAPHIC NOVEL MINES VINTAGE POPULAR COMICS FOR FAST-PACED SOCIAL JUSTICE NARRATIVE A New Super Hero / Activist Crusader Arrives in May—Not a Minute too Soon!! Houston-based artist and comics maven Christopher Sperandio will unveil a new super anti-hero and a whole new method of graphic storytelling in April 2020. PINKO JOE is a troubled anti-hero wage-slave from another planet who battles to save earthlings from gun-toting corporate raiders and out-of-control oligarchs. His is a timely tale, which Sperandio tells by patching together and re-inking original pages from old public domain comics. “It came to me that ‘50 comics were perfectly suited to the true crime story of today–the seemingly inexorable destruction of our democracy by vested corporate interests. So, once I had my subject, I combed through thousands and thousands of issues, selecting pages from disparate genres–crime, science fiction, horror and romance—and linked them together visually,” said Sperandio. “Once the remix fell into place, I wrote new dialogue and re-inked all 96 pages. Although my own hand is evident, I’vebasically been able to tell a whole new story in comics form without making new layouts and characters.” “It was a hellishly painstaking production process, actually,” concludes the artist, “but it allowed me to reflect on present-day perils while honoring the history of comics—and indulging my love of cursing. A trifecta!” The casebound cover for PINKO JOE bundles floppy, news print-like pages into three 32-page chapters. And, what’s more, this comic for the 99% is only the first installment in a forthcoming trilogy: volume two is entitled GREENIE JOSEPHINIE and volume three, RED WHITE AND U BLEW IT ALL 2 HELL. Never-Before-Used Process In making PINKO JOE, Christopher Sperandio intentionally references the assembly-line nature of comic production in the heyday of the ‘50s, when a writer would write dialogue, one artist would pencil, and another artist would ink. Sperandio set rules for himself: he tried to use complete stories and he interfered as little as possible with his found material. He adhered to a period-specific color palette of 64 colors and even rather insanely strove to reproduce the poor printing quality achieved so effortlessly back in the day. He lettered pages on computer in a font he made himself from an original Leroy lettering template, the same kind used to letter EC Comics in the ‘50s and ‘60s. Aware that he was giving the too-little-known artists of yore no option but to collaborate with him, Sperandio has entitled hisforthcoming trio of books the Forced Collaboration Trilogy, and in PINKO JOE acknowledges such masters as Lin Streeter, Fred Guardineer, Ralph Mayo, Alex Schomburg, Louis Zansky, Leonard Starr, Jerry Siegel, Murphy Anderson, and Jim McLaughlin. Yes, There’s More History In the ‘60s, an artist movement in France known as the Situationist International modified comics via collage techniques tocriticize the French government. Called détournement, or hi-jacking, these re-workings have a parallel in today’s mainstream comics, where an artist will `borrow’ a page or a panel from another artist in an act dubbed swiping or employ another form of remix described as pastiche. (Two words, nerds: Squadron Supreme!) About the Artist Christopher Sperandio has produced 22 comics books as artworks, including Modern Masters for the Museum of Modern Art (2012) since putting himself through college working as a truck driver. He is currently a professor of drawing and painting at Rice University, Houston, TX, where he founded the Comic Art Teaching and Study Workshop (CATS). He has written widely on art for newspapers and magazines, as well as publications. PINKO JOE is his first solo graphic novel. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385706209-V4GOSG3T0886YI6LTHTZ/mcba-prize-2020-Darian-Stahl-Field-Notes-5.jpg Entries & Jurors - 2020 Entries - Darian Stahl Montreal, Quebec, Canada Field Notes: How to Be With 2020 encaustic transfer, monoprint, embroidery, and silkscreen on silk and handmade paper 8″ round x .25″ Artist Statement Field Notes: How to Be With explores the collapsing dichotomies between art and science, objectivity and subjectivity, and human and nonhuman bodies. It is the result of my yearlong PhD field research: first as a Visiting Scholar in the University of Kent Medical Humanities Program, and then as the Artist in Residence at the McGill University Fertility Research Laboratory. Within these roles, I interviewed over 20 medical humanities scholars. I then transcribed and rearranged their voices within Field Notes, as if these researchers were sharing in a discourse with one another. In the creation of an artist’s book, I aim to show how the merging of text, image, and object allows the senses to communicate encounters with medicine. The images in Field Notes were made in collaboration with the scientists I shadowed at McGill University. Together, we gathered the daily ephemera of their research, like colorful syringes, nitril gloves, and biohazard bags, and created assemblages within embroidery hoops on the bed of a scanner. Although I was unable to photograph the mice whose bodies enable the scientists’ research, I honored them as golden embroidered visages within this book. To further bridge digital imaging and the handmade, I invented a new kind of photographic printmaking process that layers toner between incredibly thin sheets of encaustic pigment and silk. The results portray richly saturated, illusionistic depth on an utterly flat surface. As well, this technique allows the pages to be viewed from the front and the back in equal translucency—a feature ideally suited for artists’ books. I seek to reveal the entangled networks of human, animal, and synthetic materials that enable scientific innovation by utilizing the layering of pages. Additionally, the transparency of the materials allows the reader’s hands to also become a part of this entanglement. By creating collaborative artwork that pulls back the microscope’s frame of reference to include hands and narrative, I explore how the sensory engagement of an artist’s book can construct a space of exchange between healthcare workers and those who seek healing. In light of how our world has so rapidly changed, this artist’s book also takes on a new urgency. The struggles we face are not solely scientific, but also humanistic in how we can best communicate with others in a world filled with misinformation, and, primarily, how best to take care. As we grapple with when and how to come together in a post-Covid-19 society, Field Notes: How to Be With also exemplifies the role of art-making as a discourse between scientific progress and what it is like to live with illness. This multitude of voices and bodies bound together in a shareable book ultimately communicates imaginative ways of being-with at a distance. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385706024-2RM0SI51C99S0E22BQP1/mcba-prize-2020-Darian-Stahl-Field-Notes-4.jpg Entries & Jurors - 2020 Entries - Darian Stahl Montreal, Quebec, Canada Field Notes: How to Be With 2020 encaustic transfer, monoprint, embroidery, and silkscreen on silk and handmade paper 8″ round x .25″ Artist Statement Field Notes: How to Be With explores the collapsing dichotomies between art and science, objectivity and subjectivity, and human and nonhuman bodies. It is the result of my yearlong PhD field research: first as a Visiting Scholar in the University of Kent Medical Humanities Program, and then as the Artist in Residence at the McGill University Fertility Research Laboratory. Within these roles, I interviewed over 20 medical humanities scholars. I then transcribed and rearranged their voices within Field Notes, as if these researchers were sharing in a discourse with one another. In the creation of an artist’s book, I aim to show how the merging of text, image, and object allows the senses to communicate encounters with medicine. The images in Field Notes were made in collaboration with the scientists I shadowed at McGill University. Together, we gathered the daily ephemera of their research, like colorful syringes, nitril gloves, and biohazard bags, and created assemblages within embroidery hoops on the bed of a scanner. Although I was unable to photograph the mice whose bodies enable the scientists’ research, I honored them as golden embroidered visages within this book. To further bridge digital imaging and the handmade, I invented a new kind of photographic printmaking process that layers toner between incredibly thin sheets of encaustic pigment and silk. The results portray richly saturated, illusionistic depth on an utterly flat surface. As well, this technique allows the pages to be viewed from the front and the back in equal translucency—a feature ideally suited for artists’ books. I seek to reveal the entangled networks of human, animal, and synthetic materials that enable scientific innovation by utilizing the layering of pages. Additionally, the transparency of the materials allows the reader’s hands to also become a part of this entanglement. By creating collaborative artwork that pulls back the microscope’s frame of reference to include hands and narrative, I explore how the sensory engagement of an artist’s book can construct a space of exchange between healthcare workers and those who seek healing. In light of how our world has so rapidly changed, this artist’s book also takes on a new urgency. The struggles we face are not solely scientific, but also humanistic in how we can best communicate with others in a world filled with misinformation, and, primarily, how best to take care. As we grapple with when and how to come together in a post-Covid-19 society, Field Notes: How to Be With also exemplifies the role of art-making as a discourse between scientific progress and what it is like to live with illness. This multitude of voices and bodies bound together in a shareable book ultimately communicates imaginative ways of being-with at a distance. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385709259-CY7RQBIIKGDI0PDIMJ5D/mcba-prize-2020-Darian-Stahl-Field-Notes-3.jpg Entries & Jurors - 2020 Entries - Darian Stahl Montreal, Quebec, Canada Field Notes: How to Be With 2020 encaustic transfer, monoprint, embroidery, and silkscreen on silk and handmade paper 8″ round x .25″ Artist Statement Field Notes: How to Be With explores the collapsing dichotomies between art and science, objectivity and subjectivity, and human and nonhuman bodies. It is the result of my yearlong PhD field research: first as a Visiting Scholar in the University of Kent Medical Humanities Program, and then as the Artist in Residence at the McGill University Fertility Research Laboratory. Within these roles, I interviewed over 20 medical humanities scholars. I then transcribed and rearranged their voices within Field Notes, as if these researchers were sharing in a discourse with one another. In the creation of an artist’s book, I aim to show how the merging of text, image, and object allows the senses to communicate encounters with medicine. The images in Field Notes were made in collaboration with the scientists I shadowed at McGill University. Together, we gathered the daily ephemera of their research, like colorful syringes, nitril gloves, and biohazard bags, and created assemblages within embroidery hoops on the bed of a scanner. Although I was unable to photograph the mice whose bodies enable the scientists’ research, I honored them as golden embroidered visages within this book. To further bridge digital imaging and the handmade, I invented a new kind of photographic printmaking process that layers toner between incredibly thin sheets of encaustic pigment and silk. The results portray richly saturated, illusionistic depth on an utterly flat surface. As well, this technique allows the pages to be viewed from the front and the back in equal translucency—a feature ideally suited for artists’ books. I seek to reveal the entangled networks of human, animal, and synthetic materials that enable scientific innovation by utilizing the layering of pages. Additionally, the transparency of the materials allows the reader’s hands to also become a part of this entanglement. By creating collaborative artwork that pulls back the microscope’s frame of reference to include hands and narrative, I explore how the sensory engagement of an artist’s book can construct a space of exchange between healthcare workers and those who seek healing. In light of how our world has so rapidly changed, this artist’s book also takes on a new urgency. The struggles we face are not solely scientific, but also humanistic in how we can best communicate with others in a world filled with misinformation, and, primarily, how best to take care. As we grapple with when and how to come together in a post-Covid-19 society, Field Notes: How to Be With also exemplifies the role of art-making as a discourse between scientific progress and what it is like to live with illness. This multitude of voices and bodies bound together in a shareable book ultimately communicates imaginative ways of being-with at a distance. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385709839-DANTG1WKDVQPXH3XD5G1/mcba-prize-2020-Darian-Stahl-Field-Notes-2.jpg Entries & Jurors - 2020 Entries - Darian Stahl Montreal, Quebec, Canada Field Notes: How to Be With 2020 encaustic transfer, monoprint, embroidery, and silkscreen on silk and handmade paper 8″ round x .25″ Artist Statement Field Notes: How to Be With explores the collapsing dichotomies between art and science, objectivity and subjectivity, and human and nonhuman bodies. It is the result of my yearlong PhD field research: first as a Visiting Scholar in the University of Kent Medical Humanities Program, and then as the Artist in Residence at the McGill University Fertility Research Laboratory. Within these roles, I interviewed over 20 medical humanities scholars. I then transcribed and rearranged their voices within Field Notes, as if these researchers were sharing in a discourse with one another. In the creation of an artist’s book, I aim to show how the merging of text, image, and object allows the senses to communicate encounters with medicine. The images in Field Notes were made in collaboration with the scientists I shadowed at McGill University. Together, we gathered the daily ephemera of their research, like colorful syringes, nitril gloves, and biohazard bags, and created assemblages within embroidery hoops on the bed of a scanner. Although I was unable to photograph the mice whose bodies enable the scientists’ research, I honored them as golden embroidered visages within this book. To further bridge digital imaging and the handmade, I invented a new kind of photographic printmaking process that layers toner between incredibly thin sheets of encaustic pigment and silk. The results portray richly saturated, illusionistic depth on an utterly flat surface. As well, this technique allows the pages to be viewed from the front and the back in equal translucency—a feature ideally suited for artists’ books. I seek to reveal the entangled networks of human, animal, and synthetic materials that enable scientific innovation by utilizing the layering of pages. Additionally, the transparency of the materials allows the reader’s hands to also become a part of this entanglement. By creating collaborative artwork that pulls back the microscope’s frame of reference to include hands and narrative, I explore how the sensory engagement of an artist’s book can construct a space of exchange between healthcare workers and those who seek healing. In light of how our world has so rapidly changed, this artist’s book also takes on a new urgency. The struggles we face are not solely scientific, but also humanistic in how we can best communicate with others in a world filled with misinformation, and, primarily, how best to take care. As we grapple with when and how to come together in a post-Covid-19 society, Field Notes: How to Be With also exemplifies the role of art-making as a discourse between scientific progress and what it is like to live with illness. This multitude of voices and bodies bound together in a shareable book ultimately communicates imaginative ways of being-with at a distance. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385711455-V712BI3OD0LUJIT5EK1A/mcba-prize-2020-Darian-Stahl-Field-Notes-1.jpg Entries & Jurors - 2020 Entries - Darian Stahl Montreal, Quebec, Canada Field Notes: How to Be With 2020 encaustic transfer, monoprint, embroidery, and silkscreen on silk and handmade paper 8″ round x .25″ Artist Statement Field Notes: How to Be With explores the collapsing dichotomies between art and science, objectivity and subjectivity, and human and nonhuman bodies. It is the result of my yearlong PhD field research: first as a Visiting Scholar in the University of Kent Medical Humanities Program, and then as the Artist in Residence at the McGill University Fertility Research Laboratory. Within these roles, I interviewed over 20 medical humanities scholars. I then transcribed and rearranged their voices within Field Notes, as if these researchers were sharing in a discourse with one another. In the creation of an artist’s book, I aim to show how the merging of text, image, and object allows the senses to communicate encounters with medicine. The images in Field Notes were made in collaboration with the scientists I shadowed at McGill University. Together, we gathered the daily ephemera of their research, like colorful syringes, nitril gloves, and biohazard bags, and created assemblages within embroidery hoops on the bed of a scanner. Although I was unable to photograph the mice whose bodies enable the scientists’ research, I honored them as golden embroidered visages within this book. To further bridge digital imaging and the handmade, I invented a new kind of photographic printmaking process that layers toner between incredibly thin sheets of encaustic pigment and silk. The results portray richly saturated, illusionistic depth on an utterly flat surface. As well, this technique allows the pages to be viewed from the front and the back in equal translucency—a feature ideally suited for artists’ books. I seek to reveal the entangled networks of human, animal, and synthetic materials that enable scientific innovation by utilizing the layering of pages. Additionally, the transparency of the materials allows the reader’s hands to also become a part of this entanglement. By creating collaborative artwork that pulls back the microscope’s frame of reference to include hands and narrative, I explore how the sensory engagement of an artist’s book can construct a space of exchange between healthcare workers and those who seek healing. In light of how our world has so rapidly changed, this artist’s book also takes on a new urgency. The struggles we face are not solely scientific, but also humanistic in how we can best communicate with others in a world filled with misinformation, and, primarily, how best to take care. As we grapple with when and how to come together in a post-Covid-19 society, Field Notes: How to Be With also exemplifies the role of art-making as a discourse between scientific progress and what it is like to live with illness. This multitude of voices and bodies bound together in a shareable book ultimately communicates imaginative ways of being-with at a distance. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385857980-Y1ZTVVMUKNG316ECN9R2/mcba-prize-2020-Ioana-Stoian-A-Z-Motherhood-5.jpg Entries & Jurors - 2020 Entries - Ioana Stoian Saint Paul, Minnesota ioanastoian.com The A-Z of Motherhood 2018 handmade paper 11.75 x 7.5 x 2.25″ Artist Statement As an immigrant, I am fascinated by people from different countries, cultures and beliefs. As a mother, I am moved by the process of life and the beauty of a developing human being. As an artist, I am intrigued by colour, the universal language that enables us to transcend our individualities and connect on a deeper level. The book is the vehicle that enables me to share myself with others. I create unique books that contain energy, symbolism and meaning. Included below is the artist statement from the work I am submitting for the MCBA Prize, The A -Z of Motherhood . How many of us really know who we are? For me, motherhood has been an enlightening experience, the beginning of a complex and colourful journey deep into my true Self. The A-Z of Motherhood d ocuments this journey. Within the pages of the book are 26 words that map the first two years of my new adventure. Each page of handmade paper is dyed with the colour that corresponds to its specific word, amplifying the energy of the emotions. Segments of my ultrasound scans are engraved into the custom wood type, stamped into the surface of the handmade paper, symbolic of the fingerprints of a newborn baby recorded at birth. Titanium rods representing the internal mental and physical strength of a mother hold the binding together, forming not only the crown of the child, but also the soul of the mother. The sterling silver beads symbolize the cord both physical and spiritual that links us eternally to our child. The book is protected by a hand stitched blanket cover made from Faribault Woolen Mills fabric containing the narrative of this journey that began in Minnesota. Whether you wish to simply enjoy the colourful pages, or peruse this book slowly, reflecting on each word, this will be your journey. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385857979-A60LTQ4ZMXNEMFYUABV8/mcba-prize-2020-Ioana-Stoian-A-Z-Motherhood-4.jpg Entries & Jurors - 2020 Entries - Ioana Stoian Saint Paul, Minnesota ioanastoian.com The A-Z of Motherhood 2018 handmade paper 11.75 x 7.5 x 2.25″ Artist Statement As an immigrant, I am fascinated by people from different countries, cultures and beliefs. As a mother, I am moved by the process of life and the beauty of a developing human being. As an artist, I am intrigued by colour, the universal language that enables us to transcend our individualities and connect on a deeper level. The book is the vehicle that enables me to share myself with others. I create unique books that contain energy, symbolism and meaning. Included below is the artist statement from the work I am submitting for the MCBA Prize, The A -Z of Motherhood . How many of us really know who we are? For me, motherhood has been an enlightening experience, the beginning of a complex and colourful journey deep into my true Self. The A-Z of Motherhood d ocuments this journey. Within the pages of the book are 26 words that map the first two years of my new adventure. Each page of handmade paper is dyed with the colour that corresponds to its specific word, amplifying the energy of the emotions. Segments of my ultrasound scans are engraved into the custom wood type, stamped into the surface of the handmade paper, symbolic of the fingerprints of a newborn baby recorded at birth. Titanium rods representing the internal mental and physical strength of a mother hold the binding together, forming not only the crown of the child, but also the soul of the mother. The sterling silver beads symbolize the cord both physical and spiritual that links us eternally to our child. The book is protected by a hand stitched blanket cover made from Faribault Woolen Mills fabric containing the narrative of this journey that began in Minnesota. Whether you wish to simply enjoy the colourful pages, or peruse this book slowly, reflecting on each word, this will be your journey. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385861096-HSOC6JAUPKK0H8TIONIG/mcba-prize-2020-Ioana-Stoian-A-Z-Motherhood-3.jpg Entries & Jurors - 2020 Entries - Ioana Stoian Saint Paul, Minnesota ioanastoian.com The A-Z of Motherhood 2018 handmade paper 11.75 x 7.5 x 2.25″ Artist Statement As an immigrant, I am fascinated by people from different countries, cultures and beliefs. As a mother, I am moved by the process of life and the beauty of a developing human being. As an artist, I am intrigued by colour, the universal language that enables us to transcend our individualities and connect on a deeper level. The book is the vehicle that enables me to share myself with others. I create unique books that contain energy, symbolism and meaning. Included below is the artist statement from the work I am submitting for the MCBA Prize, The A -Z of Motherhood . How many of us really know who we are? For me, motherhood has been an enlightening experience, the beginning of a complex and colourful journey deep into my true Self. The A-Z of Motherhood d ocuments this journey. Within the pages of the book are 26 words that map the first two years of my new adventure. Each page of handmade paper is dyed with the colour that corresponds to its specific word, amplifying the energy of the emotions. Segments of my ultrasound scans are engraved into the custom wood type, stamped into the surface of the handmade paper, symbolic of the fingerprints of a newborn baby recorded at birth. Titanium rods representing the internal mental and physical strength of a mother hold the binding together, forming not only the crown of the child, but also the soul of the mother. The sterling silver beads symbolize the cord both physical and spiritual that links us eternally to our child. The book is protected by a hand stitched blanket cover made from Faribault Woolen Mills fabric containing the narrative of this journey that began in Minnesota. Whether you wish to simply enjoy the colourful pages, or peruse this book slowly, reflecting on each word, this will be your journey. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385861154-140IU8RGWRO3D0QN5FTV/mcba-prize-2020-Ioana-Stoian-A-Z-Motherhood-2.jpg Entries & Jurors - 2020 Entries - Ioana Stoian Saint Paul, Minnesota ioanastoian.com The A-Z of Motherhood 2018 handmade paper 11.75 x 7.5 x 2.25″ Artist Statement As an immigrant, I am fascinated by people from different countries, cultures and beliefs. As a mother, I am moved by the process of life and the beauty of a developing human being. As an artist, I am intrigued by colour, the universal language that enables us to transcend our individualities and connect on a deeper level. The book is the vehicle that enables me to share myself with others. I create unique books that contain energy, symbolism and meaning. Included below is the artist statement from the work I am submitting for the MCBA Prize, The A -Z of Motherhood . How many of us really know who we are? For me, motherhood has been an enlightening experience, the beginning of a complex and colourful journey deep into my true Self. The A-Z of Motherhood d ocuments this journey. Within the pages of the book are 26 words that map the first two years of my new adventure. Each page of handmade paper is dyed with the colour that corresponds to its specific word, amplifying the energy of the emotions. Segments of my ultrasound scans are engraved into the custom wood type, stamped into the surface of the handmade paper, symbolic of the fingerprints of a newborn baby recorded at birth. Titanium rods representing the internal mental and physical strength of a mother hold the binding together, forming not only the crown of the child, but also the soul of the mother. The sterling silver beads symbolize the cord both physical and spiritual that links us eternally to our child. The book is protected by a hand stitched blanket cover made from Faribault Woolen Mills fabric containing the narrative of this journey that began in Minnesota. Whether you wish to simply enjoy the colourful pages, or peruse this book slowly, reflecting on each word, this will be your journey. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385862859-PVYRWI1I11JM731OYOD9/mcba-prize-2020-Ioana-Stoian-A-Z-Motherhood-1.jpg Entries & Jurors - 2020 Entries - Ioana Stoian Saint Paul, Minnesota ioanastoian.com The A-Z of Motherhood 2018 handmade paper 11.75 x 7.5 x 2.25″ Artist Statement As an immigrant, I am fascinated by people from different countries, cultures and beliefs. As a mother, I am moved by the process of life and the beauty of a developing human being. As an artist, I am intrigued by colour, the universal language that enables us to transcend our individualities and connect on a deeper level. The book is the vehicle that enables me to share myself with others. I create unique books that contain energy, symbolism and meaning. Included below is the artist statement from the work I am submitting for the MCBA Prize, The A -Z of Motherhood . How many of us really know who we are? For me, motherhood has been an enlightening experience, the beginning of a complex and colourful journey deep into my true Self. The A-Z of Motherhood d ocuments this journey. Within the pages of the book are 26 words that map the first two years of my new adventure. Each page of handmade paper is dyed with the colour that corresponds to its specific word, amplifying the energy of the emotions. Segments of my ultrasound scans are engraved into the custom wood type, stamped into the surface of the handmade paper, symbolic of the fingerprints of a newborn baby recorded at birth. Titanium rods representing the internal mental and physical strength of a mother hold the binding together, forming not only the crown of the child, but also the soul of the mother. The sterling silver beads symbolize the cord both physical and spiritual that links us eternally to our child. The book is protected by a hand stitched blanket cover made from Faribault Woolen Mills fabric containing the narrative of this journey that began in Minnesota. Whether you wish to simply enjoy the colourful pages, or peruse this book slowly, reflecting on each word, this will be your journey. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385971952-EZ1G8L9QOVIC8QHCGPAA/mcba-prize-2020-Tricia-Treacy-SLOT-5.jpg Entries & Jurors - 2020 Entries - Tricia Treacy Boone, North Carolina triciatreacy.com SLOT 2018 risograph, hand binding, foil-stamping 12.5 x 17″ Artist Statement My creative research envelops collaborative approaches that intersect design, printmaking, typography, bookmaking and writing. In the fascinating space between digital and analog (and indeed where they collide), I investigate new methods to analyze and agitate, creating projects through creative interpretations. I work with print and book media to enter a space rich with intuition, play, and an exchange with materials. Often this process tends to be experimental in nature as I strive for a fluidity between idea and form; but there are mistakes and risks that need to occur beforehand. I collect printed matter from day to day environments. I am often puzzled by how much printed matter surrounds us and (inevitably) funnels into my brain, world, and perspectives on making. While in Rome as a fellow at the American Academy in 2018, I worked with master printer Pino LoRusso at the printmaking laboratory of the Calcografia Nazionale. I created a series of collaged prints composed of segments of found printed materials onto which were overprinted layers of colored woodblock impressions. The strips reflect the form of postage slots, common to Roman apartment buildings. They implicate the threshold between public and private, and proved an ideal formal catalyst to deepen my interest in notions of privacy. I also worked with master printer, Jo Frenken at Jan van Eyck Academie in Maastricht, Netherlands while on a residency to print the pages on their large format risograph. :: The book was printed on IBO paper from Igepa Paper in the Netherlands (thanks to Irma Boom). Foil-stamped cases were designed and produced by John Demerritt for each edition. The final results of this project were exhibited at Colli Independent Gallery in Rome, Italy (June-September 2018). The exhibition was curated by Emanuele DeDonno and was made possible by the Fellows Project Fund of the American Academy in Rome. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385972544-78R8PXSHBWSLUNGMPHE9/mcba-prize-2020-Tricia-Treacy-SLOT-4.jpg Entries & Jurors - 2020 Entries - Tricia Treacy Boone, North Carolina triciatreacy.com SLOT 2018 risograph, hand binding, foil-stamping 12.5 x 17″ Artist Statement My creative research envelops collaborative approaches that intersect design, printmaking, typography, bookmaking and writing. In the fascinating space between digital and analog (and indeed where they collide), I investigate new methods to analyze and agitate, creating projects through creative interpretations. I work with print and book media to enter a space rich with intuition, play, and an exchange with materials. Often this process tends to be experimental in nature as I strive for a fluidity between idea and form; but there are mistakes and risks that need to occur beforehand. I collect printed matter from day to day environments. I am often puzzled by how much printed matter surrounds us and (inevitably) funnels into my brain, world, and perspectives on making. While in Rome as a fellow at the American Academy in 2018, I worked with master printer Pino LoRusso at the printmaking laboratory of the Calcografia Nazionale. I created a series of collaged prints composed of segments of found printed materials onto which were overprinted layers of colored woodblock impressions. The strips reflect the form of postage slots, common to Roman apartment buildings. They implicate the threshold between public and private, and proved an ideal formal catalyst to deepen my interest in notions of privacy. I also worked with master printer, Jo Frenken at Jan van Eyck Academie in Maastricht, Netherlands while on a residency to print the pages on their large format risograph. :: The book was printed on IBO paper from Igepa Paper in the Netherlands (thanks to Irma Boom). Foil-stamped cases were designed and produced by John Demerritt for each edition. The final results of this project were exhibited at Colli Independent Gallery in Rome, Italy (June-September 2018). The exhibition was curated by Emanuele DeDonno and was made possible by the Fellows Project Fund of the American Academy in Rome. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385974007-98E2RGPLL4L6JD8CAWMS/mcba-prize-2020-Tricia-Treacy-SLOT-3.jpg Entries & Jurors - 2020 Entries - Tricia Treacy Boone, North Carolina triciatreacy.com SLOT 2018 risograph, hand binding, foil-stamping 12.5 x 17″ Artist Statement My creative research envelops collaborative approaches that intersect design, printmaking, typography, bookmaking and writing. In the fascinating space between digital and analog (and indeed where they collide), I investigate new methods to analyze and agitate, creating projects through creative interpretations. I work with print and book media to enter a space rich with intuition, play, and an exchange with materials. Often this process tends to be experimental in nature as I strive for a fluidity between idea and form; but there are mistakes and risks that need to occur beforehand. I collect printed matter from day to day environments. I am often puzzled by how much printed matter surrounds us and (inevitably) funnels into my brain, world, and perspectives on making. While in Rome as a fellow at the American Academy in 2018, I worked with master printer Pino LoRusso at the printmaking laboratory of the Calcografia Nazionale. I created a series of collaged prints composed of segments of found printed materials onto which were overprinted layers of colored woodblock impressions. The strips reflect the form of postage slots, common to Roman apartment buildings. They implicate the threshold between public and private, and proved an ideal formal catalyst to deepen my interest in notions of privacy. I also worked with master printer, Jo Frenken at Jan van Eyck Academie in Maastricht, Netherlands while on a residency to print the pages on their large format risograph. :: The book was printed on IBO paper from Igepa Paper in the Netherlands (thanks to Irma Boom). Foil-stamped cases were designed and produced by John Demerritt for each edition. The final results of this project were exhibited at Colli Independent Gallery in Rome, Italy (June-September 2018). The exhibition was curated by Emanuele DeDonno and was made possible by the Fellows Project Fund of the American Academy in Rome. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385974455-CDGPV7RE6LB3NEMM10IY/mcba-prize-2020-Tricia-Treacy-SLOT-2.jpg Entries & Jurors - 2020 Entries - Tricia Treacy Boone, North Carolina triciatreacy.com SLOT 2018 risograph, hand binding, foil-stamping 12.5 x 17″ Artist Statement My creative research envelops collaborative approaches that intersect design, printmaking, typography, bookmaking and writing. In the fascinating space between digital and analog (and indeed where they collide), I investigate new methods to analyze and agitate, creating projects through creative interpretations. I work with print and book media to enter a space rich with intuition, play, and an exchange with materials. Often this process tends to be experimental in nature as I strive for a fluidity between idea and form; but there are mistakes and risks that need to occur beforehand. I collect printed matter from day to day environments. I am often puzzled by how much printed matter surrounds us and (inevitably) funnels into my brain, world, and perspectives on making. While in Rome as a fellow at the American Academy in 2018, I worked with master printer Pino LoRusso at the printmaking laboratory of the Calcografia Nazionale. I created a series of collaged prints composed of segments of found printed materials onto which were overprinted layers of colored woodblock impressions. The strips reflect the form of postage slots, common to Roman apartment buildings. They implicate the threshold between public and private, and proved an ideal formal catalyst to deepen my interest in notions of privacy. I also worked with master printer, Jo Frenken at Jan van Eyck Academie in Maastricht, Netherlands while on a residency to print the pages on their large format risograph. :: The book was printed on IBO paper from Igepa Paper in the Netherlands (thanks to Irma Boom). Foil-stamped cases were designed and produced by John Demerritt for each edition. The final results of this project were exhibited at Colli Independent Gallery in Rome, Italy (June-September 2018). The exhibition was curated by Emanuele DeDonno and was made possible by the Fellows Project Fund of the American Academy in Rome. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774385975632-PFFA09NMRH919VHX0RYX/mcba-prize-2020-Tricia-Treacy-SLOT-1.jpg Entries & Jurors - 2020 Entries - Tricia Treacy Boone, North Carolina triciatreacy.com SLOT 2018 risograph, hand binding, foil-stamping 12.5 x 17″ Artist Statement My creative research envelops collaborative approaches that intersect design, printmaking, typography, bookmaking and writing. In the fascinating space between digital and analog (and indeed where they collide), I investigate new methods to analyze and agitate, creating projects through creative interpretations. I work with print and book media to enter a space rich with intuition, play, and an exchange with materials. Often this process tends to be experimental in nature as I strive for a fluidity between idea and form; but there are mistakes and risks that need to occur beforehand. I collect printed matter from day to day environments. I am often puzzled by how much printed matter surrounds us and (inevitably) funnels into my brain, world, and perspectives on making. While in Rome as a fellow at the American Academy in 2018, I worked with master printer Pino LoRusso at the printmaking laboratory of the Calcografia Nazionale. I created a series of collaged prints composed of segments of found printed materials onto which were overprinted layers of colored woodblock impressions. The strips reflect the form of postage slots, common to Roman apartment buildings. They implicate the threshold between public and private, and proved an ideal formal catalyst to deepen my interest in notions of privacy. I also worked with master printer, Jo Frenken at Jan van Eyck Academie in Maastricht, Netherlands while on a residency to print the pages on their large format risograph. :: The book was printed on IBO paper from Igepa Paper in the Netherlands (thanks to Irma Boom). Foil-stamped cases were designed and produced by John Demerritt for each edition. The final results of this project were exhibited at Colli Independent Gallery in Rome, Italy (June-September 2018). The exhibition was curated by Emanuele DeDonno and was made possible by the Fellows Project Fund of the American Academy in Rome. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774386110397-8P0U76L3OJUSGF68BEUY/mcba-prize-2020-Brooks-Turner-Untitled-Minnesota-5.jpg Entries & Jurors - 2020 Entries - Brooks Turner Minneapolis, Minnesota brooksturner.com Untitled (Minnesota 1925-1938) 2019–2020 digital drawing and collage printed on newspaper Installation approximately 90″ by 45″ Artist Statement Throughout the 20th century, fascism found fertile ground in Minnesota as organizations such as the Silver Legion of America, the German American Bund, the Christian Nationalist Front, and the America First Party spread their ideologies through publications, meetings, and cultural camps. These groups normalized fascist and racist rhetoric in a mostly politically progressive state. But the damage was done; anti-progressive politicians, lawyers, and business leaders capitalized on this hatred and leveraged it to gain control of the state government by the end of the decade. Had it not been for subversive activities by unions and Jewish activists, these fascist organizations may have seen further success. My digital drawings and collages printed on newspaper allegorically represent the rhyme of history and the aesthetics of ideology. Aged documents scanned from the archives of the Minnesota Historical Society become collage fragments, which I juxtapose with digital drawings before printing on newspaper. The collaged element is both a practical means of incorporating historical documents—remnants slowly yellowing in a library basement—into a form that can remain present and accessible, as well as a poetic meditation on how the voice of history spoken by people decades apart can sound the same. The drawings bring a visual presence to actions and events hidden in the fragments of the past. Through printing on newspaper, I seek to engage the historical legacy of this democratic means of disseminating information, opinion, experience, and facts. I see newspapers as representative of communities of people. While these works pinned on the wall are not a traditional “book” nor folded up to be held as a newspaper, their relationship to seriality and narrative conceptually conects to a progression of pages and the immersive, imaginative experience of reading. This project is ongoing; I continue to make new drawings and collages based on research at the Minnesota Historical Society. The poetics of the newspaper implies an ongoing release of information. In this way, the narrative never truly ends but continues to reanimate through new additions, new arrangements, and new installations. The work included here represents one iteration of this ongoing series. The localities of our history resonate through time and space, but often feel abstract as a list of events recorded in a textbook. I seek through this body of work to build a world, to make these records and narratives tangible through the imagination, provoking the viewer to see history and reality differently. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774386110920-SN3SC589TR6E1XDX1VI4/mcba-prize-2020-Brooks-Turner-Untitled-Minnesota-4.jpg Entries & Jurors - 2020 Entries - Brooks Turner Minneapolis, Minnesota brooksturner.com Untitled (Minnesota 1925-1938) 2019–2020 digital drawing and collage printed on newspaper Installation approximately 90″ by 45″ Artist Statement Throughout the 20th century, fascism found fertile ground in Minnesota as organizations such as the Silver Legion of America, the German American Bund, the Christian Nationalist Front, and the America First Party spread their ideologies through publications, meetings, and cultural camps. These groups normalized fascist and racist rhetoric in a mostly politically progressive state. But the damage was done; anti-progressive politicians, lawyers, and business leaders capitalized on this hatred and leveraged it to gain control of the state government by the end of the decade. Had it not been for subversive activities by unions and Jewish activists, these fascist organizations may have seen further success. My digital drawings and collages printed on newspaper allegorically represent the rhyme of history and the aesthetics of ideology. Aged documents scanned from the archives of the Minnesota Historical Society become collage fragments, which I juxtapose with digital drawings before printing on newspaper. The collaged element is both a practical means of incorporating historical documents—remnants slowly yellowing in a library basement—into a form that can remain present and accessible, as well as a poetic meditation on how the voice of history spoken by people decades apart can sound the same. The drawings bring a visual presence to actions and events hidden in the fragments of the past. Through printing on newspaper, I seek to engage the historical legacy of this democratic means of disseminating information, opinion, experience, and facts. I see newspapers as representative of communities of people. While these works pinned on the wall are not a traditional “book” nor folded up to be held as a newspaper, their relationship to seriality and narrative conceptually conects to a progression of pages and the immersive, imaginative experience of reading. This project is ongoing; I continue to make new drawings and collages based on research at the Minnesota Historical Society. The poetics of the newspaper implies an ongoing release of information. In this way, the narrative never truly ends but continues to reanimate through new additions, new arrangements, and new installations. The work included here represents one iteration of this ongoing series. The localities of our history resonate through time and space, but often feel abstract as a list of events recorded in a textbook. I seek through this body of work to build a world, to make these records and narratives tangible through the imagination, provoking the viewer to see history and reality differently. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774386113739-P8J791HTRGWIYZ9Y97MI/mcba-prize-2020-Brooks-Turner-Untitled-Minnesota-3.jpg Entries & Jurors - 2020 Entries - Brooks Turner Minneapolis, Minnesota brooksturner.com Untitled (Minnesota 1925-1938) 2019–2020 digital drawing and collage printed on newspaper Installation approximately 90″ by 45″ Artist Statement Throughout the 20th century, fascism found fertile ground in Minnesota as organizations such as the Silver Legion of America, the German American Bund, the Christian Nationalist Front, and the America First Party spread their ideologies through publications, meetings, and cultural camps. These groups normalized fascist and racist rhetoric in a mostly politically progressive state. But the damage was done; anti-progressive politicians, lawyers, and business leaders capitalized on this hatred and leveraged it to gain control of the state government by the end of the decade. Had it not been for subversive activities by unions and Jewish activists, these fascist organizations may have seen further success. My digital drawings and collages printed on newspaper allegorically represent the rhyme of history and the aesthetics of ideology. Aged documents scanned from the archives of the Minnesota Historical Society become collage fragments, which I juxtapose with digital drawings before printing on newspaper. The collaged element is both a practical means of incorporating historical documents—remnants slowly yellowing in a library basement—into a form that can remain present and accessible, as well as a poetic meditation on how the voice of history spoken by people decades apart can sound the same. The drawings bring a visual presence to actions and events hidden in the fragments of the past. Through printing on newspaper, I seek to engage the historical legacy of this democratic means of disseminating information, opinion, experience, and facts. I see newspapers as representative of communities of people. While these works pinned on the wall are not a traditional “book” nor folded up to be held as a newspaper, their relationship to seriality and narrative conceptually conects to a progression of pages and the immersive, imaginative experience of reading. This project is ongoing; I continue to make new drawings and collages based on research at the Minnesota Historical Society. The poetics of the newspaper implies an ongoing release of information. In this way, the narrative never truly ends but continues to reanimate through new additions, new arrangements, and new installations. The work included here represents one iteration of this ongoing series. The localities of our history resonate through time and space, but often feel abstract as a list of events recorded in a textbook. I seek through this body of work to build a world, to make these records and narratives tangible through the imagination, provoking the viewer to see history and reality differently. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774386114412-LTOQ0V35082NRT15J3E1/mcba-prize-2020-Brooks-Turner-Untitled-Minnesota-2.jpg Entries & Jurors - 2020 Entries - Brooks Turner Minneapolis, Minnesota brooksturner.com Untitled (Minnesota 1925-1938) 2019–2020 digital drawing and collage printed on newspaper Installation approximately 90″ by 45″ Artist Statement Throughout the 20th century, fascism found fertile ground in Minnesota as organizations such as the Silver Legion of America, the German American Bund, the Christian Nationalist Front, and the America First Party spread their ideologies through publications, meetings, and cultural camps. These groups normalized fascist and racist rhetoric in a mostly politically progressive state. But the damage was done; anti-progressive politicians, lawyers, and business leaders capitalized on this hatred and leveraged it to gain control of the state government by the end of the decade. Had it not been for subversive activities by unions and Jewish activists, these fascist organizations may have seen further success. My digital drawings and collages printed on newspaper allegorically represent the rhyme of history and the aesthetics of ideology. Aged documents scanned from the archives of the Minnesota Historical Society become collage fragments, which I juxtapose with digital drawings before printing on newspaper. The collaged element is both a practical means of incorporating historical documents—remnants slowly yellowing in a library basement—into a form that can remain present and accessible, as well as a poetic meditation on how the voice of history spoken by people decades apart can sound the same. The drawings bring a visual presence to actions and events hidden in the fragments of the past. Through printing on newspaper, I seek to engage the historical legacy of this democratic means of disseminating information, opinion, experience, and facts. I see newspapers as representative of communities of people. While these works pinned on the wall are not a traditional “book” nor folded up to be held as a newspaper, their relationship to seriality and narrative conceptually conects to a progression of pages and the immersive, imaginative experience of reading. This project is ongoing; I continue to make new drawings and collages based on research at the Minnesota Historical Society. The poetics of the newspaper implies an ongoing release of information. In this way, the narrative never truly ends but continues to reanimate through new additions, new arrangements, and new installations. The work included here represents one iteration of this ongoing series. The localities of our history resonate through time and space, but often feel abstract as a list of events recorded in a textbook. I seek through this body of work to build a world, to make these records and narratives tangible through the imagination, provoking the viewer to see history and reality differently. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774386116292-4WNFBXFPOX7DHEIJC5VX/mcba-prize-2020-Brooks-Turner-Untitled-Minnesota-1.jpg Entries & Jurors - 2020 Entries - Brooks Turner Minneapolis, Minnesota brooksturner.com Untitled (Minnesota 1925-1938) 2019–2020 digital drawing and collage printed on newspaper Installation approximately 90″ by 45″ Artist Statement Throughout the 20th century, fascism found fertile ground in Minnesota as organizations such as the Silver Legion of America, the German American Bund, the Christian Nationalist Front, and the America First Party spread their ideologies through publications, meetings, and cultural camps. These groups normalized fascist and racist rhetoric in a mostly politically progressive state. But the damage was done; anti-progressive politicians, lawyers, and business leaders capitalized on this hatred and leveraged it to gain control of the state government by the end of the decade. Had it not been for subversive activities by unions and Jewish activists, these fascist organizations may have seen further success. My digital drawings and collages printed on newspaper allegorically represent the rhyme of history and the aesthetics of ideology. Aged documents scanned from the archives of the Minnesota Historical Society become collage fragments, which I juxtapose with digital drawings before printing on newspaper. The collaged element is both a practical means of incorporating historical documents—remnants slowly yellowing in a library basement—into a form that can remain present and accessible, as well as a poetic meditation on how the voice of history spoken by people decades apart can sound the same. The drawings bring a visual presence to actions and events hidden in the fragments of the past. Through printing on newspaper, I seek to engage the historical legacy of this democratic means of disseminating information, opinion, experience, and facts. I see newspapers as representative of communities of people. While these works pinned on the wall are not a traditional “book” nor folded up to be held as a newspaper, their relationship to seriality and narrative conceptually conects to a progression of pages and the immersive, imaginative experience of reading. This project is ongoing; I continue to make new drawings and collages based on research at the Minnesota Historical Society. The poetics of the newspaper implies an ongoing release of information. In this way, the narrative never truly ends but continues to reanimate through new additions, new arrangements, and new installations. The work included here represents one iteration of this ongoing series. The localities of our history resonate through time and space, but often feel abstract as a list of events recorded in a textbook. I seek through this body of work to build a world, to make these records and narratives tangible through the imagination, provoking the viewer to see history and reality differently. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774386236909-49MYS9AHX7JV6FQR8S07/mcba-prize-2020-George-Wallace-Structures-of-Reverie-5.jpg Entries & Jurors - 2020 Entries - George Wallace Louisiana, New Orleans lunapress.com Structures of Reverie 2020 Hardcover 10×12.5×0.5″ Artist Statement “Thus my body builds around it room after room.” — Marcel Proust “This is the story of a woman who invents her freedom by creating an imaginary architecture made of light, scraps of memory, hopes, and dreams – a permeable architecture where nothing is confined. It is dedicated to Juana La Loca, the supposed ‘mad’ queen of Spain in the 16th century who for political motives was imprisoned for 46 years by her father, husband, and son in an architecture of darkness and stone.” – Josephine Sacabo Structures of Reverie Photographs by Josephine Sacabo Hardcover, 10 x 12 1/2 inches, 60 pages 28 photographs including two double-page foldouts Foil stamped hardcover Binding: Smythe sewn Paper: 170 gr Munken Pure Published by Luna Press 2019 ISBN 978-0-9896095-8-6 JOSEPHINE SACABO Josephine Sacabo divides her time between New Orleans and Mexico—both places inform her work, resulting in imagery that is as startling and surreal as the places she calls home. Using alternative and traditional techniques, her photography has been featured in gallery and museum exhibitions in the U.S., Europe and Mexico. Sacabo has been the recipient of multiple awards and is included in the permanent collections of the George Eastman House, the International Center of Photography, the Metropolitan Museum of Art and la Bibliothéque Nationale, Paris, France. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774386237403-UMWCLEGB5VJ9FPHKNJIM/mcba-prize-2020-George-Wallace-Structures-of-Reverie-4.jpg Entries & Jurors - 2020 Entries - George Wallace Louisiana, New Orleans lunapress.com Structures of Reverie 2020 Hardcover 10×12.5×0.5″ Artist Statement “Thus my body builds around it room after room.” — Marcel Proust “This is the story of a woman who invents her freedom by creating an imaginary architecture made of light, scraps of memory, hopes, and dreams – a permeable architecture where nothing is confined. It is dedicated to Juana La Loca, the supposed ‘mad’ queen of Spain in the 16th century who for political motives was imprisoned for 46 years by her father, husband, and son in an architecture of darkness and stone.” – Josephine Sacabo Structures of Reverie Photographs by Josephine Sacabo Hardcover, 10 x 12 1/2 inches, 60 pages 28 photographs including two double-page foldouts Foil stamped hardcover Binding: Smythe sewn Paper: 170 gr Munken Pure Published by Luna Press 2019 ISBN 978-0-9896095-8-6 JOSEPHINE SACABO Josephine Sacabo divides her time between New Orleans and Mexico—both places inform her work, resulting in imagery that is as startling and surreal as the places she calls home. Using alternative and traditional techniques, her photography has been featured in gallery and museum exhibitions in the U.S., Europe and Mexico. Sacabo has been the recipient of multiple awards and is included in the permanent collections of the George Eastman House, the International Center of Photography, the Metropolitan Museum of Art and la Bibliothéque Nationale, Paris, France. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774386239447-KPMFLFR7WTGQU37YIRQI/mcba-prize-2020-George-Wallace-Structures-of-Reverie-3.jpg Entries & Jurors - 2020 Entries - George Wallace Louisiana, New Orleans lunapress.com Structures of Reverie 2020 Hardcover 10×12.5×0.5″ Artist Statement “Thus my body builds around it room after room.” — Marcel Proust “This is the story of a woman who invents her freedom by creating an imaginary architecture made of light, scraps of memory, hopes, and dreams – a permeable architecture where nothing is confined. It is dedicated to Juana La Loca, the supposed ‘mad’ queen of Spain in the 16th century who for political motives was imprisoned for 46 years by her father, husband, and son in an architecture of darkness and stone.” – Josephine Sacabo Structures of Reverie Photographs by Josephine Sacabo Hardcover, 10 x 12 1/2 inches, 60 pages 28 photographs including two double-page foldouts Foil stamped hardcover Binding: Smythe sewn Paper: 170 gr Munken Pure Published by Luna Press 2019 ISBN 978-0-9896095-8-6 JOSEPHINE SACABO Josephine Sacabo divides her time between New Orleans and Mexico—both places inform her work, resulting in imagery that is as startling and surreal as the places she calls home. Using alternative and traditional techniques, her photography has been featured in gallery and museum exhibitions in the U.S., Europe and Mexico. Sacabo has been the recipient of multiple awards and is included in the permanent collections of the George Eastman House, the International Center of Photography, the Metropolitan Museum of Art and la Bibliothéque Nationale, Paris, France. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774386240204-22914ZV0WQKJIDZTPM8P/mcba-prize-2020-George-Wallace-Structures-of-Reverie-2.jpg Entries & Jurors - 2020 Entries - George Wallace Louisiana, New Orleans lunapress.com Structures of Reverie 2020 Hardcover 10×12.5×0.5″ Artist Statement “Thus my body builds around it room after room.” — Marcel Proust “This is the story of a woman who invents her freedom by creating an imaginary architecture made of light, scraps of memory, hopes, and dreams – a permeable architecture where nothing is confined. It is dedicated to Juana La Loca, the supposed ‘mad’ queen of Spain in the 16th century who for political motives was imprisoned for 46 years by her father, husband, and son in an architecture of darkness and stone.” – Josephine Sacabo Structures of Reverie Photographs by Josephine Sacabo Hardcover, 10 x 12 1/2 inches, 60 pages 28 photographs including two double-page foldouts Foil stamped hardcover Binding: Smythe sewn Paper: 170 gr Munken Pure Published by Luna Press 2019 ISBN 978-0-9896095-8-6 JOSEPHINE SACABO Josephine Sacabo divides her time between New Orleans and Mexico—both places inform her work, resulting in imagery that is as startling and surreal as the places she calls home. Using alternative and traditional techniques, her photography has been featured in gallery and museum exhibitions in the U.S., Europe and Mexico. Sacabo has been the recipient of multiple awards and is included in the permanent collections of the George Eastman House, the International Center of Photography, the Metropolitan Museum of Art and la Bibliothéque Nationale, Paris, France. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774386241211-BMSEVO7ZAQSTYOTKOGDE/mcba-prize-2020-George-Wallace-Structures-of-Reverie-1.jpg Entries & Jurors - 2020 Entries - George Wallace Louisiana, New Orleans lunapress.com Structures of Reverie 2020 Hardcover 10×12.5×0.5″ Artist Statement “Thus my body builds around it room after room.” — Marcel Proust “This is the story of a woman who invents her freedom by creating an imaginary architecture made of light, scraps of memory, hopes, and dreams – a permeable architecture where nothing is confined. It is dedicated to Juana La Loca, the supposed ‘mad’ queen of Spain in the 16th century who for political motives was imprisoned for 46 years by her father, husband, and son in an architecture of darkness and stone.” – Josephine Sacabo Structures of Reverie Photographs by Josephine Sacabo Hardcover, 10 x 12 1/2 inches, 60 pages 28 photographs including two double-page foldouts Foil stamped hardcover Binding: Smythe sewn Paper: 170 gr Munken Pure Published by Luna Press 2019 ISBN 978-0-9896095-8-6 JOSEPHINE SACABO Josephine Sacabo divides her time between New Orleans and Mexico—both places inform her work, resulting in imagery that is as startling and surreal as the places she calls home. Using alternative and traditional techniques, her photography has been featured in gallery and museum exhibitions in the U.S., Europe and Mexico. Sacabo has been the recipient of multiple awards and is included in the permanent collections of the George Eastman House, the International Center of Photography, the Metropolitan Museum of Art and la Bibliothéque Nationale, Paris, France. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774386330187-VL3YP9DOQ4TT2ETLCWKQ/mcba-prize-2020-Alice-Walsh-In-Case-of-Fire-1.jpg Entries & Jurors - 2020 Entries - Alice Walsh Berlin, New York alicewalsh.com In Case of Fire 2020 Vintage Library catalog card, wood, glass, purchased hammer 10x15x3 Artist Statement Library catalog cards were retired and removed from public libraries in the United States in the early-to-mid 2000s. This library catalog card representing Ray Bradbury’s 1953 dystopian novel “Fahrenheit 451” is preserved in a glass case as both a tribute and a warning. With a title that references the temperature at which paper catches fire and burns, the novel describes a future time when books are outlawed and, when discovered, burned by government agents. In a 1956 radio interview, Bradbury said that he wrote “Fahrenheit 451” because of his concerns during the McCarthy era about the potential threat of book burning in the United States. While “ani-intellectualism” has been around for more than a century, its current resurgence is alarming. Mistrust of intellect and education; and dismissal of art, literature and science is prevalent among many, including some of our elected leaders. In later years, Bradbury said his book was a commentary on how mass media reduces interest in reading literature. When Bradbury died in 2012, the in-home streaming content revolution of Netflix and other content providers was just beginning and virtual reality and online video games were exploding. He could not have imagined the scale to which the “mass media” he feared would actually grow. In a time where decision-making is too often based on intuition rather than intellectual investigation, this work is a necessary statement of purpose and a clarion call for societal rationality and improvement. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387316744-G7VH237ZRBT90OTC30M9/mcba-prize-2020-Alice-Walsh-Stitches-in-time-5.jpg Entries & Jurors - 2020 Entries - Alice Walsh Berlin, New York alicewalsh.com STITCHES IN TIME: Library Catalog Cards for Books about Slavery, Civil Rights and Race Relations in America 2020 Vintage library catalog cards, acrylic paint, matte medium, fabric, batting, thread. Purchased oak hanger. 39 x 34 x 1.5″ Artist Statement Library catalog cards were retired and removed from public libraries in the United States in the early-to-mid 2000s. While the current online card catalogs are convenient, certain things were lost when the physical cards were discarded. The beautiful handwriting on the older cards, known as “Librarian Hand,” was developed by Melvil Dewey and Thomas Edison; it was taught in library school beginning in the late 19th Century. Cards from the early to mid-20th Century were hand-typed on a typewriter and they display that nostalgic appearance. Each of these early techniques involved a librarian or clerk completing the information on each individual card. Later, when catalog cards were computer generated, they became more uniform in style, but one would still find handwritten notes on them, additional information deemed necessary by the librarians on duty. As the cards resided for decades in the file cabinets, they were handled thousands of times over the years by eager patrons hoping to find the precise book they sought. Often, while flipping through the rows of cards in the cabinet drawers, a different intriguing or valuable book would reveal itself by proximity or serendipity. In STITCHES IN TIME: Library Catalog Cards for Books about Slavery, Civil Rights and Race Relations in America, I use discarded catalog cards spanning 36 years, for books which address a topic that has been much on my mind lately, and much in the news: inequality, prejudice and race relations in our country. I use these catalog cards as both objects of beauty, worthy of being seen, and also as objects of information. By sewing these cards individually onto a quilted work, I was giving each card a similar amount of time and attention they received when they were first produced, when the book each card represented was chosen by the librarians to be added to the library’s collection. The egalitarian treatment of these cards on the quilt is a tribute to the egalitarian treatment public libraries provide for their patrons. All are welcome, all inquiries are treated equally for those who are curious to learn. Why a quilt? Early quilters, in other countries as well as in the U.S., used and re-used whatever material they had at hand to create functional and beautiful items. Quilting also became a vehicle for self-expression of the artist and has become an art form in its own right. Being well-read is like building a quilt, book by book and card by card. The books these cards represent span decades of learning. Countless people handled these cards as they searched for a book to enrich their lives. The fabric of that knowledge is represented by every card in the quilt and it was in that spirit that I created it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387316514-772DSYG5AP3764PFYNGO/mcba-prize-2020-Alice-Walsh-Stitches-in-time-4.jpg Entries & Jurors - 2020 Entries - Alice Walsh Berlin, New York alicewalsh.com STITCHES IN TIME: Library Catalog Cards for Books about Slavery, Civil Rights and Race Relations in America 2020 Vintage library catalog cards, acrylic paint, matte medium, fabric, batting, thread. Purchased oak hanger. 39 x 34 x 1.5″ Artist Statement Library catalog cards were retired and removed from public libraries in the United States in the early-to-mid 2000s. While the current online card catalogs are convenient, certain things were lost when the physical cards were discarded. The beautiful handwriting on the older cards, known as “Librarian Hand,” was developed by Melvil Dewey and Thomas Edison; it was taught in library school beginning in the late 19th Century. Cards from the early to mid-20th Century were hand-typed on a typewriter and they display that nostalgic appearance. Each of these early techniques involved a librarian or clerk completing the information on each individual card. Later, when catalog cards were computer generated, they became more uniform in style, but one would still find handwritten notes on them, additional information deemed necessary by the librarians on duty. As the cards resided for decades in the file cabinets, they were handled thousands of times over the years by eager patrons hoping to find the precise book they sought. Often, while flipping through the rows of cards in the cabinet drawers, a different intriguing or valuable book would reveal itself by proximity or serendipity. In STITCHES IN TIME: Library Catalog Cards for Books about Slavery, Civil Rights and Race Relations in America, I use discarded catalog cards spanning 36 years, for books which address a topic that has been much on my mind lately, and much in the news: inequality, prejudice and race relations in our country. I use these catalog cards as both objects of beauty, worthy of being seen, and also as objects of information. By sewing these cards individually onto a quilted work, I was giving each card a similar amount of time and attention they received when they were first produced, when the book each card represented was chosen by the librarians to be added to the library’s collection. The egalitarian treatment of these cards on the quilt is a tribute to the egalitarian treatment public libraries provide for their patrons. All are welcome, all inquiries are treated equally for those who are curious to learn. Why a quilt? Early quilters, in other countries as well as in the U.S., used and re-used whatever material they had at hand to create functional and beautiful items. Quilting also became a vehicle for self-expression of the artist and has become an art form in its own right. Being well-read is like building a quilt, book by book and card by card. The books these cards represent span decades of learning. Countless people handled these cards as they searched for a book to enrich their lives. The fabric of that knowledge is represented by every card in the quilt and it was in that spirit that I created it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387319131-BLH7SSA7KYK59ODM4MVW/mcba-prize-2020-Alice-Walsh-Stitches-in-time-3.jpg Entries & Jurors - 2020 Entries - Alice Walsh Berlin, New York alicewalsh.com STITCHES IN TIME: Library Catalog Cards for Books about Slavery, Civil Rights and Race Relations in America 2020 Vintage library catalog cards, acrylic paint, matte medium, fabric, batting, thread. Purchased oak hanger. 39 x 34 x 1.5″ Artist Statement Library catalog cards were retired and removed from public libraries in the United States in the early-to-mid 2000s. While the current online card catalogs are convenient, certain things were lost when the physical cards were discarded. The beautiful handwriting on the older cards, known as “Librarian Hand,” was developed by Melvil Dewey and Thomas Edison; it was taught in library school beginning in the late 19th Century. Cards from the early to mid-20th Century were hand-typed on a typewriter and they display that nostalgic appearance. Each of these early techniques involved a librarian or clerk completing the information on each individual card. Later, when catalog cards were computer generated, they became more uniform in style, but one would still find handwritten notes on them, additional information deemed necessary by the librarians on duty. As the cards resided for decades in the file cabinets, they were handled thousands of times over the years by eager patrons hoping to find the precise book they sought. Often, while flipping through the rows of cards in the cabinet drawers, a different intriguing or valuable book would reveal itself by proximity or serendipity. In STITCHES IN TIME: Library Catalog Cards for Books about Slavery, Civil Rights and Race Relations in America, I use discarded catalog cards spanning 36 years, for books which address a topic that has been much on my mind lately, and much in the news: inequality, prejudice and race relations in our country. I use these catalog cards as both objects of beauty, worthy of being seen, and also as objects of information. By sewing these cards individually onto a quilted work, I was giving each card a similar amount of time and attention they received when they were first produced, when the book each card represented was chosen by the librarians to be added to the library’s collection. The egalitarian treatment of these cards on the quilt is a tribute to the egalitarian treatment public libraries provide for their patrons. All are welcome, all inquiries are treated equally for those who are curious to learn. Why a quilt? Early quilters, in other countries as well as in the U.S., used and re-used whatever material they had at hand to create functional and beautiful items. Quilting also became a vehicle for self-expression of the artist and has become an art form in its own right. Being well-read is like building a quilt, book by book and card by card. The books these cards represent span decades of learning. Countless people handled these cards as they searched for a book to enrich their lives. The fabric of that knowledge is represented by every card in the quilt and it was in that spirit that I created it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387319438-07G1CVJNTTAV91GU8JLF/mcba-prize-2020-Alice-Walsh-Stitches-in-time-2.jpg Entries & Jurors - 2020 Entries - Alice Walsh Berlin, New York alicewalsh.com STITCHES IN TIME: Library Catalog Cards for Books about Slavery, Civil Rights and Race Relations in America 2020 Vintage library catalog cards, acrylic paint, matte medium, fabric, batting, thread. Purchased oak hanger. 39 x 34 x 1.5″ Artist Statement Library catalog cards were retired and removed from public libraries in the United States in the early-to-mid 2000s. While the current online card catalogs are convenient, certain things were lost when the physical cards were discarded. The beautiful handwriting on the older cards, known as “Librarian Hand,” was developed by Melvil Dewey and Thomas Edison; it was taught in library school beginning in the late 19th Century. Cards from the early to mid-20th Century were hand-typed on a typewriter and they display that nostalgic appearance. Each of these early techniques involved a librarian or clerk completing the information on each individual card. Later, when catalog cards were computer generated, they became more uniform in style, but one would still find handwritten notes on them, additional information deemed necessary by the librarians on duty. As the cards resided for decades in the file cabinets, they were handled thousands of times over the years by eager patrons hoping to find the precise book they sought. Often, while flipping through the rows of cards in the cabinet drawers, a different intriguing or valuable book would reveal itself by proximity or serendipity. In STITCHES IN TIME: Library Catalog Cards for Books about Slavery, Civil Rights and Race Relations in America, I use discarded catalog cards spanning 36 years, for books which address a topic that has been much on my mind lately, and much in the news: inequality, prejudice and race relations in our country. I use these catalog cards as both objects of beauty, worthy of being seen, and also as objects of information. By sewing these cards individually onto a quilted work, I was giving each card a similar amount of time and attention they received when they were first produced, when the book each card represented was chosen by the librarians to be added to the library’s collection. The egalitarian treatment of these cards on the quilt is a tribute to the egalitarian treatment public libraries provide for their patrons. All are welcome, all inquiries are treated equally for those who are curious to learn. Why a quilt? Early quilters, in other countries as well as in the U.S., used and re-used whatever material they had at hand to create functional and beautiful items. Quilting also became a vehicle for self-expression of the artist and has become an art form in its own right. Being well-read is like building a quilt, book by book and card by card. The books these cards represent span decades of learning. Countless people handled these cards as they searched for a book to enrich their lives. The fabric of that knowledge is represented by every card in the quilt and it was in that spirit that I created it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387321583-L9N1I8J815IYUQEBNPGL/mcba-prize-2020-Alice-Walsh-Stitches-in-time-1.jpg Entries & Jurors - 2020 Entries - Alice Walsh Berlin, New York alicewalsh.com STITCHES IN TIME: Library Catalog Cards for Books about Slavery, Civil Rights and Race Relations in America 2020 Vintage library catalog cards, acrylic paint, matte medium, fabric, batting, thread. Purchased oak hanger. 39 x 34 x 1.5″ Artist Statement Library catalog cards were retired and removed from public libraries in the United States in the early-to-mid 2000s. While the current online card catalogs are convenient, certain things were lost when the physical cards were discarded. The beautiful handwriting on the older cards, known as “Librarian Hand,” was developed by Melvil Dewey and Thomas Edison; it was taught in library school beginning in the late 19th Century. Cards from the early to mid-20th Century were hand-typed on a typewriter and they display that nostalgic appearance. Each of these early techniques involved a librarian or clerk completing the information on each individual card. Later, when catalog cards were computer generated, they became more uniform in style, but one would still find handwritten notes on them, additional information deemed necessary by the librarians on duty. As the cards resided for decades in the file cabinets, they were handled thousands of times over the years by eager patrons hoping to find the precise book they sought. Often, while flipping through the rows of cards in the cabinet drawers, a different intriguing or valuable book would reveal itself by proximity or serendipity. In STITCHES IN TIME: Library Catalog Cards for Books about Slavery, Civil Rights and Race Relations in America, I use discarded catalog cards spanning 36 years, for books which address a topic that has been much on my mind lately, and much in the news: inequality, prejudice and race relations in our country. I use these catalog cards as both objects of beauty, worthy of being seen, and also as objects of information. By sewing these cards individually onto a quilted work, I was giving each card a similar amount of time and attention they received when they were first produced, when the book each card represented was chosen by the librarians to be added to the library’s collection. The egalitarian treatment of these cards on the quilt is a tribute to the egalitarian treatment public libraries provide for their patrons. All are welcome, all inquiries are treated equally for those who are curious to learn. Why a quilt? Early quilters, in other countries as well as in the U.S., used and re-used whatever material they had at hand to create functional and beautiful items. Quilting also became a vehicle for self-expression of the artist and has become an art form in its own right. Being well-read is like building a quilt, book by book and card by card. The books these cards represent span decades of learning. Countless people handled these cards as they searched for a book to enrich their lives. The fabric of that knowledge is represented by every card in the quilt and it was in that spirit that I created it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387486388-BR2N5RIFA018F2WVCLKK/mcba-prize-2020-Jacob-Wan-Pillowtalk-5.jpg Entries & Jurors - 2020 Entries - Jacob Wan Orlando, Florida zhefuwan.com Pillowtalk 2018 mixed media, artist’s book, handmade paper made from boyfriend’s clothes, thread, and letter foil 13 x 9 x 3″ Artist Statement As a Chinese gay man, I explore sexuality, context, and introspection of personal experience through mixed media book arts. I support the definition of a conceptual book as an expression of emotions, sequence of consciousness, and collection of moments. By experimenting with the materiality of the page, thread, and cover, I employ personal memories to express self-awareness, celebrate solitude, and the importance of oneself. Pillowtalk is a book that is bound in traditional chain stitch with handmade paper and found text. It is a book that contains the moments and thoughts of my relationships as a homosexual male who grew up in a traditional Chinese culture. The chain stitch is one of the strongest stitches, and to me, it implies a chain to bind two people together in a romantic relationship. This book has individual sheets of purple papers that record unspoken words and these pages hang delicately above the book with clips. The pink-toned paper was handmade using linear cotton sheets and cotton fillings of pillows. I left an invisible “I love you” mark with letterpress on the pages. It is not always easy for someone to express the emotion of love to another person. An unreadable “I love you” is a reflection of the vulnerability of love. It appears to be weak for men to commit to strong emotions in this society, and many expressions of “I love you” have been swallowed before it comes out. The pink paper was mixed with red and white pulp. The purple paper in the book was a mixture of different colors made from clothes I have collected from my boyfriends. Clothes are the second layer of the skin; they hold memories, moments, and stories. The cloth is fiber, the fiber is paper, the paper is memory. Making paper from clothes is a process of deconstructing the original memory carrier into a material which is used for recording histories. It is a process that, allows me to explore a new physical form for holding my memories. I contrast the idea of visibility versus invisibility by comparing faded silver to bold gold in the way I have stamped the names on the pages to emphasize the present rather than the past. Under the names, there are unspoken conversations that are signified by letters that have been pressed onto the paper without foils, which makes the words hidden or non-existent. It is an implication of the unsaid moments that are often happen in relationships yet, are remembered in the heart. . The broken pages were stitched over with delicate gold thread. In Chinese culture, gold implies strength, honesty, and loyalty. The brokenness is a metaphor that the relationship is imperfect; the perfect relationship is stitched or put back together by the lovers. The found texts that I use for this book were from random romantic novels. They were cut from random pages that I chose improvisationally that express common romantic emotions. When I ended up with a box of random texts, I rearranged the order and mood to make a narrative, and I pressed the texts into the handcrafted paper. The randomness reflects memories that appears subconsciously and fragmentally. Making Pillowtalk with its unspoken words and hidden texts symbolizes that nighttime is a secret space where I can dream of the fantasies and the ideal relationship I imagine. Hiding my feelings and desires and expressing the loneliness of seeking love and finding the perfect one, is all expressed in this book. Reflecting on the experiences and outcomes of my relationships, I have come to an understanding that although it is important to love someone; it is also important to know how to love someone. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387487452-1ZHHPJDON5CYXKOH3VHO/mcba-prize-2020-Jacob-Wan-Pillowtalk-4.jpg Entries & Jurors - 2020 Entries - Jacob Wan Orlando, Florida zhefuwan.com Pillowtalk 2018 mixed media, artist’s book, handmade paper made from boyfriend’s clothes, thread, and letter foil 13 x 9 x 3″ Artist Statement As a Chinese gay man, I explore sexuality, context, and introspection of personal experience through mixed media book arts. I support the definition of a conceptual book as an expression of emotions, sequence of consciousness, and collection of moments. By experimenting with the materiality of the page, thread, and cover, I employ personal memories to express self-awareness, celebrate solitude, and the importance of oneself. Pillowtalk is a book that is bound in traditional chain stitch with handmade paper and found text. It is a book that contains the moments and thoughts of my relationships as a homosexual male who grew up in a traditional Chinese culture. The chain stitch is one of the strongest stitches, and to me, it implies a chain to bind two people together in a romantic relationship. This book has individual sheets of purple papers that record unspoken words and these pages hang delicately above the book with clips. The pink-toned paper was handmade using linear cotton sheets and cotton fillings of pillows. I left an invisible “I love you” mark with letterpress on the pages. It is not always easy for someone to express the emotion of love to another person. An unreadable “I love you” is a reflection of the vulnerability of love. It appears to be weak for men to commit to strong emotions in this society, and many expressions of “I love you” have been swallowed before it comes out. The pink paper was mixed with red and white pulp. The purple paper in the book was a mixture of different colors made from clothes I have collected from my boyfriends. Clothes are the second layer of the skin; they hold memories, moments, and stories. The cloth is fiber, the fiber is paper, the paper is memory. Making paper from clothes is a process of deconstructing the original memory carrier into a material which is used for recording histories. It is a process that, allows me to explore a new physical form for holding my memories. I contrast the idea of visibility versus invisibility by comparing faded silver to bold gold in the way I have stamped the names on the pages to emphasize the present rather than the past. Under the names, there are unspoken conversations that are signified by letters that have been pressed onto the paper without foils, which makes the words hidden or non-existent. It is an implication of the unsaid moments that are often happen in relationships yet, are remembered in the heart. . The broken pages were stitched over with delicate gold thread. In Chinese culture, gold implies strength, honesty, and loyalty. The brokenness is a metaphor that the relationship is imperfect; the perfect relationship is stitched or put back together by the lovers. The found texts that I use for this book were from random romantic novels. They were cut from random pages that I chose improvisationally that express common romantic emotions. When I ended up with a box of random texts, I rearranged the order and mood to make a narrative, and I pressed the texts into the handcrafted paper. The randomness reflects memories that appears subconsciously and fragmentally. Making Pillowtalk with its unspoken words and hidden texts symbolizes that nighttime is a secret space where I can dream of the fantasies and the ideal relationship I imagine. Hiding my feelings and desires and expressing the loneliness of seeking love and finding the perfect one, is all expressed in this book. Reflecting on the experiences and outcomes of my relationships, I have come to an understanding that although it is important to love someone; it is also important to know how to love someone. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387552533-HVHJ3MOUHJ6UBLQD0RJA/mcba-prize-2020-Jacob-Wan-Pillowtalk-3.jpg Entries & Jurors - 2020 Entries - Jacob Wan Orlando, Florida zhefuwan.com Pillowtalk 2018 mixed media, artist’s book, handmade paper made from boyfriend’s clothes, thread, and letter foil 13 x 9 x 3″ Artist Statement As a Chinese gay man, I explore sexuality, context, and introspection of personal experience through mixed media book arts. I support the definition of a conceptual book as an expression of emotions, sequence of consciousness, and collection of moments. By experimenting with the materiality of the page, thread, and cover, I employ personal memories to express self-awareness, celebrate solitude, and the importance of oneself. Pillowtalk is a book that is bound in traditional chain stitch with handmade paper and found text. It is a book that contains the moments and thoughts of my relationships as a homosexual male who grew up in a traditional Chinese culture. The chain stitch is one of the strongest stitches, and to me, it implies a chain to bind two people together in a romantic relationship. This book has individual sheets of purple papers that record unspoken words and these pages hang delicately above the book with clips. The pink-toned paper was handmade using linear cotton sheets and cotton fillings of pillows. I left an invisible “I love you” mark with letterpress on the pages. It is not always easy for someone to express the emotion of love to another person. An unreadable “I love you” is a reflection of the vulnerability of love. It appears to be weak for men to commit to strong emotions in this society, and many expressions of “I love you” have been swallowed before it comes out. The pink paper was mixed with red and white pulp. The purple paper in the book was a mixture of different colors made from clothes I have collected from my boyfriends. Clothes are the second layer of the skin; they hold memories, moments, and stories. The cloth is fiber, the fiber is paper, the paper is memory. Making paper from clothes is a process of deconstructing the original memory carrier into a material which is used for recording histories. It is a process that, allows me to explore a new physical form for holding my memories. I contrast the idea of visibility versus invisibility by comparing faded silver to bold gold in the way I have stamped the names on the pages to emphasize the present rather than the past. Under the names, there are unspoken conversations that are signified by letters that have been pressed onto the paper without foils, which makes the words hidden or non-existent. It is an implication of the unsaid moments that are often happen in relationships yet, are remembered in the heart. . The broken pages were stitched over with delicate gold thread. In Chinese culture, gold implies strength, honesty, and loyalty. The brokenness is a metaphor that the relationship is imperfect; the perfect relationship is stitched or put back together by the lovers. The found texts that I use for this book were from random romantic novels. They were cut from random pages that I chose improvisationally that express common romantic emotions. When I ended up with a box of random texts, I rearranged the order and mood to make a narrative, and I pressed the texts into the handcrafted paper. The randomness reflects memories that appears subconsciously and fragmentally. Making Pillowtalk with its unspoken words and hidden texts symbolizes that nighttime is a secret space where I can dream of the fantasies and the ideal relationship I imagine. Hiding my feelings and desires and expressing the loneliness of seeking love and finding the perfect one, is all expressed in this book. Reflecting on the experiences and outcomes of my relationships, I have come to an understanding that although it is important to love someone; it is also important to know how to love someone. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387553244-5HRZ14F6AH4HILS2OOJK/mcba-prize-2020-Jacob-Wan-Pillowtalk-2.jpg Entries & Jurors - 2020 Entries - Jacob Wan Orlando, Florida zhefuwan.com Pillowtalk 2018 mixed media, artist’s book, handmade paper made from boyfriend’s clothes, thread, and letter foil 13 x 9 x 3″ Artist Statement As a Chinese gay man, I explore sexuality, context, and introspection of personal experience through mixed media book arts. I support the definition of a conceptual book as an expression of emotions, sequence of consciousness, and collection of moments. By experimenting with the materiality of the page, thread, and cover, I employ personal memories to express self-awareness, celebrate solitude, and the importance of oneself. Pillowtalk is a book that is bound in traditional chain stitch with handmade paper and found text. It is a book that contains the moments and thoughts of my relationships as a homosexual male who grew up in a traditional Chinese culture. The chain stitch is one of the strongest stitches, and to me, it implies a chain to bind two people together in a romantic relationship. This book has individual sheets of purple papers that record unspoken words and these pages hang delicately above the book with clips. The pink-toned paper was handmade using linear cotton sheets and cotton fillings of pillows. I left an invisible “I love you” mark with letterpress on the pages. It is not always easy for someone to express the emotion of love to another person. An unreadable “I love you” is a reflection of the vulnerability of love. It appears to be weak for men to commit to strong emotions in this society, and many expressions of “I love you” have been swallowed before it comes out. The pink paper was mixed with red and white pulp. The purple paper in the book was a mixture of different colors made from clothes I have collected from my boyfriends. Clothes are the second layer of the skin; they hold memories, moments, and stories. The cloth is fiber, the fiber is paper, the paper is memory. Making paper from clothes is a process of deconstructing the original memory carrier into a material which is used for recording histories. It is a process that, allows me to explore a new physical form for holding my memories. I contrast the idea of visibility versus invisibility by comparing faded silver to bold gold in the way I have stamped the names on the pages to emphasize the present rather than the past. Under the names, there are unspoken conversations that are signified by letters that have been pressed onto the paper without foils, which makes the words hidden or non-existent. It is an implication of the unsaid moments that are often happen in relationships yet, are remembered in the heart. . The broken pages were stitched over with delicate gold thread. In Chinese culture, gold implies strength, honesty, and loyalty. The brokenness is a metaphor that the relationship is imperfect; the perfect relationship is stitched or put back together by the lovers. The found texts that I use for this book were from random romantic novels. They were cut from random pages that I chose improvisationally that express common romantic emotions. When I ended up with a box of random texts, I rearranged the order and mood to make a narrative, and I pressed the texts into the handcrafted paper. The randomness reflects memories that appears subconsciously and fragmentally. Making Pillowtalk with its unspoken words and hidden texts symbolizes that nighttime is a secret space where I can dream of the fantasies and the ideal relationship I imagine. Hiding my feelings and desires and expressing the loneliness of seeking love and finding the perfect one, is all expressed in this book. Reflecting on the experiences and outcomes of my relationships, I have come to an understanding that although it is important to love someone; it is also important to know how to love someone. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387554880-28N8HXZLHW548AQ982U1/mcba-prize-2020-Jacob-Wan-Pillowtalk-1.jpg Entries & Jurors - 2020 Entries - Jacob Wan Orlando, Florida zhefuwan.com Pillowtalk 2018 mixed media, artist’s book, handmade paper made from boyfriend’s clothes, thread, and letter foil 13 x 9 x 3″ Artist Statement As a Chinese gay man, I explore sexuality, context, and introspection of personal experience through mixed media book arts. I support the definition of a conceptual book as an expression of emotions, sequence of consciousness, and collection of moments. By experimenting with the materiality of the page, thread, and cover, I employ personal memories to express self-awareness, celebrate solitude, and the importance of oneself. Pillowtalk is a book that is bound in traditional chain stitch with handmade paper and found text. It is a book that contains the moments and thoughts of my relationships as a homosexual male who grew up in a traditional Chinese culture. The chain stitch is one of the strongest stitches, and to me, it implies a chain to bind two people together in a romantic relationship. This book has individual sheets of purple papers that record unspoken words and these pages hang delicately above the book with clips. The pink-toned paper was handmade using linear cotton sheets and cotton fillings of pillows. I left an invisible “I love you” mark with letterpress on the pages. It is not always easy for someone to express the emotion of love to another person. An unreadable “I love you” is a reflection of the vulnerability of love. It appears to be weak for men to commit to strong emotions in this society, and many expressions of “I love you” have been swallowed before it comes out. The pink paper was mixed with red and white pulp. The purple paper in the book was a mixture of different colors made from clothes I have collected from my boyfriends. Clothes are the second layer of the skin; they hold memories, moments, and stories. The cloth is fiber, the fiber is paper, the paper is memory. Making paper from clothes is a process of deconstructing the original memory carrier into a material which is used for recording histories. It is a process that, allows me to explore a new physical form for holding my memories. I contrast the idea of visibility versus invisibility by comparing faded silver to bold gold in the way I have stamped the names on the pages to emphasize the present rather than the past. Under the names, there are unspoken conversations that are signified by letters that have been pressed onto the paper without foils, which makes the words hidden or non-existent. It is an implication of the unsaid moments that are often happen in relationships yet, are remembered in the heart. . The broken pages were stitched over with delicate gold thread. In Chinese culture, gold implies strength, honesty, and loyalty. The brokenness is a metaphor that the relationship is imperfect; the perfect relationship is stitched or put back together by the lovers. The found texts that I use for this book were from random romantic novels. They were cut from random pages that I chose improvisationally that express common romantic emotions. When I ended up with a box of random texts, I rearranged the order and mood to make a narrative, and I pressed the texts into the handcrafted paper. The randomness reflects memories that appears subconsciously and fragmentally. Making Pillowtalk with its unspoken words and hidden texts symbolizes that nighttime is a secret space where I can dream of the fantasies and the ideal relationship I imagine. Hiding my feelings and desires and expressing the loneliness of seeking love and finding the perfect one, is all expressed in this book. Reflecting on the experiences and outcomes of my relationships, I have come to an understanding that although it is important to love someone; it is also important to know how to love someone. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387677066-3QP5IJVYXJ8HNNQTH4M2/mcba-prize-2020-Jennifer-Rose-Wolken-Catalyst-4.jpg Entries & Jurors - 2020 Entries - Jennifer Rose Wolken Springfield, Missouri oliyamaicoh.mystrikingly.com Catalyst 2018 Granite, Mylar, Handmade Paper, Glassine, India ink, Acrylic paint, Linen Thread, Leather 46 x 7 x 9 Artist Statement There are many different kinds of grief, and not all grief has the same outcome. This book is about one specific instance of grief and its impact. In 1975, my Mom’s brother died in a creek high in the mountains of Colorado and his body was recovered six miles away in Denver. Although this happened four years before my birth, I have always had a sense of grief over him. After visiting where he died, I wanted to explore how this grief was different from the grief I felt for my Dad, who died when I was 36 years old. During this exploration I realized much of what I felt about my Uncle was empathy for my Mom’s grief. But I also came to realize that his death was the catalyst for change in my parent’s life. A change that gave me a much different life than I would have had otherwise. This piece is about that event, the grief it caused, the search for answers that grief set off, what my parents found, and the profound changes they made as a result. Representing the parts of this journey are granite rocks collected from the creek my Uncle died in, and three bound sections following them. The first bound section is painted and torn mylar pages in a coptic binding. Followed by matte black ultra-textured handmade paper bound in a long stitch section to represent the overwhelming grief my mother felt immediately after. This tapers off to a sprinkling of black paper bits as an accordion formatted section emerges. This section is made from a long piece of glassine backed by mylar with handwritten text detailing what they learned in white and gold ink. Taken as a whole, this piece represents the journey of the grief that was the catalyst for change in a family’s life. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387677533-0R0N191A2DZES1350I93/mcba-prize-2020-Jennifer-Rose-Wolken-Catalyst-3.jpg Entries & Jurors - 2020 Entries - Jennifer Rose Wolken Springfield, Missouri oliyamaicoh.mystrikingly.com Catalyst 2018 Granite, Mylar, Handmade Paper, Glassine, India ink, Acrylic paint, Linen Thread, Leather 46 x 7 x 9 Artist Statement There are many different kinds of grief, and not all grief has the same outcome. This book is about one specific instance of grief and its impact. In 1975, my Mom’s brother died in a creek high in the mountains of Colorado and his body was recovered six miles away in Denver. Although this happened four years before my birth, I have always had a sense of grief over him. After visiting where he died, I wanted to explore how this grief was different from the grief I felt for my Dad, who died when I was 36 years old. During this exploration I realized much of what I felt about my Uncle was empathy for my Mom’s grief. But I also came to realize that his death was the catalyst for change in my parent’s life. A change that gave me a much different life than I would have had otherwise. This piece is about that event, the grief it caused, the search for answers that grief set off, what my parents found, and the profound changes they made as a result. Representing the parts of this journey are granite rocks collected from the creek my Uncle died in, and three bound sections following them. The first bound section is painted and torn mylar pages in a coptic binding. Followed by matte black ultra-textured handmade paper bound in a long stitch section to represent the overwhelming grief my mother felt immediately after. This tapers off to a sprinkling of black paper bits as an accordion formatted section emerges. This section is made from a long piece of glassine backed by mylar with handwritten text detailing what they learned in white and gold ink. Taken as a whole, this piece represents the journey of the grief that was the catalyst for change in a family’s life. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387678533-C8AH0P1R9FS7G3ANEV3R/mcba-prize-2020-Jennifer-Rose-Wolken-Catalyst-2.jpg Entries & Jurors - 2020 Entries - Jennifer Rose Wolken Springfield, Missouri oliyamaicoh.mystrikingly.com Catalyst 2018 Granite, Mylar, Handmade Paper, Glassine, India ink, Acrylic paint, Linen Thread, Leather 46 x 7 x 9 Artist Statement There are many different kinds of grief, and not all grief has the same outcome. This book is about one specific instance of grief and its impact. In 1975, my Mom’s brother died in a creek high in the mountains of Colorado and his body was recovered six miles away in Denver. Although this happened four years before my birth, I have always had a sense of grief over him. After visiting where he died, I wanted to explore how this grief was different from the grief I felt for my Dad, who died when I was 36 years old. During this exploration I realized much of what I felt about my Uncle was empathy for my Mom’s grief. But I also came to realize that his death was the catalyst for change in my parent’s life. A change that gave me a much different life than I would have had otherwise. This piece is about that event, the grief it caused, the search for answers that grief set off, what my parents found, and the profound changes they made as a result. Representing the parts of this journey are granite rocks collected from the creek my Uncle died in, and three bound sections following them. The first bound section is painted and torn mylar pages in a coptic binding. Followed by matte black ultra-textured handmade paper bound in a long stitch section to represent the overwhelming grief my mother felt immediately after. This tapers off to a sprinkling of black paper bits as an accordion formatted section emerges. This section is made from a long piece of glassine backed by mylar with handwritten text detailing what they learned in white and gold ink. Taken as a whole, this piece represents the journey of the grief that was the catalyst for change in a family’s life. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387679117-AUMD8BMLGO1EL6HMZ1ML/mcba-prize-2020-Jennifer-Rose-Wolken-Catalyst-1.jpg Entries & Jurors - 2020 Entries - Jennifer Rose Wolken Springfield, Missouri oliyamaicoh.mystrikingly.com Catalyst 2018 Granite, Mylar, Handmade Paper, Glassine, India ink, Acrylic paint, Linen Thread, Leather 46 x 7 x 9 Artist Statement There are many different kinds of grief, and not all grief has the same outcome. This book is about one specific instance of grief and its impact. In 1975, my Mom’s brother died in a creek high in the mountains of Colorado and his body was recovered six miles away in Denver. Although this happened four years before my birth, I have always had a sense of grief over him. After visiting where he died, I wanted to explore how this grief was different from the grief I felt for my Dad, who died when I was 36 years old. During this exploration I realized much of what I felt about my Uncle was empathy for my Mom’s grief. But I also came to realize that his death was the catalyst for change in my parent’s life. A change that gave me a much different life than I would have had otherwise. This piece is about that event, the grief it caused, the search for answers that grief set off, what my parents found, and the profound changes they made as a result. Representing the parts of this journey are granite rocks collected from the creek my Uncle died in, and three bound sections following them. The first bound section is painted and torn mylar pages in a coptic binding. Followed by matte black ultra-textured handmade paper bound in a long stitch section to represent the overwhelming grief my mother felt immediately after. This tapers off to a sprinkling of black paper bits as an accordion formatted section emerges. This section is made from a long piece of glassine backed by mylar with handwritten text detailing what they learned in white and gold ink. Taken as a whole, this piece represents the journey of the grief that was the catalyst for change in a family’s life. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387783206-USXBFW07CCUWJN6GGH3B/mcba-prize-2020-Sze-Ching-Wong-You-See-What-I-See-5.jpg Entries & Jurors - 2020 Entries - Sze Ching Wong Hong Kong, Hong Kong You see what I see 2018 paper 5.5 x 2.5 x 5.5” Artist Statement The Chipper series aims to provide different perspectives and directions for reading through ‘flippable’ paper chips. They provide basic elements like colors and shapes for imagination. The book expand the meaning of reading as the content keeps changing according to one’s creativity. Children can easily name and create scenarios and express their ideas.By reading the book in different ways, parents can ask simple questions so as to open up a dialogue and interact with children through shared discovery. The two books can be read vertically or horizontally as to bring up different ways of interactions: Colors and Counting/ Searching objects. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387783164-XI8HPYPAPHVJPVAW9BG0/mcba-prize-2020-Sze-Ching-Wong-You-See-What-I-See-4.jpg Entries & Jurors - 2020 Entries - Sze Ching Wong Hong Kong, Hong Kong You see what I see 2018 paper 5.5 x 2.5 x 5.5” Artist Statement The Chipper series aims to provide different perspectives and directions for reading through ‘flippable’ paper chips. They provide basic elements like colors and shapes for imagination. The book expand the meaning of reading as the content keeps changing according to one’s creativity. Children can easily name and create scenarios and express their ideas.By reading the book in different ways, parents can ask simple questions so as to open up a dialogue and interact with children through shared discovery. The two books can be read vertically or horizontally as to bring up different ways of interactions: Colors and Counting/ Searching objects. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387784509-0RIV88USXGDTYIXK4UY2/mcba-prize-2020-Sze-Ching-Wong-You-See-What-I-See-3.jpg Entries & Jurors - 2020 Entries - Sze Ching Wong Hong Kong, Hong Kong You see what I see 2018 paper 5.5 x 2.5 x 5.5” Artist Statement The Chipper series aims to provide different perspectives and directions for reading through ‘flippable’ paper chips. They provide basic elements like colors and shapes for imagination. The book expand the meaning of reading as the content keeps changing according to one’s creativity. Children can easily name and create scenarios and express their ideas.By reading the book in different ways, parents can ask simple questions so as to open up a dialogue and interact with children through shared discovery. The two books can be read vertically or horizontally as to bring up different ways of interactions: Colors and Counting/ Searching objects. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387785125-0E8IRQDK7L7WFY56GURH/mcba-prize-2020-Sze-Ching-Wong-You-See-What-I-See-2.jpg Entries & Jurors - 2020 Entries - Sze Ching Wong Hong Kong, Hong Kong You see what I see 2018 paper 5.5 x 2.5 x 5.5” Artist Statement The Chipper series aims to provide different perspectives and directions for reading through ‘flippable’ paper chips. They provide basic elements like colors and shapes for imagination. The book expand the meaning of reading as the content keeps changing according to one’s creativity. Children can easily name and create scenarios and express their ideas.By reading the book in different ways, parents can ask simple questions so as to open up a dialogue and interact with children through shared discovery. The two books can be read vertically or horizontally as to bring up different ways of interactions: Colors and Counting/ Searching objects. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387785920-EBM2KTZEXRW7WYCS29O8/mcba-prize-2020-Sze-Ching-Wong-You-See-What-I-See-1.jpg Entries & Jurors - 2020 Entries - Sze Ching Wong Hong Kong, Hong Kong You see what I see 2018 paper 5.5 x 2.5 x 5.5” Artist Statement The Chipper series aims to provide different perspectives and directions for reading through ‘flippable’ paper chips. They provide basic elements like colors and shapes for imagination. The book expand the meaning of reading as the content keeps changing according to one’s creativity. Children can easily name and create scenarios and express their ideas.By reading the book in different ways, parents can ask simple questions so as to open up a dialogue and interact with children through shared discovery. The two books can be read vertically or horizontally as to bring up different ways of interactions: Colors and Counting/ Searching objects. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387887485-P4VWFOOJH04S39TMUL3P/mcba-prize-2020-Larsen-Zambrano-The-Tracks-With-No-Name-5.jpg Entries & Jurors - 2020 Entries - Larsen Zambrano Virginia Beach, Virginia larsen-zambrano.format.com The Tracks with No Name 2019 tunnel books and box 10 x 5 x 7″ Artist Statement Told from the perspective of the only friend who continues to go back, The Tracks with No Name tells the story of how three best friends discovered a hidden oasis on a stretch of abandoned train tracks. They made it their escape, their home, then grew apart over the years and abandoned it. The story is told through four tunnel books, with the first and third books mirroring each other as they describe the oasis before and after discovery. The second and fourth books mirror each other as well as they describe the first discovery and the re-discovery. Each page is digitally designed and laser cut from cardstock and lightweight paper that’s been layered on top of one another to emphasize depth and help create the environment of the story. I chose the tunnel book structure to give the story a place so that readers could imagine themselves inside, but unlike most tunnel books however, the right accordion of each book can be pulled away and to the side. This allows for the poem to be read clearly, and each page to be turned and viewed without obstruction. Also, to avoid the issue of pages slipping from the folds they sit in, magnets are used so the pages can easily go back into place without any trouble. The Tracks with No Name aims to bring storytelling to life through the unorthodox interaction with a seemingly simple book structure as it asks readers to look deeper and come discover a hidden oasis within its pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387887451-7EO3I5OINV2XL2L34HI2/mcba-prize-2020-Larsen-Zambrano-The-Tracks-With-No-Name-4.jpg Entries & Jurors - 2020 Entries - Larsen Zambrano Virginia Beach, Virginia larsen-zambrano.format.com The Tracks with No Name 2019 tunnel books and box 10 x 5 x 7″ Artist Statement Told from the perspective of the only friend who continues to go back, The Tracks with No Name tells the story of how three best friends discovered a hidden oasis on a stretch of abandoned train tracks. They made it their escape, their home, then grew apart over the years and abandoned it. The story is told through four tunnel books, with the first and third books mirroring each other as they describe the oasis before and after discovery. The second and fourth books mirror each other as well as they describe the first discovery and the re-discovery. Each page is digitally designed and laser cut from cardstock and lightweight paper that’s been layered on top of one another to emphasize depth and help create the environment of the story. I chose the tunnel book structure to give the story a place so that readers could imagine themselves inside, but unlike most tunnel books however, the right accordion of each book can be pulled away and to the side. This allows for the poem to be read clearly, and each page to be turned and viewed without obstruction. Also, to avoid the issue of pages slipping from the folds they sit in, magnets are used so the pages can easily go back into place without any trouble. The Tracks with No Name aims to bring storytelling to life through the unorthodox interaction with a seemingly simple book structure as it asks readers to look deeper and come discover a hidden oasis within its pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387889319-N96MIZ0HYB2IQKOB9WUI/mcba-prize-2020-Larsen-Zambrano-The-Tracks-With-No-Name-3.jpg Entries & Jurors - 2020 Entries - Larsen Zambrano Virginia Beach, Virginia larsen-zambrano.format.com The Tracks with No Name 2019 tunnel books and box 10 x 5 x 7″ Artist Statement Told from the perspective of the only friend who continues to go back, The Tracks with No Name tells the story of how three best friends discovered a hidden oasis on a stretch of abandoned train tracks. They made it their escape, their home, then grew apart over the years and abandoned it. The story is told through four tunnel books, with the first and third books mirroring each other as they describe the oasis before and after discovery. The second and fourth books mirror each other as well as they describe the first discovery and the re-discovery. Each page is digitally designed and laser cut from cardstock and lightweight paper that’s been layered on top of one another to emphasize depth and help create the environment of the story. I chose the tunnel book structure to give the story a place so that readers could imagine themselves inside, but unlike most tunnel books however, the right accordion of each book can be pulled away and to the side. This allows for the poem to be read clearly, and each page to be turned and viewed without obstruction. Also, to avoid the issue of pages slipping from the folds they sit in, magnets are used so the pages can easily go back into place without any trouble. The Tracks with No Name aims to bring storytelling to life through the unorthodox interaction with a seemingly simple book structure as it asks readers to look deeper and come discover a hidden oasis within its pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387889614-XWRY9Q6MCDSMLGXDRYMI/mcba-prize-2020-Larsen-Zambrano-The-Tracks-With-No-Name-2.jpg Entries & Jurors - 2020 Entries - Larsen Zambrano Virginia Beach, Virginia larsen-zambrano.format.com The Tracks with No Name 2019 tunnel books and box 10 x 5 x 7″ Artist Statement Told from the perspective of the only friend who continues to go back, The Tracks with No Name tells the story of how three best friends discovered a hidden oasis on a stretch of abandoned train tracks. They made it their escape, their home, then grew apart over the years and abandoned it. The story is told through four tunnel books, with the first and third books mirroring each other as they describe the oasis before and after discovery. The second and fourth books mirror each other as well as they describe the first discovery and the re-discovery. Each page is digitally designed and laser cut from cardstock and lightweight paper that’s been layered on top of one another to emphasize depth and help create the environment of the story. I chose the tunnel book structure to give the story a place so that readers could imagine themselves inside, but unlike most tunnel books however, the right accordion of each book can be pulled away and to the side. This allows for the poem to be read clearly, and each page to be turned and viewed without obstruction. Also, to avoid the issue of pages slipping from the folds they sit in, magnets are used so the pages can easily go back into place without any trouble. The Tracks with No Name aims to bring storytelling to life through the unorthodox interaction with a seemingly simple book structure as it asks readers to look deeper and come discover a hidden oasis within its pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774387891038-E2S6YS8QTHAJJ4A0BLIK/mcba-prize-2020-Larsen-Zambrano-The-Tracks-With-No-Name-1.jpg Entries & Jurors - 2020 Entries - Larsen Zambrano Virginia Beach, Virginia larsen-zambrano.format.com The Tracks with No Name 2019 tunnel books and box 10 x 5 x 7″ Artist Statement Told from the perspective of the only friend who continues to go back, The Tracks with No Name tells the story of how three best friends discovered a hidden oasis on a stretch of abandoned train tracks. They made it their escape, their home, then grew apart over the years and abandoned it. The story is told through four tunnel books, with the first and third books mirroring each other as they describe the oasis before and after discovery. The second and fourth books mirror each other as well as they describe the first discovery and the re-discovery. Each page is digitally designed and laser cut from cardstock and lightweight paper that’s been layered on top of one another to emphasize depth and help create the environment of the story. I chose the tunnel book structure to give the story a place so that readers could imagine themselves inside, but unlike most tunnel books however, the right accordion of each book can be pulled away and to the side. This allows for the poem to be read clearly, and each page to be turned and viewed without obstruction. Also, to avoid the issue of pages slipping from the folds they sit in, magnets are used so the pages can easily go back into place without any trouble. The Tracks with No Name aims to bring storytelling to life through the unorthodox interaction with a seemingly simple book structure as it asks readers to look deeper and come discover a hidden oasis within its pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774474446067-18DGA8YZIKPJ84O02LJD/mcba-prize-2020-Maggie-Minor-What-you-said-and-how-I-Remember-it-5.jpg Entries & Jurors - 2020 Entries - Maggie Minor Tuscaloosa, Alabama maggieminor.com What You Said and How I Remember It 2020 letterpress printing, drum leaf binding 5.75 x 3″ Artist Statement I explore ideas of relationships and loss in my art. As my body of work has grown, it has developed into multiple chapters of a diary that is open to the public. Current youth culture endorses a lack of emotion or caring; therefore, through my work, I attempt to be vulnerable about my romantic relationships in a cultural climate that supports numbing one’s feelings. My artistic practice encapsulates the turmoil of losing a love. By publicly producing the work, I am able to gain control over my feelings and create a coherent narrative for others to connect with. I intermix nostalgia and poignant locations to create imagery that feels like an actual memory. Since my personal life is the driving force for my work, I am able to explore the ways in which my own recall begins to warp my memories. What You Said and How I Remember It is a culmination of my previous works. It centers on the fixation that a breakup can cause and how phones enable this toxic behavior. When looking at this book, it should evoke the feeling of obsessively viewing the same photographs and text messages. The distortion and manipulation throughout the book mirror the ways memories change over time and the process of moving on from painful events. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774474445638-A522APNW573FEVGZ7RSO/mcba-prize-2020-Maggie-Minor-What-you-said-and-how-I-Remember-it-4.jpg Entries & Jurors - 2020 Entries - Maggie Minor Tuscaloosa, Alabama maggieminor.com What You Said and How I Remember It 2020 letterpress printing, drum leaf binding 5.75 x 3″ Artist Statement I explore ideas of relationships and loss in my art. As my body of work has grown, it has developed into multiple chapters of a diary that is open to the public. Current youth culture endorses a lack of emotion or caring; therefore, through my work, I attempt to be vulnerable about my romantic relationships in a cultural climate that supports numbing one’s feelings. My artistic practice encapsulates the turmoil of losing a love. By publicly producing the work, I am able to gain control over my feelings and create a coherent narrative for others to connect with. I intermix nostalgia and poignant locations to create imagery that feels like an actual memory. Since my personal life is the driving force for my work, I am able to explore the ways in which my own recall begins to warp my memories. What You Said and How I Remember It is a culmination of my previous works. It centers on the fixation that a breakup can cause and how phones enable this toxic behavior. When looking at this book, it should evoke the feeling of obsessively viewing the same photographs and text messages. The distortion and manipulation throughout the book mirror the ways memories change over time and the process of moving on from painful events. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774474447299-QYMU6KHMVGQHUF4PV9QL/mcba-prize-2020-Maggie-Minor-What-you-said-and-how-I-Remember-it-3.jpg Entries & Jurors - 2020 Entries - Maggie Minor Tuscaloosa, Alabama maggieminor.com What You Said and How I Remember It 2020 letterpress printing, drum leaf binding 5.75 x 3″ Artist Statement I explore ideas of relationships and loss in my art. As my body of work has grown, it has developed into multiple chapters of a diary that is open to the public. Current youth culture endorses a lack of emotion or caring; therefore, through my work, I attempt to be vulnerable about my romantic relationships in a cultural climate that supports numbing one’s feelings. My artistic practice encapsulates the turmoil of losing a love. By publicly producing the work, I am able to gain control over my feelings and create a coherent narrative for others to connect with. I intermix nostalgia and poignant locations to create imagery that feels like an actual memory. Since my personal life is the driving force for my work, I am able to explore the ways in which my own recall begins to warp my memories. What You Said and How I Remember It is a culmination of my previous works. It centers on the fixation that a breakup can cause and how phones enable this toxic behavior. When looking at this book, it should evoke the feeling of obsessively viewing the same photographs and text messages. The distortion and manipulation throughout the book mirror the ways memories change over time and the process of moving on from painful events. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774474448102-09WMM2IN4Z5M39XIUD67/mcba-prize-2020-Maggie-Minor-What-you-said-and-how-I-Remember-it-2.jpg Entries & Jurors - 2020 Entries - Maggie Minor Tuscaloosa, Alabama maggieminor.com What You Said and How I Remember It 2020 letterpress printing, drum leaf binding 5.75 x 3″ Artist Statement I explore ideas of relationships and loss in my art. As my body of work has grown, it has developed into multiple chapters of a diary that is open to the public. Current youth culture endorses a lack of emotion or caring; therefore, through my work, I attempt to be vulnerable about my romantic relationships in a cultural climate that supports numbing one’s feelings. My artistic practice encapsulates the turmoil of losing a love. By publicly producing the work, I am able to gain control over my feelings and create a coherent narrative for others to connect with. I intermix nostalgia and poignant locations to create imagery that feels like an actual memory. Since my personal life is the driving force for my work, I am able to explore the ways in which my own recall begins to warp my memories. What You Said and How I Remember It is a culmination of my previous works. It centers on the fixation that a breakup can cause and how phones enable this toxic behavior. When looking at this book, it should evoke the feeling of obsessively viewing the same photographs and text messages. The distortion and manipulation throughout the book mirror the ways memories change over time and the process of moving on from painful events. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774474449010-4BL2A3PXX5YL60YBXWV8/mcba-prize-2020-Maggie-Minor-What-you-said-and-how-I-Remember-it-1.jpg Entries & Jurors - 2020 Entries - Maggie Minor Tuscaloosa, Alabama maggieminor.com What You Said and How I Remember It 2020 letterpress printing, drum leaf binding 5.75 x 3″ Artist Statement I explore ideas of relationships and loss in my art. As my body of work has grown, it has developed into multiple chapters of a diary that is open to the public. Current youth culture endorses a lack of emotion or caring; therefore, through my work, I attempt to be vulnerable about my romantic relationships in a cultural climate that supports numbing one’s feelings. My artistic practice encapsulates the turmoil of losing a love. By publicly producing the work, I am able to gain control over my feelings and create a coherent narrative for others to connect with. I intermix nostalgia and poignant locations to create imagery that feels like an actual memory. Since my personal life is the driving force for my work, I am able to explore the ways in which my own recall begins to warp my memories. What You Said and How I Remember It is a culmination of my previous works. It centers on the fixation that a breakup can cause and how phones enable this toxic behavior. When looking at this book, it should evoke the feeling of obsessively viewing the same photographs and text messages. The distortion and manipulation throughout the book mirror the ways memories change over time and the process of moving on from painful events. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774474557914-0JHACIDTBM9MARZ9GQI8/mcba-prize-2020-Rafael-Morales-Cendejas-Manspreading-2.jpg Entries & Jurors - 2020 Entries - Rafael Morales Cendejas Tonala, Mexico rafaelmc.co.uk Manspreading 2019 Cianotype 3.2 x 3.2 x 1.6 Artist Statement The definition of manspreading is ‘The practice whereby a man, especially one travelling on public transport, adopts a sitting position with his legs wide apart, in such a way as to encroach on an adjacent seat or seats.’ (Oxford dictionaries 2019) In my research, I noticed that manspreading is a new word that was just included in the Oxford dictionaries in 2015 and as a consequence, there are not many sources in archives and collections in the UK yet. So, for this reason, I have been reading articles and journals like ‘The Guardian’ who are using this concept to start a discussion. My investigations include some feminist and humanist theories such as ‘Some reflections on the Right of Man’ and tracking the hashtag manspreading on social media who has nearly 57,000 images on Instagram. Also getting to know activist women running collective spaces like the Feminist Library and initiatives by Lu Williams who is the director of GRRRL Zine Fair, has been highly motivating to develop a political perspective within the book arts field. This art installation focuses on the act of manspreading as subject matter, the reader is invited to sit down in front of a manspreading scenario made in cyanotype. From this viewpoint, one might explore gender inequality and possible authenticity issues through image content. As the book includes more images than text elements, the main spectator then becomes participant by sharing thoughts and feelings about the topic with people around. The artist’s book deals with the idea of banning this behaviour, asking to sign a petition addressed to Transport for London. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774474558197-DMN6JZLGE17P3VXZBQH8/mcba-prize-2020-Rafael-Morales-Cendejas-Manspreading-1.jpg Entries & Jurors - 2020 Entries - Rafael Morales Cendejas Tonala, Mexico rafaelmc.co.uk Manspreading 2019 Cianotype 3.2 x 3.2 x 1.6 Artist Statement The definition of manspreading is ‘The practice whereby a man, especially one travelling on public transport, adopts a sitting position with his legs wide apart, in such a way as to encroach on an adjacent seat or seats.’ (Oxford dictionaries 2019) In my research, I noticed that manspreading is a new word that was just included in the Oxford dictionaries in 2015 and as a consequence, there are not many sources in archives and collections in the UK yet. So, for this reason, I have been reading articles and journals like ‘The Guardian’ who are using this concept to start a discussion. My investigations include some feminist and humanist theories such as ‘Some reflections on the Right of Man’ and tracking the hashtag manspreading on social media who has nearly 57,000 images on Instagram. Also getting to know activist women running collective spaces like the Feminist Library and initiatives by Lu Williams who is the director of GRRRL Zine Fair, has been highly motivating to develop a political perspective within the book arts field. This art installation focuses on the act of manspreading as subject matter, the reader is invited to sit down in front of a manspreading scenario made in cyanotype. From this viewpoint, one might explore gender inequality and possible authenticity issues through image content. As the book includes more images than text elements, the main spectator then becomes participant by sharing thoughts and feelings about the topic with people around. The artist’s book deals with the idea of banning this behaviour, asking to sign a petition addressed to Transport for London. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774474680320-BTHR4Q7D1DF0927SXF0A/mcba-prize-2020-Sue-ODonnell-Run-2.jpg Entries & Jurors - 2020 Entries - Sue O’Donnell Bloomsburg, Pennsylvania sueodonnell.net Run 2019 electrostatic fore-edge prints, home movie stills, found frame 30.5 x 2.5 x 4″ Artist Statement I am a visual artist that combines experimental book arts, graphic diagramming, and conceptual narratives. Through the use of images, storytelling, and visual mapping, I recontextualize memories into constructions and installations. These constructions offer insight into the connections, patterns, and paths that make up my history. Although the subject matter of my work is a self-portrait, my interest in memory constructions reach beyond the parameter of self. I seek to transfer familiar pathways of my past into maps and constructions where memory can be more deeply plotted. What I hope to reveal is not an ultimate truth, but a deeper understanding of the way we accept memory by exposing and strengthening the connections we have within ourselves and with each other. I earned my MFA degree in Visual Arts at Purchase College in 2002 after having worked for many years as a freelance designer and digital consultant in Buffalo, NY. I joined the faculty at Bloomsburg University of Pennsylvania in 2007 where I teach digital art, graphic print design, and book arts. I have had a wide range of life experiences that informs my work and teaching philosophy. My past teaching experience includes Southeastern Louisiana University, Purchase College, and Manhattanville College. Along with a national exhibition record, I have been the recipient of numerous artist residencies, grants, and awards. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774474680100-INPZZD10M9M8595WW286/mcba-prize-2020-Sue-ODonnell-Run-1.jpg Entries & Jurors - 2020 Entries - Sue O’Donnell Bloomsburg, Pennsylvania sueodonnell.net Run 2019 electrostatic fore-edge prints, home movie stills, found frame 30.5 x 2.5 x 4″ Artist Statement I am a visual artist that combines experimental book arts, graphic diagramming, and conceptual narratives. Through the use of images, storytelling, and visual mapping, I recontextualize memories into constructions and installations. These constructions offer insight into the connections, patterns, and paths that make up my history. Although the subject matter of my work is a self-portrait, my interest in memory constructions reach beyond the parameter of self. I seek to transfer familiar pathways of my past into maps and constructions where memory can be more deeply plotted. What I hope to reveal is not an ultimate truth, but a deeper understanding of the way we accept memory by exposing and strengthening the connections we have within ourselves and with each other. I earned my MFA degree in Visual Arts at Purchase College in 2002 after having worked for many years as a freelance designer and digital consultant in Buffalo, NY. I joined the faculty at Bloomsburg University of Pennsylvania in 2007 where I teach digital art, graphic print design, and book arts. I have had a wide range of life experiences that informs my work and teaching philosophy. My past teaching experience includes Southeastern Louisiana University, Purchase College, and Manhattanville College. Along with a national exhibition record, I have been the recipient of numerous artist residencies, grants, and awards. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774474840481-ZHQI1PGD32LZO63Y7QN9/mcba-prize-2020-Meri-Page-Spring-Creek-1.jpg Entries & Jurors - 2020 Entries - Meri Page Syracuse, New York meripage.com Spring Creek 2018 Book Art 8.5” x 1.5” x 6.25” Artist Statement Spring Creek is a visual meditation exploring the changing environment of a hidden slot canyon in rural Southern Utah over the course of one year. The project began as a series of dog walks, with biweekly explorations of the 3.5 mile trail. Watching the creek over the course of a year radically alter the landscape, at times frozen, then turbulent, then meandering, until the hot dry summer where it provided cool relief from the relentless sun then slowed and almost evaporated. Spring Creek Canyon located in Kanarraville, Utah sits on the northern border of Zion National Park. Zion NP park received 4.49 million visitors in 2019 (4.32 in 2018) and there are currently 961,000 posts with the hashtag #zionnationalpark on Instagram. Sitting on the other side of an invisible boundary line, Spring Creek Canyon in contrast receives perhaps a few hundred visitors (usage is not recorded) and its Instagram hashtag #springcreekcanyon has less than 100 images. These repeated visits and hikes inspired questions about our experience of the landscape, place, memory, and the emotional and economic value we assign to land. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774474837705-5TMAZI6F9LPLHW7RCVJW/mcba-prize-2020-Meri-Page-Spring-Creek-4.jpg Entries & Jurors - 2020 Entries - Meri Page Syracuse, New York meripage.com Spring Creek 2018 Book Art 8.5” x 1.5” x 6.25” Artist Statement Spring Creek is a visual meditation exploring the changing environment of a hidden slot canyon in rural Southern Utah over the course of one year. The project began as a series of dog walks, with biweekly explorations of the 3.5 mile trail. Watching the creek over the course of a year radically alter the landscape, at times frozen, then turbulent, then meandering, until the hot dry summer where it provided cool relief from the relentless sun then slowed and almost evaporated. Spring Creek Canyon located in Kanarraville, Utah sits on the northern border of Zion National Park. Zion NP park received 4.49 million visitors in 2019 (4.32 in 2018) and there are currently 961,000 posts with the hashtag #zionnationalpark on Instagram. Sitting on the other side of an invisible boundary line, Spring Creek Canyon in contrast receives perhaps a few hundred visitors (usage is not recorded) and its Instagram hashtag #springcreekcanyon has less than 100 images. These repeated visits and hikes inspired questions about our experience of the landscape, place, memory, and the emotional and economic value we assign to land. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774474837713-6KYF90HFEORQUSEV9P9S/mcba-prize-2020-Meri-Page-Spring-Creek-3.jpg Entries & Jurors - 2020 Entries - Meri Page Syracuse, New York meripage.com Spring Creek 2018 Book Art 8.5” x 1.5” x 6.25” Artist Statement Spring Creek is a visual meditation exploring the changing environment of a hidden slot canyon in rural Southern Utah over the course of one year. The project began as a series of dog walks, with biweekly explorations of the 3.5 mile trail. Watching the creek over the course of a year radically alter the landscape, at times frozen, then turbulent, then meandering, until the hot dry summer where it provided cool relief from the relentless sun then slowed and almost evaporated. Spring Creek Canyon located in Kanarraville, Utah sits on the northern border of Zion National Park. Zion NP park received 4.49 million visitors in 2019 (4.32 in 2018) and there are currently 961,000 posts with the hashtag #zionnationalpark on Instagram. Sitting on the other side of an invisible boundary line, Spring Creek Canyon in contrast receives perhaps a few hundred visitors (usage is not recorded) and its Instagram hashtag #springcreekcanyon has less than 100 images. These repeated visits and hikes inspired questions about our experience of the landscape, place, memory, and the emotional and economic value we assign to land. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774474839153-V1A7ESM0UEKZS41OSCSJ/mcba-prize-2020-Meri-Page-Spring-Creek-2.jpg Entries & Jurors - 2020 Entries - Meri Page Syracuse, New York meripage.com Spring Creek 2018 Book Art 8.5” x 1.5” x 6.25” Artist Statement Spring Creek is a visual meditation exploring the changing environment of a hidden slot canyon in rural Southern Utah over the course of one year. The project began as a series of dog walks, with biweekly explorations of the 3.5 mile trail. Watching the creek over the course of a year radically alter the landscape, at times frozen, then turbulent, then meandering, until the hot dry summer where it provided cool relief from the relentless sun then slowed and almost evaporated. Spring Creek Canyon located in Kanarraville, Utah sits on the northern border of Zion National Park. Zion NP park received 4.49 million visitors in 2019 (4.32 in 2018) and there are currently 961,000 posts with the hashtag #zionnationalpark on Instagram. Sitting on the other side of an invisible boundary line, Spring Creek Canyon in contrast receives perhaps a few hundred visitors (usage is not recorded) and its Instagram hashtag #springcreekcanyon has less than 100 images. These repeated visits and hikes inspired questions about our experience of the landscape, place, memory, and the emotional and economic value we assign to land. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774475032417-I3WR604W9ME5QOAI1G6N/mcba-prize-2020-Radha-Pandey-Memory-of-Long-Ago-4.jpg Entries & Jurors - 2020 Entries - Radha Pandey Tistedal, Norway radhapandey.com Memory of Long Ago 2018 letterpress printing on handmade paper 5.75 x 3″ Artist Statement Breast milk, semen and snow were perhaps out first encounters with white. What is snow had fallen orange? How would our early perceptions of life, creation and reverence of nature affect our current notions of virginity, race, purity and beauty? Memory of Long Ago has been made using highly beaten abaca fibers that were letterpress printed using Joanna types. The text has been printed with permission from the author, Kenta Hara, who wrote White. The text has been printed in a way that allows for multiple readings. The printed order may not necessarily be the order revealed by the turning of the page, the movement of the eye or the play of light on paper. Papers were waxed and bound to resemble an ice core. Layers of frozen water–firn, hold our planet’s memories from long ago. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774475032059-SOFV36L18GSIJIKPQHGP/mcba-prize-2020-Radha-Pandey-Memory-of-Long-Ago-3.jpg Entries & Jurors - 2020 Entries - Radha Pandey Tistedal, Norway radhapandey.com Memory of Long Ago 2018 letterpress printing on handmade paper 5.75 x 3″ Artist Statement Breast milk, semen and snow were perhaps out first encounters with white. What is snow had fallen orange? How would our early perceptions of life, creation and reverence of nature affect our current notions of virginity, race, purity and beauty? Memory of Long Ago has been made using highly beaten abaca fibers that were letterpress printed using Joanna types. The text has been printed with permission from the author, Kenta Hara, who wrote White. The text has been printed in a way that allows for multiple readings. The printed order may not necessarily be the order revealed by the turning of the page, the movement of the eye or the play of light on paper. Papers were waxed and bound to resemble an ice core. Layers of frozen water–firn, hold our planet’s memories from long ago. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774475035012-RXT8ILYFFNY1U15EEVR8/mcba-prize-2020-Radha-Pandey-Memory-of-Long-Ago-2.jpeg Entries & Jurors - 2020 Entries - Radha Pandey Tistedal, Norway radhapandey.com Memory of Long Ago 2018 letterpress printing on handmade paper 5.75 x 3″ Artist Statement Breast milk, semen and snow were perhaps out first encounters with white. What is snow had fallen orange? How would our early perceptions of life, creation and reverence of nature affect our current notions of virginity, race, purity and beauty? Memory of Long Ago has been made using highly beaten abaca fibers that were letterpress printed using Joanna types. The text has been printed with permission from the author, Kenta Hara, who wrote White. The text has been printed in a way that allows for multiple readings. The printed order may not necessarily be the order revealed by the turning of the page, the movement of the eye or the play of light on paper. Papers were waxed and bound to resemble an ice core. Layers of frozen water–firn, hold our planet’s memories from long ago. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774475034960-K8WXT5UOH30903CLNCWP/mcba-prize-2020-Radha-Pandey-Memory-of-Long-Ago-1.jpg Entries & Jurors - 2020 Entries - Radha Pandey Tistedal, Norway radhapandey.com Memory of Long Ago 2018 letterpress printing on handmade paper 5.75 x 3″ Artist Statement Breast milk, semen and snow were perhaps out first encounters with white. What is snow had fallen orange? How would our early perceptions of life, creation and reverence of nature affect our current notions of virginity, race, purity and beauty? Memory of Long Ago has been made using highly beaten abaca fibers that were letterpress printed using Joanna types. The text has been printed with permission from the author, Kenta Hara, who wrote White. The text has been printed in a way that allows for multiple readings. The printed order may not necessarily be the order revealed by the turning of the page, the movement of the eye or the play of light on paper. Papers were waxed and bound to resemble an ice core. Layers of frozen water–firn, hold our planet’s memories from long ago. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774475147760-8EEXK6ITZ6KAY5CC2RS4/mcba-prize-2020-Sarah-Smith-Graham-Patten-News-Cycle-1.jpg Entries & Jurors - 2020 Entries - Sarah Smith &amp; Graham Patten Sarah Smith White River Junction, Vermont olfactorygleanings.com Graham Patten Medford, Massachusetts grahampatten.weebly.com News Cycle 2019 letterpress with photo polymer plates from ink drawings 3.75 x 3.75 x 1.5″ Artist Statement This multiplex carousel structure—a Continuously Convoluting Carousel—is the first of its kind. It was invented by bookbinder and conservator Graham Patten, and features artwork by printer, illustrator, and book artist Sarah Smith. It can be inverted on itself indefinitely, revealing a sequence of four different hidden openings or displays. A variation on the Jacob’s Ladder toy, the Continuously Convoluting Carousel employs the same double-action hinges that gave the original toy its characteristically illusive motion. News Cycle is comments on our reactions to the news. Through the operation of the book, five groups of people express four different emotions—apathetic, shocked, angry and elated. The cycle continues indefinitely as the viewer manipulates the book and the people experience the news. The images were drawn in pen and ink and then printed with photopolymer plates. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774475146810-JFQ8S14BJDILMYE2WZ77/mcba-prize-2020-Sarah-Smith-Graham-Patten-News-Cycle-2.jpg Entries & Jurors - 2020 Entries - Sarah Smith &amp; Graham Patten Sarah Smith White River Junction, Vermont olfactorygleanings.com Graham Patten Medford, Massachusetts grahampatten.weebly.com News Cycle 2019 letterpress with photo polymer plates from ink drawings 3.75 x 3.75 x 1.5″ Artist Statement This multiplex carousel structure—a Continuously Convoluting Carousel—is the first of its kind. It was invented by bookbinder and conservator Graham Patten, and features artwork by printer, illustrator, and book artist Sarah Smith. It can be inverted on itself indefinitely, revealing a sequence of four different hidden openings or displays. A variation on the Jacob’s Ladder toy, the Continuously Convoluting Carousel employs the same double-action hinges that gave the original toy its characteristically illusive motion. News Cycle is comments on our reactions to the news. Through the operation of the book, five groups of people express four different emotions—apathetic, shocked, angry and elated. The cycle continues indefinitely as the viewer manipulates the book and the people experience the news. The images were drawn in pen and ink and then printed with photopolymer plates. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774475146172-2H5QLKVHJCMYHE2YZ19C/mcba-prize-2020-Sarah-Smith-Graham-Patten-News-Cycle-3.jpg Entries & Jurors - 2020 Entries - Sarah Smith &amp; Graham Patten Sarah Smith White River Junction, Vermont olfactorygleanings.com Graham Patten Medford, Massachusetts grahampatten.weebly.com News Cycle 2019 letterpress with photo polymer plates from ink drawings 3.75 x 3.75 x 1.5″ Artist Statement This multiplex carousel structure—a Continuously Convoluting Carousel—is the first of its kind. It was invented by bookbinder and conservator Graham Patten, and features artwork by printer, illustrator, and book artist Sarah Smith. It can be inverted on itself indefinitely, revealing a sequence of four different hidden openings or displays. A variation on the Jacob’s Ladder toy, the Continuously Convoluting Carousel employs the same double-action hinges that gave the original toy its characteristically illusive motion. News Cycle is comments on our reactions to the news. Through the operation of the book, five groups of people express four different emotions—apathetic, shocked, angry and elated. The cycle continues indefinitely as the viewer manipulates the book and the people experience the news. The images were drawn in pen and ink and then printed with photopolymer plates. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774475143837-MBKU2U4Z0E0YE6BBXIAT/mcba-prize-2020-Sarah-Smith-Graham-Patten-News-Cycle-4.jpg Entries & Jurors - 2020 Entries - Sarah Smith &amp; Graham Patten Sarah Smith White River Junction, Vermont olfactorygleanings.com Graham Patten Medford, Massachusetts grahampatten.weebly.com News Cycle 2019 letterpress with photo polymer plates from ink drawings 3.75 x 3.75 x 1.5″ Artist Statement This multiplex carousel structure—a Continuously Convoluting Carousel—is the first of its kind. It was invented by bookbinder and conservator Graham Patten, and features artwork by printer, illustrator, and book artist Sarah Smith. It can be inverted on itself indefinitely, revealing a sequence of four different hidden openings or displays. A variation on the Jacob’s Ladder toy, the Continuously Convoluting Carousel employs the same double-action hinges that gave the original toy its characteristically illusive motion. News Cycle is comments on our reactions to the news. Through the operation of the book, five groups of people express four different emotions—apathetic, shocked, angry and elated. The cycle continues indefinitely as the viewer manipulates the book and the people experience the news. The images were drawn in pen and ink and then printed with photopolymer plates. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774475143859-BMMO5Y004CDQMM1A0965/mcba-prize-2020-Sarah-Smith-Graham-Patten-News-Cycle-5.jpg Entries & Jurors - 2020 Entries - Sarah Smith &amp; Graham Patten Sarah Smith White River Junction, Vermont olfactorygleanings.com Graham Patten Medford, Massachusetts grahampatten.weebly.com News Cycle 2019 letterpress with photo polymer plates from ink drawings 3.75 x 3.75 x 1.5″ Artist Statement This multiplex carousel structure—a Continuously Convoluting Carousel—is the first of its kind. It was invented by bookbinder and conservator Graham Patten, and features artwork by printer, illustrator, and book artist Sarah Smith. It can be inverted on itself indefinitely, revealing a sequence of four different hidden openings or displays. A variation on the Jacob’s Ladder toy, the Continuously Convoluting Carousel employs the same double-action hinges that gave the original toy its characteristically illusive motion. News Cycle is comments on our reactions to the news. Through the operation of the book, five groups of people express four different emotions—apathetic, shocked, angry and elated. The cycle continues indefinitely as the viewer manipulates the book and the people experience the news. The images were drawn in pen and ink and then printed with photopolymer plates. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774475291668-VCJZSII61DAIM9X0MCFH/mcba-prize-2020-Christine-Pereira-Adams-Colour-Notebooks-2.jpg Entries & Jurors - 2020 Entries - Christine Pereira-Adams London, United Kingdom cpereira-adams.info Colour Notebooks: Volumes 1, 2 & 3 2019 Natural and red linen thread, recycled paper, pergamenata paper and drafting film 10.5×5.5×22.5 cm 10.5x7x18 cm 13×5.5x23cm Artist Statement Colour Notebooks: Volumes 1, 2 & 3 The interplay and evolution of creativity, society and technology has informed human history and experience, shaping our contemporary globalised environment. Current perspectives and structures are in flux. How do we analyse and portray this, in the context of societal and ecological change. ‘Colour Notebooks’ considers these issues through the study of the concept of colour and the book. Colour in science and human experience informs the materials, making and reading of the works. Volumes 1, 2 & 3 consist of a series of experimental book forms that are bound with the symbols of chemicals that contribute to the colouring and forming of our world. The pages are circular and elliptical and draw upon dynamic scientific diagrams, from the sketches of Galileo to models of particle physics. Colour Notebooks is a continuing series. Volumes 1, 2 and 3 1. Gallic Acid and Iron Gall Ink 10.5×5.5×22.5 cm Natural linen thread and recycled paper Gallic acid, extracted from oak galls, is an important ingredient in iron gall ink. This black/ brown ink has been used by scribes since antiquity, from Roman manuscripts to the Magna Carta and the U.S. Declaration of Independence. Whilst it is a durable ink it’s corrosive nature can eventually degrade the surface it is written upon. 2. Silver Nitrate/Electoral Stain 10.5x7x18 cm Red linen thread and pergamenata paper Silver Nitrate is the active constituent of the indelible election ink/electoral stain used to stop repeat voting and signify participation in the electoral process in countries across the world. 3. Methyl Green 13×5.5x23cm Red linen thread and drafting film A medical stain for DNA, with fluorescent properties. It can be used for research and diagnostic purposes. Christine Pereira-Adams Christine Pereira-Adams is an artist and maker based in London. Through the exploration of the mediums of drawing, textiles and book art, her work focuses upon contemporary global issues. The artworks, often sculptural, can take on many forms encouraging a dialogue with the curator and viewer. This methodology focuses on the individual’s negotiation of the complex cultural and social issues created by 21st century society. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774475290472-J5BO1V1PD1DNCV7LNPHT/mcba-prize-2020-Christine-Pereira-Adams-Colour-Notebooks-1.jpg Entries & Jurors - 2020 Entries - Christine Pereira-Adams London, United Kingdom cpereira-adams.info Colour Notebooks: Volumes 1, 2 & 3 2019 Natural and red linen thread, recycled paper, pergamenata paper and drafting film 10.5×5.5×22.5 cm 10.5x7x18 cm 13×5.5x23cm Artist Statement Colour Notebooks: Volumes 1, 2 & 3 The interplay and evolution of creativity, society and technology has informed human history and experience, shaping our contemporary globalised environment. Current perspectives and structures are in flux. How do we analyse and portray this, in the context of societal and ecological change. ‘Colour Notebooks’ considers these issues through the study of the concept of colour and the book. Colour in science and human experience informs the materials, making and reading of the works. Volumes 1, 2 & 3 consist of a series of experimental book forms that are bound with the symbols of chemicals that contribute to the colouring and forming of our world. The pages are circular and elliptical and draw upon dynamic scientific diagrams, from the sketches of Galileo to models of particle physics. Colour Notebooks is a continuing series. Volumes 1, 2 and 3 1. Gallic Acid and Iron Gall Ink 10.5×5.5×22.5 cm Natural linen thread and recycled paper Gallic acid, extracted from oak galls, is an important ingredient in iron gall ink. This black/ brown ink has been used by scribes since antiquity, from Roman manuscripts to the Magna Carta and the U.S. Declaration of Independence. Whilst it is a durable ink it’s corrosive nature can eventually degrade the surface it is written upon. 2. Silver Nitrate/Electoral Stain 10.5x7x18 cm Red linen thread and pergamenata paper Silver Nitrate is the active constituent of the indelible election ink/electoral stain used to stop repeat voting and signify participation in the electoral process in countries across the world. 3. Methyl Green 13×5.5x23cm Red linen thread and drafting film A medical stain for DNA, with fluorescent properties. It can be used for research and diagnostic purposes. Christine Pereira-Adams Christine Pereira-Adams is an artist and maker based in London. Through the exploration of the mediums of drawing, textiles and book art, her work focuses upon contemporary global issues. The artworks, often sculptural, can take on many forms encouraging a dialogue with the curator and viewer. This methodology focuses on the individual’s negotiation of the complex cultural and social issues created by 21st century society. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774475290068-9H1LFMOKEE9BVSLRTKG7/mcba-prize-2020-Christine-Pereira-Adams-Colour-Notebooks-4.jpg Entries & Jurors - 2020 Entries - Christine Pereira-Adams London, United Kingdom cpereira-adams.info Colour Notebooks: Volumes 1, 2 & 3 2019 Natural and red linen thread, recycled paper, pergamenata paper and drafting film 10.5×5.5×22.5 cm 10.5x7x18 cm 13×5.5x23cm Artist Statement Colour Notebooks: Volumes 1, 2 & 3 The interplay and evolution of creativity, society and technology has informed human history and experience, shaping our contemporary globalised environment. Current perspectives and structures are in flux. How do we analyse and portray this, in the context of societal and ecological change. ‘Colour Notebooks’ considers these issues through the study of the concept of colour and the book. Colour in science and human experience informs the materials, making and reading of the works. Volumes 1, 2 & 3 consist of a series of experimental book forms that are bound with the symbols of chemicals that contribute to the colouring and forming of our world. The pages are circular and elliptical and draw upon dynamic scientific diagrams, from the sketches of Galileo to models of particle physics. Colour Notebooks is a continuing series. Volumes 1, 2 and 3 1. Gallic Acid and Iron Gall Ink 10.5×5.5×22.5 cm Natural linen thread and recycled paper Gallic acid, extracted from oak galls, is an important ingredient in iron gall ink. This black/ brown ink has been used by scribes since antiquity, from Roman manuscripts to the Magna Carta and the U.S. Declaration of Independence. Whilst it is a durable ink it’s corrosive nature can eventually degrade the surface it is written upon. 2. Silver Nitrate/Electoral Stain 10.5x7x18 cm Red linen thread and pergamenata paper Silver Nitrate is the active constituent of the indelible election ink/electoral stain used to stop repeat voting and signify participation in the electoral process in countries across the world. 3. Methyl Green 13×5.5x23cm Red linen thread and drafting film A medical stain for DNA, with fluorescent properties. It can be used for research and diagnostic purposes. Christine Pereira-Adams Christine Pereira-Adams is an artist and maker based in London. Through the exploration of the mediums of drawing, textiles and book art, her work focuses upon contemporary global issues. The artworks, often sculptural, can take on many forms encouraging a dialogue with the curator and viewer. This methodology focuses on the individual’s negotiation of the complex cultural and social issues created by 21st century society. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774475288490-SJHROO8CJZJ96XSJX4KW/mcba-prize-2020-Christine-Pereira-Adams-Colour-Notebooks-3.jpg Entries & Jurors - 2020 Entries - Christine Pereira-Adams London, United Kingdom cpereira-adams.info Colour Notebooks: Volumes 1, 2 & 3 2019 Natural and red linen thread, recycled paper, pergamenata paper and drafting film 10.5×5.5×22.5 cm 10.5x7x18 cm 13×5.5x23cm Artist Statement Colour Notebooks: Volumes 1, 2 & 3 The interplay and evolution of creativity, society and technology has informed human history and experience, shaping our contemporary globalised environment. Current perspectives and structures are in flux. How do we analyse and portray this, in the context of societal and ecological change. ‘Colour Notebooks’ considers these issues through the study of the concept of colour and the book. Colour in science and human experience informs the materials, making and reading of the works. Volumes 1, 2 & 3 consist of a series of experimental book forms that are bound with the symbols of chemicals that contribute to the colouring and forming of our world. The pages are circular and elliptical and draw upon dynamic scientific diagrams, from the sketches of Galileo to models of particle physics. Colour Notebooks is a continuing series. Volumes 1, 2 and 3 1. Gallic Acid and Iron Gall Ink 10.5×5.5×22.5 cm Natural linen thread and recycled paper Gallic acid, extracted from oak galls, is an important ingredient in iron gall ink. This black/ brown ink has been used by scribes since antiquity, from Roman manuscripts to the Magna Carta and the U.S. Declaration of Independence. Whilst it is a durable ink it’s corrosive nature can eventually degrade the surface it is written upon. 2. Silver Nitrate/Electoral Stain 10.5x7x18 cm Red linen thread and pergamenata paper Silver Nitrate is the active constituent of the indelible election ink/electoral stain used to stop repeat voting and signify participation in the electoral process in countries across the world. 3. Methyl Green 13×5.5x23cm Red linen thread and drafting film A medical stain for DNA, with fluorescent properties. It can be used for research and diagnostic purposes. Christine Pereira-Adams Christine Pereira-Adams is an artist and maker based in London. Through the exploration of the mediums of drawing, textiles and book art, her work focuses upon contemporary global issues. The artworks, often sculptural, can take on many forms encouraging a dialogue with the curator and viewer. This methodology focuses on the individual’s negotiation of the complex cultural and social issues created by 21st century society. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774475288594-QKATSBIY58PU9BM0B19G/mcba-prize-2020-Christine-Pereira-Adams-Colour-Notebooks-5.jpg Entries & Jurors - 2020 Entries - Christine Pereira-Adams London, United Kingdom cpereira-adams.info Colour Notebooks: Volumes 1, 2 & 3 2019 Natural and red linen thread, recycled paper, pergamenata paper and drafting film 10.5×5.5×22.5 cm 10.5x7x18 cm 13×5.5x23cm Artist Statement Colour Notebooks: Volumes 1, 2 & 3 The interplay and evolution of creativity, society and technology has informed human history and experience, shaping our contemporary globalised environment. Current perspectives and structures are in flux. How do we analyse and portray this, in the context of societal and ecological change. ‘Colour Notebooks’ considers these issues through the study of the concept of colour and the book. Colour in science and human experience informs the materials, making and reading of the works. Volumes 1, 2 & 3 consist of a series of experimental book forms that are bound with the symbols of chemicals that contribute to the colouring and forming of our world. The pages are circular and elliptical and draw upon dynamic scientific diagrams, from the sketches of Galileo to models of particle physics. Colour Notebooks is a continuing series. Volumes 1, 2 and 3 1. Gallic Acid and Iron Gall Ink 10.5×5.5×22.5 cm Natural linen thread and recycled paper Gallic acid, extracted from oak galls, is an important ingredient in iron gall ink. This black/ brown ink has been used by scribes since antiquity, from Roman manuscripts to the Magna Carta and the U.S. Declaration of Independence. Whilst it is a durable ink it’s corrosive nature can eventually degrade the surface it is written upon. 2. Silver Nitrate/Electoral Stain 10.5x7x18 cm Red linen thread and pergamenata paper Silver Nitrate is the active constituent of the indelible election ink/electoral stain used to stop repeat voting and signify participation in the electoral process in countries across the world. 3. Methyl Green 13×5.5x23cm Red linen thread and drafting film A medical stain for DNA, with fluorescent properties. It can be used for research and diagnostic purposes. Christine Pereira-Adams Christine Pereira-Adams is an artist and maker based in London. Through the exploration of the mediums of drawing, textiles and book art, her work focuses upon contemporary global issues. The artworks, often sculptural, can take on many forms encouraging a dialogue with the curator and viewer. This methodology focuses on the individual’s negotiation of the complex cultural and social issues created by 21st century society. https://www.mcbaprize.org/mcba-prize/2020-mcba-prize-peoples-book-art-award monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1de61dcd-2635-48e3-ab86-32be6833bd6b/2020-MCBA-Prize-Peoples-Book-Art-Award-1-1024x372.jpg Entries & Jurors - 2020 MCBA Prize People’s Book Art Award - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/da2ee2f4-3ea8-4d13-8bbe-14152ad0fc27/mcba-prize-2020-peoples-book-art-award-carolyn-thompson-1.jpg Entries & Jurors - 2020 MCBA Prize People’s Book Art Award - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1771423446398-HNX28D9XJTBTGP0XALJB/mcba-prize-2020-peoples-book-art-award-carolyn-thompson-2.jpg Entries & Jurors - 2020 MCBA Prize People’s Book Art Award https://www.mcbaprize.org/mcba-prize/2017-mcba-prize-jurors monthly 0.5 2026-03-19 https://www.mcbaprize.org/mcba-prize/2017-prize-winner-announcement monthly 0.5 2026-03-27 https://www.mcbaprize.org/mcba-prize/nader-koochaki-soineko-paisaia-/-dorsal-landscape-2009-2015 monthly 0.5 2026-04-03 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773265036883-X4HO9FQD30JT2MCUSG7W/mcba-prize-2020-nader-koochaki-soineko-paisaia-dorsal-landscape-1.jpg Entries & Jurors - Nader Koochaki, “Soineko Paisaia / Dorsal Landscape 2009-2015” View of the closed case (die-cut carton compact, four-colour printed paper, matt laminated, riveted buttons) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773265036563-4J6G6E0DLRV39P2RTK58/mcba-prize-2020-nader-koochaki-soineko-paisaia-dorsal-landscape-2.jpg Entries & Jurors - Nader Koochaki, “Soineko Paisaia / Dorsal Landscape 2009-2015” View of the opened case and booklet assemblage (satimat naturel paper, 2 ink print, Cristal pvc folder) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773265037664-052U74SXY8MFJVF3QBQU/mcba-prize-2020-nader-koochaki-soineko-paisaia-dorsal-landscape-3.jpg Entries & Jurors - Nader Koochaki, “Soineko Paisaia / Dorsal Landscape 2009-2015” View of the opened case, booklet assemblage and LP folders (printed cartography; 12″ Heavy Black. 180gr) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773265037841-CUDKMJNIKJ136QOR1JG8/mcba-prize-2020-nader-koochaki-soineko-paisaia-dorsal-landscape-4.jpg Entries & Jurors - Nader Koochaki, “Soineko Paisaia / Dorsal Landscape 2009-2015” View of all the elements (case, LPs, folders, booklets and poster) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773265038667-3XBC5O799DKDRZTM8QR3/mcba-prize-2020-nader-koochaki-soineko-paisaia-dorsal-landscape-5.jpg Entries & Jurors - Nader Koochaki, “Soineko Paisaia / Dorsal Landscape 2009-2015” View of flap back cover (embossed edition number) https://www.mcbaprize.org/mcba-prize/ines-von-ketelhodt-alpha-beta monthly 0.5 2026-04-03 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773264901207-97ZO0QDOXM3IELG3JP2A/mcba-prize-2020-ines-von-ketelhodt-alpha-beta-1.jpg Entries & Jurors - Ines von Ketelhodt, “Alpha Beta” Detail of a double spread: The text could fit onto a single page, but instead it is broken down into its letter components. All of the A/a letters are printed on the first page, all of the B/b letters on the second, all of the C/c letters on the third, etc., with each letter in the same position it would have on a complete printed page. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773264901138-VQSTEMWM9C5P943O7ZSM/mcba-prize-2020-ines-von-ketelhodt-alpha-beta-2.jpg Entries & Jurors - Ines von Ketelhodt, “Alpha Beta” Open view showing the volume “Alpha” (the first page is turned with all of the A/a letters) and the volume “Beta” (because of the transparency of the 40 g/qm cellophane pages, the entire text can only be read on the first page). If both volumes are paged through at the same time, the reader can compare how frequently various letters appear in the respective languages (French / German). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773264902241-ESD0GNEZM0RSUR8TZ2OK/mcba-prize-2020-ines-von-ketelhodt-alpha-beta-3.jpg Entries & Jurors - Ines von Ketelhodt, “Alpha Beta” Open view showing the volume “Beta”. As the pages are turned, the letters on the right side of the double spread gradually disappear, until finally, only the punctuation remains, and the full text can once again be found as a mirror image on the left side of the double spread. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773264902770-DTRBGD3TMFV8XBBLCX0X/mcba-prize-2020-ines-von-ketelhodt-alpha-beta-4.jpg Entries & Jurors - Ines von Ketelhodt, “Alpha Beta” The two volumes “Alpha” and “Beta” with a printed jacket in a plexiglass slipcase. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773264903498-CP34TG68NQZOJ8TCM41F/mcba-prize-2020-ines-von-ketelhodt-alpha-beta-5.jpg Entries & Jurors - Ines von Ketelhodt, “Alpha Beta” Detail of the two volumes “Alpha” and “Beta” in a plexiglass slipcase. https://www.mcbaprize.org/mcba-prize/hannah-batsel-maneater monthly 0.5 2026-04-03 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773264297206-17D1W59CV9A3DLPMHJEZ/mcba-prize-2020-hannah-bastel-maneater-1.jpg Entries & Jurors - Hannah Batsel, “Maneater” Maneater is housed in a custom-printed clamshell box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773264297259-I23B5SRHP8D81Z167GYT/mcba-prize-2020-hannah-bastel-maneater-2.jpg Entries & Jurors - Hannah Batsel, “Maneater” When opened, the box reveals the set of books on the right and the colophon in an envelope on the left. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773264298410-HEZCV1N5AYYZ9U0FDKHE/mcba-prize-2020-hannah-bastel-maneater-3.jpg Entries & Jurors - Hannah Batsel, “Maneater” The four books of the Maneater nestle inside one another like Russian nesting dolls. Held in place by magnets embedded in their spines, the books are best read as one volume but can be separated and read individually. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773264298579-3EWQ6LG0K0R24RL4UEII/mcba-prize-2020-hannah-bastel-maneater-4.jpg Entries & Jurors - Hannah Batsel, “Maneater” The four volumes of Maneater decrease in size and page count– but become more fantastical and colorful – as the story goes backward in time. The first time each new character’s name is spoken, a new volume begins to tell their story. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773264299531-2QY3AD5426PPAAP330QD/mcba-prize-2020-hannah-bastel-maneater-5.jpg Entries & Jurors - Hannah Batsel, “Maneater” All together, Maneater consists of thirty hand-screen-printed pages, plus five covers and a colophon. https://www.mcbaprize.org/mcba-prize/ellen-knudson-ingress-/-egress monthly 0.5 2026-04-03 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773255148622-BNJTXMVH88OOJBU43P1I/mcba-prize-2020-ellen-knudson-ingress-egress-1.jpg Entries & Jurors - Ellen Knudson, “Ingress / Egress” Clamshell / wrapper enclosure for suite of six books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773255148619-P2NFX04YZQZQXY681L2K/mcba-prize-2020-ellen-knudson-ingress-egress-2.jpg Entries & Jurors - Ellen Knudson, “Ingress / Egress” Interior of enclosure and fan display of the 6 french-fold books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773255149606-QCT0US7YTII8FPCL052E/mcba-prize-2020-ellen-knudson-ingress-egress-3.jpg Entries & Jurors - Ellen Knudson, “Ingress / Egress” The six books: (1) Books are Architecture, (2) Books are Collections, (3) Books are Environments, (4) Books are Maps, (5) Books are Plans, (6) Books are Processes. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773255149642-1CPWZYYCH8V9LI1OX6Y2/mcba-prize-2020-ellen-knudson-ingress-egress-4.jpg Entries & Jurors - Ellen Knudson, “Ingress / Egress” Wrapper enclosure. https://www.mcbaprize.org/mcba-prize/tim-hopkins-the-book-of-disquiet monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773254718223-BRH6W8G7W6NAPTVS2TRW/mcba-prize-2020-tim-hopkins-the-book-of-disquiet-1.jpg Entries & Jurors - Tim Hopkins – “The Book of Disquiet” The Book of Disquiet opened. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773254717749-QM3BCVTWKS2G0S1691O5/mcba-prize-2020-tim-hopkins-the-book-of-disquiet-2.jpg Entries & Jurors - Tim Hopkins – “The Book of Disquiet” The Book of Disquiet with contents. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773254718982-UJLX2AK6VGR56CZMI5R6/mcba-prize-2020-tim-hopkins-the-book-of-disquiet-3.jpg Entries & Jurors - Tim Hopkins – “The Book of Disquiet” The Book of Disquiet: box top with a selection of fragments. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773254719325-FNOQFHT4AJS7GJUXDC92/mcba-prize-2020-tim-hopkins-the-book-of-disquiet-4.jpg Entries & Jurors - Tim Hopkins – “The Book of Disquiet” A jumble of fragments from The Book of Disquiet. https://www.mcbaprize.org/mcba-prize/2017-entries monthly 0.5 2026-04-03 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958783073-52AX7SNWYH8DIEWCIUNI/mcba-prize-2017-guylaine-couture-le-territoire-des-mauvaises-herbes-the-territory-of-weeds-1.jpg Entries & Jurors - 2017 Entries - Guylaine Couture Montréal, Québec gycouture.com Le territoire des mauvaises herbes (The territory of weeds) 2016 old book, engraving, collages, hand print and laser print, thread, various paper edition of 2 50 x 29 x 4 cm 23 x 29 x 4 cm The cover of the book. On the front through the sad cement plates, we discover a little piece of life. Artist statement Guylaine started making artist books after years of drawings and collages. She took a workshop on binding which put her on the track of the artist’s book. It became her main discipline. The artist juggles on subjects that question us, among which cancer, ecology, mourning or landscape. These themes ask for introspection. She delicately drafts the message, analyzes the meaning of words and images as well as developing the final form of the book with accuracy. The process requires time, reflection and several models in order for the desired result to be achieved. Using old books, collage, drawing and manual printing, she tries to give a new direction, a second life to all kinds of material. Each book attempts to create a fusion between the contents and the container while questioning the manipulation of the object by the reader. To create a book allows for an exchange with the reader both by the text and by the manipulation of it. Browse slowly one of its artists’ books is an experience, a conversation, a relationship with her and her concerns. Guylaine Couture lives in Montreal, speaks French, teaches graphic design and shares her discoveries on her blog. About Le territoire des mauvaises herbes The territory of weeds is a book about the force of nature that always takes over. Man often tries to control its environment and uses concrete, asphalt and cement for low extended maintenance. What’s going on with the weather? Vegetation eventually find its way, often in unusual places. This force of nature has always impressed me. I walk a lot in the city and I have respect for that bit of green trying to see the sun in a crack. My book tells a little journey with six collages/engravings. I first prepared textures on different papers with various printing techniques. Thereafter, I made my collages, and I’ve added manual printing to the very end. The cover is a book that I reversed, putting the inside to the outside, a bit like looking under the concrete. On the front through the sad cement plates, we discover a little piece of life. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958783029-D8BWKAQPIZNTQOWOYG3A/mcba-prize-2017-guylaine-couture-le-territoire-des-mauvaises-herbes-the-territory-of-weeds-2.jpg Entries & Jurors - 2017 Entries - Guylaine Couture Montréal, Québec gycouture.com Le territoire des mauvaises herbes (The territory of weeds) 2016 old book, engraving, collages, hand print and laser print, thread, various paper edition of 2 50 x 29 x 4 cm 23 x 29 x 4 cm A text page from the book Artist statement Guylaine started making artist books after years of drawings and collages. She took a workshop on binding which put her on the track of the artist’s book. It became her main discipline. The artist juggles on subjects that question us, among which cancer, ecology, mourning or landscape. These themes ask for introspection. She delicately drafts the message, analyzes the meaning of words and images as well as developing the final form of the book with accuracy. The process requires time, reflection and several models in order for the desired result to be achieved. Using old books, collage, drawing and manual printing, she tries to give a new direction, a second life to all kinds of material. Each book attempts to create a fusion between the contents and the container while questioning the manipulation of the object by the reader. To create a book allows for an exchange with the reader both by the text and by the manipulation of it. Browse slowly one of its artists’ books is an experience, a conversation, a relationship with her and her concerns. Guylaine Couture lives in Montreal, speaks French, teaches graphic design and shares her discoveries on her blog. About Le territoire des mauvaises herbes The territory of weeds is a book about the force of nature that always takes over. Man often tries to control its environment and uses concrete, asphalt and cement for low extended maintenance. What’s going on with the weather? Vegetation eventually find its way, often in unusual places. This force of nature has always impressed me. I walk a lot in the city and I have respect for that bit of green trying to see the sun in a crack. My book tells a little journey with six collages/engravings. I first prepared textures on different papers with various printing techniques. Thereafter, I made my collages, and I’ve added manual printing to the very end. The cover is a book that I reversed, putting the inside to the outside, a bit like looking under the concrete. On the front through the sad cement plates, we discover a little piece of life. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958784747-XJ2TA6727W1QS8YMKAEE/mcba-prize-2017-guylaine-couture-le-territoire-des-mauvaises-herbes-the-territory-of-weeds-3.jpg Entries & Jurors - 2017 Entries - Guylaine Couture Montréal, Québec gycouture.com Le territoire des mauvaises herbes (The territory of weeds) 2016 old book, engraving, collages, hand print and laser print, thread, various paper edition of 2 50 x 29 x 4 cm 23 x 29 x 4 cm The second collage/engraving text: A slight green tint color cracks. Artist statement Guylaine started making artist books after years of drawings and collages. She took a workshop on binding which put her on the track of the artist’s book. It became her main discipline. The artist juggles on subjects that question us, among which cancer, ecology, mourning or landscape. These themes ask for introspection. She delicately drafts the message, analyzes the meaning of words and images as well as developing the final form of the book with accuracy. The process requires time, reflection and several models in order for the desired result to be achieved. Using old books, collage, drawing and manual printing, she tries to give a new direction, a second life to all kinds of material. Each book attempts to create a fusion between the contents and the container while questioning the manipulation of the object by the reader. To create a book allows for an exchange with the reader both by the text and by the manipulation of it. Browse slowly one of its artists’ books is an experience, a conversation, a relationship with her and her concerns. Guylaine Couture lives in Montreal, speaks French, teaches graphic design and shares her discoveries on her blog. About Le territoire des mauvaises herbes The territory of weeds is a book about the force of nature that always takes over. Man often tries to control its environment and uses concrete, asphalt and cement for low extended maintenance. What’s going on with the weather? Vegetation eventually find its way, often in unusual places. This force of nature has always impressed me. I walk a lot in the city and I have respect for that bit of green trying to see the sun in a crack. My book tells a little journey with six collages/engravings. I first prepared textures on different papers with various printing techniques. Thereafter, I made my collages, and I’ve added manual printing to the very end. The cover is a book that I reversed, putting the inside to the outside, a bit like looking under the concrete. On the front through the sad cement plates, we discover a little piece of life. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958785385-UWCSVQCUY3VKV7S2275S/mcba-prize-2017-guylaine-couture-le-territoire-des-mauvaises-herbes-the-territory-of-weeds-4.jpg Entries & Jurors - 2017 Entries - Guylaine Couture Montréal, Québec gycouture.com Le territoire des mauvaises herbes (The territory of weeds) 2016 old book, engraving, collages, hand print and laser print, thread, various paper edition of 2 50 x 29 x 4 cm 23 x 29 x 4 cm The third collage/engraving text: A leaf ? Green wants to resume its territory however minimal. Artist statement Guylaine started making artist books after years of drawings and collages. She took a workshop on binding which put her on the track of the artist’s book. It became her main discipline. The artist juggles on subjects that question us, among which cancer, ecology, mourning or landscape. These themes ask for introspection. She delicately drafts the message, analyzes the meaning of words and images as well as developing the final form of the book with accuracy. The process requires time, reflection and several models in order for the desired result to be achieved. Using old books, collage, drawing and manual printing, she tries to give a new direction, a second life to all kinds of material. Each book attempts to create a fusion between the contents and the container while questioning the manipulation of the object by the reader. To create a book allows for an exchange with the reader both by the text and by the manipulation of it. Browse slowly one of its artists’ books is an experience, a conversation, a relationship with her and her concerns. Guylaine Couture lives in Montreal, speaks French, teaches graphic design and shares her discoveries on her blog. About Le territoire des mauvaises herbes The territory of weeds is a book about the force of nature that always takes over. Man often tries to control its environment and uses concrete, asphalt and cement for low extended maintenance. What’s going on with the weather? Vegetation eventually find its way, often in unusual places. This force of nature has always impressed me. I walk a lot in the city and I have respect for that bit of green trying to see the sun in a crack. My book tells a little journey with six collages/engravings. I first prepared textures on different papers with various printing techniques. Thereafter, I made my collages, and I’ve added manual printing to the very end. The cover is a book that I reversed, putting the inside to the outside, a bit like looking under the concrete. On the front through the sad cement plates, we discover a little piece of life. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958786304-GBY2I6GPTNH5GZX2CPGQ/mcba-prize-2017-guylaine-couture-le-territoire-des-mauvaises-herbes-the-territory-of-weeds-5.jpg Entries & Jurors - 2017 Entries - Guylaine Couture Montréal, Québec gycouture.com Le territoire des mauvaises herbes (The territory of weeds) 2016 old book, engraving, collages, hand print and laser print, thread, various paper edition of 2 50 x 29 x 4 cm 23 x 29 x 4 cm The last collage/engraving. If you look carfully, you will find some black lines on the edges of the page. text: A bad habit. The “controller” starts to draw a path… Artist statement Guylaine started making artist books after years of drawings and collages. She took a workshop on binding which put her on the track of the artist’s book. It became her main discipline. The artist juggles on subjects that question us, among which cancer, ecology, mourning or landscape. These themes ask for introspection. She delicately drafts the message, analyzes the meaning of words and images as well as developing the final form of the book with accuracy. The process requires time, reflection and several models in order for the desired result to be achieved. Using old books, collage, drawing and manual printing, she tries to give a new direction, a second life to all kinds of material. Each book attempts to create a fusion between the contents and the container while questioning the manipulation of the object by the reader. To create a book allows for an exchange with the reader both by the text and by the manipulation of it. Browse slowly one of its artists’ books is an experience, a conversation, a relationship with her and her concerns. Guylaine Couture lives in Montreal, speaks French, teaches graphic design and shares her discoveries on her blog. About Le territoire des mauvaises herbes The territory of weeds is a book about the force of nature that always takes over. Man often tries to control its environment and uses concrete, asphalt and cement for low extended maintenance. What’s going on with the weather? Vegetation eventually find its way, often in unusual places. This force of nature has always impressed me. I walk a lot in the city and I have respect for that bit of green trying to see the sun in a crack. My book tells a little journey with six collages/engravings. I first prepared textures on different papers with various printing techniques. Thereafter, I made my collages, and I’ve added manual printing to the very end. The cover is a book that I reversed, putting the inside to the outside, a bit like looking under the concrete. On the front through the sad cement plates, we discover a little piece of life. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773953979025-6TB4AHU8RMG0T1UEFGFC/mcba-prize-sarah-hulsey-asterisms-1.jpg Entries & Jurors - 2017 Entries - Sarah Hulsey Somerville, Massachusetts www.sarahhulsey.com Asterisms 2017 letterpress, woodcut edition of 30 22 pages 9″ x 18″ x 0.5″ open 9″ x 6″ x 0.5″ closed View of book closed. Artist Statement My work is concerned with the hidden, structural beauty of language. Language is a deeply human trait that we use in every aspect of our lives, though its workings are largely mysterious to us as speakers. From a very young age our minds are in a highly receptive state, listening for the patterns, rhythm, and regularity of which all languages are composed, but by adulthood we no longer notice these things. My work draws attention back to those patterns deep in our minds and the rich, varied beauty they contain. Asterisms: A Phonemic Exploration borrows the conventions of modern star charts in order to embody groups of linguistic sounds as constellations, or “asterisms,” as astronomers now call the traditional shapes traced among the stars. The book represents the phonemes (sounds) of the ten most widely spoken languages in the world, which together account for the first languages of almost half of the world’s population (3.4 billion speakers). Each language is given a consonant chart and a vowel chart in the guise of a star map; positions of the “stars” are based on the sound’s position on the International Phonetic Alphabet chart, with the symbol’s size correlated to the frequency of the sound in that language. Connecting these symbols are woodcuts forming novel asterism shapes inspired by older, more primal ways of tracing patterns in the sky. The charts of Asterisms serve both as accurate maps of phoneme systems—revealing commonalities and divergences across languages—as well as imaginary paths of joined sounds. Taken together, they draw connections between the sounds of language, that most fundamental human ability, and the vast expanse of the night sky, shared by all of the earth’s inhabitants. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773953982838-9JXZ8QMN4PC440QUR49H/mcba-prize-sarah-hulsey-asterisms-2.jpg Entries & Jurors - 2017 Entries - Sarah Hulsey Somerville, Massachusetts www.sarahhulsey.com Asterisms 2017 letterpress, woodcut edition of 30 22 pages 9″ x 18″ x 0.5″ open 9″ x 6″ x 0.5″ closed View of book open with title page, part of colophon. Artist Statement My work is concerned with the hidden, structural beauty of language. Language is a deeply human trait that we use in every aspect of our lives, though its workings are largely mysterious to us as speakers. From a very young age our minds are in a highly receptive state, listening for the patterns, rhythm, and regularity of which all languages are composed, but by adulthood we no longer notice these things. My work draws attention back to those patterns deep in our minds and the rich, varied beauty they contain. Asterisms: A Phonemic Exploration borrows the conventions of modern star charts in order to embody groups of linguistic sounds as constellations, or “asterisms,” as astronomers now call the traditional shapes traced among the stars. The book represents the phonemes (sounds) of the ten most widely spoken languages in the world, which together account for the first languages of almost half of the world’s population (3.4 billion speakers). Each language is given a consonant chart and a vowel chart in the guise of a star map; positions of the “stars” are based on the sound’s position on the International Phonetic Alphabet chart, with the symbol’s size correlated to the frequency of the sound in that language. Connecting these symbols are woodcuts forming novel asterism shapes inspired by older, more primal ways of tracing patterns in the sky. The charts of Asterisms serve both as accurate maps of phoneme systems—revealing commonalities and divergences across languages—as well as imaginary paths of joined sounds. Taken together, they draw connections between the sounds of language, that most fundamental human ability, and the vast expanse of the night sky, shared by all of the earth’s inhabitants. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773953980874-7NW50EBYU4JZNOIH1R8C/mcba-prize-sarah-hulsey-asterisms-4.jpg Entries & Jurors - 2017 Entries - Sarah Hulsey Somerville, Massachusetts www.sarahhulsey.com Asterisms 2017 letterpress, woodcut edition of 30 22 pages 9″ x 18″ x 0.5″ open 9″ x 6″ x 0.5″ closed Top left to right: Chinese Vowels, Hindi Vowels. Bottom left to right: Portuguese Vowels, Russian Vowels. Artist Statement My work is concerned with the hidden, structural beauty of language. Language is a deeply human trait that we use in every aspect of our lives, though its workings are largely mysterious to us as speakers. From a very young age our minds are in a highly receptive state, listening for the patterns, rhythm, and regularity of which all languages are composed, but by adulthood we no longer notice these things. My work draws attention back to those patterns deep in our minds and the rich, varied beauty they contain. Asterisms: A Phonemic Exploration borrows the conventions of modern star charts in order to embody groups of linguistic sounds as constellations, or “asterisms,” as astronomers now call the traditional shapes traced among the stars. The book represents the phonemes (sounds) of the ten most widely spoken languages in the world, which together account for the first languages of almost half of the world’s population (3.4 billion speakers). Each language is given a consonant chart and a vowel chart in the guise of a star map; positions of the “stars” are based on the sound’s position on the International Phonetic Alphabet chart, with the symbol’s size correlated to the frequency of the sound in that language. Connecting these symbols are woodcuts forming novel asterism shapes inspired by older, more primal ways of tracing patterns in the sky. The charts of Asterisms serve both as accurate maps of phoneme systems—revealing commonalities and divergences across languages—as well as imaginary paths of joined sounds. Taken together, they draw connections between the sounds of language, that most fundamental human ability, and the vast expanse of the night sky, shared by all of the earth’s inhabitants. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773953981064-1MO9EZ9D31IC2005CBK2/mcba-prize-sarah-hulsey-asterisms-3.jpg Entries & Jurors - 2017 Entries - Sarah Hulsey Somerville, Massachusetts www.sarahhulsey.com Asterisms 2017 letterpress, woodcut edition of 30 22 pages 9″ x 18″ x 0.5″ open 9″ x 6″ x 0.5″ closed Chinese Consonants, English Consonants, Arabic Consonants. Artist Statement My work is concerned with the hidden, structural beauty of language. Language is a deeply human trait that we use in every aspect of our lives, though its workings are largely mysterious to us as speakers. From a very young age our minds are in a highly receptive state, listening for the patterns, rhythm, and regularity of which all languages are composed, but by adulthood we no longer notice these things. My work draws attention back to those patterns deep in our minds and the rich, varied beauty they contain. Asterisms: A Phonemic Exploration borrows the conventions of modern star charts in order to embody groups of linguistic sounds as constellations, or “asterisms,” as astronomers now call the traditional shapes traced among the stars. The book represents the phonemes (sounds) of the ten most widely spoken languages in the world, which together account for the first languages of almost half of the world’s population (3.4 billion speakers). Each language is given a consonant chart and a vowel chart in the guise of a star map; positions of the “stars” are based on the sound’s position on the International Phonetic Alphabet chart, with the symbol’s size correlated to the frequency of the sound in that language. Connecting these symbols are woodcuts forming novel asterism shapes inspired by older, more primal ways of tracing patterns in the sky. The charts of Asterisms serve both as accurate maps of phoneme systems—revealing commonalities and divergences across languages—as well as imaginary paths of joined sounds. Taken together, they draw connections between the sounds of language, that most fundamental human ability, and the vast expanse of the night sky, shared by all of the earth’s inhabitants. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773953979187-36DHKYJN6VWSG0ZIQA0E/mcba-prize-sarah-hulsey-asterisms-5.jpg Entries & Jurors - 2017 Entries - Sarah Hulsey Somerville, Massachusetts www.sarahhulsey.com Asterisms 2017 letterpress, woodcut edition of 30 22 pages 9″ x 18″ x 0.5″ open 9″ x 6″ x 0.5″ closed View of book open. Visible woodcuts left to right: Bengali Consonants, English Vowels. Artist Statement My work is concerned with the hidden, structural beauty of language. Language is a deeply human trait that we use in every aspect of our lives, though its workings are largely mysterious to us as speakers. From a very young age our minds are in a highly receptive state, listening for the patterns, rhythm, and regularity of which all languages are composed, but by adulthood we no longer notice these things. My work draws attention back to those patterns deep in our minds and the rich, varied beauty they contain. Asterisms: A Phonemic Exploration borrows the conventions of modern star charts in order to embody groups of linguistic sounds as constellations, or “asterisms,” as astronomers now call the traditional shapes traced among the stars. The book represents the phonemes (sounds) of the ten most widely spoken languages in the world, which together account for the first languages of almost half of the world’s population (3.4 billion speakers). Each language is given a consonant chart and a vowel chart in the guise of a star map; positions of the “stars” are based on the sound’s position on the International Phonetic Alphabet chart, with the symbol’s size correlated to the frequency of the sound in that language. Connecting these symbols are woodcuts forming novel asterism shapes inspired by older, more primal ways of tracing patterns in the sky. The charts of Asterisms serve both as accurate maps of phoneme systems—revealing commonalities and divergences across languages—as well as imaginary paths of joined sounds. Taken together, they draw connections between the sounds of language, that most fundamental human ability, and the vast expanse of the night sky, shared by all of the earth’s inhabitants. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954445773-ML1ZLQDAAJ9DIY90TU69/mcba-prize-2017-Islam-Aly-Sacred-Meanings-5.jpg Entries & Jurors - 2017 Entries - Islam Aly Cedar Falls, Iowa www.islamaly.com Sacred Meanings 2017 Johannot paper, plexiglass/ Laser cut, laser etching, Coptic binding with linen thread. edition size of 40 80 pages 2.5 x 5 x 2.5 2.5 x 2.5 x 2.5 A view of the book showing the laser-engraved plexiglass cover, the endbands, and the laser cut sections. Artist’s Statement When I make a historical book structure, I go through a learning process. I learn the history as well as the different physical aspects of the binding such as how a book form is constructed in a specific sequence. I learn about the use of different materials such as paper, wood, leather and dyes. I learn to make choices in selecting and replacing traditional materials that I don’t have access to. I use these different experiences to enhance my work in making artists’ books and to use historical and cultural references from these structures in the actual content. In essence, I wish to explore new ways to use the rich structures of historical books in contemporary artists’ book practice and incorporate contemporary content into strictly historical structures. Description of the work Sacred Meanings is based on the hexagon, one of the main shapes in creating grids and patterns in Islamic art. The form of the book, its words, and its progression reveals the fading and development of a pattern. The book invites viewers to consider their experiences with the transcendent and indivisible. Sacred Meanings presents an encounter that deals with the dichotomies of life, fall and rise, suspicion and faith, disorientation and orientation, chaos and order. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954447196-N0E2Y0A980M3KDGZIVWM/mcba-prize-2017-Islam-Aly-Sacred-Meanings-4.jpg Entries & Jurors - 2017 Entries - Islam Aly Cedar Falls, Iowa www.islamaly.com Sacred Meanings 2017 Johannot paper, plexiglass/ Laser cut, laser etching, Coptic binding with linen thread. edition size of 40 80 pages 2.5 x 5 x 2.5 2.5 x 2.5 x 2.5 The book opened showing the front and back covers, the sewing, endbands, and the engraving on the front and back covers. Artist’s Statement When I make a historical book structure, I go through a learning process. I learn the history as well as the different physical aspects of the binding such as how a book form is constructed in a specific sequence. I learn about the use of different materials such as paper, wood, leather and dyes. I learn to make choices in selecting and replacing traditional materials that I don’t have access to. I use these different experiences to enhance my work in making artists’ books and to use historical and cultural references from these structures in the actual content. In essence, I wish to explore new ways to use the rich structures of historical books in contemporary artists’ book practice and incorporate contemporary content into strictly historical structures. Description of the work Sacred Meanings is based on the hexagon, one of the main shapes in creating grids and patterns in Islamic art. The form of the book, its words, and its progression reveals the fading and development of a pattern. The book invites viewers to consider their experiences with the transcendent and indivisible. Sacred Meanings presents an encounter that deals with the dichotomies of life, fall and rise, suspicion and faith, disorientation and orientation, chaos and order. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954447453-CVOE67IAY4M0VEUFS9LE/mcba-prize-2017-Islam-Aly-Sacred-Meanings-3.jpg Entries & Jurors - 2017 Entries - Islam Aly Cedar Falls, Iowa www.islamaly.com Sacred Meanings 2017 Johannot paper, plexiglass/ Laser cut, laser etching, Coptic binding with linen thread. edition size of 40 80 pages 2.5 x 5 x 2.5 2.5 x 2.5 x 2.5 Another view of the book opened. Artist’s Statement When I make a historical book structure, I go through a learning process. I learn the history as well as the different physical aspects of the binding such as how a book form is constructed in a specific sequence. I learn about the use of different materials such as paper, wood, leather and dyes. I learn to make choices in selecting and replacing traditional materials that I don’t have access to. I use these different experiences to enhance my work in making artists’ books and to use historical and cultural references from these structures in the actual content. In essence, I wish to explore new ways to use the rich structures of historical books in contemporary artists’ book practice and incorporate contemporary content into strictly historical structures. Description of the work Sacred Meanings is based on the hexagon, one of the main shapes in creating grids and patterns in Islamic art. The form of the book, its words, and its progression reveals the fading and development of a pattern. The book invites viewers to consider their experiences with the transcendent and indivisible. Sacred Meanings presents an encounter that deals with the dichotomies of life, fall and rise, suspicion and faith, disorientation and orientation, chaos and order. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954449287-0I323EEVMB2YESKFMWWW/mcba-prize-2017-Islam-Aly-Sacred-Meanings-2.jpg Entries & Jurors - 2017 Entries - Islam Aly Cedar Falls, Iowa www.islamaly.com Sacred Meanings 2017 Johannot paper, plexiglass/ Laser cut, laser etching, Coptic binding with linen thread. edition size of 40 80 pages 2.5 x 5 x 2.5 2.5 x 2.5 x 2.5 A folio of the book showing a laser cut word and the developing pattern. Artist’s Statement When I make a historical book structure, I go through a learning process. I learn the history as well as the different physical aspects of the binding such as how a book form is constructed in a specific sequence. I learn about the use of different materials such as paper, wood, leather and dyes. I learn to make choices in selecting and replacing traditional materials that I don’t have access to. I use these different experiences to enhance my work in making artists’ books and to use historical and cultural references from these structures in the actual content. In essence, I wish to explore new ways to use the rich structures of historical books in contemporary artists’ book practice and incorporate contemporary content into strictly historical structures. Description of the work Sacred Meanings is based on the hexagon, one of the main shapes in creating grids and patterns in Islamic art. The form of the book, its words, and its progression reveals the fading and development of a pattern. The book invites viewers to consider their experiences with the transcendent and indivisible. Sacred Meanings presents an encounter that deals with the dichotomies of life, fall and rise, suspicion and faith, disorientation and orientation, chaos and order. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954445566-8A2946NCLHPE94JZK6NN/mcba-prize-2017-Islam-Aly-Sacred-Meanings-1.jpg Entries & Jurors - 2017 Entries - Islam Aly Cedar Falls, Iowa www.islamaly.com Sacred Meanings 2017 Johannot paper, plexiglass/ Laser cut, laser etching, Coptic binding with linen thread. edition size of 40 80 pages 2.5 x 5 x 2.5 2.5 x 2.5 x 2.5 A detail of the book showing a laser cut word and the developing pattern. Artist’s Statement When I make a historical book structure, I go through a learning process. I learn the history as well as the different physical aspects of the binding such as how a book form is constructed in a specific sequence. I learn about the use of different materials such as paper, wood, leather and dyes. I learn to make choices in selecting and replacing traditional materials that I don’t have access to. I use these different experiences to enhance my work in making artists’ books and to use historical and cultural references from these structures in the actual content. In essence, I wish to explore new ways to use the rich structures of historical books in contemporary artists’ book practice and incorporate contemporary content into strictly historical structures. Description of the work Sacred Meanings is based on the hexagon, one of the main shapes in creating grids and patterns in Islamic art. The form of the book, its words, and its progression reveals the fading and development of a pattern. The book invites viewers to consider their experiences with the transcendent and indivisible. Sacred Meanings presents an encounter that deals with the dichotomies of life, fall and rise, suspicion and faith, disorientation and orientation, chaos and order. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954621103-94K6289IP66ANK7RYAHS/mcba-prize-2017-islam-aly-unleash-1.jpg Entries & Jurors - 2017 Entries - Islam Aly Cedar Falls, Iowa www.islamaly.com Unleash 2017 Johannot paper, wooden covers, leather straps / laser-cutting, laser-engraving, Coptic binding with leather wrapping bands and wooden clasps edition size of 30 45 pages 6 x 6 x 2 6 x 3 x 2 A view of the book with the laser-engraved wooden boards, the leather wrapping bands and the laser cut and engraved wooden clasps. Artist’s Statement When I make a historical book structure, I go through a learning process. I learn the history as well as the different physical aspects of the binding such as how a book form is constructed in a specific sequence. I learn about the use of different materials such as paper, wood, leather and dyes. I learn to make choices in selecting and replacing traditional materials that I don’t have access to. I use these different experiences to enhance my work in making artists’ books and to use historical and cultural references from these structures in the actual content. In essence, I wish to explore new ways to use the rich structures of historical books in contemporary artists’ book practice and incorporate contemporary content into strictly historical structures. Description of the work Unleash records an angel’s attempt to leave the book. A journey that starts with words about being confined and restrained, the angel appears and slowly makes a path through these words until succeeding to break the phrases and get out of the book. When the angel disappears from the book, the letters of the broken words start forming a human face. By using a late Coptic binding with straps and clasps, the book structure echoes its content. One wrap has the angel on the wooden clasp; the other wrap has the human face. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954619053-KW2633F6Y1OLGUPZVHNA/mcba-prize-2017-islam-aly-unleash-2.jpg Entries & Jurors - 2017 Entries - Islam Aly Cedar Falls, Iowa www.islamaly.com Unleash 2017 Johannot paper, wooden covers, leather straps / laser-cutting, laser-engraving, Coptic binding with leather wrapping bands and wooden clasps edition size of 30 45 pages 6 x 6 x 2 6 x 3 x 2 Another view of the book with the leather bands unwrapped and the front cover. Artist’s Statement When I make a historical book structure, I go through a learning process. I learn the history as well as the different physical aspects of the binding such as how a book form is constructed in a specific sequence. I learn about the use of different materials such as paper, wood, leather and dyes. I learn to make choices in selecting and replacing traditional materials that I don’t have access to. I use these different experiences to enhance my work in making artists’ books and to use historical and cultural references from these structures in the actual content. In essence, I wish to explore new ways to use the rich structures of historical books in contemporary artists’ book practice and incorporate contemporary content into strictly historical structures. Description of the work Unleash records an angel’s attempt to leave the book. A journey that starts with words about being confined and restrained, the angel appears and slowly makes a path through these words until succeeding to break the phrases and get out of the book. When the angel disappears from the book, the letters of the broken words start forming a human face. By using a late Coptic binding with straps and clasps, the book structure echoes its content. One wrap has the angel on the wooden clasp; the other wrap has the human face. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954618179-E6TDAZXOBBCLUSNSV1NU/mcba-prize-2017-islam-aly-unleash-3.jpg Entries & Jurors - 2017 Entries - Islam Aly Cedar Falls, Iowa www.islamaly.com Unleash 2017 Johannot paper, wooden covers, leather straps / laser-cutting, laser-engraving, Coptic binding with leather wrapping bands and wooden clasps edition size of 30 45 pages 6 x 6 x 2 6 x 3 x 2 The book opened showing the front and back covers, the sewing, endbands, and the engraving on the front and back covers. Artist’s Statement When I make a historical book structure, I go through a learning process. I learn the history as well as the different physical aspects of the binding such as how a book form is constructed in a specific sequence. I learn about the use of different materials such as paper, wood, leather and dyes. I learn to make choices in selecting and replacing traditional materials that I don’t have access to. I use these different experiences to enhance my work in making artists’ books and to use historical and cultural references from these structures in the actual content. In essence, I wish to explore new ways to use the rich structures of historical books in contemporary artists’ book practice and incorporate contemporary content into strictly historical structures. Description of the work Unleash records an angel’s attempt to leave the book. A journey that starts with words about being confined and restrained, the angel appears and slowly makes a path through these words until succeeding to break the phrases and get out of the book. When the angel disappears from the book, the letters of the broken words start forming a human face. By using a late Coptic binding with straps and clasps, the book structure echoes its content. One wrap has the angel on the wooden clasp; the other wrap has the human face. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954615918-WAEW7QLDVPJLO1GI7TD2/mcba-prize-2017-islam-aly-unleash-4.jpg Entries & Jurors - 2017 Entries - Islam Aly Cedar Falls, Iowa www.islamaly.com Unleash 2017 Johannot paper, wooden covers, leather straps / laser-cutting, laser-engraving, Coptic binding with leather wrapping bands and wooden clasps edition size of 30 45 pages 6 x 6 x 2 6 x 3 x 2 The sections of the book with the laser cut words and images Artist’s Statement When I make a historical book structure, I go through a learning process. I learn the history as well as the different physical aspects of the binding such as how a book form is constructed in a specific sequence. I learn about the use of different materials such as paper, wood, leather and dyes. I learn to make choices in selecting and replacing traditional materials that I don’t have access to. I use these different experiences to enhance my work in making artists’ books and to use historical and cultural references from these structures in the actual content. In essence, I wish to explore new ways to use the rich structures of historical books in contemporary artists’ book practice and incorporate contemporary content into strictly historical structures. Description of the work Unleash records an angel’s attempt to leave the book. A journey that starts with words about being confined and restrained, the angel appears and slowly makes a path through these words until succeeding to break the phrases and get out of the book. When the angel disappears from the book, the letters of the broken words start forming a human face. By using a late Coptic binding with straps and clasps, the book structure echoes its content. One wrap has the angel on the wooden clasp; the other wrap has the human face. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954614386-Z97T0YBFRR6FM1047V8C/mcba-prize-2017-islam-aly-unleash-5.jpg Entries & Jurors - 2017 Entries - Islam Aly Cedar Falls, Iowa www.islamaly.com Unleash 2017 Johannot paper, wooden covers, leather straps / laser-cutting, laser-engraving, Coptic binding with leather wrapping bands and wooden clasps edition size of 30 45 pages 6 x 6 x 2 6 x 3 x 2 A detail of the book showing the angel’s attempt to break the words and get out of the book. Artist’s Statement When I make a historical book structure, I go through a learning process. I learn the history as well as the different physical aspects of the binding such as how a book form is constructed in a specific sequence. I learn about the use of different materials such as paper, wood, leather and dyes. I learn to make choices in selecting and replacing traditional materials that I don’t have access to. I use these different experiences to enhance my work in making artists’ books and to use historical and cultural references from these structures in the actual content. In essence, I wish to explore new ways to use the rich structures of historical books in contemporary artists’ book practice and incorporate contemporary content into strictly historical structures. Description of the work Unleash records an angel’s attempt to leave the book. A journey that starts with words about being confined and restrained, the angel appears and slowly makes a path through these words until succeeding to break the phrases and get out of the book. When the angel disappears from the book, the letters of the broken words start forming a human face. By using a late Coptic binding with straps and clasps, the book structure echoes its content. One wrap has the angel on the wooden clasp; the other wrap has the human face. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954755868-VJMGYB74747IWY2MNT8R/mcba-prize-2017-robbin-ami-reading-hot-spots-in-new-york-city-1.jpg Entries & Jurors - 2017 Entries - Robbin Ami Silverberg Brooklyn, New York www.robbinamisilverberg.com Reading Hot Spots in New York City 2017 Archival inkjet photos/text on Dobbin Mill papers edition of 10 Book 1: 28 / Book 2: 21 / 7 cards: 14 Book 1: 8.5″x8″ / Book 2: 4″x25″ / Cards: 4″x8″ ea. Clamshell box: 13.25″x9.5″x1.5″ Clamshell with 3 compartments: Book #1: Wild horses thunder in the libraries. Book #2: 340A: Titles & Authors / 340B: Sentences. Card set: Bookshelves of NYC. Dobbin Mill papers made from catalog cards courtesy of Brooklyn Museum of Art Libraries. Artist Statement Although the basis for my work, whether artist book or installation, is conceptual, much of my artwork stems from an essential materiality. The artwork reflects on both my material sensibility as much as the content and issues that comprise their core. Paper has been my preferred material for over 30 years and I have explored its potential as a non-neutral substrate in my image making, book making and process. An important focus of my artist books is language cognition – what words can actually communicate and their limitations. Can ideas exist without language and words? Or, does word order define meaning? The resulting artworks, whether made as objects or installations, force the viewer to re-consider the very act of ‘reading’. In 2012 I received a map in the mail from the National Book Foundation called Reading Hot Spots in New York City. I had recently finished a set of artist books made of maps and I knew that I must do something with this extraordinary find, which evolved into a box set with 2 books and a set of cards. The focus was on book collections, starting with my own. Appropriating a sentence from a selection of 340 books in my personal library, each sentence from another numbered page, I created a text, that was then color-coded and printed in one half of the dos á dos book, 340B: Sentences. In 340A, the titles & authors of these books are listed, along with page numbers where each sentence was found. A set of cards are also found in the box, containing those sentences pertaining to books & reading, along with images of some of my favorite bookshelves in New York City (from the Spencer Collection at the NYPL to a Time Square magazine rack). The second book consists of the Reading Hot Spots map that I filigree-cut, re-folded and sewed into a double pamphlet book structure, with a 3rd selection of those sentences to create a shorter playful narrative. Together, these three components are an homage to my world of books in my beloved New York City. Dobbin Mill papers with embedded pieces of Brooklyn Museum Library catalog cards, archival inkjet photos & text, map, book cloth & ribbon https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954751478-9NERSHLWWZVPUGWPE1BH/mcba-prize-2017-robbin-ami-reading-hot-spots-in-new-york-city-5.jpg Entries & Jurors - 2017 Entries - Robbin Ami Silverberg Brooklyn, New York www.robbinamisilverberg.com Reading Hot Spots in New York City 2017 Archival inkjet photos/text on Dobbin Mill papers edition of 10 Book 1: 28 / Book 2: 21 / 7 cards: 14 Book 1: 8.5″x8″ / Book 2: 4″x25″ / Cards: 4″x8″ ea. Clamshell box: 13.25″x9.5″x1.5″ Dos á dos book, 340A: Titles & Authors / 340B: Sentences, open on top of clamshell cover: a list ordered by page number of 340 book titles & their authors in my personal library fills one side of the dos á dos, while the particular sentences that were found on those pages form the color coded prose text of the other side. Artist Statement Although the basis for my work, whether artist book or installation, is conceptual, much of my artwork stems from an essential materiality. The artwork reflects on both my material sensibility as much as the content and issues that comprise their core. Paper has been my preferred material for over 30 years and I have explored its potential as a non-neutral substrate in my image making, book making and process. An important focus of my artist books is language cognition – what words can actually communicate and their limitations. Can ideas exist without language and words? Or, does word order define meaning? The resulting artworks, whether made as objects or installations, force the viewer to re-consider the very act of ‘reading’. In 2012 I received a map in the mail from the National Book Foundation called Reading Hot Spots in New York City. I had recently finished a set of artist books made of maps and I knew that I must do something with this extraordinary find, which evolved into a box set with 2 books and a set of cards. The focus was on book collections, starting with my own. Appropriating a sentence from a selection of 340 books in my personal library, each sentence from another numbered page, I created a text, that was then color-coded and printed in one half of the dos á dos book, 340B: Sentences. In 340A, the titles & authors of these books are listed, along with page numbers where each sentence was found. A set of cards are also found in the box, containing those sentences pertaining to books & reading, along with images of some of my favorite bookshelves in New York City (from the Spencer Collection at the NYPL to a Time Square magazine rack). The second book consists of the Reading Hot Spots map that I filigree-cut, re-folded and sewed into a double pamphlet book structure, with a 3rd selection of those sentences to create a shorter playful narrative. Together, these three components are an homage to my world of books in my beloved New York City. Dobbin Mill papers with embedded pieces of Brooklyn Museum Library catalog cards, archival inkjet photos & text, map, book cloth & ribbon https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954754417-8T6CVJQ4HE6V1KKJDD9Q/mcba-prize-2017-robbin-ami-reading-hot-spots-in-new-york-city-2.jpg Entries & Jurors - 2017 Entries - Robbin Ami Silverberg Brooklyn, New York www.robbinamisilverberg.com Reading Hot Spots in New York City 2017 Archival inkjet photos/text on Dobbin Mill papers edition of 10 Book 1: 28 / Book 2: 21 / 7 cards: 14 Book 1: 8.5″x8″ / Book 2: 4″x25″ / Cards: 4″x8″ ea. Clamshell box: 13.25″x9.5″x1.5″ Clamshell with opened books & cards removed from their respective compartments: Wild horses thunder in the libraries is made from a filigree-cut map from National Book Association, with 340 book hot spots (libraries, book stores & literary associations). It was re-folded into a double pamphlet structure. Artist Statement Although the basis for my work, whether artist book or installation, is conceptual, much of my artwork stems from an essential materiality. The artwork reflects on both my material sensibility as much as the content and issues that comprise their core. Paper has been my preferred material for over 30 years and I have explored its potential as a non-neutral substrate in my image making, book making and process. An important focus of my artist books is language cognition – what words can actually communicate and their limitations. Can ideas exist without language and words? Or, does word order define meaning? The resulting artworks, whether made as objects or installations, force the viewer to re-consider the very act of ‘reading’. In 2012 I received a map in the mail from the National Book Foundation called Reading Hot Spots in New York City. I had recently finished a set of artist books made of maps and I knew that I must do something with this extraordinary find, which evolved into a box set with 2 books and a set of cards. The focus was on book collections, starting with my own. Appropriating a sentence from a selection of 340 books in my personal library, each sentence from another numbered page, I created a text, that was then color-coded and printed in one half of the dos á dos book, 340B: Sentences. In 340A, the titles & authors of these books are listed, along with page numbers where each sentence was found. A set of cards are also found in the box, containing those sentences pertaining to books & reading, along with images of some of my favorite bookshelves in New York City (from the Spencer Collection at the NYPL to a Time Square magazine rack). The second book consists of the Reading Hot Spots map that I filigree-cut, re-folded and sewed into a double pamphlet book structure, with a 3rd selection of those sentences to create a shorter playful narrative. Together, these three components are an homage to my world of books in my beloved New York City. Dobbin Mill papers with embedded pieces of Brooklyn Museum Library catalog cards, archival inkjet photos & text, map, book cloth & ribbon https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954753456-DLO48WBZGZEKY1O4JBN0/mcba-prize-2017-robbin-ami-reading-hot-spots-in-new-york-city-3.jpg Entries & Jurors - 2017 Entries - Robbin Ami Silverberg Brooklyn, New York www.robbinamisilverberg.com Reading Hot Spots in New York City 2017 Archival inkjet photos/text on Dobbin Mill papers edition of 10 Book 1: 28 / Book 2: 21 / 7 cards: 14 Book 1: 8.5″x8″ / Book 2: 4″x25″ / Cards: 4″x8″ ea. Clamshell box: 13.25″x9.5″x1.5″ Detail of map book: Wild horses thunder in the libraries. Text was created from appropriated sentence finds from books in my personal library. Numbers refer to the page and can be found in 340A: Titles & Authors Artist Statement Although the basis for my work, whether artist book or installation, is conceptual, much of my artwork stems from an essential materiality. The artwork reflects on both my material sensibility as much as the content and issues that comprise their core. Paper has been my preferred material for over 30 years and I have explored its potential as a non-neutral substrate in my image making, book making and process. An important focus of my artist books is language cognition – what words can actually communicate and their limitations. Can ideas exist without language and words? Or, does word order define meaning? The resulting artworks, whether made as objects or installations, force the viewer to re-consider the very act of ‘reading’. In 2012 I received a map in the mail from the National Book Foundation called Reading Hot Spots in New York City. I had recently finished a set of artist books made of maps and I knew that I must do something with this extraordinary find, which evolved into a box set with 2 books and a set of cards. The focus was on book collections, starting with my own. Appropriating a sentence from a selection of 340 books in my personal library, each sentence from another numbered page, I created a text, that was then color-coded and printed in one half of the dos á dos book, 340B: Sentences. In 340A, the titles & authors of these books are listed, along with page numbers where each sentence was found. A set of cards are also found in the box, containing those sentences pertaining to books & reading, along with images of some of my favorite bookshelves in New York City (from the Spencer Collection at the NYPL to a Time Square magazine rack). The second book consists of the Reading Hot Spots map that I filigree-cut, re-folded and sewed into a double pamphlet book structure, with a 3rd selection of those sentences to create a shorter playful narrative. Together, these three components are an homage to my world of books in my beloved New York City. Dobbin Mill papers with embedded pieces of Brooklyn Museum Library catalog cards, archival inkjet photos & text, map, book cloth & ribbon https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954752058-K6JAIBYDB48D0LKSG2MX/mcba-prize-2017-robbin-ami-reading-hot-spots-in-new-york-city-4.jpg Entries & Jurors - 2017 Entries - Robbin Ami Silverberg Brooklyn, New York www.robbinamisilverberg.com Reading Hot Spots in New York City 2017 Archival inkjet photos/text on Dobbin Mill papers edition of 10 Book 1: 28 / Book 2: 21 / 7 cards: 14 Book 1: 8.5″x8″ / Book 2: 4″x25″ / Cards: 4″x8″ ea. Clamshell box: 13.25″x9.5″x1.5″ 7 cards lay on the closed clamshell. They present the artist’s photos of favorite book shelves in NYC, along with found texts about books & reading, taken from 340B: Sentences. Artist Statement Although the basis for my work, whether artist book or installation, is conceptual, much of my artwork stems from an essential materiality. The artwork reflects on both my material sensibility as much as the content and issues that comprise their core. Paper has been my preferred material for over 30 years and I have explored its potential as a non-neutral substrate in my image making, book making and process. An important focus of my artist books is language cognition – what words can actually communicate and their limitations. Can ideas exist without language and words? Or, does word order define meaning? The resulting artworks, whether made as objects or installations, force the viewer to re-consider the very act of ‘reading’. In 2012 I received a map in the mail from the National Book Foundation called Reading Hot Spots in New York City. I had recently finished a set of artist books made of maps and I knew that I must do something with this extraordinary find, which evolved into a box set with 2 books and a set of cards. The focus was on book collections, starting with my own. Appropriating a sentence from a selection of 340 books in my personal library, each sentence from another numbered page, I created a text, that was then color-coded and printed in one half of the dos á dos book, 340B: Sentences. In 340A, the titles & authors of these books are listed, along with page numbers where each sentence was found. A set of cards are also found in the box, containing those sentences pertaining to books & reading, along with images of some of my favorite bookshelves in New York City (from the Spencer Collection at the NYPL to a Time Square magazine rack). The second book consists of the Reading Hot Spots map that I filigree-cut, re-folded and sewed into a double pamphlet book structure, with a 3rd selection of those sentences to create a shorter playful narrative. Together, these three components are an homage to my world of books in my beloved New York City. Dobbin Mill papers with embedded pieces of Brooklyn Museum Library catalog cards, archival inkjet photos & text, map, book cloth & ribbon https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954924524-CFGN0TOZQHDL6IAXEQDG/mcba-prize-2017-debra-andorfer-veiled-1.jpg Entries & Jurors - 2017 Entries - Debra Arndorfer San Pedro, CA Veiled 2016-17 mixed media collage 132 pages 9” x 9” x 49.5′ open 9” x 9” x 6” closed I fell in love with codices, the folded screen format, while studying Aztec codices at UCLA. To accompany my research paper for my Departmental Honors Project my senior year, I recreated, re-imagined a codex using the Fejervary-Mayer Codex as a prototype. I essentially ‘followed’ the Aztec’s creative path physically, making my book the same size, number of pages, constructing my pages according to their compositions and viewed from right to left. I obtained beautiful amate paper from a mountain village in Mexico for authenticity and incorporated some of their iconography when desirable or appropriate for my creation. The task I undertook was to construct a codex that a contemporary person would recognize and understand. Making my codex also religious in nature, I substituted, East/West, Buddha/Christ, for their gods, exploring what scholars had (or had not) deciphered from their visual language. Personalizing my codex with my own work (drawings, paintings and photographs) and using art I was studying at UCLA, my intention was to honor the Aztec beliefs and sensibilities while expressing my own. Completely inspired by their originality, complexity, intricate detail and sophistication, I created nine codices, as my intense exploration and passion went in many directions, requiring more books. It was the highlight of my studies. The work I am submitting for MCBA Prize, Veiled, is a continuation of the exploration I began at UCLA. I find the two-sided composition of the codex endlessly exciting, as when opened and viewed from different angles and perspectives, each side, alternating pages, ‘talk’ to each other, engaging and interacting in surprising ways. The folded screen format can be an intimate experience, but as intended, it is meant to be viewed by many at once and shared. Sculptural and requiring movement to see it, the viewer chooses his/her perspective, taking from it pieces (individual pages) or an overall summation. Veiled began with drawings of three veiled heads of women from different perspectives, explored in pencil, charcoal and ink. Inspired by and fascinated with veiling done in marble, especially the sculptures by Renaissance and Baroque artists, I simply wanted to experience “veiling” in a physical way, the beauty of veiling. But as I went deeper into my exploration, I found myself thinking about what veiling suggests, what it masks or signifies (the mysterious, sexual, sensual, purity, removal from, protection of, privacy, secrecy, mourning, separation from, being hidden, entombed, repressed, oppressed; ‘we are all veiled, or veil ourselves, in some way’). I found, I was unable to let go of the image. Altering it in different ways, continuing to collage it, meshing the images, extending the veiling, overlaying the heads on photographs of structures of concrete and nature, I played with one visual idea after another. Until I realized, quite unconsciously and without intention, my veiled women became the visual expression of my own grieving process. After recent deaths in my family, this was the first work I was able to do, to come to. My submission of Veiled is Part 1 of a much larger work in progress. (Part 2: is entirely white, of 43 broken doves in remembrance of the 43 students who disappeared in Mexico/soaring doves, opposite side; Part 3: explores crucifixion, ‘forced to be totally open, vulnerable, sacrificed’/Schiele and the selfie, opposite side; Part 4: beach walk/Iowa aerial view, opposite side; Part 5: ‘…what a wonderful world…;’ Part 6: all black, the cosmos). When completed and fully open, I expect the six sections to total 250+ feet. As a whole, this work offers a culmination, a comment on what it means for me to be alive, as I try to understand, to ‘place’ myself, in what can be a frightening and wondrous world at the same time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954924806-6RHO7VAMIHS7USJDFPFG/mcba-prize-2017-debra-andorfer-veiled-2.jpg Entries & Jurors - 2017 Entries - Debra Arndorfer San Pedro, CA Veiled 2016-17 mixed media collage 132 pages 9” x 9” x 49.5′ open 9” x 9” x 6” closed I fell in love with codices, the folded screen format, while studying Aztec codices at UCLA. To accompany my research paper for my Departmental Honors Project my senior year, I recreated, re-imagined a codex using the Fejervary-Mayer Codex as a prototype. I essentially ‘followed’ the Aztec’s creative path physically, making my book the same size, number of pages, constructing my pages according to their compositions and viewed from right to left. I obtained beautiful amate paper from a mountain village in Mexico for authenticity and incorporated some of their iconography when desirable or appropriate for my creation. The task I undertook was to construct a codex that a contemporary person would recognize and understand. Making my codex also religious in nature, I substituted, East/West, Buddha/Christ, for their gods, exploring what scholars had (or had not) deciphered from their visual language. Personalizing my codex with my own work (drawings, paintings and photographs) and using art I was studying at UCLA, my intention was to honor the Aztec beliefs and sensibilities while expressing my own. Completely inspired by their originality, complexity, intricate detail and sophistication, I created nine codices, as my intense exploration and passion went in many directions, requiring more books. It was the highlight of my studies. The work I am submitting for MCBA Prize, Veiled, is a continuation of the exploration I began at UCLA. I find the two-sided composition of the codex endlessly exciting, as when opened and viewed from different angles and perspectives, each side, alternating pages, ‘talk’ to each other, engaging and interacting in surprising ways. The folded screen format can be an intimate experience, but as intended, it is meant to be viewed by many at once and shared. Sculptural and requiring movement to see it, the viewer chooses his/her perspective, taking from it pieces (individual pages) or an overall summation. Veiled began with drawings of three veiled heads of women from different perspectives, explored in pencil, charcoal and ink. Inspired by and fascinated with veiling done in marble, especially the sculptures by Renaissance and Baroque artists, I simply wanted to experience “veiling” in a physical way, the beauty of veiling. But as I went deeper into my exploration, I found myself thinking about what veiling suggests, what it masks or signifies (the mysterious, sexual, sensual, purity, removal from, protection of, privacy, secrecy, mourning, separation from, being hidden, entombed, repressed, oppressed; ‘we are all veiled, or veil ourselves, in some way’). I found, I was unable to let go of the image. Altering it in different ways, continuing to collage it, meshing the images, extending the veiling, overlaying the heads on photographs of structures of concrete and nature, I played with one visual idea after another. Until I realized, quite unconsciously and without intention, my veiled women became the visual expression of my own grieving process. After recent deaths in my family, this was the first work I was able to do, to come to. My submission of Veiled is Part 1 of a much larger work in progress. (Part 2: is entirely white, of 43 broken doves in remembrance of the 43 students who disappeared in Mexico/soaring doves, opposite side; Part 3: explores crucifixion, ‘forced to be totally open, vulnerable, sacrificed’/Schiele and the selfie, opposite side; Part 4: beach walk/Iowa aerial view, opposite side; Part 5: ‘…what a wonderful world…;’ Part 6: all black, the cosmos). When completed and fully open, I expect the six sections to total 250+ feet. As a whole, this work offers a culmination, a comment on what it means for me to be alive, as I try to understand, to ‘place’ myself, in what can be a frightening and wondrous world at the same time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954926146-3MB8LWGRPAK6SUSADFGI/mcba-prize-2017-debra-andorfer-veiled-3.jpg Entries & Jurors - 2017 Entries - Debra Arndorfer San Pedro, CA Veiled 2016-17 mixed media collage 132 pages 9” x 9” x 49.5′ open 9” x 9” x 6” closed I fell in love with codices, the folded screen format, while studying Aztec codices at UCLA. To accompany my research paper for my Departmental Honors Project my senior year, I recreated, re-imagined a codex using the Fejervary-Mayer Codex as a prototype. I essentially ‘followed’ the Aztec’s creative path physically, making my book the same size, number of pages, constructing my pages according to their compositions and viewed from right to left. I obtained beautiful amate paper from a mountain village in Mexico for authenticity and incorporated some of their iconography when desirable or appropriate for my creation. The task I undertook was to construct a codex that a contemporary person would recognize and understand. Making my codex also religious in nature, I substituted, East/West, Buddha/Christ, for their gods, exploring what scholars had (or had not) deciphered from their visual language. Personalizing my codex with my own work (drawings, paintings and photographs) and using art I was studying at UCLA, my intention was to honor the Aztec beliefs and sensibilities while expressing my own. Completely inspired by their originality, complexity, intricate detail and sophistication, I created nine codices, as my intense exploration and passion went in many directions, requiring more books. It was the highlight of my studies. The work I am submitting for MCBA Prize, Veiled, is a continuation of the exploration I began at UCLA. I find the two-sided composition of the codex endlessly exciting, as when opened and viewed from different angles and perspectives, each side, alternating pages, ‘talk’ to each other, engaging and interacting in surprising ways. The folded screen format can be an intimate experience, but as intended, it is meant to be viewed by many at once and shared. Sculptural and requiring movement to see it, the viewer chooses his/her perspective, taking from it pieces (individual pages) or an overall summation. Veiled began with drawings of three veiled heads of women from different perspectives, explored in pencil, charcoal and ink. Inspired by and fascinated with veiling done in marble, especially the sculptures by Renaissance and Baroque artists, I simply wanted to experience “veiling” in a physical way, the beauty of veiling. But as I went deeper into my exploration, I found myself thinking about what veiling suggests, what it masks or signifies (the mysterious, sexual, sensual, purity, removal from, protection of, privacy, secrecy, mourning, separation from, being hidden, entombed, repressed, oppressed; ‘we are all veiled, or veil ourselves, in some way’). I found, I was unable to let go of the image. Altering it in different ways, continuing to collage it, meshing the images, extending the veiling, overlaying the heads on photographs of structures of concrete and nature, I played with one visual idea after another. Until I realized, quite unconsciously and without intention, my veiled women became the visual expression of my own grieving process. After recent deaths in my family, this was the first work I was able to do, to come to. My submission of Veiled is Part 1 of a much larger work in progress. (Part 2: is entirely white, of 43 broken doves in remembrance of the 43 students who disappeared in Mexico/soaring doves, opposite side; Part 3: explores crucifixion, ‘forced to be totally open, vulnerable, sacrificed’/Schiele and the selfie, opposite side; Part 4: beach walk/Iowa aerial view, opposite side; Part 5: ‘…what a wonderful world…;’ Part 6: all black, the cosmos). When completed and fully open, I expect the six sections to total 250+ feet. As a whole, this work offers a culmination, a comment on what it means for me to be alive, as I try to understand, to ‘place’ myself, in what can be a frightening and wondrous world at the same time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954926846-RJAIMVW2M5KVVCEG7VHZ/mcba-prize-2017-debra-andorfer-veiled-4.jpg Entries & Jurors - 2017 Entries - Debra Arndorfer San Pedro, CA Veiled 2016-17 mixed media collage 132 pages 9” x 9” x 49.5′ open 9” x 9” x 6” closed I fell in love with codices, the folded screen format, while studying Aztec codices at UCLA. To accompany my research paper for my Departmental Honors Project my senior year, I recreated, re-imagined a codex using the Fejervary-Mayer Codex as a prototype. I essentially ‘followed’ the Aztec’s creative path physically, making my book the same size, number of pages, constructing my pages according to their compositions and viewed from right to left. I obtained beautiful amate paper from a mountain village in Mexico for authenticity and incorporated some of their iconography when desirable or appropriate for my creation. The task I undertook was to construct a codex that a contemporary person would recognize and understand. Making my codex also religious in nature, I substituted, East/West, Buddha/Christ, for their gods, exploring what scholars had (or had not) deciphered from their visual language. Personalizing my codex with my own work (drawings, paintings and photographs) and using art I was studying at UCLA, my intention was to honor the Aztec beliefs and sensibilities while expressing my own. Completely inspired by their originality, complexity, intricate detail and sophistication, I created nine codices, as my intense exploration and passion went in many directions, requiring more books. It was the highlight of my studies. The work I am submitting for MCBA Prize, Veiled, is a continuation of the exploration I began at UCLA. I find the two-sided composition of the codex endlessly exciting, as when opened and viewed from different angles and perspectives, each side, alternating pages, ‘talk’ to each other, engaging and interacting in surprising ways. The folded screen format can be an intimate experience, but as intended, it is meant to be viewed by many at once and shared. Sculptural and requiring movement to see it, the viewer chooses his/her perspective, taking from it pieces (individual pages) or an overall summation. Veiled began with drawings of three veiled heads of women from different perspectives, explored in pencil, charcoal and ink. Inspired by and fascinated with veiling done in marble, especially the sculptures by Renaissance and Baroque artists, I simply wanted to experience “veiling” in a physical way, the beauty of veiling. But as I went deeper into my exploration, I found myself thinking about what veiling suggests, what it masks or signifies (the mysterious, sexual, sensual, purity, removal from, protection of, privacy, secrecy, mourning, separation from, being hidden, entombed, repressed, oppressed; ‘we are all veiled, or veil ourselves, in some way’). I found, I was unable to let go of the image. Altering it in different ways, continuing to collage it, meshing the images, extending the veiling, overlaying the heads on photographs of structures of concrete and nature, I played with one visual idea after another. Until I realized, quite unconsciously and without intention, my veiled women became the visual expression of my own grieving process. After recent deaths in my family, this was the first work I was able to do, to come to. My submission of Veiled is Part 1 of a much larger work in progress. (Part 2: is entirely white, of 43 broken doves in remembrance of the 43 students who disappeared in Mexico/soaring doves, opposite side; Part 3: explores crucifixion, ‘forced to be totally open, vulnerable, sacrificed’/Schiele and the selfie, opposite side; Part 4: beach walk/Iowa aerial view, opposite side; Part 5: ‘…what a wonderful world…;’ Part 6: all black, the cosmos). When completed and fully open, I expect the six sections to total 250+ feet. As a whole, this work offers a culmination, a comment on what it means for me to be alive, as I try to understand, to ‘place’ myself, in what can be a frightening and wondrous world at the same time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773954927981-AO2WRFI872M6N8IS1X7X/mcba-prize-2017-debra-andorfer-veiled-5.jpg Entries & Jurors - 2017 Entries - Debra Arndorfer San Pedro, CA Veiled 2016-17 mixed media collage 132 pages 9” x 9” x 49.5′ open 9” x 9” x 6” closed I fell in love with codices, the folded screen format, while studying Aztec codices at UCLA. To accompany my research paper for my Departmental Honors Project my senior year, I recreated, re-imagined a codex using the Fejervary-Mayer Codex as a prototype. I essentially ‘followed’ the Aztec’s creative path physically, making my book the same size, number of pages, constructing my pages according to their compositions and viewed from right to left. I obtained beautiful amate paper from a mountain village in Mexico for authenticity and incorporated some of their iconography when desirable or appropriate for my creation. The task I undertook was to construct a codex that a contemporary person would recognize and understand. Making my codex also religious in nature, I substituted, East/West, Buddha/Christ, for their gods, exploring what scholars had (or had not) deciphered from their visual language. Personalizing my codex with my own work (drawings, paintings and photographs) and using art I was studying at UCLA, my intention was to honor the Aztec beliefs and sensibilities while expressing my own. Completely inspired by their originality, complexity, intricate detail and sophistication, I created nine codices, as my intense exploration and passion went in many directions, requiring more books. It was the highlight of my studies. The work I am submitting for MCBA Prize, Veiled, is a continuation of the exploration I began at UCLA. I find the two-sided composition of the codex endlessly exciting, as when opened and viewed from different angles and perspectives, each side, alternating pages, ‘talk’ to each other, engaging and interacting in surprising ways. The folded screen format can be an intimate experience, but as intended, it is meant to be viewed by many at once and shared. Sculptural and requiring movement to see it, the viewer chooses his/her perspective, taking from it pieces (individual pages) or an overall summation. Veiled began with drawings of three veiled heads of women from different perspectives, explored in pencil, charcoal and ink. Inspired by and fascinated with veiling done in marble, especially the sculptures by Renaissance and Baroque artists, I simply wanted to experience “veiling” in a physical way, the beauty of veiling. But as I went deeper into my exploration, I found myself thinking about what veiling suggests, what it masks or signifies (the mysterious, sexual, sensual, purity, removal from, protection of, privacy, secrecy, mourning, separation from, being hidden, entombed, repressed, oppressed; ‘we are all veiled, or veil ourselves, in some way’). I found, I was unable to let go of the image. Altering it in different ways, continuing to collage it, meshing the images, extending the veiling, overlaying the heads on photographs of structures of concrete and nature, I played with one visual idea after another. Until I realized, quite unconsciously and without intention, my veiled women became the visual expression of my own grieving process. After recent deaths in my family, this was the first work I was able to do, to come to. My submission of Veiled is Part 1 of a much larger work in progress. (Part 2: is entirely white, of 43 broken doves in remembrance of the 43 students who disappeared in Mexico/soaring doves, opposite side; Part 3: explores crucifixion, ‘forced to be totally open, vulnerable, sacrificed’/Schiele and the selfie, opposite side; Part 4: beach walk/Iowa aerial view, opposite side; Part 5: ‘…what a wonderful world…;’ Part 6: all black, the cosmos). When completed and fully open, I expect the six sections to total 250+ feet. As a whole, this work offers a culmination, a comment on what it means for me to be alive, as I try to understand, to ‘place’ myself, in what can be a frightening and wondrous world at the same time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955009040-IHJSGAJTLM3OD47RMB44/mcba-prize-2017-patrick-aubert-the-garden-of-proserpine-1.jpg Entries & Jurors - 2017 Entries - Patrick Aubert Le Chesnay, France pa_aubert@hotmail.com the garden of proserpine 2017 images :modern cliché-verre using personal intaglio image then handmade printed with Cyanotype process. Book technique: cover material :natural leaves processed with colored dye. H: 13.5cm, W:24cm,D:24cm open H:13.5cm,W:12cm,D:2cm closed book closed About this book I like to make books that could open like” table sculptures”, as artist book i want it to keep it identity as a “book”, so with a title page ,text and colophon, and it is my challenge to include all of them inside the volume of the book. So this book is all handmade by myself from the creation of the book to the hand printed cyanotype,from my etching print as a form of modern cliché-verre technique, the book’s cover is a made by processing fig tree leaves, and work them so they could become as skin for my book, the choice to dye them in blue night color ,should recall the impression to see all the leaves through the water on the ground inside a pound. The choice for a natural leaves supplies is to be in relation with my landscape etching turn to cyanotype prints , turn to sepia with help of tea to cut down the blue ,as i want all these images to be ghosty ,from an other time and the Swinburne ‘s text. All these lanscapes are placed in sequency, so when watcher turn around the book, it becomes like walking inside them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955009491-0NG02XTWOLE192UKSBD2/mcba-prize-2017-patrick-aubert-the-garden-of-proserpine-2.jpg Entries & Jurors - 2017 Entries - Patrick Aubert Le Chesnay, France pa_aubert@hotmail.com the garden of proserpine 2017 images :modern cliché-verre using personal intaglio image then handmade printed with Cyanotype process. Book technique: cover material :natural leaves processed with colored dye. H: 13.5cm, W:24cm,D:24cm open H:13.5cm,W:12cm,D:2cm closed book from the back with leaves cover About this book I like to make books that could open like” table sculptures”, as artist book i want it to keep it identity as a “book”, so with a title page ,text and colophon, and it is my challenge to include all of them inside the volume of the book. So this book is all handmade by myself from the creation of the book to the hand printed cyanotype,from my etching print as a form of modern cliché-verre technique, the book’s cover is a made by processing fig tree leaves, and work them so they could become as skin for my book, the choice to dye them in blue night color ,should recall the impression to see all the leaves through the water on the ground inside a pound. The choice for a natural leaves supplies is to be in relation with my landscape etching turn to cyanotype prints , turn to sepia with help of tea to cut down the blue ,as i want all these images to be ghosty ,from an other time and the Swinburne ‘s text. All these lanscapes are placed in sequency, so when watcher turn around the book, it becomes like walking inside them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955010879-48FNOHO7L9TVIMV3CD5J/mcba-prize-2017-patrick-aubert-the-garden-of-proserpine-3.jpg Entries & Jurors - 2017 Entries - Patrick Aubert Le Chesnay, France pa_aubert@hotmail.com the garden of proserpine 2017 images :modern cliché-verre using personal intaglio image then handmade printed with Cyanotype process. Book technique: cover material :natural leaves processed with colored dye. H: 13.5cm, W:24cm,D:24cm open H:13.5cm,W:12cm,D:2cm closed book open from side, to see text pages About this book I like to make books that could open like” table sculptures”, as artist book i want it to keep it identity as a “book”, so with a title page ,text and colophon, and it is my challenge to include all of them inside the volume of the book. So this book is all handmade by myself from the creation of the book to the hand printed cyanotype,from my etching print as a form of modern cliché-verre technique, the book’s cover is a made by processing fig tree leaves, and work them so they could become as skin for my book, the choice to dye them in blue night color ,should recall the impression to see all the leaves through the water on the ground inside a pound. The choice for a natural leaves supplies is to be in relation with my landscape etching turn to cyanotype prints , turn to sepia with help of tea to cut down the blue ,as i want all these images to be ghosty ,from an other time and the Swinburne ‘s text. All these lanscapes are placed in sequency, so when watcher turn around the book, it becomes like walking inside them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955010953-FZSPKK87X5LVGCWD16KQ/mcba-prize-2017-patrick-aubert-the-garden-of-proserpine-4.jpg Entries & Jurors - 2017 Entries - Patrick Aubert Le Chesnay, France pa_aubert@hotmail.com the garden of proserpine 2017 images :modern cliché-verre using personal intaglio image then handmade printed with Cyanotype process. Book technique: cover material :natural leaves processed with colored dye. H: 13.5cm, W:24cm,D:24cm open H:13.5cm,W:12cm,D:2cm closed book open to see the “star” shape and prints details About this book I like to make books that could open like” table sculptures”, as artist book i want it to keep it identity as a “book”, so with a title page ,text and colophon, and it is my challenge to include all of them inside the volume of the book. So this book is all handmade by myself from the creation of the book to the hand printed cyanotype,from my etching print as a form of modern cliché-verre technique, the book’s cover is a made by processing fig tree leaves, and work them so they could become as skin for my book, the choice to dye them in blue night color ,should recall the impression to see all the leaves through the water on the ground inside a pound. The choice for a natural leaves supplies is to be in relation with my landscape etching turn to cyanotype prints , turn to sepia with help of tea to cut down the blue ,as i want all these images to be ghosty ,from an other time and the Swinburne ‘s text. All these lanscapes are placed in sequency, so when watcher turn around the book, it becomes like walking inside them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955012474-T4W8KDWJ25A476RIQZTP/mcba-prize-2017-patrick-aubert-the-garden-of-proserpine-5.jpg Entries & Jurors - 2017 Entries - Patrick Aubert Le Chesnay, France pa_aubert@hotmail.com the garden of proserpine 2017 images :modern cliché-verre using personal intaglio image then handmade printed with Cyanotype process. Book technique: cover material :natural leaves processed with colored dye. H: 13.5cm, W:24cm,D:24cm open H:13.5cm,W:12cm,D:2cm closed book open to see the star shape and various folding. About this book I like to make books that could open like” table sculptures”, as artist book i want it to keep it identity as a “book”, so with a title page ,text and colophon, and it is my challenge to include all of them inside the volume of the book. So this book is all handmade by myself from the creation of the book to the hand printed cyanotype,from my etching print as a form of modern cliché-verre technique, the book’s cover is a made by processing fig tree leaves, and work them so they could become as skin for my book, the choice to dye them in blue night color ,should recall the impression to see all the leaves through the water on the ground inside a pound. The choice for a natural leaves supplies is to be in relation with my landscape etching turn to cyanotype prints , turn to sepia with help of tea to cut down the blue ,as i want all these images to be ghosty ,from an other time and the Swinburne ‘s text. All these lanscapes are placed in sequency, so when watcher turn around the book, it becomes like walking inside them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955163636-D0FBGUZ5WIJK3C5WP1BL/mcba-prize-2017-becky-beamer-a-dialog-1.jpg Entries & Jurors - 2017 Entries - Becky Beamer Tuscaloosa, Alabama http://www.beckybeamer.com A Dialog. 2016 Mixed Media: Handmade Paper by Artist, Linoleum Print, Steel Beads (Namibian), One Wooden and One Metal Found Chair edition of 1 80” x 28” x 20.5” https://youtu.be/MQbXbH1ouFU The installation consists of two pieces: the two chairs intertwined and the floating ghost chair that hangs above. The metal chair was hand worn down and aged. Then, the two pieces were taken apart and adjusted in order to come back together as one united whole. A Dialog. The book is deconstructed and only the ghost of it remains. Two cultures united in a conversation, information passing between cultures. We are talking, observing, and listening. The final birthed memory and history remain, lingering, and delicate. In Namibia, the chief would be the first to get a chair to sit off the ground. The chief held the power and ultimately, was the one responsible for transmitting the village’s traditions to the next generation. The ghost chair represents what remains of these conversations ¬– deteriorating oral traditions. The ears depicted on this ghost chair speak to the build up of this material culture that is based on listening. I conceptualized this piece after an extended research trip to Namibia to document indigenous craft process through video and photography. That experience inspired a book work series and installation called Namibian Craft: the Unknown & the Outsiders. While I can’t predict exactly how my work will evolve, I do have a call to action. My work always begins with research and environmental immersion. I research and examine each local culture to determine important topics and areas of discourse. I gather physical materials and books. Then, I will reflect on that research through a variety of expression methods and materials. This is my repetition of process that helps me grow as an artist. My artistic process is a direct reflection multi-dimensional background in documentary, book arts, and sculpture. Imagine artworks that are rooted in exploration, research, and storytelling that expose technical abilities in video, photography, and bookwork. The final products range from installations, to small press publications, sculptures and films. The common themes that have emerged from my work include questions about personal identity, the importance of cultural preservation, and a curiosity in ethnographic explorations. My mission is to leave a lasting contribution to the fields of ethnology, docujournalism, and book arts by pushing the boundaries and borders of those genres. Every adventure supplies new inspiration for artistic expression, content and process. I believe in the immortality of art & collaboration. With so many stories to tell, there’s no reason to stay in one place. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955164115-33OASYLQE5XHDO3SL9RJ/mcba-prize-2017-becky-beamer-a-dialog-2.jpg Entries & Jurors - 2017 Entries - Becky Beamer Tuscaloosa, Alabama http://www.beckybeamer.com A Dialog. 2016 Mixed Media: Handmade Paper by Artist, Linoleum Print, Steel Beads (Namibian), One Wooden and One Metal Found Chair edition of 1 80” x 28” x 20.5” https://youtu.be/MQbXbH1ouFU This close-up highlights the beautiful details in the handmade paper and hand printed relief of a human ear. One detail that cannot be seen from these photos is the sewn steel beads along the top rim of the ghost chair. Master craftsmen in Namibia sculpted the beads. Their stories influenced my experiential piece. A Dialog. The book is deconstructed and only the ghost of it remains. Two cultures united in a conversation, information passing between cultures. We are talking, observing, and listening. The final birthed memory and history remain, lingering, and delicate. In Namibia, the chief would be the first to get a chair to sit off the ground. The chief held the power and ultimately, was the one responsible for transmitting the village’s traditions to the next generation. The ghost chair represents what remains of these conversations ¬– deteriorating oral traditions. The ears depicted on this ghost chair speak to the build up of this material culture that is based on listening. I conceptualized this piece after an extended research trip to Namibia to document indigenous craft process through video and photography. That experience inspired a book work series and installation called Namibian Craft: the Unknown & the Outsiders. While I can’t predict exactly how my work will evolve, I do have a call to action. My work always begins with research and environmental immersion. I research and examine each local culture to determine important topics and areas of discourse. I gather physical materials and books. Then, I will reflect on that research through a variety of expression methods and materials. This is my repetition of process that helps me grow as an artist. My artistic process is a direct reflection multi-dimensional background in documentary, book arts, and sculpture. Imagine artworks that are rooted in exploration, research, and storytelling that expose technical abilities in video, photography, and bookwork. The final products range from installations, to small press publications, sculptures and films. The common themes that have emerged from my work include questions about personal identity, the importance of cultural preservation, and a curiosity in ethnographic explorations. My mission is to leave a lasting contribution to the fields of ethnology, docujournalism, and book arts by pushing the boundaries and borders of those genres. Every adventure supplies new inspiration for artistic expression, content and process. I believe in the immortality of art & collaboration. With so many stories to tell, there’s no reason to stay in one place. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955165402-14TWMICL1GQB9UBFST18/mcba-prize-2017-becky-beamer-a-dialog-3.jpg Entries & Jurors - 2017 Entries - Becky Beamer Tuscaloosa, Alabama http://www.beckybeamer.com A Dialog. 2016 Mixed Media: Handmade Paper by Artist, Linoleum Print, Steel Beads (Namibian), One Wooden and One Metal Found Chair edition of 1 80” x 28” x 20.5” https://youtu.be/MQbXbH1ouFU The fiber combination was chosen for its strength, shrinkage, and visual qualities. The fiber was beaten in a Reina beater and then sheets of varying sizes were pulled. Before they had a chance to dry, they were pressed together around a chair form to make the book work. It was imperative that I work fast and efficiently in order to finish. A Dialog. The book is deconstructed and only the ghost of it remains. Two cultures united in a conversation, information passing between cultures. We are talking, observing, and listening. The final birthed memory and history remain, lingering, and delicate. In Namibia, the chief would be the first to get a chair to sit off the ground. The chief held the power and ultimately, was the one responsible for transmitting the village’s traditions to the next generation. The ghost chair represents what remains of these conversations ¬– deteriorating oral traditions. The ears depicted on this ghost chair speak to the build up of this material culture that is based on listening. I conceptualized this piece after an extended research trip to Namibia to document indigenous craft process through video and photography. That experience inspired a book work series and installation called Namibian Craft: the Unknown & the Outsiders. While I can’t predict exactly how my work will evolve, I do have a call to action. My work always begins with research and environmental immersion. I research and examine each local culture to determine important topics and areas of discourse. I gather physical materials and books. Then, I will reflect on that research through a variety of expression methods and materials. This is my repetition of process that helps me grow as an artist. My artistic process is a direct reflection multi-dimensional background in documentary, book arts, and sculpture. Imagine artworks that are rooted in exploration, research, and storytelling that expose technical abilities in video, photography, and bookwork. The final products range from installations, to small press publications, sculptures and films. The common themes that have emerged from my work include questions about personal identity, the importance of cultural preservation, and a curiosity in ethnographic explorations. My mission is to leave a lasting contribution to the fields of ethnology, docujournalism, and book arts by pushing the boundaries and borders of those genres. Every adventure supplies new inspiration for artistic expression, content and process. I believe in the immortality of art & collaboration. With so many stories to tell, there’s no reason to stay in one place. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955165863-FC6GR0DEGHCCGRXD2KAK/mcba-prize-2017-becky-beamer-a-dialog-4.jpg Entries & Jurors - 2017 Entries - Becky Beamer Tuscaloosa, Alabama http://www.beckybeamer.com A Dialog. 2016 Mixed Media: Handmade Paper by Artist, Linoleum Print, Steel Beads (Namibian), One Wooden and One Metal Found Chair edition of 1 80” x 28” x 20.5” https://youtu.be/MQbXbH1ouFU\ The ear relief prints also had to be applied to the paper while it was still damp. In order to get the distressed quality and impression that I desired, I hand printed each ear. I went through weeks of testing to get the desired final look for the artwork. A Dialog. The book is deconstructed and only the ghost of it remains. Two cultures united in a conversation, information passing between cultures. We are talking, observing, and listening. The final birthed memory and history remain, lingering, and delicate. In Namibia, the chief would be the first to get a chair to sit off the ground. The chief held the power and ultimately, was the one responsible for transmitting the village’s traditions to the next generation. The ghost chair represents what remains of these conversations ¬– deteriorating oral traditions. The ears depicted on this ghost chair speak to the build up of this material culture that is based on listening. I conceptualized this piece after an extended research trip to Namibia to document indigenous craft process through video and photography. That experience inspired a book work series and installation called Namibian Craft: the Unknown & the Outsiders. While I can’t predict exactly how my work will evolve, I do have a call to action. My work always begins with research and environmental immersion. I research and examine each local culture to determine important topics and areas of discourse. I gather physical materials and books. Then, I will reflect on that research through a variety of expression methods and materials. This is my repetition of process that helps me grow as an artist. My artistic process is a direct reflection multi-dimensional background in documentary, book arts, and sculpture. Imagine artworks that are rooted in exploration, research, and storytelling that expose technical abilities in video, photography, and bookwork. The final products range from installations, to small press publications, sculptures and films. The common themes that have emerged from my work include questions about personal identity, the importance of cultural preservation, and a curiosity in ethnographic explorations. My mission is to leave a lasting contribution to the fields of ethnology, docujournalism, and book arts by pushing the boundaries and borders of those genres. Every adventure supplies new inspiration for artistic expression, content and process. I believe in the immortality of art & collaboration. With so many stories to tell, there’s no reason to stay in one place. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955286663-ILRP1N8D1N445R14FXGZ/mcba-prize-2017-becky-beamer-evolution-of-tradition-1.jpg Entries & Jurors - 2017 Entries - Becky Beamer Tuscaloosa, Alabama http://www.beckybeamer.com Evolution of Tradition 2016 Mixed Media: Handmade Paper by Artist, White Glass Beads (Namibian), Found Table, Steel, Thread, Concrete, Dirt from Namibia and Alabama edition of 1 150+ pages 41.25” x 35” x 26” N/A This book installation is one solid piece. The hand-made paper pages capture the evolution of tradition that grew from the red dirt. The glass beads were purchased in the same city where the master bead workers formed their pieces. Evolution of Tradition This piece represents a book that is transformed over time, by many makers. Influenced by outsiders, the craft culture transforms, bends, and builds through pages, not words. The assemblage of pages, hiding behind beadwork, reminds me of a story. A story passed on to family and friends through listening. The story changes, only slightly, over time. It is rooted in the land. The red dirt “feet” represent the land, Namibia and Alabama. People come from the red land. The red dirt symbolizes the importance of home in both Namibia and Alabama where many culture trends derive. The “feet” were influenced by plastic materiality, like plastics are currently influencing craft culture in Namibia. Though new materials have entered the landscape, beadwork traditions remains strong in the culture. The white beads start at the floor – a tradition rooted in the land. Overtime, beadwork patterns changed which shown through the bead evolution in this book work. The culture traverses the landscape in parallel – just like the beads. The European style table represents the influence of outsiders on Namibian culture, most noticeably, Europeans. I conceptualized this piece after an extended research trip to Namibia to document indigenous craft process through video and photography. That experience also inspired a book series and installation called Namibian Craft: the Unknown & the Outsiders. While I can’t predict exactly how my work will evolve, I do have a call to action. My work always begins with research and environmental immersion. I gather physical materials and books. Then, I will reflect on that research through a variety of expression methods and materials. This is my repetition of process that helps me grow as an artist. My artistic process is a direct reflection multi-dimensional background in documentary, book arts, and sculpture. Imagine artworks that are rooted in exploration, research, and storytelling that expose technical abilities in video, photography, and bookwork. The final products range from installations, to small press publications, sculptures and films. The common themes that have emerged from my work include questions about personal identity, the importance of cultural preservation, and a curiosity in ethnographic explorations. My mission is to leave a lasting contribution to the fields of ethnology, docujournalism, and book arts by pushing the boundaries and borders of those genres. Every adventure supplies new inspiration for artistic expression, content and process. I believe in the immortality of art & collaboration. With so many stories to tell, there’s no reason to stay in one place. – Becky Beamer https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955285876-DSZIJ27JB2G13IR5O89R/mcba-prize-2017-becky-beamer-evolution-of-tradition-2.jpg Entries & Jurors - 2017 Entries - Becky Beamer Tuscaloosa, Alabama http://www.beckybeamer.com Evolution of Tradition 2016 Mixed Media: Handmade Paper by Artist, White Glass Beads (Namibian), Found Table, Steel, Thread, Concrete, Dirt from Namibia and Alabama edition of 1 150+ pages 41.25” x 35” x 26” N/A This is technically the back of the piece. The pages, the oral history, are slightly hidden from the public. Upon closer examination, the beauty of each page and the repetition of the crafts are revealed. Evolution of Tradition This piece represents a book that is transformed over time, by many makers. Influenced by outsiders, the craft culture transforms, bends, and builds through pages, not words. The assemblage of pages, hiding behind beadwork, reminds me of a story. A story passed on to family and friends through listening. The story changes, only slightly, over time. It is rooted in the land. The red dirt “feet” represent the land, Namibia and Alabama. People come from the red land. The red dirt symbolizes the importance of home in both Namibia and Alabama where many culture trends derive. The “feet” were influenced by plastic materiality, like plastics are currently influencing craft culture in Namibia. Though new materials have entered the landscape, beadwork traditions remains strong in the culture. The white beads start at the floor – a tradition rooted in the land. Overtime, beadwork patterns changed which shown through the bead evolution in this book work. The culture traverses the landscape in parallel – just like the beads. The European style table represents the influence of outsiders on Namibian culture, most noticeably, Europeans. I conceptualized this piece after an extended research trip to Namibia to document indigenous craft process through video and photography. That experience also inspired a book series and installation called Namibian Craft: the Unknown & the Outsiders. While I can’t predict exactly how my work will evolve, I do have a call to action. My work always begins with research and environmental immersion. I gather physical materials and books. Then, I will reflect on that research through a variety of expression methods and materials. This is my repetition of process that helps me grow as an artist. My artistic process is a direct reflection multi-dimensional background in documentary, book arts, and sculpture. Imagine artworks that are rooted in exploration, research, and storytelling that expose technical abilities in video, photography, and bookwork. The final products range from installations, to small press publications, sculptures and films. The common themes that have emerged from my work include questions about personal identity, the importance of cultural preservation, and a curiosity in ethnographic explorations. My mission is to leave a lasting contribution to the fields of ethnology, docujournalism, and book arts by pushing the boundaries and borders of those genres. Every adventure supplies new inspiration for artistic expression, content and process. I believe in the immortality of art & collaboration. With so many stories to tell, there’s no reason to stay in one place. – Becky Beamer https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955288078-V7D3N3SZD8Z5ZY5JTU5S/mcba-prize-2017-becky-beamer-evolution-of-tradition-3.jpg Entries & Jurors - 2017 Entries - Becky Beamer Tuscaloosa, Alabama http://www.beckybeamer.com Evolution of Tradition 2016 Mixed Media: Handmade Paper by Artist, White Glass Beads (Namibian), Found Table, Steel, Thread, Concrete, Dirt from Namibia and Alabama edition of 1 150+ pages 41.25” x 35” x 26” N/A This view highlights the precision necessary to complete the work. The found objects and new hand-made objects become one book – one history. Evolution of Tradition This piece represents a book that is transformed over time, by many makers. Influenced by outsiders, the craft culture transforms, bends, and builds through pages, not words. The assemblage of pages, hiding behind beadwork, reminds me of a story. A story passed on to family and friends through listening. The story changes, only slightly, over time. It is rooted in the land. The red dirt “feet” represent the land, Namibia and Alabama. People come from the red land. The red dirt symbolizes the importance of home in both Namibia and Alabama where many culture trends derive. The “feet” were influenced by plastic materiality, like plastics are currently influencing craft culture in Namibia. Though new materials have entered the landscape, beadwork traditions remains strong in the culture. The white beads start at the floor – a tradition rooted in the land. Overtime, beadwork patterns changed which shown through the bead evolution in this book work. The culture traverses the landscape in parallel – just like the beads. The European style table represents the influence of outsiders on Namibian culture, most noticeably, Europeans. I conceptualized this piece after an extended research trip to Namibia to document indigenous craft process through video and photography. That experience also inspired a book series and installation called Namibian Craft: the Unknown & the Outsiders. While I can’t predict exactly how my work will evolve, I do have a call to action. My work always begins with research and environmental immersion. I gather physical materials and books. Then, I will reflect on that research through a variety of expression methods and materials. This is my repetition of process that helps me grow as an artist. My artistic process is a direct reflection multi-dimensional background in documentary, book arts, and sculpture. Imagine artworks that are rooted in exploration, research, and storytelling that expose technical abilities in video, photography, and bookwork. The final products range from installations, to small press publications, sculptures and films. The common themes that have emerged from my work include questions about personal identity, the importance of cultural preservation, and a curiosity in ethnographic explorations. My mission is to leave a lasting contribution to the fields of ethnology, docujournalism, and book arts by pushing the boundaries and borders of those genres. Every adventure supplies new inspiration for artistic expression, content and process. I believe in the immortality of art & collaboration. With so many stories to tell, there’s no reason to stay in one place. – Becky Beamer https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955288334-C5FRC02WFDZTE521PG84/mcba-prize-2017-becky-beamer-evolution-of-tradition-4.jpg Entries & Jurors - 2017 Entries - Becky Beamer Tuscaloosa, Alabama http://www.beckybeamer.com Evolution of Tradition 2016 Mixed Media: Handmade Paper by Artist, White Glass Beads (Namibian), Found Table, Steel, Thread, Concrete, Dirt from Namibia and Alabama edition of 1 150+ pages 41.25” x 35” x 26” N/A Please note how each page is carefully sewn into the book. It’s a brand new sewing technique and form developed to use across the metal rods and through the beaded areas. It is similar to sewing on tapes. Evolution of Tradition This piece represents a book that is transformed over time, by many makers. Influenced by outsiders, the craft culture transforms, bends, and builds through pages, not words. The assemblage of pages, hiding behind beadwork, reminds me of a story. A story passed on to family and friends through listening. The story changes, only slightly, over time. It is rooted in the land. The red dirt “feet” represent the land, Namibia and Alabama. People come from the red land. The red dirt symbolizes the importance of home in both Namibia and Alabama where many culture trends derive. The “feet” were influenced by plastic materiality, like plastics are currently influencing craft culture in Namibia. Though new materials have entered the landscape, beadwork traditions remains strong in the culture. The white beads start at the floor – a tradition rooted in the land. Overtime, beadwork patterns changed which shown through the bead evolution in this book work. The culture traverses the landscape in parallel – just like the beads. The European style table represents the influence of outsiders on Namibian culture, most noticeably, Europeans. I conceptualized this piece after an extended research trip to Namibia to document indigenous craft process through video and photography. That experience also inspired a book series and installation called Namibian Craft: the Unknown & the Outsiders. While I can’t predict exactly how my work will evolve, I do have a call to action. My work always begins with research and environmental immersion. I gather physical materials and books. Then, I will reflect on that research through a variety of expression methods and materials. This is my repetition of process that helps me grow as an artist. My artistic process is a direct reflection multi-dimensional background in documentary, book arts, and sculpture. Imagine artworks that are rooted in exploration, research, and storytelling that expose technical abilities in video, photography, and bookwork. The final products range from installations, to small press publications, sculptures and films. The common themes that have emerged from my work include questions about personal identity, the importance of cultural preservation, and a curiosity in ethnographic explorations. My mission is to leave a lasting contribution to the fields of ethnology, docujournalism, and book arts by pushing the boundaries and borders of those genres. Every adventure supplies new inspiration for artistic expression, content and process. I believe in the immortality of art & collaboration. With so many stories to tell, there’s no reason to stay in one place. – Becky Beamer https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955291806-I3KJ0GPFBT0OIHO7UDFW/mcba-prize-2017-becky-beamer-evolution-of-tradition-5.jpg Entries & Jurors - 2017 Entries - Becky Beamer Tuscaloosa, Alabama http://www.beckybeamer.com Evolution of Tradition 2016 Mixed Media: Handmade Paper by Artist, White Glass Beads (Namibian), Found Table, Steel, Thread, Concrete, Dirt from Namibia and Alabama edition of 1 150+ pages 41.25” x 35” x 26” N/A This is part of the stack of paper made by the artist for this book. The muted colors evolve over time similar to material culture. Evolution of Tradition This piece represents a book that is transformed over time, by many makers. Influenced by outsiders, the craft culture transforms, bends, and builds through pages, not words. The assemblage of pages, hiding behind beadwork, reminds me of a story. A story passed on to family and friends through listening. The story changes, only slightly, over time. It is rooted in the land. The red dirt “feet” represent the land, Namibia and Alabama. People come from the red land. The red dirt symbolizes the importance of home in both Namibia and Alabama where many culture trends derive. The “feet” were influenced by plastic materiality, like plastics are currently influencing craft culture in Namibia. Though new materials have entered the landscape, beadwork traditions remains strong in the culture. The white beads start at the floor – a tradition rooted in the land. Overtime, beadwork patterns changed which shown through the bead evolution in this book work. The culture traverses the landscape in parallel – just like the beads. The European style table represents the influence of outsiders on Namibian culture, most noticeably, Europeans. I conceptualized this piece after an extended research trip to Namibia to document indigenous craft process through video and photography. That experience also inspired a book series and installation called Namibian Craft: the Unknown & the Outsiders. While I can’t predict exactly how my work will evolve, I do have a call to action. My work always begins with research and environmental immersion. I gather physical materials and books. Then, I will reflect on that research through a variety of expression methods and materials. This is my repetition of process that helps me grow as an artist. My artistic process is a direct reflection multi-dimensional background in documentary, book arts, and sculpture. Imagine artworks that are rooted in exploration, research, and storytelling that expose technical abilities in video, photography, and bookwork. The final products range from installations, to small press publications, sculptures and films. The common themes that have emerged from my work include questions about personal identity, the importance of cultural preservation, and a curiosity in ethnographic explorations. My mission is to leave a lasting contribution to the fields of ethnology, docujournalism, and book arts by pushing the boundaries and borders of those genres. Every adventure supplies new inspiration for artistic expression, content and process. I believe in the immortality of art & collaboration. With so many stories to tell, there’s no reason to stay in one place. – Becky Beamer https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955402710-IB4GQZBKFBF3AKWFMM1C/mcba-prize-2017-amy-borezo-the-colour-out-of-space-1.jpg Entries & Jurors - 2017 Entries - Amy Borezo Orange, Massachusetts shelterbookworks.com The Colour out of Space 2016 Letterpress/relief printing from photopolymer plates. Shaped concertina case binding with paste paper decorated covers. Edition size: 40 56 pages Dimensions, open (H x W x D): 14.625 x 10.3125 x .5″ Dimensions, closed : 7.3125 x 10.3125” The Colour Out of Space, text by H.P. Lovecraft with images, printing, design, and binding by Amy Borezo. Covers are airbrushed with orange acrylic paint and the veined pattern is created through a paste paper technique. Suede spine. The imagery on the cover evokes the landscape and setting of the story. Artist Statement H.P. Lovecraft considered The Colour out of Space one of his best stories. In this narrative from 1927, Lovecraft blends horror and science fiction to create a dread terror of the unknown. A meteorite falls on a farm in central Massachusetts and causes devastation in the form of a mysterious, gradual toxicity of the land, vegetation, and people, often described as a strange colour. The location of the fallen meteorite is also the future site of a reservoir that will eventually be a major water supply for a large city. This artist’s book edition of the story includes an introduction by Lovecraft scholar S.T. Joshi and 14 color images by Amy Borezo. The artist lives near the supposed site of this fictional tale and frequently walks the old roads of the towns now underneath the Quabbin Reservoir. In creating the imagery for this work, the artist was interested in the inherent romanticism of this familiar landscape as well as Lovecraft’s own professed dislike of progress and modern industrialization. The toxicity from the meteorite at the site of the reservoir could be seen as a metaphor for the effects of modernity itself. The images reflect these ideas in abstract form. The text for this edition was provided by S.T. Joshi from his recent publication, H. P. LOVECRAFT: COLLECTED FICTION: A VARIORUM EDITION [Hippocampus Press, 2015] and is derived from a typescript at Brown University, evidently prepared by F. Lee Baldwin for a proposed reprint of the story (c. 1934) that never happened. It has some revisions in pen by Lovecraft, so presumably it represents his final wishes for the story. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955403617-WTYKZQ74LZOYRDJR08PP/mcba-prize-2017-amy-borezo-the-colour-out-of-space-2.jpg Entries & Jurors - 2017 Entries - Amy Borezo Orange, Massachusetts shelterbookworks.com The Colour out of Space 2016 Letterpress/relief printing from photopolymer plates. Shaped concertina case binding with paste paper decorated covers. Edition size: 40 56 pages Dimensions, open (H x W x D): 14.625 x 10.3125 x .5″ Dimensions, closed : 7.3125 x 10.3125” First of seven abstract image spreads. The text is a mix of horror and science fiction. A meteorite lands on a farm in Massachusetts near the site of a proposed reservoir, carrying with it an “invisible colour” that gradually spreads through a community like radiation poisoning. The imagery is first created through a pulled paste paper technique and is then printed from polymer plates. The pattern evokes the natural world—foliage, rocks, mud, water. A geometric pattern will emerge on top of this “natural” pattern. Artist Statement H.P. Lovecraft considered The Colour out of Space one of his best stories. In this narrative from 1927, Lovecraft blends horror and science fiction to create a dread terror of the unknown. A meteorite falls on a farm in central Massachusetts and causes devastation in the form of a mysterious, gradual toxicity of the land, vegetation, and people, often described as a strange colour. The location of the fallen meteorite is also the future site of a reservoir that will eventually be a major water supply for a large city. This artist’s book edition of the story includes an introduction by Lovecraft scholar S.T. Joshi and 14 color images by Amy Borezo. The artist lives near the supposed site of this fictional tale and frequently walks the old roads of the towns now underneath the Quabbin Reservoir. In creating the imagery for this work, the artist was interested in the inherent romanticism of this familiar landscape as well as Lovecraft’s own professed dislike of progress and modern industrialization. The toxicity from the meteorite at the site of the reservoir could be seen as a metaphor for the effects of modernity itself. The images reflect these ideas in abstract form. The text for this edition was provided by S.T. Joshi from his recent publication, H. P. LOVECRAFT: COLLECTED FICTION: A VARIORUM EDITION [Hippocampus Press, 2015] and is derived from a typescript at Brown University, evidently prepared by F. Lee Baldwin for a proposed reprint of the story (c. 1934) that never happened. It has some revisions in pen by Lovecraft, so presumably it represents his final wishes for the story. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955405280-T7R1C9OOEJ37B3S8R3Z7/mcba-prize-2017-amy-borezo-the-colour-out-of-space-3.jpg Entries & Jurors - 2017 Entries - Amy Borezo Orange, Massachusetts shelterbookworks.com The Colour out of Space 2016 Letterpress/relief printing from photopolymer plates. Shaped concertina case binding with paste paper decorated covers. Edition size: 40 56 pages Dimensions, open (H x W x D): 14.625 x 10.3125 x .5″ Dimensions, closed : 7.3125 x 10.3125” Text spread with printed concertina visible in gutter. Signatures are sewn into the valley folds of a concertina that has been printed with a pulled paste paper pattern in flourescent orange ink. The concertina folds are engineered to create a natural round in the spine of the book. The choice to use a concertina is not only structural, but also aesthetic and conceptual. The flourescent ink from the printed concertina glows from the center of many text spreads, evoking the radioactive “colour” described in the text. Artist Statement H.P. Lovecraft considered The Colour out of Space one of his best stories. In this narrative from 1927, Lovecraft blends horror and science fiction to create a dread terror of the unknown. A meteorite falls on a farm in central Massachusetts and causes devastation in the form of a mysterious, gradual toxicity of the land, vegetation, and people, often described as a strange colour. The location of the fallen meteorite is also the future site of a reservoir that will eventually be a major water supply for a large city. This artist’s book edition of the story includes an introduction by Lovecraft scholar S.T. Joshi and 14 color images by Amy Borezo. The artist lives near the supposed site of this fictional tale and frequently walks the old roads of the towns now underneath the Quabbin Reservoir. In creating the imagery for this work, the artist was interested in the inherent romanticism of this familiar landscape as well as Lovecraft’s own professed dislike of progress and modern industrialization. The toxicity from the meteorite at the site of the reservoir could be seen as a metaphor for the effects of modernity itself. The images reflect these ideas in abstract form. The text for this edition was provided by S.T. Joshi from his recent publication, H. P. LOVECRAFT: COLLECTED FICTION: A VARIORUM EDITION [Hippocampus Press, 2015] and is derived from a typescript at Brown University, evidently prepared by F. Lee Baldwin for a proposed reprint of the story (c. 1934) that never happened. It has some revisions in pen by Lovecraft, so presumably it represents his final wishes for the story. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955406558-YP69WJPFJMH1HNLE4QLZ/mcba-prize-2017-amy-borezo-the-colour-out-of-space-4.jpg Entries & Jurors - 2017 Entries - Amy Borezo Orange, Massachusetts shelterbookworks.com The Colour out of Space 2016 Letterpress/relief printing from photopolymer plates. Shaped concertina case binding with paste paper decorated covers. Edition size: 40 56 pages Dimensions, open (H x W x D): 14.625 x 10.3125 x .5″ Dimensions, closed : 7.3125 x 10.3125” Flourescent ink is used throughout the book as it emits both visible and non-visible spectrum light, similar to the color described in the story. Here the black geometric pattern begins to grow, just as the site of the radiation begins to spread throughout the town. Patterns are layered on top of each other to create unusual, otherworldly visual effects. A pattern evoking natural forms becomes “unnatural” or strange with jarring color choices, juxtapositions, and layering. Artist Statement H.P. Lovecraft considered The Colour out of Space one of his best stories. In this narrative from 1927, Lovecraft blends horror and science fiction to create a dread terror of the unknown. A meteorite falls on a farm in central Massachusetts and causes devastation in the form of a mysterious, gradual toxicity of the land, vegetation, and people, often described as a strange colour. The location of the fallen meteorite is also the future site of a reservoir that will eventually be a major water supply for a large city. This artist’s book edition of the story includes an introduction by Lovecraft scholar S.T. Joshi and 14 color images by Amy Borezo. The artist lives near the supposed site of this fictional tale and frequently walks the old roads of the towns now underneath the Quabbin Reservoir. In creating the imagery for this work, the artist was interested in the inherent romanticism of this familiar landscape as well as Lovecraft’s own professed dislike of progress and modern industrialization. The toxicity from the meteorite at the site of the reservoir could be seen as a metaphor for the effects of modernity itself. The images reflect these ideas in abstract form. The text for this edition was provided by S.T. Joshi from his recent publication, H. P. LOVECRAFT: COLLECTED FICTION: A VARIORUM EDITION [Hippocampus Press, 2015] and is derived from a typescript at Brown University, evidently prepared by F. Lee Baldwin for a proposed reprint of the story (c. 1934) that never happened. It has some revisions in pen by Lovecraft, so presumably it represents his final wishes for the story. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773955408030-H9LM4CTWKF2QJED5GTBF/mcba-prize-2017-amy-borezo-the-colour-out-of-space-5.jpg Entries & Jurors - 2017 Entries - Amy Borezo Orange, Massachusetts shelterbookworks.com The Colour out of Space 2016 Letterpress/relief printing from photopolymer plates. Shaped concertina case binding with paste paper decorated covers. Edition size: 40 56 pages Dimensions, open (H x W x D): 14.625 x 10.3125 x .5″ Dimensions, closed : 7.3125 x 10.3125” Final image spread with a large amount of the black geometric pattern. Not only does the black geometric pattern represent a spreading contamination, but it also corresponds to the shape of the Quabbin Reservoir in Massachusetts, which is the supposed setting for this fictional story. The toxicity carried and spread by the meteor can be seen as a metaphor in the text for the coming progress and industrialization as represented by the creation of the Reservoir itself. Artist Statement H.P. Lovecraft considered The Colour out of Space one of his best stories. In this narrative from 1927, Lovecraft blends horror and science fiction to create a dread terror of the unknown. A meteorite falls on a farm in central Massachusetts and causes devastation in the form of a mysterious, gradual toxicity of the land, vegetation, and people, often described as a strange colour. The location of the fallen meteorite is also the future site of a reservoir that will eventually be a major water supply for a large city. This artist’s book edition of the story includes an introduction by Lovecraft scholar S.T. Joshi and 14 color images by Amy Borezo. The artist lives near the supposed site of this fictional tale and frequently walks the old roads of the towns now underneath the Quabbin Reservoir. In creating the imagery for this work, the artist was interested in the inherent romanticism of this familiar landscape as well as Lovecraft’s own professed dislike of progress and modern industrialization. The toxicity from the meteorite at the site of the reservoir could be seen as a metaphor for the effects of modernity itself. The images reflect these ideas in abstract form. The text for this edition was provided by S.T. Joshi from his recent publication, H. P. LOVECRAFT: COLLECTED FICTION: A VARIORUM EDITION [Hippocampus Press, 2015] and is derived from a typescript at Brown University, evidently prepared by F. Lee Baldwin for a proposed reprint of the story (c. 1934) that never happened. It has some revisions in pen by Lovecraft, so presumably it represents his final wishes for the story. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773956164007-GCZ0G4HG09MJ8BKV0QGI/mcba-prize-2017-amy-borezo-kingdom-of-earth-1.jpg Entries & Jurors - 2017 Entries - Amy Borezo Orange, MA 01364 shelterbookworks.com Kingdom of Earth 2017 Letterpress/relief printing from photopolymer plates. Paste paper. Drum Leaf binding with sewn signatures. Edition size of 45 48 pages Dimensions, open: 12.75 x 25.125 x .75″ Dimensions, closed: 12.75” x 12.635″ text by Tennessee Williams with images, printing, design, and binding by Amy Borezo. Red and grey are the prominent colors throughout the text. Red is representative of the main female character in the play, as well as death, blood, and sexuality. The black printed imagery on the cover evokes a levee, which is featured in the play. Diagonal forms are prominent in the text including stairs, roofs, and levees. Artist Statement Tennessee Williams developed the concept of what he called a ‘plastic theater’ – a theater that is not simply a realistic rendering, but is open to the use of expressive devices in order to get closer to the truth of lived experience. In creating a contemporary artist’s book edition of Kingdom of Earth, a one act play by Williams, I am using the book form to capture the playwright’s idea of a ‘plastic theater’. The setting for Kingdom of Earth is a character in itself and carries throughout the play a tension full of apocalyptic foreboding. A storm is flooding a nearby river. A property owner upriver is expected to dynamite his levee if the river continues to rise, which will flood the Mississippi Delta farmhouse in which the action is taking place. The sound of the river pervades the play with a constant rising murmur while the three main characters enact a dark dance around one another that touches on issues of race, sexuality, and survival. Though this play was written fifty years ago, the themes are applicable to our contemporary world with continued tensions surrounding race and sexuality, and the ever more frequent flooded landscapes caused by a changing climate. The size and structure of the book allows for an immersive experience, with abstract imagery evoking water, floods, and breached levees, surrounding and engulfing the viewer. The action of the play occurs in the center of page spreads, with imagery stretching out on either side. The imagery is created through the technique of paste paper making, a traditional handmade design process. The only colors mentioned in the play are grey and red. Red is used to symbolize the main female character, Myrtle, and female sexuality, but also blood and death. On each text page throughout the edition, the color red is used as a rising tide of graphic imagery that creeps up the page as the play progresses, just as the flood water rises through the course of the play. The text for Kingdom of Earth is from THE MAGIC TOWER and Other One-Acts, copyright ©1967 by the University of the South. Reprinted by permission of New Directions Publishing Corp. Images, design, and binding by Amy Borezo ©2017. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773956163908-WCNOI4LJUCWNWJ0TRXRF/mcba-prize-2017-amy-borezo-kingdom-of-earth-2.jpg Entries & Jurors - 2017 Entries - Amy Borezo Orange, MA 01364 shelterbookworks.com Kingdom of Earth 2017 Letterpress/relief printing from photopolymer plates. Paste paper. Drum Leaf binding with sewn signatures. Edition size of 45 48 pages Dimensions, open: 12.75 x 25.125 x .75″ Dimensions, closed: 12.75” x 12.635″ First of nine image spreads. As the setting for the play is a Mississippi Delta farmhouse that is in danger of being flooded by a nearby river during a storm, my choice of imagery throughout evokes flooded landscapes and reflections on water. This spread in particular was influenced by research into archival images of the Great Mississippi Flood of 1927. Flooding often enhances the visibility of manmade grids on the landscape including roads, bridges, railroads, etc. All images are unique paste papers through the entire edition. Artist Statement Tennessee Williams developed the concept of what he called a ‘plastic theater’ – a theater that is not simply a realistic rendering, but is open to the use of expressive devices in order to get closer to the truth of lived experience. In creating a contemporary artist’s book edition of Kingdom of Earth, a one act play by Williams, I am using the book form to capture the playwright’s idea of a ‘plastic theater’. The setting for Kingdom of Earth is a character in itself and carries throughout the play a tension full of apocalyptic foreboding. A storm is flooding a nearby river. A property owner upriver is expected to dynamite his levee if the river continues to rise, which will flood the Mississippi Delta farmhouse in which the action is taking place. The sound of the river pervades the play with a constant rising murmur while the three main characters enact a dark dance around one another that touches on issues of race, sexuality, and survival. Though this play was written fifty years ago, the themes are applicable to our contemporary world with continued tensions surrounding race and sexuality, and the ever more frequent flooded landscapes caused by a changing climate. The size and structure of the book allows for an immersive experience, with abstract imagery evoking water, floods, and breached levees, surrounding and engulfing the viewer. The action of the play occurs in the center of page spreads, with imagery stretching out on either side. The imagery is created through the technique of paste paper making, a traditional handmade design process. The only colors mentioned in the play are grey and red. Red is used to symbolize the main female character, Myrtle, and female sexuality, but also blood and death. On each text page throughout the edition, the color red is used as a rising tide of graphic imagery that creeps up the page as the play progresses, just as the flood water rises through the course of the play. The text for Kingdom of Earth is from THE MAGIC TOWER and Other One-Acts, copyright ©1967 by the University of the South. Reprinted by permission of New Directions Publishing Corp. Images, design, and binding by Amy Borezo ©2017. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773956165788-1C6DU6DPPMPFCH7N78B4/mcba-prize-2017-amy-borezo-kingdom-of-earth-3.jpg Entries & Jurors - 2017 Entries - Amy Borezo Orange, MA 01364 shelterbookworks.com Kingdom of Earth 2017 Letterpress/relief printing from photopolymer plates. Paste paper. Drum Leaf binding with sewn signatures. Edition size of 45 48 pages Dimensions, open: 12.75 x 25.125 x .75″ Dimensions, closed: 12.75” x 12.635″ Title page spread. The text signatures are sewn into the folds of the pages of a drum leaf binding. The imagery exists as an immersive horizontal space, similar to the setting of a theatrical stage set, while the action of the play is oriented on vertical pages in the center of the theatrical space. Here, the imagery evokes the movement of water. Artist Statement Tennessee Williams developed the concept of what he called a ‘plastic theater’ – a theater that is not simply a realistic rendering, but is open to the use of expressive devices in order to get closer to the truth of lived experience. In creating a contemporary artist’s book edition of Kingdom of Earth, a one act play by Williams, I am using the book form to capture the playwright’s idea of a ‘plastic theater’. The setting for Kingdom of Earth is a character in itself and carries throughout the play a tension full of apocalyptic foreboding. A storm is flooding a nearby river. A property owner upriver is expected to dynamite his levee if the river continues to rise, which will flood the Mississippi Delta farmhouse in which the action is taking place. The sound of the river pervades the play with a constant rising murmur while the three main characters enact a dark dance around one another that touches on issues of race, sexuality, and survival. Though this play was written fifty years ago, the themes are applicable to our contemporary world with continued tensions surrounding race and sexuality, and the ever more frequent flooded landscapes caused by a changing climate. The size and structure of the book allows for an immersive experience, with abstract imagery evoking water, floods, and breached levees, surrounding and engulfing the viewer. The action of the play occurs in the center of page spreads, with imagery stretching out on either side. The imagery is created through the technique of paste paper making, a traditional handmade design process. The only colors mentioned in the play are grey and red. Red is used to symbolize the main female character, Myrtle, and female sexuality, but also blood and death. On each text page throughout the edition, the color red is used as a rising tide of graphic imagery that creeps up the page as the play progresses, just as the flood water rises through the course of the play. The text for Kingdom of Earth is from THE MAGIC TOWER and Other One-Acts, copyright ©1967 by the University of the South. Reprinted by permission of New Directions Publishing Corp. Images, design, and binding by Amy Borezo ©2017. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773956165669-LSCEGO3XI93QPYWUD04I/mcba-prize-2017-amy-borezo-kingdom-of-earth-4.jpg Entries & Jurors - 2017 Entries - Amy Borezo Orange, MA 01364 shelterbookworks.com Kingdom of Earth 2017 Letterpress/relief printing from photopolymer plates. Paste paper. Drum Leaf binding with sewn signatures. Edition size of 45 48 pages Dimensions, open: 12.75 x 25.125 x .75″ Dimensions, closed: 12.75” x 12.635″ One of the final image and text spreads. Here the imagery evokes the explosion of the levee. Artist Statement Tennessee Williams developed the concept of what he called a ‘plastic theater’ – a theater that is not simply a realistic rendering, but is open to the use of expressive devices in order to get closer to the truth of lived experience. In creating a contemporary artist’s book edition of Kingdom of Earth, a one act play by Williams, I am using the book form to capture the playwright’s idea of a ‘plastic theater’. The setting for Kingdom of Earth is a character in itself and carries throughout the play a tension full of apocalyptic foreboding. A storm is flooding a nearby river. A property owner upriver is expected to dynamite his levee if the river continues to rise, which will flood the Mississippi Delta farmhouse in which the action is taking place. The sound of the river pervades the play with a constant rising murmur while the three main characters enact a dark dance around one another that touches on issues of race, sexuality, and survival. Though this play was written fifty years ago, the themes are applicable to our contemporary world with continued tensions surrounding race and sexuality, and the ever more frequent flooded landscapes caused by a changing climate. The size and structure of the book allows for an immersive experience, with abstract imagery evoking water, floods, and breached levees, surrounding and engulfing the viewer. The action of the play occurs in the center of page spreads, with imagery stretching out on either side. The imagery is created through the technique of paste paper making, a traditional handmade design process. The only colors mentioned in the play are grey and red. Red is used to symbolize the main female character, Myrtle, and female sexuality, but also blood and death. On each text page throughout the edition, the color red is used as a rising tide of graphic imagery that creeps up the page as the play progresses, just as the flood water rises through the course of the play. The text for Kingdom of Earth is from THE MAGIC TOWER and Other One-Acts, copyright ©1967 by the University of the South. Reprinted by permission of New Directions Publishing Corp. Images, design, and binding by Amy Borezo ©2017. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773956167292-NC4M91S8C55Q16LLIF11/mcba-prize-2017-amy-borezo-kingdom-of-earth-5.jpg Entries & Jurors - 2017 Entries - Amy Borezo Orange, MA 01364 shelterbookworks.com Kingdom of Earth 2017 Letterpress/relief printing from photopolymer plates. Paste paper. Drum Leaf binding with sewn signatures. Edition size of 45 48 pages Dimensions, open: 12.75 x 25.125 x .75″ Dimensions, closed: 12.75” x 12.635″ Detail showing the red patterning printed on all text pages. This constant visual presence is representative of the constant murmur of the river at flood stage. The printed red pattern gradually rises on the page as the book progresses, just as the water of the river rises. This visual rising corresponds to the climactic death of one of the main characters, and so the red ink begins also to read as blood. Artist Statement Tennessee Williams developed the concept of what he called a ‘plastic theater’ – a theater that is not simply a realistic rendering, but is open to the use of expressive devices in order to get closer to the truth of lived experience. In creating a contemporary artist’s book edition of Kingdom of Earth, a one act play by Williams, I am using the book form to capture the playwright’s idea of a ‘plastic theater’. The setting for Kingdom of Earth is a character in itself and carries throughout the play a tension full of apocalyptic foreboding. A storm is flooding a nearby river. A property owner upriver is expected to dynamite his levee if the river continues to rise, which will flood the Mississippi Delta farmhouse in which the action is taking place. The sound of the river pervades the play with a constant rising murmur while the three main characters enact a dark dance around one another that touches on issues of race, sexuality, and survival. Though this play was written fifty years ago, the themes are applicable to our contemporary world with continued tensions surrounding race and sexuality, and the ever more frequent flooded landscapes caused by a changing climate. The size and structure of the book allows for an immersive experience, with abstract imagery evoking water, floods, and breached levees, surrounding and engulfing the viewer. The action of the play occurs in the center of page spreads, with imagery stretching out on either side. The imagery is created through the technique of paste paper making, a traditional handmade design process. The only colors mentioned in the play are grey and red. Red is used to symbolize the main female character, Myrtle, and female sexuality, but also blood and death. On each text page throughout the edition, the color red is used as a rising tide of graphic imagery that creeps up the page as the play progresses, just as the flood water rises through the course of the play. The text for Kingdom of Earth is from THE MAGIC TOWER and Other One-Acts, copyright ©1967 by the University of the South. Reprinted by permission of New Directions Publishing Corp. Images, design, and binding by Amy Borezo ©2017. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773956966860-3FOEMYDULB68B1CQ0CO1/mcba-prize-2017-eileen-boxer-report-us-1.jpg Entries & Jurors - 2017 Entries - Eileen&nbsp;Boxer Brooklyn New York www.report-us.org Report US 2016 Hand bound and sewn. Asuka digital paper, 48 gsm. Blood glazed cover cloth, handmade endpapers by Dobbin Mills saturated with unfixed synthetic pigment by Kremer. Hand-tied silk head and tail bands. unique 4 volumes. Combined #pages: 3,200 11 x 16.5 x approx 5 in* Each volume, variable spine width 11 x 8.5 x approx 5 in. Each volume, variable spine width Artist Statement Report US is my contribution to the conversation surrounding the issue of the violence wrought by the nearly unrestricted availability of firearms in the United States. This project was conceived to illustrate that victims of gun violence are not just numbers, they are people. Gun violence devastates not only the lives of its individual victims and their families, but the very fabric of our society. Since early 2013 I have been committed to this immense project, “Report US.” I have obtained every gun incident collected through the Gun Violence Archive for the entire year of 2015. These profoundly moving stories are like perverse poetry based in irrefutable fact. I have completed the edit of thirty-one days of incidents and compiled into four massive volumes, each representing one week of gun violence, one incident per page. The volumes are hand-bound, in hard-cover and cloth that is glazed with real blood, and end-papers of unfixed red pigment that will “bleed” when touched, leaving fingerprints as the reader lifts each incident page. These books, while hauntingly beautiful, are intended to get more and more marred with red smudges and it is my hope they are seen, and touched and read by many thousands of people. Violence is abhorrent and shocking and through this project I have explored this country’s disease with guns. It is through this project that I now demand that we look at who we have become, inside our hearts, our homes and our societies. This project is more than a series of books, as I have added an ongoing Instagram posts at #reportusdaily where one incident is posted every day. This spring in New York City will see the posting of over 3000 unique stickers, and posters on billboards, each one a gun incident, like small haiku’s of violence. Finally, I would like to realize a public access project where the reports will projected very large on the exterior of urban sites and on digital billboards. www.report-us.org #reportusdaily https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773956966302-8MQ2XYB84DUZPS44VH3M/mcba-prize-2017-eileen-boxer-report-us-2.jpg Entries & Jurors - 2017 Entries - Eileen&nbsp;Boxer Brooklyn New York www.report-us.org Report US 2016 Hand bound and sewn. Asuka digital paper, 48 gsm. Blood glazed cover cloth, handmade endpapers by Dobbin Mills saturated with unfixed synthetic pigment by Kremer. Hand-tied silk head and tail bands. unique 4 volumes. Combined #pages: 3,200 11 x 16.5 x approx 5 in* Each volume, variable spine width 11 x 8.5 x approx 5 in. Each volume, variable spine width Artist Statement Report US is my contribution to the conversation surrounding the issue of the violence wrought by the nearly unrestricted availability of firearms in the United States. This project was conceived to illustrate that victims of gun violence are not just numbers, they are people. Gun violence devastates not only the lives of its individual victims and their families, but the very fabric of our society. Since early 2013 I have been committed to this immense project, “Report US.” I have obtained every gun incident collected through the Gun Violence Archive for the entire year of 2015. These profoundly moving stories are like perverse poetry based in irrefutable fact. I have completed the edit of thirty-one days of incidents and compiled into four massive volumes, each representing one week of gun violence, one incident per page. The volumes are hand-bound, in hard-cover and cloth that is glazed with real blood, and end-papers of unfixed red pigment that will “bleed” when touched, leaving fingerprints as the reader lifts each incident page. These books, while hauntingly beautiful, are intended to get more and more marred with red smudges and it is my hope they are seen, and touched and read by many thousands of people. Violence is abhorrent and shocking and through this project I have explored this country’s disease with guns. It is through this project that I now demand that we look at who we have become, inside our hearts, our homes and our societies. This project is more than a series of books, as I have added an ongoing Instagram posts at #reportusdaily where one incident is posted every day. This spring in New York City will see the posting of over 3000 unique stickers, and posters on billboards, each one a gun incident, like small haiku’s of violence. Finally, I would like to realize a public access project where the reports will projected very large on the exterior of urban sites and on digital billboards. www.report-us.org #reportusdaily https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773956968216-DW4VKWCQLCTDKH5V7FOZ/mcba-prize-2017-eileen-boxer-report-us-3.jpg Entries & Jurors - 2017 Entries - Eileen&nbsp;Boxer Brooklyn New York www.report-us.org Report US 2016 Hand bound and sewn. Asuka digital paper, 48 gsm. Blood glazed cover cloth, handmade endpapers by Dobbin Mills saturated with unfixed synthetic pigment by Kremer. Hand-tied silk head and tail bands. unique 4 volumes. Combined #pages: 3,200 11 x 16.5 x approx 5 in* Each volume, variable spine width 11 x 8.5 x approx 5 in. Each volume, variable spine width Artist Statement Report US is my contribution to the conversation surrounding the issue of the violence wrought by the nearly unrestricted availability of firearms in the United States. This project was conceived to illustrate that victims of gun violence are not just numbers, they are people. Gun violence devastates not only the lives of its individual victims and their families, but the very fabric of our society. Since early 2013 I have been committed to this immense project, “Report US.” I have obtained every gun incident collected through the Gun Violence Archive for the entire year of 2015. These profoundly moving stories are like perverse poetry based in irrefutable fact. I have completed the edit of thirty-one days of incidents and compiled into four massive volumes, each representing one week of gun violence, one incident per page. The volumes are hand-bound, in hard-cover and cloth that is glazed with real blood, and end-papers of unfixed red pigment that will “bleed” when touched, leaving fingerprints as the reader lifts each incident page. These books, while hauntingly beautiful, are intended to get more and more marred with red smudges and it is my hope they are seen, and touched and read by many thousands of people. Violence is abhorrent and shocking and through this project I have explored this country’s disease with guns. It is through this project that I now demand that we look at who we have become, inside our hearts, our homes and our societies. This project is more than a series of books, as I have added an ongoing Instagram posts at #reportusdaily where one incident is posted every day. This spring in New York City will see the posting of over 3000 unique stickers, and posters on billboards, each one a gun incident, like small haiku’s of violence. Finally, I would like to realize a public access project where the reports will projected very large on the exterior of urban sites and on digital billboards. www.report-us.org #reportusdaily https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773956968773-PYQNA0XZJMQ7RUZRVHGW/mcba-prize-2017-eileen-boxer-report-us-4.jpg Entries & Jurors - 2017 Entries - Eileen&nbsp;Boxer Brooklyn New York www.report-us.org Report US 2016 Hand bound and sewn. Asuka digital paper, 48 gsm. Blood glazed cover cloth, handmade endpapers by Dobbin Mills saturated with unfixed synthetic pigment by Kremer. Hand-tied silk head and tail bands. unique 4 volumes. Combined #pages: 3,200 11 x 16.5 x approx 5 in* Each volume, variable spine width 11 x 8.5 x approx 5 in. Each volume, variable spine width Artist Statement Report US is my contribution to the conversation surrounding the issue of the violence wrought by the nearly unrestricted availability of firearms in the United States. This project was conceived to illustrate that victims of gun violence are not just numbers, they are people. Gun violence devastates not only the lives of its individual victims and their families, but the very fabric of our society. Since early 2013 I have been committed to this immense project, “Report US.” I have obtained every gun incident collected through the Gun Violence Archive for the entire year of 2015. These profoundly moving stories are like perverse poetry based in irrefutable fact. I have completed the edit of thirty-one days of incidents and compiled into four massive volumes, each representing one week of gun violence, one incident per page. The volumes are hand-bound, in hard-cover and cloth that is glazed with real blood, and end-papers of unfixed red pigment that will “bleed” when touched, leaving fingerprints as the reader lifts each incident page. These books, while hauntingly beautiful, are intended to get more and more marred with red smudges and it is my hope they are seen, and touched and read by many thousands of people. Violence is abhorrent and shocking and through this project I have explored this country’s disease with guns. It is through this project that I now demand that we look at who we have become, inside our hearts, our homes and our societies. This project is more than a series of books, as I have added an ongoing Instagram posts at #reportusdaily where one incident is posted every day. This spring in New York City will see the posting of over 3000 unique stickers, and posters on billboards, each one a gun incident, like small haiku’s of violence. Finally, I would like to realize a public access project where the reports will projected very large on the exterior of urban sites and on digital billboards. www.report-us.org #reportusdaily https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957073142-775MS28XA6KV21SE0J12/mcba-prize-2017-denise-brady-ten-poems-nebraska-1.jpg Entries & Jurors - 2017 Entries - Denise Brady Omaha, Nebraska http://gibraltareditions.co Ten Poems / Nebraska 2017 letterpress (hand set) & woodcut 35 12 (including title and colophon) 12 3/8 (h) x 15 (w) wrapper open. 7 1/2 (h) x 14 (w) sheets unfolded 7 3/4 (h) x 4 3/4 (w) x 3/8 (d) Paper Wrapper Closed Denise Brady: Statement May 2017 Denise Brady hand set the text and printed the poems and woodblock on a Vandercook No. 4. The type is Bembo (12 & 10 pt) and the paper is Hiromi Kitakata (33 g/m); wrappers and folded slipsheets are French Paper Co. Speckletone. Christine McGuigan and Devon Niebling assisted with typesetting. Woodcut by Maranda Allbritten. Poets & Poems: Ione Gardner (1900 – unknown), I Have Put Away All Things; Helene Magaret (1906 – 1998); Song of the Answerer (A reply to Walt Whitman); Hilda Raz, Diction; Martha Collins (1940 – ), White Paper 24; Donna Whitewing-Vandall (1943 – 2012), August 24, 1963 – 1:00 a.m. – Omaha; Barbara Schmitz (1945 – ), Supper; Marcia Southwick (1949– ), Small Difficulties; Lenora Castillo (1950 – ), La Nebraska; Erin Belieu (1967 – ), My Field Guide; Stacey Waite (1977 – ), In Nebraska Without a poem that speaks to me, that I want to share, I don’t find reason to pick up the sorts and put them in place, to spend time setting, designing, printing, and binding books. It is the desire to share poetry that motivates my work. Editing this collection of poems was as engaging, challenging, and rewarding as was designing and creating the unbound book. Issued to celebrate the 150th anniversary of Nebraska’s statehood, these poems were selected from Daniel Simon’s, Nebraska Poetry: A Sesquicentennial Anthology, 1867 – 2017, published by Stephen F. Austin Press. A first editorial principle was to present an expansive concept of Nebraska poetry in just a few selected poems. Another was to celebrate Simon’s rich and broad anthology, a collection of over 80 poets which fully meets his goal of “paying tribute to the many diverse voices that make up the cultural tapestry of our state.” My thanks to Guy, Louise, and Beatrice Duncan who read Simon’s anthology with me and helped make the editorial decisions. Love, family, place, race, nature, immigration, rural/urban differences, sexuality, and the life of the mind are themes a reader of Ten Poems/Nebraska will encounter. Through the details of events and geography and personal experience that shape them, these poems catch, I think, the character of life in this particular place while reminding us that we are and always have been part of a larger world. Ten Poems/Nebraska was designed to be touched, to be held and read. But my hope too is that a Maranda’s woodcut of Nebraska’s rivers was printed on each text sheet, a subtle pattern behind the three-page texts. The Kitakata sheets are folded in thirds with bi-fold slipsheets and stacked with a title page card on top and a colophon card below in a paper wrapper. The many production choices – from paper selection, to printing birth and death dates, and many other choices in between – were made in an attempt enhance this collection, but also to depict the ephemeral and contemplative as well as the physical and lasting nature of poetry in print. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957073224-0L7CHLXCD7T1TE9AHNJD/mcba-prize-2017-denise-brady-ten-poems-nebraska-2.jpg Entries & Jurors - 2017 Entries - Denise Brady Omaha, Nebraska http://gibraltareditions.co Ten Poems / Nebraska 2017 letterpress (hand set) & woodcut 35 12 (including title and colophon) 12 3/8 (h) x 15 (w) wrapper open. 7 1/2 (h) x 14 (w) sheets unfolded 7 3/4 (h) x 4 3/4 (w) x 3/8 (d) Paper Wrapper Open / Title Page Denise Brady: Statement May 2017 Denise Brady hand set the text and printed the poems and woodblock on a Vandercook No. 4. The type is Bembo (12 & 10 pt) and the paper is Hiromi Kitakata (33 g/m); wrappers and folded slipsheets are French Paper Co. Speckletone. Christine McGuigan and Devon Niebling assisted with typesetting. Woodcut by Maranda Allbritten. Poets & Poems: Ione Gardner (1900 – unknown), I Have Put Away All Things; Helene Magaret (1906 – 1998); Song of the Answerer (A reply to Walt Whitman); Hilda Raz, Diction; Martha Collins (1940 – ), White Paper 24; Donna Whitewing-Vandall (1943 – 2012), August 24, 1963 – 1:00 a.m. – Omaha; Barbara Schmitz (1945 – ), Supper; Marcia Southwick (1949– ), Small Difficulties; Lenora Castillo (1950 – ), La Nebraska; Erin Belieu (1967 – ), My Field Guide; Stacey Waite (1977 – ), In Nebraska Without a poem that speaks to me, that I want to share, I don’t find reason to pick up the sorts and put them in place, to spend time setting, designing, printing, and binding books. It is the desire to share poetry that motivates my work. Editing this collection of poems was as engaging, challenging, and rewarding as was designing and creating the unbound book. Issued to celebrate the 150th anniversary of Nebraska’s statehood, these poems were selected from Daniel Simon’s, Nebraska Poetry: A Sesquicentennial Anthology, 1867 – 2017, published by Stephen F. Austin Press. A first editorial principle was to present an expansive concept of Nebraska poetry in just a few selected poems. Another was to celebrate Simon’s rich and broad anthology, a collection of over 80 poets which fully meets his goal of “paying tribute to the many diverse voices that make up the cultural tapestry of our state.” My thanks to Guy, Louise, and Beatrice Duncan who read Simon’s anthology with me and helped make the editorial decisions. Love, family, place, race, nature, immigration, rural/urban differences, sexuality, and the life of the mind are themes a reader of Ten Poems/Nebraska will encounter. Through the details of events and geography and personal experience that shape them, these poems catch, I think, the character of life in this particular place while reminding us that we are and always have been part of a larger world. Ten Poems/Nebraska was designed to be touched, to be held and read. But my hope too is that a Maranda’s woodcut of Nebraska’s rivers was printed on each text sheet, a subtle pattern behind the three-page texts. The Kitakata sheets are folded in thirds with bi-fold slipsheets and stacked with a title page card on top and a colophon card below in a paper wrapper. The many production choices – from paper selection, to printing birth and death dates, and many other choices in between – were made in an attempt enhance this collection, but also to depict the ephemeral and contemplative as well as the physical and lasting nature of poetry in print. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957074672-9DJHQYSCWMUKM4ED02CH/mcba-prize-2017-denise-brady-ten-poems-nebraska-3.jpg Entries & Jurors - 2017 Entries - Denise Brady Omaha, Nebraska http://gibraltareditions.co Ten Poems / Nebraska 2017 letterpress (hand set) & woodcut 35 12 (including title and colophon) 12 3/8 (h) x 15 (w) wrapper open. 7 1/2 (h) x 14 (w) sheets unfolded 7 3/4 (h) x 4 3/4 (w) x 3/8 (d) Three of ten poems layerd over Paper Wrapper Denise Brady: Statement May 2017 Denise Brady hand set the text and printed the poems and woodblock on a Vandercook No. 4. The type is Bembo (12 & 10 pt) and the paper is Hiromi Kitakata (33 g/m); wrappers and folded slipsheets are French Paper Co. Speckletone. Christine McGuigan and Devon Niebling assisted with typesetting. Woodcut by Maranda Allbritten. Poets & Poems: Ione Gardner (1900 – unknown), I Have Put Away All Things; Helene Magaret (1906 – 1998); Song of the Answerer (A reply to Walt Whitman); Hilda Raz, Diction; Martha Collins (1940 – ), White Paper 24; Donna Whitewing-Vandall (1943 – 2012), August 24, 1963 – 1:00 a.m. – Omaha; Barbara Schmitz (1945 – ), Supper; Marcia Southwick (1949– ), Small Difficulties; Lenora Castillo (1950 – ), La Nebraska; Erin Belieu (1967 – ), My Field Guide; Stacey Waite (1977 – ), In Nebraska Without a poem that speaks to me, that I want to share, I don’t find reason to pick up the sorts and put them in place, to spend time setting, designing, printing, and binding books. It is the desire to share poetry that motivates my work. Editing this collection of poems was as engaging, challenging, and rewarding as was designing and creating the unbound book. Issued to celebrate the 150th anniversary of Nebraska’s statehood, these poems were selected from Daniel Simon’s, Nebraska Poetry: A Sesquicentennial Anthology, 1867 – 2017, published by Stephen F. Austin Press. A first editorial principle was to present an expansive concept of Nebraska poetry in just a few selected poems. Another was to celebrate Simon’s rich and broad anthology, a collection of over 80 poets which fully meets his goal of “paying tribute to the many diverse voices that make up the cultural tapestry of our state.” My thanks to Guy, Louise, and Beatrice Duncan who read Simon’s anthology with me and helped make the editorial decisions. Love, family, place, race, nature, immigration, rural/urban differences, sexuality, and the life of the mind are themes a reader of Ten Poems/Nebraska will encounter. Through the details of events and geography and personal experience that shape them, these poems catch, I think, the character of life in this particular place while reminding us that we are and always have been part of a larger world. Ten Poems/Nebraska was designed to be touched, to be held and read. But my hope too is that a Maranda’s woodcut of Nebraska’s rivers was printed on each text sheet, a subtle pattern behind the three-page texts. The Kitakata sheets are folded in thirds with bi-fold slipsheets and stacked with a title page card on top and a colophon card below in a paper wrapper. The many production choices – from paper selection, to printing birth and death dates, and many other choices in between – were made in an attempt enhance this collection, but also to depict the ephemeral and contemplative as well as the physical and lasting nature of poetry in print. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957074825-PRTWRDURG72566GP5GGP/mcba-prize-2017-denise-brady-ten-poems-nebraska-4.jpg Entries & Jurors - 2017 Entries - Denise Brady Omaha, Nebraska http://gibraltareditions.co Ten Poems / Nebraska 2017 letterpress (hand set) & woodcut 35 12 (including title and colophon) 12 3/8 (h) x 15 (w) wrapper open. 7 1/2 (h) x 14 (w) sheets unfolded 7 3/4 (h) x 4 3/4 (w) x 3/8 (d) Ione Gardner poem unfolded Denise Brady: Statement May 2017 Denise Brady hand set the text and printed the poems and woodblock on a Vandercook No. 4. The type is Bembo (12 & 10 pt) and the paper is Hiromi Kitakata (33 g/m); wrappers and folded slipsheets are French Paper Co. Speckletone. Christine McGuigan and Devon Niebling assisted with typesetting. Woodcut by Maranda Allbritten. Poets & Poems: Ione Gardner (1900 – unknown), I Have Put Away All Things; Helene Magaret (1906 – 1998); Song of the Answerer (A reply to Walt Whitman); Hilda Raz, Diction; Martha Collins (1940 – ), White Paper 24; Donna Whitewing-Vandall (1943 – 2012), August 24, 1963 – 1:00 a.m. – Omaha; Barbara Schmitz (1945 – ), Supper; Marcia Southwick (1949– ), Small Difficulties; Lenora Castillo (1950 – ), La Nebraska; Erin Belieu (1967 – ), My Field Guide; Stacey Waite (1977 – ), In Nebraska Without a poem that speaks to me, that I want to share, I don’t find reason to pick up the sorts and put them in place, to spend time setting, designing, printing, and binding books. It is the desire to share poetry that motivates my work. Editing this collection of poems was as engaging, challenging, and rewarding as was designing and creating the unbound book. Issued to celebrate the 150th anniversary of Nebraska’s statehood, these poems were selected from Daniel Simon’s, Nebraska Poetry: A Sesquicentennial Anthology, 1867 – 2017, published by Stephen F. Austin Press. A first editorial principle was to present an expansive concept of Nebraska poetry in just a few selected poems. Another was to celebrate Simon’s rich and broad anthology, a collection of over 80 poets which fully meets his goal of “paying tribute to the many diverse voices that make up the cultural tapestry of our state.” My thanks to Guy, Louise, and Beatrice Duncan who read Simon’s anthology with me and helped make the editorial decisions. Love, family, place, race, nature, immigration, rural/urban differences, sexuality, and the life of the mind are themes a reader of Ten Poems/Nebraska will encounter. Through the details of events and geography and personal experience that shape them, these poems catch, I think, the character of life in this particular place while reminding us that we are and always have been part of a larger world. Ten Poems/Nebraska was designed to be touched, to be held and read. But my hope too is that a Maranda’s woodcut of Nebraska’s rivers was printed on each text sheet, a subtle pattern behind the three-page texts. The Kitakata sheets are folded in thirds with bi-fold slipsheets and stacked with a title page card on top and a colophon card below in a paper wrapper. The many production choices – from paper selection, to printing birth and death dates, and many other choices in between – were made in an attempt enhance this collection, but also to depict the ephemeral and contemplative as well as the physical and lasting nature of poetry in print. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957076413-I8EO0U0HLGIPUPQ5SKKX/mcba-prize-2017-denise-brady-ten-poems-nebraska-5.jpg Entries & Jurors - 2017 Entries - Denise Brady Omaha, Nebraska http://gibraltareditions.co Ten Poems / Nebraska 2017 letterpress (hand set) & woodcut 35 12 (including title and colophon) 12 3/8 (h) x 15 (w) wrapper open. 7 1/2 (h) x 14 (w) sheets unfolded 7 3/4 (h) x 4 3/4 (w) x 3/8 (d) Martha Collins poem unfolded Denise Brady: Statement May 2017 Denise Brady hand set the text and printed the poems and woodblock on a Vandercook No. 4. The type is Bembo (12 & 10 pt) and the paper is Hiromi Kitakata (33 g/m); wrappers and folded slipsheets are French Paper Co. Speckletone. Christine McGuigan and Devon Niebling assisted with typesetting. Woodcut by Maranda Allbritten. Poets & Poems: Ione Gardner (1900 – unknown), I Have Put Away All Things; Helene Magaret (1906 – 1998); Song of the Answerer (A reply to Walt Whitman); Hilda Raz, Diction; Martha Collins (1940 – ), White Paper 24; Donna Whitewing-Vandall (1943 – 2012), August 24, 1963 – 1:00 a.m. – Omaha; Barbara Schmitz (1945 – ), Supper; Marcia Southwick (1949– ), Small Difficulties; Lenora Castillo (1950 – ), La Nebraska; Erin Belieu (1967 – ), My Field Guide; Stacey Waite (1977 – ), In Nebraska Without a poem that speaks to me, that I want to share, I don’t find reason to pick up the sorts and put them in place, to spend time setting, designing, printing, and binding books. It is the desire to share poetry that motivates my work. Editing this collection of poems was as engaging, challenging, and rewarding as was designing and creating the unbound book. Issued to celebrate the 150th anniversary of Nebraska’s statehood, these poems were selected from Daniel Simon’s, Nebraska Poetry: A Sesquicentennial Anthology, 1867 – 2017, published by Stephen F. Austin Press. A first editorial principle was to present an expansive concept of Nebraska poetry in just a few selected poems. Another was to celebrate Simon’s rich and broad anthology, a collection of over 80 poets which fully meets his goal of “paying tribute to the many diverse voices that make up the cultural tapestry of our state.” My thanks to Guy, Louise, and Beatrice Duncan who read Simon’s anthology with me and helped make the editorial decisions. Love, family, place, race, nature, immigration, rural/urban differences, sexuality, and the life of the mind are themes a reader of Ten Poems/Nebraska will encounter. Through the details of events and geography and personal experience that shape them, these poems catch, I think, the character of life in this particular place while reminding us that we are and always have been part of a larger world. Ten Poems/Nebraska was designed to be touched, to be held and read. But my hope too is that a Maranda’s woodcut of Nebraska’s rivers was printed on each text sheet, a subtle pattern behind the three-page texts. The Kitakata sheets are folded in thirds with bi-fold slipsheets and stacked with a title page card on top and a colophon card below in a paper wrapper. The many production choices – from paper selection, to printing birth and death dates, and many other choices in between – were made in an attempt enhance this collection, but also to depict the ephemeral and contemplative as well as the physical and lasting nature of poetry in print. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957268337-J05O2GGFBLZZJ5MJ0W0T/mcba-prize-2017-servane-briand-lempris-the-rat-prince-5.jpg Entries & Jurors - 2017 Entries - Servane Briand Palo Alto, California servanebriand.com Lempris the Rat Prince 2017 Artists’ book, origami, digital inkjet, stencil, encaustic EV 7 21 pages 26″x26″x3″ 6″x6″x10″ closed book – closure is designed with hidden magnets; the silk ribbon hints to the struggle of Lempris as well as mummy wrappers We built pyramids to the ancient kings. And still wonder at their mysterious beauty. Lempris, the Rat Prince, with his regal and Nietzschean lineage deserves no less of a monument as a tribute to his motionful struggles to meaning and survival. As the reader enters the secret chambers of the pyramid, he may discover the verse and lines that tell the story of a brave soul, not afraid to look inward and beyond the trivial segments, but determined to go to the end of it. A collaboration between mother and son, Servane Briand and Samuel Mignot, Lempris is also a tribute to the remarkable work of origami artist Eric Joisel who invented the rat figure. Reminiscent of the embalming materials of Egyptian mummies, beeswax features prominently in Lempris, adding transparency and a sense of timeliessness to the work. Built to last, maybe? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957265123-4KWEQLNIKIP1B3HA9P4P/mcba-prize-2017-servane-briand-lempris-the-rat-prince-1.jpg Entries & Jurors - 2017 Entries - Servane Briand Palo Alto, California servanebriand.com Lempris the Rat Prince 2017 Artists’ book, origami, digital inkjet, stencil, encaustic EV 7 21 pages 26″x26″x3″ 6″x6″x10″ partially open pyramid, one can catch a glimpse of Lempris, part of the poem and the origami pattern We built pyramids to the ancient kings. And still wonder at their mysterious beauty. Lempris, the Rat Prince, with his regal and Nietzschean lineage deserves no less of a monument as a tribute to his motionful struggles to meaning and survival. As the reader enters the secret chambers of the pyramid, he may discover the verse and lines that tell the story of a brave soul, not afraid to look inward and beyond the trivial segments, but determined to go to the end of it. A collaboration between mother and son, Servane Briand and Samuel Mignot, Lempris is also a tribute to the remarkable work of origami artist Eric Joisel who invented the rat figure. Reminiscent of the embalming materials of Egyptian mummies, beeswax features prominently in Lempris, adding transparency and a sense of timeliessness to the work. Built to last, maybe? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957267202-STNMYCQGDW72SLXH42LR/mcba-prize-2017-servane-briand-lempris-the-rat-prince-4.jpg Entries & Jurors - 2017 Entries - Servane Briand Palo Alto, California servanebriand.com Lempris the Rat Prince 2017 Artists’ book, origami, digital inkjet, stencil, encaustic EV 7 21 pages 26″x26″x3″ 6″x6″x10″ open book, revealing the poem in three parts, the colophon, Lempris, and the origami pattern We built pyramids to the ancient kings. And still wonder at their mysterious beauty. Lempris, the Rat Prince, with his regal and Nietzschean lineage deserves no less of a monument as a tribute to his motionful struggles to meaning and survival. As the reader enters the secret chambers of the pyramid, he may discover the verse and lines that tell the story of a brave soul, not afraid to look inward and beyond the trivial segments, but determined to go to the end of it. A collaboration between mother and son, Servane Briand and Samuel Mignot, Lempris is also a tribute to the remarkable work of origami artist Eric Joisel who invented the rat figure. Reminiscent of the embalming materials of Egyptian mummies, beeswax features prominently in Lempris, adding transparency and a sense of timeliessness to the work. Built to last, maybe? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957266657-0DGW0TH9KJV2E1ZZGABF/mcba-prize-2017-servane-briand-lempris-the-rat-prince-3.jpg Entries & Jurors - 2017 Entries - Servane Briand Palo Alto, California servanebriand.com Lempris the Rat Prince 2017 Artists’ book, origami, digital inkjet, stencil, encaustic EV 7 21 pages 26″x26″x3″ 6″x6″x10″ We built pyramids to the ancient kings. And still wonder at their mysterious beauty. Lempris, the Rat Prince, with his regal and Nietzschean lineage deserves no less of a monument as a tribute to his motionful struggles to meaning and survival. As the reader enters the secret chambers of the pyramid, he may discover the verse and lines that tell the story of a brave soul, not afraid to look inward and beyond the trivial segments, but determined to go to the end of it. A collaboration between mother and son, Servane Briand and Samuel Mignot, Lempris is also a tribute to the remarkable work of origami artist Eric Joisel who invented the rat figure. Reminiscent of the embalming materials of Egyptian mummies, beeswax features prominently in Lempris, adding transparency and a sense of timeliessness to the work. Built to last, maybe? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957265123-HVE4VN0U70W2PJXLFCYS/mcba-prize-2017-servane-briand-lempris-the-rat-prince-2.jpg Entries & Jurors - 2017 Entries - Servane Briand Palo Alto, California servanebriand.com Lempris the Rat Prince 2017 Artists’ book, origami, digital inkjet, stencil, encaustic EV 7 21 pages 26″x26″x3″ 6″x6″x10″ We built pyramids to the ancient kings. And still wonder at their mysterious beauty. Lempris, the Rat Prince, with his regal and Nietzschean lineage deserves no less of a monument as a tribute to his motionful struggles to meaning and survival. As the reader enters the secret chambers of the pyramid, he may discover the verse and lines that tell the story of a brave soul, not afraid to look inward and beyond the trivial segments, but determined to go to the end of it. A collaboration between mother and son, Servane Briand and Samuel Mignot, Lempris is also a tribute to the remarkable work of origami artist Eric Joisel who invented the rat figure. Reminiscent of the embalming materials of Egyptian mummies, beeswax features prominently in Lempris, adding transparency and a sense of timeliessness to the work. Built to last, maybe? https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957559823-FDFGLCCEYR58OEMWPQSI/mcba-prize-2017-inge-bruggeman-no-one-wants-to-play-the-victim-no-one-when-there-is-a-gun-involved-and-blue-1.jpg Entries & Jurors - 2017 Entries - Inge Bruggeman Reno Nevada www.ingebruggeman.com No one wants to play the victim no one when there is a gun involved and blue 2015 Letterpress printed from handset metal type on butcher paper edition size of 15 48 pages variable, recommended installation on 36′ of 3′ modular shelving, or on a pedestal with video monitor 3 x 12 x .75″ https://vimeo.com/172146180 video is 2 minutes 39 seconds, please view beginning and end, fast forwarding through middle if necessary. Active Reading Project #1. Prose poem by Laura Wetherington. Installation view shows title page, binding, and modular shelving. No one wants to play the victim no one when there is a gun involved and blue, 2015, is an artist book in a long accordion format that is intended to be read while walking. The long prose poem within the book is letterpress printed from handset type on butcher paper in an edition of 15 copies. To experience it fully, the work is installed on 36’ of 3’ custom modular shelving so that the reader is physically engaged with the reading process. An important component of this artist book project is the video of the author, Laura Wetherington, walking and reading the book. This allows for people in remote locations to get a sense of one person’s experience reading the work, as well as for gallery spaces that are unable to stretch it out to its full length. The viewer can see how the author embodies the poem while walking. No one wants… is the first artist book in my relatively new Active Reading Series. This series of work will be made up of 3-4 artist book projects investigating the physical nature of reading the material book. The project explores how we digest, retain, and embody information. Each artist book in the series will attempt to engage the reader physically in different ways, underscoring the idea that reading a physical, material object in a particular way can connect the reader profoundly to its content. It attempts to realize the book’s potential for a heightened reading experience, creating an embodiment of the text through an exaggerated physical experience with a material object. In this particular instance walking with the poem sets a different pace for the reader and the reader’s attention is focused quite differently when engaged with the text in this way. I am currently working on a French translation of this work to exhibit it in France in Spring 2018. https://vimeo.com/172146180 If you can only watch 2 minutes of the 2 minute 39 second video, I would recommend watching the first minute, fast forwarding, then watching the end. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957559781-LCSXU3JPFY8LV1PHUD4X/mcba-prize-2017-inge-bruggeman-no-one-wants-to-play-the-victim-no-one-when-there-is-a-gun-involved-and-blue-2.jpg Entries & Jurors - 2017 Entries - Inge Bruggeman Reno Nevada www.ingebruggeman.com No one wants to play the victim no one when there is a gun involved and blue 2015 Letterpress printed from handset metal type on butcher paper edition size of 15 48 pages variable, recommended installation on 36′ of 3′ modular shelving, or on a pedestal with video monitor 3 x 12 x .75″ https://vimeo.com/172146180 video is 2 minutes 39 seconds, please view beginning and end, fast forwarding through middle if necessary. Active Reading Project #1. Prose poem by Laura Wetherington. Installation view illustrating gallery configuration using 3’ modular shelving with book for paging through at the end of the active reading experience, i.e. reading while walking. No one wants to play the victim no one when there is a gun involved and blue, 2015, is an artist book in a long accordion format that is intended to be read while walking. The long prose poem within the book is letterpress printed from handset type on butcher paper in an edition of 15 copies. To experience it fully, the work is installed on 36’ of 3’ custom modular shelving so that the reader is physically engaged with the reading process. An important component of this artist book project is the video of the author, Laura Wetherington, walking and reading the book. This allows for people in remote locations to get a sense of one person’s experience reading the work, as well as for gallery spaces that are unable to stretch it out to its full length. The viewer can see how the author embodies the poem while walking. No one wants… is the first artist book in my relatively new Active Reading Series. This series of work will be made up of 3-4 artist book projects investigating the physical nature of reading the material book. The project explores how we digest, retain, and embody information. Each artist book in the series will attempt to engage the reader physically in different ways, underscoring the idea that reading a physical, material object in a particular way can connect the reader profoundly to its content. It attempts to realize the book’s potential for a heightened reading experience, creating an embodiment of the text through an exaggerated physical experience with a material object. In this particular instance walking with the poem sets a different pace for the reader and the reader’s attention is focused quite differently when engaged with the text in this way. I am currently working on a French translation of this work to exhibit it in France in Spring 2018. https://vimeo.com/172146180 If you can only watch 2 minutes of the 2 minute 39 second video, I would recommend watching the first minute, fast forwarding, then watching the end. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957560948-WCXRO125A74XWG0WRJEX/mcba-prize-2017-inge-bruggeman-no-one-wants-to-play-the-victim-no-one-when-there-is-a-gun-involved-and-blue-3.jpg Entries & Jurors - 2017 Entries - Inge Bruggeman Reno Nevada www.ingebruggeman.com No one wants to play the victim no one when there is a gun involved and blue 2015 Letterpress printed from handset metal type on butcher paper edition size of 15 48 pages variable, recommended installation on 36′ of 3′ modular shelving, or on a pedestal with video monitor 3 x 12 x .75″ https://vimeo.com/172146180 video is 2 minutes 39 seconds, please view beginning and end, fast forwarding through middle if necessary. Active Reading Project #1. Prose poem by Laura Wetherington. Installation view of book shows alternate configuration along one long wall extended 36’. No one wants to play the victim no one when there is a gun involved and blue, 2015, is an artist book in a long accordion format that is intended to be read while walking. The long prose poem within the book is letterpress printed from handset type on butcher paper in an edition of 15 copies. To experience it fully, the work is installed on 36’ of 3’ custom modular shelving so that the reader is physically engaged with the reading process. An important component of this artist book project is the video of the author, Laura Wetherington, walking and reading the book. This allows for people in remote locations to get a sense of one person’s experience reading the work, as well as for gallery spaces that are unable to stretch it out to its full length. The viewer can see how the author embodies the poem while walking. No one wants… is the first artist book in my relatively new Active Reading Series. This series of work will be made up of 3-4 artist book projects investigating the physical nature of reading the material book. The project explores how we digest, retain, and embody information. Each artist book in the series will attempt to engage the reader physically in different ways, underscoring the idea that reading a physical, material object in a particular way can connect the reader profoundly to its content. It attempts to realize the book’s potential for a heightened reading experience, creating an embodiment of the text through an exaggerated physical experience with a material object. In this particular instance walking with the poem sets a different pace for the reader and the reader’s attention is focused quite differently when engaged with the text in this way. I am currently working on a French translation of this work to exhibit it in France in Spring 2018. https://vimeo.com/172146180 If you can only watch 2 minutes of the 2 minute 39 second video, I would recommend watching the first minute, fast forwarding, then watching the end. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957561271-MQJMLE6ZOTXCUEH0TQ31/mcba-prize-2017-inge-bruggeman-no-one-wants-to-play-the-victim-no-one-when-there-is-a-gun-involved-and-blue-4.jpg Entries & Jurors - 2017 Entries - Inge Bruggeman Reno Nevada www.ingebruggeman.com No one wants to play the victim no one when there is a gun involved and blue 2015 Letterpress printed from handset metal type on butcher paper edition size of 15 48 pages variable, recommended installation on 36′ of 3′ modular shelving, or on a pedestal with video monitor 3 x 12 x .75″ https://vimeo.com/172146180 video is 2 minutes 39 seconds, please view beginning and end, fast forwarding through middle if necessary. Active Reading Project #1. Prose poem by Laura Wetherington. Detail shows letterpress printed text on butcher paper with occasional typographic trips. No one wants to play the victim no one when there is a gun involved and blue, 2015, is an artist book in a long accordion format that is intended to be read while walking. The long prose poem within the book is letterpress printed from handset type on butcher paper in an edition of 15 copies. To experience it fully, the work is installed on 36’ of 3’ custom modular shelving so that the reader is physically engaged with the reading process. An important component of this artist book project is the video of the author, Laura Wetherington, walking and reading the book. This allows for people in remote locations to get a sense of one person’s experience reading the work, as well as for gallery spaces that are unable to stretch it out to its full length. The viewer can see how the author embodies the poem while walking. No one wants… is the first artist book in my relatively new Active Reading Series. This series of work will be made up of 3-4 artist book projects investigating the physical nature of reading the material book. The project explores how we digest, retain, and embody information. Each artist book in the series will attempt to engage the reader physically in different ways, underscoring the idea that reading a physical, material object in a particular way can connect the reader profoundly to its content. It attempts to realize the book’s potential for a heightened reading experience, creating an embodiment of the text through an exaggerated physical experience with a material object. In this particular instance walking with the poem sets a different pace for the reader and the reader’s attention is focused quite differently when engaged with the text in this way. I am currently working on a French translation of this work to exhibit it in France in Spring 2018. https://vimeo.com/172146180 If you can only watch 2 minutes of the 2 minute 39 second video, I would recommend watching the first minute, fast forwarding, then watching the end. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957753239-1UQTLDKRGQ56LK96B61Z/mcba-prize-2017-inge-bruggeman-the-quickest-forever-1.jpg Entries & Jurors - 2017 Entries - Inge Bruggeman Reno, Nevada www.ingebruggeman.com The Quickest Forever 2017 Letterpress printed from handset metal type and photopolymer plates on Zerkall Book paper and handmade Cave Paper, hand colored with pencils, the book also uses knotted, looped, and braided thread as imagery edition size of 35 42 pages 10 x 13.5 x .5″ 10 x 6.75 x .75″ Artist Statement The Quickest Forever, 2017 is an artist book printed in an edition of 35 copies and made entirely by the artist, except for the paper. It is printed from handset type and photopolymer plates on Zerkall Book paper, which is white and smooth and juxtaposed with the rough, textured, handmade paper by Cave Paper. The book is a meditation on the passing of time, both on the land and on us as individuals. It also highlights the book as a kind of geological artifact of our experiences during the relatively short time we get to be on this planet with others. The imagery representing geological stratification began as drawings that were inspired by Orra White Hitchcock (1796-1863), one of America’s earliest botanical and scientific illustrators and artists. The drawings were then printed from photopolymer plates and hand colored using colored pencils. Below each image is a fragment of text and when combined reads, “It’s understood” “between us.” “The measure of all things,” “a few words worn around the edges, pressed into something soft” “and made solid over time.” Knotted, looped, twisted, and braided thread creates another layer of imagery that signifies time passing, or an act done with the hands in an attempt to count or control the passage of time. This use of thread was inspired by the quipus (or talking knots) of the Incans and other ancient Andean cultures that used a system of knots to keep records and communicate information. Printed lines based on the thread imagery lead the viewer/reader into spreads of landscape imagery — a smooth line or trajectory leads into the craggily ridge or horizon line of the landscape, and then back into the narrative. The reading process is fragmented into a slow, considered pace. This reading is interrupted by drawn, stenciled text that is also printed from photopolymer plates and accumulates, like so much verbal debris throughout the pages of the books. This text is fragmented and broken: “Meaning sur-faces float-s first words syllables fr-om rupture d-isruption pure,” “wedged betwe-en one misund-erstanding & a,” histories com-pressed to ve-rbal veins dis-tilled essenc-e caught in time so larg-e small so in-significant a signifier,” “intractab-ly embedded verbal deposi-ts calcificati-on, hard words,” “erosion dis-persion silte-d stories tim-e tells lang-uage tells of accumulation compession things chang-e things sta-y the same r-epeat new re-wind old new.” This text references a quote by Robert Smithson in the beginning of the book, “Writing drifts into strata, and becomes a buried language.” In his extensive writings, Smithson writes about language and working within the pages of a book/magazine as a conceptual space and experience. The second quote by him draws attention to the natural gap in the binding as part of the composition and considered space of the book, “The axis splits into a chasm in your hands, thus you begin your travels by being immediately lost.” The gap, or chasm is created by the exposed spine sewing on linen tapes and jute twine which is woven into Twinrocker handmade cover papers. The book is housed in a printed and sewn linen bag and delivered in a light blue library specimen box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957753435-P6Z78S42F14W937L4BQQ/mcba-prize-2017-inge-bruggeman-the-quickest-forever-2.jpg Entries & Jurors - 2017 Entries - Inge Bruggeman Reno, Nevada www.ingebruggeman.com The Quickest Forever 2017 Letterpress printed from handset metal type and photopolymer plates on Zerkall Book paper and handmade Cave Paper, hand colored with pencils, the book also uses knotted, looped, and braided thread as imagery edition size of 35 42 pages 10 x 13.5 x .5″ 10 x 6.75 x .75″ Artist Statement The Quickest Forever, 2017 is an artist book printed in an edition of 35 copies and made entirely by the artist, except for the paper. It is printed from handset type and photopolymer plates on Zerkall Book paper, which is white and smooth and juxtaposed with the rough, textured, handmade paper by Cave Paper. The book is a meditation on the passing of time, both on the land and on us as individuals. It also highlights the book as a kind of geological artifact of our experiences during the relatively short time we get to be on this planet with others. The imagery representing geological stratification began as drawings that were inspired by Orra White Hitchcock (1796-1863), one of America’s earliest botanical and scientific illustrators and artists. The drawings were then printed from photopolymer plates and hand colored using colored pencils. Below each image is a fragment of text and when combined reads, “It’s understood” “between us.” “The measure of all things,” “a few words worn around the edges, pressed into something soft” “and made solid over time.” Knotted, looped, twisted, and braided thread creates another layer of imagery that signifies time passing, or an act done with the hands in an attempt to count or control the passage of time. This use of thread was inspired by the quipus (or talking knots) of the Incans and other ancient Andean cultures that used a system of knots to keep records and communicate information. Printed lines based on the thread imagery lead the viewer/reader into spreads of landscape imagery — a smooth line or trajectory leads into the craggily ridge or horizon line of the landscape, and then back into the narrative. The reading process is fragmented into a slow, considered pace. This reading is interrupted by drawn, stenciled text that is also printed from photopolymer plates and accumulates, like so much verbal debris throughout the pages of the books. This text is fragmented and broken: “Meaning sur-faces float-s first words syllables fr-om rupture d-isruption pure,” “wedged betwe-en one misund-erstanding & a,” histories com-pressed to ve-rbal veins dis-tilled essenc-e caught in time so larg-e small so in-significant a signifier,” “intractab-ly embedded verbal deposi-ts calcificati-on, hard words,” “erosion dis-persion silte-d stories tim-e tells lang-uage tells of accumulation compession things chang-e things sta-y the same r-epeat new re-wind old new.” This text references a quote by Robert Smithson in the beginning of the book, “Writing drifts into strata, and becomes a buried language.” In his extensive writings, Smithson writes about language and working within the pages of a book/magazine as a conceptual space and experience. The second quote by him draws attention to the natural gap in the binding as part of the composition and considered space of the book, “The axis splits into a chasm in your hands, thus you begin your travels by being immediately lost.” The gap, or chasm is created by the exposed spine sewing on linen tapes and jute twine which is woven into Twinrocker handmade cover papers. The book is housed in a printed and sewn linen bag and delivered in a light blue library specimen box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957754433-SK5HIVQDITF43NKWTVI6/mcba-prize-2017-inge-bruggeman-the-quickest-forever-3.jpg Entries & Jurors - 2017 Entries - Inge Bruggeman Reno, Nevada www.ingebruggeman.com The Quickest Forever 2017 Letterpress printed from handset metal type and photopolymer plates on Zerkall Book paper and handmade Cave Paper, hand colored with pencils, the book also uses knotted, looped, and braided thread as imagery edition size of 35 42 pages 10 x 13.5 x .5″ 10 x 6.75 x .75″ Artist Statement The Quickest Forever, 2017 is an artist book printed in an edition of 35 copies and made entirely by the artist, except for the paper. It is printed from handset type and photopolymer plates on Zerkall Book paper, which is white and smooth and juxtaposed with the rough, textured, handmade paper by Cave Paper. The book is a meditation on the passing of time, both on the land and on us as individuals. It also highlights the book as a kind of geological artifact of our experiences during the relatively short time we get to be on this planet with others. The imagery representing geological stratification began as drawings that were inspired by Orra White Hitchcock (1796-1863), one of America’s earliest botanical and scientific illustrators and artists. The drawings were then printed from photopolymer plates and hand colored using colored pencils. Below each image is a fragment of text and when combined reads, “It’s understood” “between us.” “The measure of all things,” “a few words worn around the edges, pressed into something soft” “and made solid over time.” Knotted, looped, twisted, and braided thread creates another layer of imagery that signifies time passing, or an act done with the hands in an attempt to count or control the passage of time. This use of thread was inspired by the quipus (or talking knots) of the Incans and other ancient Andean cultures that used a system of knots to keep records and communicate information. Printed lines based on the thread imagery lead the viewer/reader into spreads of landscape imagery — a smooth line or trajectory leads into the craggily ridge or horizon line of the landscape, and then back into the narrative. The reading process is fragmented into a slow, considered pace. This reading is interrupted by drawn, stenciled text that is also printed from photopolymer plates and accumulates, like so much verbal debris throughout the pages of the books. This text is fragmented and broken: “Meaning sur-faces float-s first words syllables fr-om rupture d-isruption pure,” “wedged betwe-en one misund-erstanding & a,” histories com-pressed to ve-rbal veins dis-tilled essenc-e caught in time so larg-e small so in-significant a signifier,” “intractab-ly embedded verbal deposi-ts calcificati-on, hard words,” “erosion dis-persion silte-d stories tim-e tells lang-uage tells of accumulation compession things chang-e things sta-y the same r-epeat new re-wind old new.” This text references a quote by Robert Smithson in the beginning of the book, “Writing drifts into strata, and becomes a buried language.” In his extensive writings, Smithson writes about language and working within the pages of a book/magazine as a conceptual space and experience. The second quote by him draws attention to the natural gap in the binding as part of the composition and considered space of the book, “The axis splits into a chasm in your hands, thus you begin your travels by being immediately lost.” The gap, or chasm is created by the exposed spine sewing on linen tapes and jute twine which is woven into Twinrocker handmade cover papers. The book is housed in a printed and sewn linen bag and delivered in a light blue library specimen box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957754639-PZ3JUX9SGCMCVTH5SC1V/mcba-prize-2017-inge-bruggeman-the-quickest-forever-4.jpg Entries & Jurors - 2017 Entries - Inge Bruggeman Reno, Nevada www.ingebruggeman.com The Quickest Forever 2017 Letterpress printed from handset metal type and photopolymer plates on Zerkall Book paper and handmade Cave Paper, hand colored with pencils, the book also uses knotted, looped, and braided thread as imagery edition size of 35 42 pages 10 x 13.5 x .5″ 10 x 6.75 x .75″ Artist Statement The Quickest Forever, 2017 is an artist book printed in an edition of 35 copies and made entirely by the artist, except for the paper. It is printed from handset type and photopolymer plates on Zerkall Book paper, which is white and smooth and juxtaposed with the rough, textured, handmade paper by Cave Paper. The book is a meditation on the passing of time, both on the land and on us as individuals. It also highlights the book as a kind of geological artifact of our experiences during the relatively short time we get to be on this planet with others. The imagery representing geological stratification began as drawings that were inspired by Orra White Hitchcock (1796-1863), one of America’s earliest botanical and scientific illustrators and artists. The drawings were then printed from photopolymer plates and hand colored using colored pencils. Below each image is a fragment of text and when combined reads, “It’s understood” “between us.” “The measure of all things,” “a few words worn around the edges, pressed into something soft” “and made solid over time.” Knotted, looped, twisted, and braided thread creates another layer of imagery that signifies time passing, or an act done with the hands in an attempt to count or control the passage of time. This use of thread was inspired by the quipus (or talking knots) of the Incans and other ancient Andean cultures that used a system of knots to keep records and communicate information. Printed lines based on the thread imagery lead the viewer/reader into spreads of landscape imagery — a smooth line or trajectory leads into the craggily ridge or horizon line of the landscape, and then back into the narrative. The reading process is fragmented into a slow, considered pace. This reading is interrupted by drawn, stenciled text that is also printed from photopolymer plates and accumulates, like so much verbal debris throughout the pages of the books. This text is fragmented and broken: “Meaning sur-faces float-s first words syllables fr-om rupture d-isruption pure,” “wedged betwe-en one misund-erstanding & a,” histories com-pressed to ve-rbal veins dis-tilled essenc-e caught in time so larg-e small so in-significant a signifier,” “intractab-ly embedded verbal deposi-ts calcificati-on, hard words,” “erosion dis-persion silte-d stories tim-e tells lang-uage tells of accumulation compession things chang-e things sta-y the same r-epeat new re-wind old new.” This text references a quote by Robert Smithson in the beginning of the book, “Writing drifts into strata, and becomes a buried language.” In his extensive writings, Smithson writes about language and working within the pages of a book/magazine as a conceptual space and experience. The second quote by him draws attention to the natural gap in the binding as part of the composition and considered space of the book, “The axis splits into a chasm in your hands, thus you begin your travels by being immediately lost.” The gap, or chasm is created by the exposed spine sewing on linen tapes and jute twine which is woven into Twinrocker handmade cover papers. The book is housed in a printed and sewn linen bag and delivered in a light blue library specimen box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773957755644-5OC9H7RT3SM5PRQ5TFNJ/mcba-prize-2017-inge-bruggeman-the-quickest-forever-5.jpg Entries & Jurors - 2017 Entries - Inge Bruggeman Reno, Nevada www.ingebruggeman.com The Quickest Forever 2017 Letterpress printed from handset metal type and photopolymer plates on Zerkall Book paper and handmade Cave Paper, hand colored with pencils, the book also uses knotted, looped, and braided thread as imagery edition size of 35 42 pages 10 x 13.5 x .5″ 10 x 6.75 x .75″ Artist Statement The Quickest Forever, 2017 is an artist book printed in an edition of 35 copies and made entirely by the artist, except for the paper. It is printed from handset type and photopolymer plates on Zerkall Book paper, which is white and smooth and juxtaposed with the rough, textured, handmade paper by Cave Paper. The book is a meditation on the passing of time, both on the land and on us as individuals. It also highlights the book as a kind of geological artifact of our experiences during the relatively short time we get to be on this planet with others. The imagery representing geological stratification began as drawings that were inspired by Orra White Hitchcock (1796-1863), one of America’s earliest botanical and scientific illustrators and artists. The drawings were then printed from photopolymer plates and hand colored using colored pencils. Below each image is a fragment of text and when combined reads, “It’s understood” “between us.” “The measure of all things,” “a few words worn around the edges, pressed into something soft” “and made solid over time.” Knotted, looped, twisted, and braided thread creates another layer of imagery that signifies time passing, or an act done with the hands in an attempt to count or control the passage of time. This use of thread was inspired by the quipus (or talking knots) of the Incans and other ancient Andean cultures that used a system of knots to keep records and communicate information. Printed lines based on the thread imagery lead the viewer/reader into spreads of landscape imagery — a smooth line or trajectory leads into the craggily ridge or horizon line of the landscape, and then back into the narrative. The reading process is fragmented into a slow, considered pace. This reading is interrupted by drawn, stenciled text that is also printed from photopolymer plates and accumulates, like so much verbal debris throughout the pages of the books. This text is fragmented and broken: “Meaning sur-faces float-s first words syllables fr-om rupture d-isruption pure,” “wedged betwe-en one misund-erstanding & a,” histories com-pressed to ve-rbal veins dis-tilled essenc-e caught in time so larg-e small so in-significant a signifier,” “intractab-ly embedded verbal deposi-ts calcificati-on, hard words,” “erosion dis-persion silte-d stories tim-e tells lang-uage tells of accumulation compession things chang-e things sta-y the same r-epeat new re-wind old new.” This text references a quote by Robert Smithson in the beginning of the book, “Writing drifts into strata, and becomes a buried language.” In his extensive writings, Smithson writes about language and working within the pages of a book/magazine as a conceptual space and experience. The second quote by him draws attention to the natural gap in the binding as part of the composition and considered space of the book, “The axis splits into a chasm in your hands, thus you begin your travels by being immediately lost.” The gap, or chasm is created by the exposed spine sewing on linen tapes and jute twine which is woven into Twinrocker handmade cover papers. The book is housed in a printed and sewn linen bag and delivered in a light blue library specimen box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958050972-LFXJ81YC5OHM9NCW8AAA/mcba-prize-2017-stephanie-burchett-spectators-1.jpg Entries & Jurors - 2017 Entries - Stephanie Burchett Tucson, Arizona www.stephanieburchett.com Spectators 2017 Artist Book edition size of 15 19 pages 8″ x 10.5″ x 1/8″ 8″ x 5.25″ x 1/8″ Cover of Spectators Book Artist Statement Between the years of 1880 and 1930, approximately 4,697 lynchings took place in the United States, mostly of African American men in the South. White supremacists used the act of lynching as an informal system of enforcement. After a lynching, identifiable spectators would pose with the victim for a photograph. These photographs would then be sold as postcards and prints, as souvenirs, for spectators to take with them, to send to their friends or to hang on their walls as trophies. This book combines the faces of those spectators. The book was inspired by the facial recognition software that was detecting these faces while I was conducting research about lynching photographs. Susan Sontag discussed these spectators in her book Regarding the Pain of Others. There she suggests that the people in the crowd, who posed for the camera after the lynching, are “what barbarians look like, they look like everybody else.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958051626-V5112HOUR2IHESWSVZE5/mcba-prize-2017-stephanie-burchett-spectators-2.jpg Entries & Jurors - 2017 Entries - Stephanie Burchett Tucson, Arizona www.stephanieburchett.com Spectators 2017 Artist Book edition size of 15 19 pages 8″ x 10.5″ x 1/8″ 8″ x 5.25″ x 1/8″ Inside page view of spectator at a lynching from historic photographs Artist Statement Between the years of 1880 and 1930, approximately 4,697 lynchings took place in the United States, mostly of African American men in the South. White supremacists used the act of lynching as an informal system of enforcement. After a lynching, identifiable spectators would pose with the victim for a photograph. These photographs would then be sold as postcards and prints, as souvenirs, for spectators to take with them, to send to their friends or to hang on their walls as trophies. This book combines the faces of those spectators. The book was inspired by the facial recognition software that was detecting these faces while I was conducting research about lynching photographs. Susan Sontag discussed these spectators in her book Regarding the Pain of Others. There she suggests that the people in the crowd, who posed for the camera after the lynching, are “what barbarians look like, they look like everybody else.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958053365-XB0343N3H1P45YVLLDID/mcba-prize-2017-stephanie-burchett-spectators-3.jpg Entries & Jurors - 2017 Entries - Stephanie Burchett Tucson, Arizona www.stephanieburchett.com Spectators 2017 Artist Book edition size of 15 19 pages 8″ x 10.5″ x 1/8″ 8″ x 5.25″ x 1/8″ Inside page view of spectator at a lynching from historic photographs Artist Statement Between the years of 1880 and 1930, approximately 4,697 lynchings took place in the United States, mostly of African American men in the South. White supremacists used the act of lynching as an informal system of enforcement. After a lynching, identifiable spectators would pose with the victim for a photograph. These photographs would then be sold as postcards and prints, as souvenirs, for spectators to take with them, to send to their friends or to hang on their walls as trophies. This book combines the faces of those spectators. The book was inspired by the facial recognition software that was detecting these faces while I was conducting research about lynching photographs. Susan Sontag discussed these spectators in her book Regarding the Pain of Others. There she suggests that the people in the crowd, who posed for the camera after the lynching, are “what barbarians look like, they look like everybody else.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958054039-LB2FAVUH8UN5QHJNB5HY/mcba-prize-2017-stephanie-burchett-spectators-4.jpg Entries & Jurors - 2017 Entries - Stephanie Burchett Tucson, Arizona www.stephanieburchett.com Spectators 2017 Artist Book edition size of 15 19 pages 8″ x 10.5″ x 1/8″ 8″ x 5.25″ x 1/8″ Inside page view of spectator at a lynching from historic photographs Artist Statement Between the years of 1880 and 1930, approximately 4,697 lynchings took place in the United States, mostly of African American men in the South. White supremacists used the act of lynching as an informal system of enforcement. After a lynching, identifiable spectators would pose with the victim for a photograph. These photographs would then be sold as postcards and prints, as souvenirs, for spectators to take with them, to send to their friends or to hang on their walls as trophies. This book combines the faces of those spectators. The book was inspired by the facial recognition software that was detecting these faces while I was conducting research about lynching photographs. Susan Sontag discussed these spectators in her book Regarding the Pain of Others. There she suggests that the people in the crowd, who posed for the camera after the lynching, are “what barbarians look like, they look like everybody else.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958055499-BG32RQ39JBYWW4C1NH3I/mcba-prize-2017-stephanie-burchett-spectators-5.jpg Entries & Jurors - 2017 Entries - Stephanie Burchett Tucson, Arizona www.stephanieburchett.com Spectators 2017 Artist Book edition size of 15 19 pages 8″ x 10.5″ x 1/8″ 8″ x 5.25″ x 1/8″ Colophon Artist Statement Between the years of 1880 and 1930, approximately 4,697 lynchings took place in the United States, mostly of African American men in the South. White supremacists used the act of lynching as an informal system of enforcement. After a lynching, identifiable spectators would pose with the victim for a photograph. These photographs would then be sold as postcards and prints, as souvenirs, for spectators to take with them, to send to their friends or to hang on their walls as trophies. This book combines the faces of those spectators. The book was inspired by the facial recognition software that was detecting these faces while I was conducting research about lynching photographs. Susan Sontag discussed these spectators in her book Regarding the Pain of Others. There she suggests that the people in the crowd, who posed for the camera after the lynching, are “what barbarians look like, they look like everybody else.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958174602-KWT09IXZVV6FYIGUQ681/mcba-prize-2017-anyelmaidelin-calzadilla-fernandez-lovers-1.jpg Entries & Jurors - 2017 Entries - Anyelmaidelin Calzadilla Fernández Havana City, Cuba LOVERS 2017 Silkscreen Edition of 1, 3 books 33cm x 23cm x 2.5mm 16cm x 23cm x 5mm The image describes the three tests of artist of the work LOVERS. The same model of Chemistry Book of the Cuban school intervened with serigraphic impressions. Esta obra forma parte de una serie de libros que estoy elaborando utilizando como soporte algunos libros que reciben mis estudiantes de arte. En este caso la obra es un tríptico compuesto por tres variaciones de una misma idea. Consiste en la intervención de un libro de Química de la Escuela Cubana. He utilizado imágenes de una pareja de estudiantes a los que imparto clases de arte, grafitis y textos alegóricos a la química amorosa. De esta forma intento superponer la empatía espiritual, propia de las edades juveniles, por encima del análisis y la premeditación de la ciencia. Con la serigrafía como medio para estampar y la selección de colores pretendo crear un contraste entre la naturaleza precaria y monocroma del diseño original de este libro y la intervención gráfica. La repetición de un mismo patrón representativo intenta sugerir a la Serialidad como un acto de insistencia y voluntariedad. This work is part of a series of books that I am elaborating using as support some books that my art students receive. In this case the work is a triptych composed of three variations of the same idea. It consists of the intervention of a book of Chemistry of the Cuban School. I have used images of a couple of students to whom I teach art classes, graffiti and allegorical texts to love chemistry. In this way I try to superimpose the spiritual empathy, typical of the youth ages, above the analysis and premeditation of science. With screen printing as a means of stamping and color selection I intend to create a contrast between the precarious and monochromatic nature of the original design of this book and the graphic intervention. The repetition of the same representative pattern tries to suggest Seriality as an act of insistence and voluntariness. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958173805-T9LN1AFRJVP1JUOLA8SE/mcba-prize-2017-anyelmaidelin-calzadilla-fernandez-lovers-2.jpg Entries & Jurors - 2017 Entries - Anyelmaidelin Calzadilla Fernández Havana City, Cuba LOVERS 2017 Silkscreen Edition of 1, 3 books 33cm x 23cm x 2.5mm 16cm x 23cm x 5mm The image describes the cover and back cover of the book LOVERS. Esta obra forma parte de una serie de libros que estoy elaborando utilizando como soporte algunos libros que reciben mis estudiantes de arte. En este caso la obra es un tríptico compuesto por tres variaciones de una misma idea. Consiste en la intervención de un libro de Química de la Escuela Cubana. He utilizado imágenes de una pareja de estudiantes a los que imparto clases de arte, grafitis y textos alegóricos a la química amorosa. De esta forma intento superponer la empatía espiritual, propia de las edades juveniles, por encima del análisis y la premeditación de la ciencia. Con la serigrafía como medio para estampar y la selección de colores pretendo crear un contraste entre la naturaleza precaria y monocroma del diseño original de este libro y la intervención gráfica. La repetición de un mismo patrón representativo intenta sugerir a la Serialidad como un acto de insistencia y voluntariedad. This work is part of a series of books that I am elaborating using as support some books that my art students receive. In this case the work is a triptych composed of three variations of the same idea. It consists of the intervention of a book of Chemistry of the Cuban School. I have used images of a couple of students to whom I teach art classes, graffiti and allegorical texts to love chemistry. In this way I try to superimpose the spiritual empathy, typical of the youth ages, above the analysis and premeditation of science. With screen printing as a means of stamping and color selection I intend to create a contrast between the precarious and monochromatic nature of the original design of this book and the graphic intervention. The repetition of the same representative pattern tries to suggest Seriality as an act of insistence and voluntariness. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958175619-VV4P90E3KNQFC44IMPHR/mcba-prize-2017-anyelmaidelin-calzadilla-fernandez-lovers-3.jpg Entries & Jurors - 2017 Entries - Anyelmaidelin Calzadilla Fernández Havana City, Cuba LOVERS 2017 Silkscreen Edition of 1, 3 books 33cm x 23cm x 2.5mm 16cm x 23cm x 5mm The image describes the first page of the book LOVERS. Esta obra forma parte de una serie de libros que estoy elaborando utilizando como soporte algunos libros que reciben mis estudiantes de arte. En este caso la obra es un tríptico compuesto por tres variaciones de una misma idea. Consiste en la intervención de un libro de Química de la Escuela Cubana. He utilizado imágenes de una pareja de estudiantes a los que imparto clases de arte, grafitis y textos alegóricos a la química amorosa. De esta forma intento superponer la empatía espiritual, propia de las edades juveniles, por encima del análisis y la premeditación de la ciencia. Con la serigrafía como medio para estampar y la selección de colores pretendo crear un contraste entre la naturaleza precaria y monocroma del diseño original de este libro y la intervención gráfica. La repetición de un mismo patrón representativo intenta sugerir a la Serialidad como un acto de insistencia y voluntariedad. This work is part of a series of books that I am elaborating using as support some books that my art students receive. In this case the work is a triptych composed of three variations of the same idea. It consists of the intervention of a book of Chemistry of the Cuban School. I have used images of a couple of students to whom I teach art classes, graffiti and allegorical texts to love chemistry. In this way I try to superimpose the spiritual empathy, typical of the youth ages, above the analysis and premeditation of science. With screen printing as a means of stamping and color selection I intend to create a contrast between the precarious and monochromatic nature of the original design of this book and the graphic intervention. The repetition of the same representative pattern tries to suggest Seriality as an act of insistence and voluntariness. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958176995-N3MIAM62U9EV1IDPEI2S/mcba-prize-2017-anyelmaidelin-calzadilla-fernandez-lovers-4.jpg Entries & Jurors - 2017 Entries - Anyelmaidelin Calzadilla Fernández Havana City, Cuba LOVERS 2017 Silkscreen Edition of 1, 3 books 33cm x 23cm x 2.5mm 16cm x 23cm x 5mm The image describes two interior pages of the book LOVERS. Calzadilla 5 The image describes two interior pages of the book LOVERS. Esta obra forma parte de una serie de libros que estoy elaborando utilizando como soporte algunos libros que reciben mis estudiantes de arte. En este caso la obra es un tríptico compuesto por tres variaciones de una misma idea. Consiste en la intervención de un libro de Química de la Escuela Cubana. He utilizado imágenes de una pareja de estudiantes a los que imparto clases de arte, grafitis y textos alegóricos a la química amorosa. De esta forma intento superponer la empatía espiritual, propia de las edades juveniles, por encima del análisis y la premeditación de la ciencia. Con la serigrafía como medio para estampar y la selección de colores pretendo crear un contraste entre la naturaleza precaria y monocroma del diseño original de este libro y la intervención gráfica. La repetición de un mismo patrón representativo intenta sugerir a la Serialidad como un acto de insistencia y voluntariedad. This work is part of a series of books that I am elaborating using as support some books that my art students receive. In this case the work is a triptych composed of three variations of the same idea. It consists of the intervention of a book of Chemistry of the Cuban School. I have used images of a couple of students to whom I teach art classes, graffiti and allegorical texts to love chemistry. In this way I try to superimpose the spiritual empathy, typical of the youth ages, above the analysis and premeditation of science. With screen printing as a means of stamping and color selection I intend to create a contrast between the precarious and monochromatic nature of the original design of this book and the graphic intervention. The repetition of the same representative pattern tries to suggest Seriality as an act of insistence and voluntariness. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958177519-OSUVC3V5CGF78HZVMLZV/mcba-prize-2017-anyelmaidelin-calzadilla-fernandez-lovers-5.jpg Entries & Jurors - 2017 Entries - Anyelmaidelin Calzadilla Fernández Havana City, Cuba LOVERS 2017 Silkscreen Edition of 1, 3 books 33cm x 23cm x 2.5mm 16cm x 23cm x 5mm Esta obra forma parte de una serie de libros que estoy elaborando utilizando como soporte algunos libros que reciben mis estudiantes de arte. En este caso la obra es un tríptico compuesto por tres variaciones de una misma idea. Consiste en la intervención de un libro de Química de la Escuela Cubana. He utilizado imágenes de una pareja de estudiantes a los que imparto clases de arte, grafitis y textos alegóricos a la química amorosa. De esta forma intento superponer la empatía espiritual, propia de las edades juveniles, por encima del análisis y la premeditación de la ciencia. Con la serigrafía como medio para estampar y la selección de colores pretendo crear un contraste entre la naturaleza precaria y monocroma del diseño original de este libro y la intervención gráfica. La repetición de un mismo patrón representativo intenta sugerir a la Serialidad como un acto de insistencia y voluntariedad. This work is part of a series of books that I am elaborating using as support some books that my art students receive. In this case the work is a triptych composed of three variations of the same idea. It consists of the intervention of a book of Chemistry of the Cuban School. I have used images of a couple of students to whom I teach art classes, graffiti and allegorical texts to love chemistry. In this way I try to superimpose the spiritual empathy, typical of the youth ages, above the analysis and premeditation of science. With screen printing as a means of stamping and color selection I intend to create a contrast between the precarious and monochromatic nature of the original design of this book and the graphic intervention. The repetition of the same representative pattern tries to suggest Seriality as an act of insistence and voluntariness. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958282784-BOJO5T317X6RNP7RE2WR/mcba-prize-2017-john-carrera-dueling-dictionary-1.jpg Entries & Jurors - 2017 Entries - John Carrera Frederick, Maryland www.quercuspress.com Dueling Dictionary 2015 Letterpress printed, coil bound edition size of 1000 42 pages 3” x 14 ¼ x ½” 3” x 7 ½” x ½” https://vimeo.com/215950158 The Dueling Dictionary plays off the “War of the Dictionaries:” the heated rivalry between the G. & C. Merriam Co. and the Worcester Co in the 1800’s. It features engravings of John Andrew who did the engraving for both dictionaries. In this saloon-door book, images from the Dictionary War emerge into the 21st Century to duel with new images engraved by artist John Carrera. Reading the text across the top and bottom of the page spreads creates over 365 different combinations of word and image to create new stories or to act as daily meditations. I probably will be best remembered in the Book Arts community for Pictorial Webster’s: a 400 plus page “Artists’ Reference” which has been a part of my creative life for the past 21 years. My goal as a book artist is to explore the use of well crafted structure to help inform the content of my work and to make work that succeeds on numerous levels, combining beautiful and engaging visual content with original and intelligent text. The Dueling Dictionary is a stark counterpoint to the dense and complicated Pictorial Webster’s. The sumptuous hand-bound Pictorial Webster’s is self-conscious about its historical hand-bound technique and the nature of the fine letterpress printing done using 19th Century wood engravings. While the Dueling Dictionary is cleanly, and beautifully printed by hand in what took 7 print runs, it is done with polymer plate. Visual aesthetic is elevated over historical fussiness. The Dueling Dictionary employs a fast and inexpensive binding technique that dovetails with the seductively simple sense that this book conveys. The coil binding not only allows it to open more freely physically, but also to sell more openly as a democratic multiple. A surrealist idea generator, taught exploration of the power of text vs. image, and celebration of the engraved image; conceptually, Dueling Dictionary grapples with the elemental forces that go into creating Artist’s Books and is one of my proudest creations. In many ways it acts as a more potent distillation of these concepts than the encyclopedic Pictorial Webster’s where they are all explored, but in similar fashion to a 19th Century expedition may become hidden, lost, or forgotten in the halls of an archaic museum. Though the Dueling Dictionary works on multiple levels, the main concepts are visceral and immediate and allow a reader the leeway to go where he or she will. Dueling Dictionary from John Carrera on Vimeo. Please watch the first 2 minutes of video. My video imagines a farmer coming across the Dueling Dictionary and reading it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958282262-82X72IUM09BQYKZHEFCZ/mcba-prize-2017-john-carrera-dueling-dictionary-2.jpg Entries & Jurors - 2017 Entries - John Carrera Frederick, Maryland www.quercuspress.com Dueling Dictionary 2015 Letterpress printed, coil bound edition size of 1000 42 pages 3” x 14 ¼ x ½” 3” x 7 ½” x ½” https://vimeo.com/215950158 Readers of Pictorial Webster’s know that the Pipe is the key to the surrealist undertone of that book. Using the same Pipe image, so reminiscent of Magritte’s, makes readers mindful of how the saloon opening of this book is a kind of bilateral surrealist exquisite corpses structure. The pipe also reminds readers of the surrealist belief that the names we have given to objects are not always correct. By giving objects new word associations we can tap into the subconscious or true meanings of things. The Oarlock becomes very much a Duchampian piece of beauty when displayed and so labeled. Is it a mechanism that can be utilized to move us forward or through a childhood memory to a better frame of consciousness? I probably will be best remembered in the Book Arts community for Pictorial Webster’s: a 400 plus page “Artists’ Reference” which has been a part of my creative life for the past 21 years. My goal as a book artist is to explore the use of well crafted structure to help inform the content of my work and to make work that succeeds on numerous levels, combining beautiful and engaging visual content with original and intelligent text. The Dueling Dictionary is a stark counterpoint to the dense and complicated Pictorial Webster’s. The sumptuous hand-bound Pictorial Webster’s is self-conscious about its historical hand-bound technique and the nature of the fine letterpress printing done using 19th Century wood engravings. While the Dueling Dictionary is cleanly, and beautifully printed by hand in what took 7 print runs, it is done with polymer plate. Visual aesthetic is elevated over historical fussiness. The Dueling Dictionary employs a fast and inexpensive binding technique that dovetails with the seductively simple sense that this book conveys. The coil binding not only allows it to open more freely physically, but also to sell more openly as a democratic multiple. A surrealist idea generator, taught exploration of the power of text vs. image, and celebration of the engraved image; conceptually, Dueling Dictionary grapples with the elemental forces that go into creating Artist’s Books and is one of my proudest creations. In many ways it acts as a more potent distillation of these concepts than the encyclopedic Pictorial Webster’s where they are all explored, but in similar fashion to a 19th Century expedition may become hidden, lost, or forgotten in the halls of an archaic museum. Though the Dueling Dictionary works on multiple levels, the main concepts are visceral and immediate and allow a reader the leeway to go where he or she will. Dueling Dictionary from John Carrera on Vimeo. Please watch the first 2 minutes of video. My video imagines a farmer coming across the Dueling Dictionary and reading it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958284187-DKYIMD4GZQ8JYHF1HDDW/mcba-prize-2017-john-carrera-dueling-dictionary-3.jpg Entries & Jurors - 2017 Entries - John Carrera Frederick, Maryland www.quercuspress.com Dueling Dictionary 2015 Letterpress printed, coil bound edition size of 1000 42 pages 3” x 14 ¼ x ½” 3” x 7 ½” x ½” https://vimeo.com/215950158 The Tickle Feather Quill is mightier than the Bow Pen? I couldn’t resist replacing the swords with pens of various types. Even if I had to use a fern to make a feather. . .it works, yes? In the same way that these images were changed with one recombination – combining these word swordsmen will make new stories . . . turn the pages to see them fending off the Hermaphraditic Flower image, the Lion, or the Stegosaurus! I probably will be best remembered in the Book Arts community for Pictorial Webster’s: a 400 plus page “Artists’ Reference” which has been a part of my creative life for the past 21 years. My goal as a book artist is to explore the use of well crafted structure to help inform the content of my work and to make work that succeeds on numerous levels, combining beautiful and engaging visual content with original and intelligent text. The Dueling Dictionary is a stark counterpoint to the dense and complicated Pictorial Webster’s. The sumptuous hand-bound Pictorial Webster’s is self-conscious about its historical hand-bound technique and the nature of the fine letterpress printing done using 19th Century wood engravings. While the Dueling Dictionary is cleanly, and beautifully printed by hand in what took 7 print runs, it is done with polymer plate. Visual aesthetic is elevated over historical fussiness. The Dueling Dictionary employs a fast and inexpensive binding technique that dovetails with the seductively simple sense that this book conveys. The coil binding not only allows it to open more freely physically, but also to sell more openly as a democratic multiple. A surrealist idea generator, taught exploration of the power of text vs. image, and celebration of the engraved image; conceptually, Dueling Dictionary grapples with the elemental forces that go into creating Artist’s Books and is one of my proudest creations. In many ways it acts as a more potent distillation of these concepts than the encyclopedic Pictorial Webster’s where they are all explored, but in similar fashion to a 19th Century expedition may become hidden, lost, or forgotten in the halls of an archaic museum. Though the Dueling Dictionary works on multiple levels, the main concepts are visceral and immediate and allow a reader the leeway to go where he or she will. Dueling Dictionary from John Carrera on Vimeo. Please watch the first 2 minutes of video. My video imagines a farmer coming across the Dueling Dictionary and reading it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958284699-JZHKYPAD72PQJ9R59MYN/mcba-prize-2017-john-carrera-dueling-dictionary-4.jpg Entries & Jurors - 2017 Entries - John Carrera Frederick, Maryland www.quercuspress.com Dueling Dictionary 2015 Letterpress printed, coil bound edition size of 1000 42 pages 3” x 14 ¼ x ½” 3” x 7 ½” x ½” https://vimeo.com/215950158 I started playing with this book idea in 2010. For the show I had at MassMoCA I made a 4’ by 8’ version of the Dueling Dictionary for which I had the idea of combining Shiva – the creator and destroyer of the Universe – and the Buddha to stand for the constant cycle of birth and rebirth creating the perfect solution to resolving this structure. In this picture one gets a sense of the running texts on the verso pages, and also the way the images from the recto pages recombine and interact. I found it meaningful that the Shiva and Buddha both appear on each of the recto pages. . . . nothing is an absolute. I probably will be best remembered in the Book Arts community for Pictorial Webster’s: a 400 plus page “Artists’ Reference” which has been a part of my creative life for the past 21 years. My goal as a book artist is to explore the use of well crafted structure to help inform the content of my work and to make work that succeeds on numerous levels, combining beautiful and engaging visual content with original and intelligent text. The Dueling Dictionary is a stark counterpoint to the dense and complicated Pictorial Webster’s. The sumptuous hand-bound Pictorial Webster’s is self-conscious about its historical hand-bound technique and the nature of the fine letterpress printing done using 19th Century wood engravings. While the Dueling Dictionary is cleanly, and beautifully printed by hand in what took 7 print runs, it is done with polymer plate. Visual aesthetic is elevated over historical fussiness. The Dueling Dictionary employs a fast and inexpensive binding technique that dovetails with the seductively simple sense that this book conveys. The coil binding not only allows it to open more freely physically, but also to sell more openly as a democratic multiple. A surrealist idea generator, taught exploration of the power of text vs. image, and celebration of the engraved image; conceptually, Dueling Dictionary grapples with the elemental forces that go into creating Artist’s Books and is one of my proudest creations. In many ways it acts as a more potent distillation of these concepts than the encyclopedic Pictorial Webster’s where they are all explored, but in similar fashion to a 19th Century expedition may become hidden, lost, or forgotten in the halls of an archaic museum. Though the Dueling Dictionary works on multiple levels, the main concepts are visceral and immediate and allow a reader the leeway to go where he or she will. Dueling Dictionary from John Carrera on Vimeo. Please watch the first 2 minutes of video. My video imagines a farmer coming across the Dueling Dictionary and reading it. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958449202-0YWAWZWZG6M9NGLD7LOD/mcba-prize-2017-valerie-carrigan-the-walk-1.jpg Entries & Jurors - 2017 Entries - Valerie Carrigan North Adams, Massachusetts www.valeriecarrigan.com The Walk 2016 Monotype, offset lithography, letterpress, concertina binding Edition size of Twenty-five 5 pages 8″ x 36″ x 4″ 8″ x 7″ x 2″ Artist book fully open Artist Statement My daughter and I began walking to school last year. We stopped to observe many things, but it was the milkweed that most captured our attention. With each new day we watched the plant change color and texture, my daughter eagerly waiting for the pods to open. This experience taught us about patience, mystery, and for me, learning to embrace the darkness – the place where ideas are conceived and grow, much like the seeds in the pod. The Walk is a sculptural artist book that encourages us to pause and reflect. Close-up images of the milkweed pod are coupled with two narratives – one my own, and the other a diary excerpt of 19th-century Swiss philosopher Henri-Frederik Amiel. Original monotypes were made during a residency at the Vermont Studio Center in Johnson, Vermont and have been reproduced as offset lithographs for this edition by Amanda D’Amico at The Borowsky Center for Publication Arts in Philadelphia, Pennsylvania. The text is set in Garamond typeface and printed on a Vandercook Universal I. The Walk is printed and bound in an edition of twenty-five and housed in a three-part wrapper and slipcase designed by me and constructed by Linda Lembke of Green River Bindery. This book was completed during my time as Book Artist in Residence at Maine Media Workshops + College in Rockport, Maine. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958450407-JGE1AEU8R89B8HPFQR1Y/mcba-prize-2017-valerie-carrigan-the-walk-2.jpg Entries & Jurors - 2017 Entries - Valerie Carrigan North Adams, Massachusetts www.valeriecarrigan.com The Walk 2016 Monotype, offset lithography, letterpress, concertina binding Edition size of Twenty-five 5 pages 8″ x 36″ x 4″ 8″ x 7″ x 2″ Detail of book showcasing hidden text on the backside of concertina folds Artist Statement My daughter and I began walking to school last year. We stopped to observe many things, but it was the milkweed that most captured our attention. With each new day we watched the plant change color and texture, my daughter eagerly waiting for the pods to open. This experience taught us about patience, mystery, and for me, learning to embrace the darkness – the place where ideas are conceived and grow, much like the seeds in the pod. The Walk is a sculptural artist book that encourages us to pause and reflect. Close-up images of the milkweed pod are coupled with two narratives – one my own, and the other a diary excerpt of 19th-century Swiss philosopher Henri-Frederik Amiel. Original monotypes were made during a residency at the Vermont Studio Center in Johnson, Vermont and have been reproduced as offset lithographs for this edition by Amanda D’Amico at The Borowsky Center for Publication Arts in Philadelphia, Pennsylvania. The text is set in Garamond typeface and printed on a Vandercook Universal I. The Walk is printed and bound in an edition of twenty-five and housed in a three-part wrapper and slipcase designed by me and constructed by Linda Lembke of Green River Bindery. This book was completed during my time as Book Artist in Residence at Maine Media Workshops + College in Rockport, Maine. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958452241-G706T8QS03AOXOXT8FZL/mcba-prize-2017-valerie-carrigan-the-walk-3.jpg Entries & Jurors - 2017 Entries - Valerie Carrigan North Adams, Massachusetts www.valeriecarrigan.com The Walk 2016 Monotype, offset lithography, letterpress, concertina binding Edition size of Twenty-five 5 pages 8″ x 36″ x 4″ 8″ x 7″ x 2″ Detail of book from above, revealing hidden text and letterpress printed flats of color in gradations of light to dark on backside of printed images Artist Statement My daughter and I began walking to school last year. We stopped to observe many things, but it was the milkweed that most captured our attention. With each new day we watched the plant change color and texture, my daughter eagerly waiting for the pods to open. This experience taught us about patience, mystery, and for me, learning to embrace the darkness – the place where ideas are conceived and grow, much like the seeds in the pod. The Walk is a sculptural artist book that encourages us to pause and reflect. Close-up images of the milkweed pod are coupled with two narratives – one my own, and the other a diary excerpt of 19th-century Swiss philosopher Henri-Frederik Amiel. Original monotypes were made during a residency at the Vermont Studio Center in Johnson, Vermont and have been reproduced as offset lithographs for this edition by Amanda D’Amico at The Borowsky Center for Publication Arts in Philadelphia, Pennsylvania. The text is set in Garamond typeface and printed on a Vandercook Universal I. The Walk is printed and bound in an edition of twenty-five and housed in a three-part wrapper and slipcase designed by me and constructed by Linda Lembke of Green River Bindery. This book was completed during my time as Book Artist in Residence at Maine Media Workshops + College in Rockport, Maine. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958453881-R8ESXM8NPMI56SDY2LY5/mcba-prize-2017-valerie-carrigan-the-walk-4.jpg Entries & Jurors - 2017 Entries - Valerie Carrigan North Adams, Massachusetts www.valeriecarrigan.com The Walk 2016 Monotype, offset lithography, letterpress, concertina binding Edition size of Twenty-five 5 pages 8″ x 36″ x 4″ 8″ x 7″ x 2″ Wrapper and slipcase, inset of milkweed pod print Artist Statement My daughter and I began walking to school last year. We stopped to observe many things, but it was the milkweed that most captured our attention. With each new day we watched the plant change color and texture, my daughter eagerly waiting for the pods to open. This experience taught us about patience, mystery, and for me, learning to embrace the darkness – the place where ideas are conceived and grow, much like the seeds in the pod. The Walk is a sculptural artist book that encourages us to pause and reflect. Close-up images of the milkweed pod are coupled with two narratives – one my own, and the other a diary excerpt of 19th-century Swiss philosopher Henri-Frederik Amiel. Original monotypes were made during a residency at the Vermont Studio Center in Johnson, Vermont and have been reproduced as offset lithographs for this edition by Amanda D’Amico at The Borowsky Center for Publication Arts in Philadelphia, Pennsylvania. The text is set in Garamond typeface and printed on a Vandercook Universal I. The Walk is printed and bound in an edition of twenty-five and housed in a three-part wrapper and slipcase designed by me and constructed by Linda Lembke of Green River Bindery. This book was completed during my time as Book Artist in Residence at Maine Media Workshops + College in Rockport, Maine. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958455121-QN01NXN4ZEDJ3BZPA2YH/mcba-prize-2017-valerie-carrigan-the-walk-5.jpg Entries & Jurors - 2017 Entries - Valerie Carrigan North Adams, Massachusetts www.valeriecarrigan.com The Walk 2016 Monotype, offset lithography, letterpress, concertina binding Edition size of Twenty-five 5 pages 8″ x 36″ x 4″ 8″ x 7″ x 2″ Letterpress-printed flat of color on three-part wrapper with artist’s hand-drawn imagery printed from polymer plates Artist Statement My daughter and I began walking to school last year. We stopped to observe many things, but it was the milkweed that most captured our attention. With each new day we watched the plant change color and texture, my daughter eagerly waiting for the pods to open. This experience taught us about patience, mystery, and for me, learning to embrace the darkness – the place where ideas are conceived and grow, much like the seeds in the pod. The Walk is a sculptural artist book that encourages us to pause and reflect. Close-up images of the milkweed pod are coupled with two narratives – one my own, and the other a diary excerpt of 19th-century Swiss philosopher Henri-Frederik Amiel. Original monotypes were made during a residency at the Vermont Studio Center in Johnson, Vermont and have been reproduced as offset lithographs for this edition by Amanda D’Amico at The Borowsky Center for Publication Arts in Philadelphia, Pennsylvania. The text is set in Garamond typeface and printed on a Vandercook Universal I. The Walk is printed and bound in an edition of twenty-five and housed in a three-part wrapper and slipcase designed by me and constructed by Linda Lembke of Green River Bindery. This book was completed during my time as Book Artist in Residence at Maine Media Workshops + College in Rockport, Maine. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958628380-NZHYKANZZKTEAH6SF1DI/mcba-prize-2017-kyle-clark-reflection-1.jpg Entries & Jurors - 2017 Entries - Kyle&nbsp;Clark Gainesville, Georgia Reflection 2017 Letterpress, Digital Photography; Standard edition: Japanese book cloth with foil stamped cover; Special edition: Goat skin, gold surface gilding, hand tooled titling on spine, sewn endbands 50 (40 standard, 10 special fine binding edition) 98 pages 9.25 x 12.5 x 0.5 inches 9.25 x 6.125 x 0.5 inches Artist Statement Reflection is an exploration of life, death, ephemerality, and the cyclical nature of the world. The visual narrative created within Reflection was inspired and greatly influenced by the individualistic and spiritual philosophies of the Transcendentalists as well as the poetic words of Walt Whitman. Throughout Reflection, and within each composition, an emphasis is placed on generating visually compelling and poetic arrangements of light, shadow, and subject. The first lines of Whitman’s Out of The Cradle Endlessly Rocking are included at the beginning of this book as a means of departure. Each of the photographs were taken in 2016 and were digitally printed in Pennsylvania by Brilliant Graphics. This book and the text within were designed, letterpress printed, and bound by Kyle Anthony Clark in Tuscaloosa, Alabama. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958628315-H5T30FG230SVEK8M8PYB/mcba-prize-2017-kyle-clark-reflection-2.jpg Entries & Jurors - 2017 Entries - Kyle&nbsp;Clark Gainesville, Georgia Reflection 2017 Letterpress, Digital Photography; Standard edition: Japanese book cloth with foil stamped cover; Special edition: Goat skin, gold surface gilding, hand tooled titling on spine, sewn endbands 50 (40 standard, 10 special fine binding edition) 98 pages 9.25 x 12.5 x 0.5 inches 9.25 x 6.125 x 0.5 inches Artist Statement Reflection is an exploration of life, death, ephemerality, and the cyclical nature of the world. The visual narrative created within Reflection was inspired and greatly influenced by the individualistic and spiritual philosophies of the Transcendentalists as well as the poetic words of Walt Whitman. Throughout Reflection, and within each composition, an emphasis is placed on generating visually compelling and poetic arrangements of light, shadow, and subject. The first lines of Whitman’s Out of The Cradle Endlessly Rocking are included at the beginning of this book as a means of departure. Each of the photographs were taken in 2016 and were digitally printed in Pennsylvania by Brilliant Graphics. This book and the text within were designed, letterpress printed, and bound by Kyle Anthony Clark in Tuscaloosa, Alabama. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958629495-R0U6YPDHRI4QX764JNUJ/mcba-prize-2017-kyle-clark-reflection-3.jpg Entries & Jurors - 2017 Entries - Kyle&nbsp;Clark Gainesville, Georgia Reflection 2017 Letterpress, Digital Photography; Standard edition: Japanese book cloth with foil stamped cover; Special edition: Goat skin, gold surface gilding, hand tooled titling on spine, sewn endbands 50 (40 standard, 10 special fine binding edition) 98 pages 9.25 x 12.5 x 0.5 inches 9.25 x 6.125 x 0.5 inches Artist Statement Reflection is an exploration of life, death, ephemerality, and the cyclical nature of the world. The visual narrative created within Reflection was inspired and greatly influenced by the individualistic and spiritual philosophies of the Transcendentalists as well as the poetic words of Walt Whitman. Throughout Reflection, and within each composition, an emphasis is placed on generating visually compelling and poetic arrangements of light, shadow, and subject. The first lines of Whitman’s Out of The Cradle Endlessly Rocking are included at the beginning of this book as a means of departure. Each of the photographs were taken in 2016 and were digitally printed in Pennsylvania by Brilliant Graphics. This book and the text within were designed, letterpress printed, and bound by Kyle Anthony Clark in Tuscaloosa, Alabama. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958629605-7N8BEN7RI4D5IZH1HUW5/mcba-prize-2017-kyle-clark-reflection-4.jpg Entries & Jurors - 2017 Entries - Kyle&nbsp;Clark Gainesville, Georgia Reflection 2017 Letterpress, Digital Photography; Standard edition: Japanese book cloth with foil stamped cover; Special edition: Goat skin, gold surface gilding, hand tooled titling on spine, sewn endbands 50 (40 standard, 10 special fine binding edition) 98 pages 9.25 x 12.5 x 0.5 inches 9.25 x 6.125 x 0.5 inches Artist Statement Reflection is an exploration of life, death, ephemerality, and the cyclical nature of the world. The visual narrative created within Reflection was inspired and greatly influenced by the individualistic and spiritual philosophies of the Transcendentalists as well as the poetic words of Walt Whitman. Throughout Reflection, and within each composition, an emphasis is placed on generating visually compelling and poetic arrangements of light, shadow, and subject. The first lines of Whitman’s Out of The Cradle Endlessly Rocking are included at the beginning of this book as a means of departure. Each of the photographs were taken in 2016 and were digitally printed in Pennsylvania by Brilliant Graphics. This book and the text within were designed, letterpress printed, and bound by Kyle Anthony Clark in Tuscaloosa, Alabama. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958630610-KA9FX6UZPCRG13HNL7XZ/mcba-prize-2017-kyle-clark-reflection-5.jpg Entries & Jurors - 2017 Entries - Kyle&nbsp;Clark Gainesville, Georgia Reflection 2017 Letterpress, Digital Photography; Standard edition: Japanese book cloth with foil stamped cover; Special edition: Goat skin, gold surface gilding, hand tooled titling on spine, sewn endbands 50 (40 standard, 10 special fine binding edition) 98 pages 9.25 x 12.5 x 0.5 inches 9.25 x 6.125 x 0.5 inches Artist Statement Reflection is an exploration of life, death, ephemerality, and the cyclical nature of the world. The visual narrative created within Reflection was inspired and greatly influenced by the individualistic and spiritual philosophies of the Transcendentalists as well as the poetic words of Walt Whitman. Throughout Reflection, and within each composition, an emphasis is placed on generating visually compelling and poetic arrangements of light, shadow, and subject. The first lines of Whitman’s Out of The Cradle Endlessly Rocking are included at the beginning of this book as a means of departure. Each of the photographs were taken in 2016 and were digitally printed in Pennsylvania by Brilliant Graphics. This book and the text within were designed, letterpress printed, and bound by Kyle Anthony Clark in Tuscaloosa, Alabama. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958961502-4HC0RNATVW18Q537HLBC/mcba-prize-2017-macy-chadwick-meanwhile-1.jpg Entries & Jurors - 2017 Entries - Macy Chadwick Oakland, California macychadwick.com Meanwhile 2017 letterpress with linoleum and polymer plates on Rives Heavyweight paper edition size of 40 26 pages 10 x 156 inches, fully extended 10 x 10 x .75 inches (Chadwick.Meanwhile1.jpg) Open view, showing 10 x 20 inch page spreads and half clam shell box. Book pages and box are printed with linoleum blocks and polymer plates on Rives Heavyweight paper, accordion binding with hard covers, presented in a half‐clamshell box. 10 x 10 inches, closed. 10 x 15 6 inches, fully extended. Edition of 40. Description With quotes from A Thousand and One Nights, Meanwhile celebrates the importance of stories over time and across cultures. A series of organic imagery flows from page to page, overlapping and echoing the quality of A Thousand and One Nights as one story leads to another and another. The quoted text is set in shaped text blocks and clusters of letters, like flocks of birds floating amidst the shapes. A few larger lines of text per page guide the viewer through the book, describing Sheherazade’s experience of telling stories and, as a result, saving herself from execution by the King. Story-­telling is especially significant in our current political climate; sharing stories can lead to empathy and I hope that this book can remind people to look to the past for important themes and to share their life stories with each other. Stories are, after all, the way to make connections and to reduce hate. Artist Statement Macy Chadwick publishes artist’s books and limited-­‐edition prints under the imprint In Cahoots Press in Oakland, California. In her art practice, Macy strives to reveal that which is unspoken: to make tangible the ephemeral, to make visual our human experience and interactions. To this end, she often engages metaphor in her work. For example, comparing breathing to the creative process in a limited edition artist book, employing infographics to relay an intimate dialogue in an installation, or creating a fictitious geographic terrain of emotional experience in a series of prints. Biography Macy Chadwick received an MFA in Book Arts and Printmaking from The University of the Arts in Philadelphia and assisted book artist Julie Chen at Flying Fish Press for three years. She currently resides in Oakland, California, where she creates books and limited edition prints in her letterpress studio. Macy is on the faculty at the Academy of Art University, San Francisco, and her work is in prominent collections in the U.S. and abroad, including the Victoria and Albert Museum, Yale University Special Collections, and the Jack Ginsberg Collection in South Africa. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958961437-M2V332HZEGH8WGL3A3P5/mcba-prize-2017-macy-chadwick-meanwhile-2.jpg Entries & Jurors - 2017 Entries - Macy Chadwick Oakland, California macychadwick.com Meanwhile 2017 letterpress with linoleum and polymer plates on Rives Heavyweight paper edition size of 40 26 pages 10 x 156 inches, fully extended 10 x 10 x .75 inches (Chadwick.Meanwhile2.jpg) One page spread, 10 x 20 inches.Linoleum and polymer plates Description With quotes from A Thousand and One Nights, Meanwhile celebrates the importance of stories over time and across cultures. A series of organic imagery flows from page to page, overlapping and echoing the quality of A Thousand and One Nights as one story leads to another and another. The quoted text is set in shaped text blocks and clusters of letters, like flocks of birds floating amidst the shapes. A few larger lines of text per page guide the viewer through the book, describing Sheherazade’s experience of telling stories and, as a result, saving herself from execution by the King. Story-­telling is especially significant in our current political climate; sharing stories can lead to empathy and I hope that this book can remind people to look to the past for important themes and to share their life stories with each other. Stories are, after all, the way to make connections and to reduce hate. Artist Statement Macy Chadwick publishes artist’s books and limited-­‐edition prints under the imprint In Cahoots Press in Oakland, California. In her art practice, Macy strives to reveal that which is unspoken: to make tangible the ephemeral, to make visual our human experience and interactions. To this end, she often engages metaphor in her work. For example, comparing breathing to the creative process in a limited edition artist book, employing infographics to relay an intimate dialogue in an installation, or creating a fictitious geographic terrain of emotional experience in a series of prints. Biography Macy Chadwick received an MFA in Book Arts and Printmaking from The University of the Arts in Philadelphia and assisted book artist Julie Chen at Flying Fish Press for three years. She currently resides in Oakland, California, where she creates books and limited edition prints in her letterpress studio. Macy is on the faculty at the Academy of Art University, San Francisco, and her work is in prominent collections in the U.S. and abroad, including the Victoria and Albert Museum, Yale University Special Collections, and the Jack Ginsberg Collection in South Africa. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958962853-IOJ1HY62480RPULXKF1C/mcba-prize-2017-macy-chadwick-meanwhile-3.jpg Entries & Jurors - 2017 Entries - Macy Chadwick Oakland, California macychadwick.com Meanwhile 2017 letterpress with linoleum and polymer plates on Rives Heavyweight paper edition size of 40 26 pages 10 x 156 inches, fully extended 10 x 10 x .75 inches (Chadwick.Meanwhile3.jpg) View showing many overlapping pages Linoleum and polymer plates Description With quotes from A Thousand and One Nights, Meanwhile celebrates the importance of stories over time and across cultures. A series of organic imagery flows from page to page, overlapping and echoing the quality of A Thousand and One Nights as one story leads to another and another. The quoted text is set in shaped text blocks and clusters of letters, like flocks of birds floating amidst the shapes. A few larger lines of text per page guide the viewer through the book, describing Sheherazade’s experience of telling stories and, as a result, saving herself from execution by the King. Story-­telling is especially significant in our current political climate; sharing stories can lead to empathy and I hope that this book can remind people to look to the past for important themes and to share their life stories with each other. Stories are, after all, the way to make connections and to reduce hate. Artist Statement Macy Chadwick publishes artist’s books and limited-­‐edition prints under the imprint In Cahoots Press in Oakland, California. In her art practice, Macy strives to reveal that which is unspoken: to make tangible the ephemeral, to make visual our human experience and interactions. To this end, she often engages metaphor in her work. For example, comparing breathing to the creative process in a limited edition artist book, employing infographics to relay an intimate dialogue in an installation, or creating a fictitious geographic terrain of emotional experience in a series of prints. Biography Macy Chadwick received an MFA in Book Arts and Printmaking from The University of the Arts in Philadelphia and assisted book artist Julie Chen at Flying Fish Press for three years. She currently resides in Oakland, California, where she creates books and limited edition prints in her letterpress studio. Macy is on the faculty at the Academy of Art University, San Francisco, and her work is in prominent collections in the U.S. and abroad, including the Victoria and Albert Museum, Yale University Special Collections, and the Jack Ginsberg Collection in South Africa. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773958963143-JJFCUTGX3JEB4VJOD9AR/mcba-prize-2017-macy-chadwick-meanwhile-4.jpg Entries & Jurors - 2017 Entries - Macy Chadwick Oakland, California macychadwick.com Meanwhile 2017 letterpress with linoleum and polymer plates on Rives Heavyweight paper edition size of 40 26 pages 10 x 156 inches, fully extended 10 x 10 x .75 inches (Chadwick.Meanwhile4.jpg) Single page spread of Meanwhile Linoleum and polymer plates Description With quotes from A Thousand and One Nights, Meanwhile celebrates the importance of stories over time and across cultures. A series of organic imagery flows from page to page, overlapping and echoing the quality of A Thousand and One Nights as one story leads to another and another. The quoted text is set in shaped text blocks and clusters of letters, like flocks of birds floating amidst the shapes. A few larger lines of text per page guide the viewer through the book, describing Sheherazade’s experience of telling stories and, as a result, saving herself from execution by the King. Story-­telling is especially significant in our current political climate; sharing stories can lead to empathy and I hope that this book can remind people to look to the past for important themes and to share their life stories with each other. Stories are, after all, the way to make connections and to reduce hate. Artist Statement Macy Chadwick publishes artist’s books and limited-­‐edition prints under the imprint In Cahoots Press in Oakland, California. In her art practice, Macy strives to reveal that which is unspoken: to make tangible the ephemeral, to make visual our human experience and interactions. To this end, she often engages metaphor in her work. For example, comparing breathing to the creative process in a limited edition artist book, employing infographics to relay an intimate dialogue in an installation, or creating a fictitious geographic terrain of emotional experience in a series of prints. Biography Macy Chadwick received an MFA in Book Arts and Printmaking from The University of the Arts in Philadelphia and assisted book artist Julie Chen at Flying Fish Press for three years. She currently resides in Oakland, California, where she creates books and limited edition prints in her letterpress studio. Macy is on the faculty at the Academy of Art University, San Francisco, and her work is in prominent collections in the U.S. and abroad, including the Victoria and Albert Museum, Yale University Special Collections, and the Jack Ginsberg Collection in South Africa. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959134574-13ZDN0RMH38W0WW29ERH/mcba-prize-2017-rebecca-chamlee-at-low-water-1.jpg Entries & Jurors - 2017 Entries - Rebecca Chamlee Simi Valley, California http://www.pieintheskypress.com At Low Water 2017 letterpress, handbound book edition size of 65 64 pages 8 x 10 x 1 8 x 5 x 1 At Low Water, book within slipcase and chemise As a self-taught naturalist, my work examines the intersection of my artistic and scientific interests by collecting and cataloging the natural world. I am inspired to record, interpret and celebrate nature. My artist’s book, At Low Water, looks back to the beginnings of my passion for exploration and observation of native species to a time when I collected sea animals gathered at low tide to bring home and live in an aquarium in my girlhood bedroom. The main text recalls the story of filling the tank with mollusks, fish, crustaceans, echinoderms and invertebrates—anything unlucky enough to be captured by my bare hands—and the life-and-death drama that took place among the captive inhabitants. A poem, told from the viewpoint of the child in the moment of discovery, runs through the book on translucent leaves that overlay closeup images of the intertidal habitat. Field notes contain data from the year spent in the tide pools of Southern California researching and collecting images for the fourteen detailed plates of marine specimens and twelve habitat images found throughout the book. At Low Water was made fifty years after the events documented by Rebecca Chamlee of Pie In The Sky Press. the 10 and 12 point Deepdene and the California Old Style figures were cast by M & H Typefounders, while the 14 and 36 point Deepdene italic were cast by Swamp Press. A Nikon 7100 dslr equipped with a 60mm macro lens and a polarizing filter mounted on a monopod captured the images. The specimen images, created using photopolymer plates made by Boxcar Press, habitat spreads and handset type were letterpress printed on thick Awagami Kozo with Niyodo Kozo overlays using a Vandercook Universal iii abp Press. The standard edition, numbered 1-60, is a drum leaf sewn-board style binding, its unique gloved spine is Ginga backcloth with printed St-Armand Old Master paper covering the boards. A printed paper chemise and slipcase protect the book. The deluxe edition lettered A-E has a goat vellum spine, includes a suite of eight prints enclosed in a St-Armand handmade paper folder and a Chestnut Cowrie shell, all housed in a cloth covered clamshell box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959134797-3BUSFLFB7LG8278FYVYA/mcba-prize-2017-rebecca-chamlee-at-low-water-2.jpg Entries & Jurors - 2017 Entries - Rebecca Chamlee Simi Valley, California http://www.pieintheskypress.com At Low Water 2017 letterpress, handbound book edition size of 65 64 pages 8 x 10 x 1 8 x 5 x 1 At Low Water, book cover As a self-taught naturalist, my work examines the intersection of my artistic and scientific interests by collecting and cataloging the natural world. I am inspired to record, interpret and celebrate nature. My artist’s book, At Low Water, looks back to the beginnings of my passion for exploration and observation of native species to a time when I collected sea animals gathered at low tide to bring home and live in an aquarium in my girlhood bedroom. The main text recalls the story of filling the tank with mollusks, fish, crustaceans, echinoderms and invertebrates—anything unlucky enough to be captured by my bare hands—and the life-and-death drama that took place among the captive inhabitants. A poem, told from the viewpoint of the child in the moment of discovery, runs through the book on translucent leaves that overlay closeup images of the intertidal habitat. Field notes contain data from the year spent in the tide pools of Southern California researching and collecting images for the fourteen detailed plates of marine specimens and twelve habitat images found throughout the book. At Low Water was made fifty years after the events documented by Rebecca Chamlee of Pie In The Sky Press. the 10 and 12 point Deepdene and the California Old Style figures were cast by M & H Typefounders, while the 14 and 36 point Deepdene italic were cast by Swamp Press. A Nikon 7100 dslr equipped with a 60mm macro lens and a polarizing filter mounted on a monopod captured the images. The specimen images, created using photopolymer plates made by Boxcar Press, habitat spreads and handset type were letterpress printed on thick Awagami Kozo with Niyodo Kozo overlays using a Vandercook Universal iii abp Press. The standard edition, numbered 1-60, is a drum leaf sewn-board style binding, its unique gloved spine is Ginga backcloth with printed St-Armand Old Master paper covering the boards. A printed paper chemise and slipcase protect the book. The deluxe edition lettered A-E has a goat vellum spine, includes a suite of eight prints enclosed in a St-Armand handmade paper folder and a Chestnut Cowrie shell, all housed in a cloth covered clamshell box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959135931-WOJ709NZ7VTZ9GPGMU39/mcba-prize-2017-rebecca-chamlee-at-low-water-3.jpg Entries & Jurors - 2017 Entries - Rebecca Chamlee Simi Valley, California http://www.pieintheskypress.com At Low Water 2017 letterpress, handbound book edition size of 65 64 pages 8 x 10 x 1 8 x 5 x 1 At Low Water, spread with poem printed on kozo overlay As a self-taught naturalist, my work examines the intersection of my artistic and scientific interests by collecting and cataloging the natural world. I am inspired to record, interpret and celebrate nature. My artist’s book, At Low Water, looks back to the beginnings of my passion for exploration and observation of native species to a time when I collected sea animals gathered at low tide to bring home and live in an aquarium in my girlhood bedroom. The main text recalls the story of filling the tank with mollusks, fish, crustaceans, echinoderms and invertebrates—anything unlucky enough to be captured by my bare hands—and the life-and-death drama that took place among the captive inhabitants. A poem, told from the viewpoint of the child in the moment of discovery, runs through the book on translucent leaves that overlay closeup images of the intertidal habitat. Field notes contain data from the year spent in the tide pools of Southern California researching and collecting images for the fourteen detailed plates of marine specimens and twelve habitat images found throughout the book. At Low Water was made fifty years after the events documented by Rebecca Chamlee of Pie In The Sky Press. the 10 and 12 point Deepdene and the California Old Style figures were cast by M & H Typefounders, while the 14 and 36 point Deepdene italic were cast by Swamp Press. A Nikon 7100 dslr equipped with a 60mm macro lens and a polarizing filter mounted on a monopod captured the images. The specimen images, created using photopolymer plates made by Boxcar Press, habitat spreads and handset type were letterpress printed on thick Awagami Kozo with Niyodo Kozo overlays using a Vandercook Universal iii abp Press. The standard edition, numbered 1-60, is a drum leaf sewn-board style binding, its unique gloved spine is Ginga backcloth with printed St-Armand Old Master paper covering the boards. A printed paper chemise and slipcase protect the book. The deluxe edition lettered A-E has a goat vellum spine, includes a suite of eight prints enclosed in a St-Armand handmade paper folder and a Chestnut Cowrie shell, all housed in a cloth covered clamshell box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959136292-CEK8U0WND30RPNRIS7Y4/mcba-prize-2017-rebecca-chamlee-at-low-water-4.jpg Entries & Jurors - 2017 Entries - Rebecca Chamlee Simi Valley, California http://www.pieintheskypress.com At Low Water 2017 letterpress, handbound book edition size of 65 64 pages 8 x 10 x 1 8 x 5 x 1 At Low Water, Ochre sea star specimen spread with Rev. J.G. Wood excerpt As a self-taught naturalist, my work examines the intersection of my artistic and scientific interests by collecting and cataloging the natural world. I am inspired to record, interpret and celebrate nature. My artist’s book, At Low Water, looks back to the beginnings of my passion for exploration and observation of native species to a time when I collected sea animals gathered at low tide to bring home and live in an aquarium in my girlhood bedroom. The main text recalls the story of filling the tank with mollusks, fish, crustaceans, echinoderms and invertebrates—anything unlucky enough to be captured by my bare hands—and the life-and-death drama that took place among the captive inhabitants. A poem, told from the viewpoint of the child in the moment of discovery, runs through the book on translucent leaves that overlay closeup images of the intertidal habitat. Field notes contain data from the year spent in the tide pools of Southern California researching and collecting images for the fourteen detailed plates of marine specimens and twelve habitat images found throughout the book. At Low Water was made fifty years after the events documented by Rebecca Chamlee of Pie In The Sky Press. the 10 and 12 point Deepdene and the California Old Style figures were cast by M & H Typefounders, while the 14 and 36 point Deepdene italic were cast by Swamp Press. A Nikon 7100 dslr equipped with a 60mm macro lens and a polarizing filter mounted on a monopod captured the images. The specimen images, created using photopolymer plates made by Boxcar Press, habitat spreads and handset type were letterpress printed on thick Awagami Kozo with Niyodo Kozo overlays using a Vandercook Universal iii abp Press. The standard edition, numbered 1-60, is a drum leaf sewn-board style binding, its unique gloved spine is Ginga backcloth with printed St-Armand Old Master paper covering the boards. A printed paper chemise and slipcase protect the book. The deluxe edition lettered A-E has a goat vellum spine, includes a suite of eight prints enclosed in a St-Armand handmade paper folder and a Chestnut Cowrie shell, all housed in a cloth covered clamshell box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959137213-20B7VT8Q8BK37SG6QV4A/mcba-prize-2017-rebecca-chamlee-at-low-water-5.jpg Entries & Jurors - 2017 Entries - Rebecca Chamlee Simi Valley, California http://www.pieintheskypress.com At Low Water 2017 letterpress, handbound book edition size of 65 64 pages 8 x 10 x 1 8 x 5 x 1 At Low Water, Green anemone specimen with memoir text As a self-taught naturalist, my work examines the intersection of my artistic and scientific interests by collecting and cataloging the natural world. I am inspired to record, interpret and celebrate nature. My artist’s book, At Low Water, looks back to the beginnings of my passion for exploration and observation of native species to a time when I collected sea animals gathered at low tide to bring home and live in an aquarium in my girlhood bedroom. The main text recalls the story of filling the tank with mollusks, fish, crustaceans, echinoderms and invertebrates—anything unlucky enough to be captured by my bare hands—and the life-and-death drama that took place among the captive inhabitants. A poem, told from the viewpoint of the child in the moment of discovery, runs through the book on translucent leaves that overlay closeup images of the intertidal habitat. Field notes contain data from the year spent in the tide pools of Southern California researching and collecting images for the fourteen detailed plates of marine specimens and twelve habitat images found throughout the book. At Low Water was made fifty years after the events documented by Rebecca Chamlee of Pie In The Sky Press. the 10 and 12 point Deepdene and the California Old Style figures were cast by M & H Typefounders, while the 14 and 36 point Deepdene italic were cast by Swamp Press. A Nikon 7100 dslr equipped with a 60mm macro lens and a polarizing filter mounted on a monopod captured the images. The specimen images, created using photopolymer plates made by Boxcar Press, habitat spreads and handset type were letterpress printed on thick Awagami Kozo with Niyodo Kozo overlays using a Vandercook Universal iii abp Press. The standard edition, numbered 1-60, is a drum leaf sewn-board style binding, its unique gloved spine is Ginga backcloth with printed St-Armand Old Master paper covering the boards. A printed paper chemise and slipcase protect the book. The deluxe edition lettered A-E has a goat vellum spine, includes a suite of eight prints enclosed in a St-Armand handmade paper folder and a Chestnut Cowrie shell, all housed in a cloth covered clamshell box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959301740-OZ66U30OACL7FR5PMRDX/mcba-prize-2017-anne-covell-the-record-1.jpg Entries & Jurors - 2017 Entries - Anne Covell La Mesa, California The Record 2017 Letterpress printed accordion on Masa paper with sumi wash and hand brayering. edition size of 60 16 pages 13 x 42.5 x .25 inches 6.5 x 4.25 x .25 inches The Record (front, closed with case). Artist Statement “The history of libraries is one of loss. Libraries like ours are susceptible to different fault lines: earthquakes, legal regimes, institutional failure.” – Brewster Kahle, Founder & Digital Librarian at Internet Archive On January 20th, 2017, Donald J. Trump was sworn in as the 45th president of the United States. That same day, the official White House website (whitehouse.gov) began the digital transition to archive and replace Obama’s policies with those of the new administration. Immediately, people began to notice that key issues such as health care, education, and immigration were nowhere to be found. Keyword searches for terms such as “climate change,” “LGBT,” and “civil rights” all returned 404 errors. Even more conspicuously, the Spanish-language version and the disabled-accessible version of the site were no longer available. Internet Archive, a non-profit digital library that has been archiving webpages since 1996, captured 167 snapshot of whitehouse.gov that day. This book records the last snapshots taken of Obama’s policies before they came down, the 404 errors that followed, as well as the Internet Archive timestamps for when the information was last available and when it disappeared. The text contained in this book was transcribed verbatim from Internet Archive screen captures of whitehouse.gov taken on January 20th, 2017. While certain issues were eventually addressed by the incoming administration in new and disturbing ways (Climate has been replaced by an “America First Energy Plan” and Criminal Justice Reform by “Standing Up For Our Law Enforcement Community”), most topics (Health Care, Ethics, Civil Rights, Social Progress, etc.) remain conspicuously absent from Trump’s policies. Following the results of the election, Internet Archive began raising funds to create a duplicate copy in Canada to safeguard its 284 billion webpages from threat of deletion. The Record would not have been possible without the diligent efforts of Internet Archive to capture and preserve the entirety of the US federal government web presence in real time. To help support Internet Archive, visit archive.gov/donate. To view an archived copy of Obama’s complete record, visit obamawhitehouse.archive.gov https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959302445-Z0CAZUUX9O6TVGH4EAT5/mcba-prize-2017-anne-covell-the-record-2.jpg Entries & Jurors - 2017 Entries - Anne Covell La Mesa, California The Record 2017 Letterpress printed accordion on Masa paper with sumi wash and hand brayering. edition size of 60 16 pages 13 x 42.5 x .25 inches 6.5 x 4.25 x .25 inches The Record (back) featuring a data visualization based upon the Internet Archive’s Wayback Machine tally for snapshots per day. Artist Statement “The history of libraries is one of loss. Libraries like ours are susceptible to different fault lines: earthquakes, legal regimes, institutional failure.” – Brewster Kahle, Founder & Digital Librarian at Internet Archive On January 20th, 2017, Donald J. Trump was sworn in as the 45th president of the United States. That same day, the official White House website (whitehouse.gov) began the digital transition to archive and replace Obama’s policies with those of the new administration. Immediately, people began to notice that key issues such as health care, education, and immigration were nowhere to be found. Keyword searches for terms such as “climate change,” “LGBT,” and “civil rights” all returned 404 errors. Even more conspicuously, the Spanish-language version and the disabled-accessible version of the site were no longer available. Internet Archive, a non-profit digital library that has been archiving webpages since 1996, captured 167 snapshot of whitehouse.gov that day. This book records the last snapshots taken of Obama’s policies before they came down, the 404 errors that followed, as well as the Internet Archive timestamps for when the information was last available and when it disappeared. The text contained in this book was transcribed verbatim from Internet Archive screen captures of whitehouse.gov taken on January 20th, 2017. While certain issues were eventually addressed by the incoming administration in new and disturbing ways (Climate has been replaced by an “America First Energy Plan” and Criminal Justice Reform by “Standing Up For Our Law Enforcement Community”), most topics (Health Care, Ethics, Civil Rights, Social Progress, etc.) remain conspicuously absent from Trump’s policies. Following the results of the election, Internet Archive began raising funds to create a duplicate copy in Canada to safeguard its 284 billion webpages from threat of deletion. The Record would not have been possible without the diligent efforts of Internet Archive to capture and preserve the entirety of the US federal government web presence in real time. To help support Internet Archive, visit archive.gov/donate. To view an archived copy of Obama’s complete record, visit obamawhitehouse.archive.gov https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959303982-SI5B0GEZ84QRIQOSN1G7/mcba-prize-2017-anne-covell-the-record-3.jpg Entries & Jurors - 2017 Entries - Anne Covell La Mesa, California The Record 2017 Letterpress printed accordion on Masa paper with sumi wash and hand brayering. edition size of 60 16 pages 13 x 42.5 x .25 inches 6.5 x 4.25 x .25 inches The Record includes six panels containing text culled from Obama’s key policies on criminal justice reform, health care, disabilities, equal pay, climate, and social progress. Each panel folds down to reveal the 404 errors that resulted when these policies were removed by the Trump administration. Examples of these “page not found” identifiers include “The requested page “the-record/social-progress” could not be found” and “You are not authorized to access this page.” Artist Statement “The history of libraries is one of loss. Libraries like ours are susceptible to different fault lines: earthquakes, legal regimes, institutional failure.” – Brewster Kahle, Founder & Digital Librarian at Internet Archive On January 20th, 2017, Donald J. Trump was sworn in as the 45th president of the United States. That same day, the official White House website (whitehouse.gov) began the digital transition to archive and replace Obama’s policies with those of the new administration. Immediately, people began to notice that key issues such as health care, education, and immigration were nowhere to be found. Keyword searches for terms such as “climate change,” “LGBT,” and “civil rights” all returned 404 errors. Even more conspicuously, the Spanish-language version and the disabled-accessible version of the site were no longer available. Internet Archive, a non-profit digital library that has been archiving webpages since 1996, captured 167 snapshot of whitehouse.gov that day. This book records the last snapshots taken of Obama’s policies before they came down, the 404 errors that followed, as well as the Internet Archive timestamps for when the information was last available and when it disappeared. The text contained in this book was transcribed verbatim from Internet Archive screen captures of whitehouse.gov taken on January 20th, 2017. While certain issues were eventually addressed by the incoming administration in new and disturbing ways (Climate has been replaced by an “America First Energy Plan” and Criminal Justice Reform by “Standing Up For Our Law Enforcement Community”), most topics (Health Care, Ethics, Civil Rights, Social Progress, etc.) remain conspicuously absent from Trump’s policies. Following the results of the election, Internet Archive began raising funds to create a duplicate copy in Canada to safeguard its 284 billion webpages from threat of deletion. The Record would not have been possible without the diligent efforts of Internet Archive to capture and preserve the entirety of the US federal government web presence in real time. To help support Internet Archive, visit archive.gov/donate. To view an archived copy of Obama’s complete record, visit obamawhitehouse.archive.gov https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959304919-ZD6M97MKVHD0C45HSZXP/mcba-prize-2017-anne-covell-the-record-4.jpg Entries & Jurors - 2017 Entries - Anne Covell La Mesa, California The Record 2017 Letterpress printed accordion on Masa paper with sumi wash and hand brayering. edition size of 60 16 pages 13 x 42.5 x .25 inches 6.5 x 4.25 x .25 inches Covell-4: The Record (open) featuring foldable panels that conceal/reveal key text. The tabs at the top of each panel (front and back) are time stamped with Internet Archive’s last screen captures of Obama’s policies followed by the error messages that resulted when they came down. Artist Statement “The history of libraries is one of loss. Libraries like ours are susceptible to different fault lines: earthquakes, legal regimes, institutional failure.” – Brewster Kahle, Founder & Digital Librarian at Internet Archive On January 20th, 2017, Donald J. Trump was sworn in as the 45th president of the United States. That same day, the official White House website (whitehouse.gov) began the digital transition to archive and replace Obama’s policies with those of the new administration. Immediately, people began to notice that key issues such as health care, education, and immigration were nowhere to be found. Keyword searches for terms such as “climate change,” “LGBT,” and “civil rights” all returned 404 errors. Even more conspicuously, the Spanish-language version and the disabled-accessible version of the site were no longer available. Internet Archive, a non-profit digital library that has been archiving webpages since 1996, captured 167 snapshot of whitehouse.gov that day. This book records the last snapshots taken of Obama’s policies before they came down, the 404 errors that followed, as well as the Internet Archive timestamps for when the information was last available and when it disappeared. The text contained in this book was transcribed verbatim from Internet Archive screen captures of whitehouse.gov taken on January 20th, 2017. While certain issues were eventually addressed by the incoming administration in new and disturbing ways (Climate has been replaced by an “America First Energy Plan” and Criminal Justice Reform by “Standing Up For Our Law Enforcement Community”), most topics (Health Care, Ethics, Civil Rights, Social Progress, etc.) remain conspicuously absent from Trump’s policies. Following the results of the election, Internet Archive began raising funds to create a duplicate copy in Canada to safeguard its 284 billion webpages from threat of deletion. The Record would not have been possible without the diligent efforts of Internet Archive to capture and preserve the entirety of the US federal government web presence in real time. To help support Internet Archive, visit archive.gov/donate. To view an archived copy of Obama’s complete record, visit obamawhitehouse.archive.gov https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959306026-32S2F6AVHOX0VJRO3AN5/mcba-prize-2017-anne-covell-the-record-5.jpg Entries & Jurors - 2017 Entries - Anne Covell La Mesa, California The Record 2017 Letterpress printed accordion on Masa paper with sumi wash and hand brayering. edition size of 60 16 pages 13 x 42.5 x .25 inches 6.5 x 4.25 x .25 inches Covell-5: The Record (open, detail). The imagery seen here was hand brayered with opaque white ink and sumi washed to both obscure and reveal elements of the text contained within the book. The text was printed in both black and white ink to subtly read through the dark quality of the sumi wash. Artist Statement “The history of libraries is one of loss. Libraries like ours are susceptible to different fault lines: earthquakes, legal regimes, institutional failure.” – Brewster Kahle, Founder & Digital Librarian at Internet Archive On January 20th, 2017, Donald J. Trump was sworn in as the 45th president of the United States. That same day, the official White House website (whitehouse.gov) began the digital transition to archive and replace Obama’s policies with those of the new administration. Immediately, people began to notice that key issues such as health care, education, and immigration were nowhere to be found. Keyword searches for terms such as “climate change,” “LGBT,” and “civil rights” all returned 404 errors. Even more conspicuously, the Spanish-language version and the disabled-accessible version of the site were no longer available. Internet Archive, a non-profit digital library that has been archiving webpages since 1996, captured 167 snapshot of whitehouse.gov that day. This book records the last snapshots taken of Obama’s policies before they came down, the 404 errors that followed, as well as the Internet Archive timestamps for when the information was last available and when it disappeared. The text contained in this book was transcribed verbatim from Internet Archive screen captures of whitehouse.gov taken on January 20th, 2017. While certain issues were eventually addressed by the incoming administration in new and disturbing ways (Climate has been replaced by an “America First Energy Plan” and Criminal Justice Reform by “Standing Up For Our Law Enforcement Community”), most topics (Health Care, Ethics, Civil Rights, Social Progress, etc.) remain conspicuously absent from Trump’s policies. Following the results of the election, Internet Archive began raising funds to create a duplicate copy in Canada to safeguard its 284 billion webpages from threat of deletion. The Record would not have been possible without the diligent efforts of Internet Archive to capture and preserve the entirety of the US federal government web presence in real time. To help support Internet Archive, visit archive.gov/donate. To view an archived copy of Obama’s complete record, visit obamawhitehouse.archive.gov https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959534242-1A8OQ08L8PLJQGFVZX7L/mcba-prize-2017-Maureen-Cummins-the-rapist-1.jpg Entries & Jurors - 2017 Entries - Maureen Cummins Bearsville, NY maureenkcummins.com The/rapist 2017 silkscreen on laser-cut aluminum plates Edition of 40 16 pages 24” x 9” x 1” open 12” x 9” x 1″ closed Right: title page of book. Left: Burnished aluminum box that houses the book. The/rapist is an investigation into the dark and gendered history of psychosurgery, as exemplified by the career of Doctor Walter Freeman (1895-1972), a professor of neurology who single-handedly popularized the pre-frontal lobotomy in America. Although he had no formal training in either surgery or psychology, Freeman drove ice picks through his patients’ eye sockets, rode around in a “lobotomobile,” and conducted a 1953 tour dubbed “Operation Ice-Pick,” all the while freely admitting that lobotomies created a “surgically induced childhood” with many “failed outcomes.” It is a history which raises numerous questions about patients’ rights, the abuse of institutional power, and the disproportionate targeting of women. Of 3,500 or more patients that Freeman operated on, twice as many were female, many depressed or suicidal housewives. In the opening pages of the book, Cummins uses physical rape as an analogy for neurological penetration, a form of sexualized violence that was perpetuated for decades in the name of medical progress. The concept is visually reinforced by a laser-cut hole that bores through the pages of the book, penetrating reproduced images of lobotomy patients’ heads and morphing the title “The Rapist” into “Therapist.” The headshots, before-and-after” photos used in Freeman’s textbook, are re-contextualized, with lines of typography serving as blindfolds, reclaiming for these women a measure of dignity, humanity, and anonymity. Throughout the book, the artist’s mordant sense of humor is in evidence: 19th century engravings illustrate the backsides of the plates, providing decorative and ironic counters to the subject matter, often—as with the moon, the sunburst and the encircling question marks—cleverly incorporating the holes. The name Freeman splits up into “Free Man,” while arrows, pointing fingers, images of Freeman’s ice picks, and excerpted notes and typography act as illustrations. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959534255-7HXW7UA91G4PO4AP7OM4/mcba-prize-2017-Maureen-Cummins-the-rapist-2.jpg Entries & Jurors - 2017 Entries - Maureen Cummins Bearsville, NY maureenkcummins.com The/rapist 2017 silkscreen on laser-cut aluminum plates Edition of 40 16 pages 24” x 9” x 1” open 12” x 9” x 1″ closed Page 5, showing laser-cut hole boring through patient head-shot. The/rapist is an investigation into the dark and gendered history of psychosurgery, as exemplified by the career of Doctor Walter Freeman (1895-1972), a professor of neurology who single-handedly popularized the pre-frontal lobotomy in America. Although he had no formal training in either surgery or psychology, Freeman drove ice picks through his patients’ eye sockets, rode around in a “lobotomobile,” and conducted a 1953 tour dubbed “Operation Ice-Pick,” all the while freely admitting that lobotomies created a “surgically induced childhood” with many “failed outcomes.” It is a history which raises numerous questions about patients’ rights, the abuse of institutional power, and the disproportionate targeting of women. Of 3,500 or more patients that Freeman operated on, twice as many were female, many depressed or suicidal housewives. In the opening pages of the book, Cummins uses physical rape as an analogy for neurological penetration, a form of sexualized violence that was perpetuated for decades in the name of medical progress. The concept is visually reinforced by a laser-cut hole that bores through the pages of the book, penetrating reproduced images of lobotomy patients’ heads and morphing the title “The Rapist” into “Therapist.” The headshots, before-and-after” photos used in Freeman’s textbook, are re-contextualized, with lines of typography serving as blindfolds, reclaiming for these women a measure of dignity, humanity, and anonymity. Throughout the book, the artist’s mordant sense of humor is in evidence: 19th century engravings illustrate the backsides of the plates, providing decorative and ironic counters to the subject matter, often—as with the moon, the sunburst and the encircling question marks—cleverly incorporating the holes. The name Freeman splits up into “Free Man,” while arrows, pointing fingers, images of Freeman’s ice picks, and excerpted notes and typography act as illustrations. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959535741-EZ0ZB5YT21CKIYTIWTGA/mcba-prize-2017-Maureen-Cummins-the-rapist-3.jpg Entries & Jurors - 2017 Entries - Maureen Cummins Bearsville, NY maureenkcummins.com The/rapist 2017 silkscreen on laser-cut aluminum plates Edition of 40 16 pages 24” x 9” x 1” open 12” x 9” x 1″ closed Page 10, showing headshot and typographical excerpt from Freeman textbook. The/rapist is an investigation into the dark and gendered history of psychosurgery, as exemplified by the career of Doctor Walter Freeman (1895-1972), a professor of neurology who single-handedly popularized the pre-frontal lobotomy in America. Although he had no formal training in either surgery or psychology, Freeman drove ice picks through his patients’ eye sockets, rode around in a “lobotomobile,” and conducted a 1953 tour dubbed “Operation Ice-Pick,” all the while freely admitting that lobotomies created a “surgically induced childhood” with many “failed outcomes.” It is a history which raises numerous questions about patients’ rights, the abuse of institutional power, and the disproportionate targeting of women. Of 3,500 or more patients that Freeman operated on, twice as many were female, many depressed or suicidal housewives. In the opening pages of the book, Cummins uses physical rape as an analogy for neurological penetration, a form of sexualized violence that was perpetuated for decades in the name of medical progress. The concept is visually reinforced by a laser-cut hole that bores through the pages of the book, penetrating reproduced images of lobotomy patients’ heads and morphing the title “The Rapist” into “Therapist.” The headshots, before-and-after” photos used in Freeman’s textbook, are re-contextualized, with lines of typography serving as blindfolds, reclaiming for these women a measure of dignity, humanity, and anonymity. Throughout the book, the artist’s mordant sense of humor is in evidence: 19th century engravings illustrate the backsides of the plates, providing decorative and ironic counters to the subject matter, often—as with the moon, the sunburst and the encircling question marks—cleverly incorporating the holes. The name Freeman splits up into “Free Man,” while arrows, pointing fingers, images of Freeman’s ice picks, and excerpted notes and typography act as illustrations. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959536097-H8Z4GZ1RBNBZRQZQV3B8/mcba-prize-2017-Maureen-Cummins-the-rapist-4.jpg Entries & Jurors - 2017 Entries - Maureen Cummins Bearsville, NY maureenkcummins.com The/rapist 2017 silkscreen on laser-cut aluminum plates Edition of 40 16 pages 24” x 9” x 1” open 12” x 9” x 1″ closed Page 2, showing headshot and decorative illustrations. The/rapist is an investigation into the dark and gendered history of psychosurgery, as exemplified by the career of Doctor Walter Freeman (1895-1972), a professor of neurology who single-handedly popularized the pre-frontal lobotomy in America. Although he had no formal training in either surgery or psychology, Freeman drove ice picks through his patients’ eye sockets, rode around in a “lobotomobile,” and conducted a 1953 tour dubbed “Operation Ice-Pick,” all the while freely admitting that lobotomies created a “surgically induced childhood” with many “failed outcomes.” It is a history which raises numerous questions about patients’ rights, the abuse of institutional power, and the disproportionate targeting of women. Of 3,500 or more patients that Freeman operated on, twice as many were female, many depressed or suicidal housewives. In the opening pages of the book, Cummins uses physical rape as an analogy for neurological penetration, a form of sexualized violence that was perpetuated for decades in the name of medical progress. The concept is visually reinforced by a laser-cut hole that bores through the pages of the book, penetrating reproduced images of lobotomy patients’ heads and morphing the title “The Rapist” into “Therapist.” The headshots, before-and-after” photos used in Freeman’s textbook, are re-contextualized, with lines of typography serving as blindfolds, reclaiming for these women a measure of dignity, humanity, and anonymity. Throughout the book, the artist’s mordant sense of humor is in evidence: 19th century engravings illustrate the backsides of the plates, providing decorative and ironic counters to the subject matter, often—as with the moon, the sunburst and the encircling question marks—cleverly incorporating the holes. The name Freeman splits up into “Free Man,” while arrows, pointing fingers, images of Freeman’s ice picks, and excerpted notes and typography act as illustrations. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959537233-RXKQ52J102LH1VG7UQK4/mcba-prize-2017-Maureen-Cummins-the-rapist-5.jpg Entries & Jurors - 2017 Entries - Maureen Cummins Bearsville, NY maureenkcummins.com The/rapist 2017 silkscreen on laser-cut aluminum plates Edition of 40 16 pages 24” x 9” x 1” open 12” x 9” x 1″ closed Page 1-4 fanned out for display. The/rapist is an investigation into the dark and gendered history of psychosurgery, as exemplified by the career of Doctor Walter Freeman (1895-1972), a professor of neurology who single-handedly popularized the pre-frontal lobotomy in America. Although he had no formal training in either surgery or psychology, Freeman drove ice picks through his patients’ eye sockets, rode around in a “lobotomobile,” and conducted a 1953 tour dubbed “Operation Ice-Pick,” all the while freely admitting that lobotomies created a “surgically induced childhood” with many “failed outcomes.” It is a history which raises numerous questions about patients’ rights, the abuse of institutional power, and the disproportionate targeting of women. Of 3,500 or more patients that Freeman operated on, twice as many were female, many depressed or suicidal housewives. In the opening pages of the book, Cummins uses physical rape as an analogy for neurological penetration, a form of sexualized violence that was perpetuated for decades in the name of medical progress. The concept is visually reinforced by a laser-cut hole that bores through the pages of the book, penetrating reproduced images of lobotomy patients’ heads and morphing the title “The Rapist” into “Therapist.” The headshots, before-and-after” photos used in Freeman’s textbook, are re-contextualized, with lines of typography serving as blindfolds, reclaiming for these women a measure of dignity, humanity, and anonymity. Throughout the book, the artist’s mordant sense of humor is in evidence: 19th century engravings illustrate the backsides of the plates, providing decorative and ironic counters to the subject matter, often—as with the moon, the sunburst and the encircling question marks—cleverly incorporating the holes. The name Freeman splits up into “Free Man,” while arrows, pointing fingers, images of Freeman’s ice picks, and excerpted notes and typography act as illustrations. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959719247-BII6UQF8TNIJ6S8QMN51/mcba-prize-2017-thorsten-dennerline-a-cloud-in-trousers-1.jpg Entries & Jurors - 2017 Entries - Thorsten Dennerline Bennington, Vermont www.birdpress.com A Cloud in Trousers 2017 Plate Lithography, Letterpress edition size of 38 22 pages 36×22 cm 18×22 cm ARTIST STATEMENT This project emerged from my interest in El Lissitzky and his collaborations with the poet Vladimir Mayakovsky. I became fascinated by the incredible intensity of Mayakovsky’s work and life, and by the influence that his historical moment had on his art and thought. I wanted to make work about it. Rather than just illustrate a book of his poetry, I kept the project open-ended, letting it change and evolve, into a portrait of sorts. I started with the notion of the “monster artist” with broad gestural strokes of drawing ink, and then began to add layers of detail that reflected my sense of his complexity. As layers of ink built up on the paper, I began seeing the drawings as bodies, less as monsters and more as physical, mortal, vulnerable beings. I then invited the Russian-born American poet Michael Dumanis to collaborate on the project. He juxtaposed the images with a new translation of the prologue and first section of the Mayakovsky poem “A Cloud in Trousers.” We wanted our collaboration to put both of us in dialogue with Mayakovsky, as well as to reflect Mayakovsky’s own interests in collaborative experimentation and the relationship of text and image. – Thorsten Dennerline TRANSLATOR’S NOTE Vladimir Mayakovsky, Russian modernist poet and cultural icon, was born in Baghdati, Georgia, in 1893, and committed suicide in Moscow in 1930. A cosignatory of the Futurist manifesto “A Slap in the Face of Public Taste,” he was a towering, swaggering figure, whose personal life was as tumultuous as his wild public performances. “A Cloud in Trousers,” his first long poem, appeared in 1915, the same year as T.S. Eliot’s “The Love Song of J. Alfred Prufrock.” It consists of a prologue and four sections, roughly delineated as “Down with your love,” “Down with your art,” “Down with your social order,” and “Down with your faith.” Thorsten Dennerline’s twisting artworks suspended against a blue-sky backdrop seemed fitting for the existential crisis in this poem. Mayakovsky writes in verbal cartwheels and associative flights of language, allowing wordplay, sonic riffs, and rhyme to drive his rhetoric and imagery. I sought to preserve both each line’s intended meaning and Mayakovsky’s rhythm and music. I also attempted to make the poem’s diction smooth, accessible, and idiomatically modern to a 21st century American ear. — Michael Dumanis https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959720338-398PAA1L87S8LWULSHEW/mcba-prize-2017-thorsten-dennerline-a-cloud-in-trousers-2.jpg Entries & Jurors - 2017 Entries - Thorsten Dennerline Bennington, Vermont www.birdpress.com A Cloud in Trousers 2017 Plate Lithography, Letterpress edition size of 38 22 pages 36×22 cm 18×22 cm ARTIST STATEMENT This project emerged from my interest in El Lissitzky and his collaborations with the poet Vladimir Mayakovsky. I became fascinated by the incredible intensity of Mayakovsky’s work and life, and by the influence that his historical moment had on his art and thought. I wanted to make work about it. Rather than just illustrate a book of his poetry, I kept the project open-ended, letting it change and evolve, into a portrait of sorts. I started with the notion of the “monster artist” with broad gestural strokes of drawing ink, and then began to add layers of detail that reflected my sense of his complexity. As layers of ink built up on the paper, I began seeing the drawings as bodies, less as monsters and more as physical, mortal, vulnerable beings. I then invited the Russian-born American poet Michael Dumanis to collaborate on the project. He juxtaposed the images with a new translation of the prologue and first section of the Mayakovsky poem “A Cloud in Trousers.” We wanted our collaboration to put both of us in dialogue with Mayakovsky, as well as to reflect Mayakovsky’s own interests in collaborative experimentation and the relationship of text and image. – Thorsten Dennerline TRANSLATOR’S NOTE Vladimir Mayakovsky, Russian modernist poet and cultural icon, was born in Baghdati, Georgia, in 1893, and committed suicide in Moscow in 1930. A cosignatory of the Futurist manifesto “A Slap in the Face of Public Taste,” he was a towering, swaggering figure, whose personal life was as tumultuous as his wild public performances. “A Cloud in Trousers,” his first long poem, appeared in 1915, the same year as T.S. Eliot’s “The Love Song of J. Alfred Prufrock.” It consists of a prologue and four sections, roughly delineated as “Down with your love,” “Down with your art,” “Down with your social order,” and “Down with your faith.” Thorsten Dennerline’s twisting artworks suspended against a blue-sky backdrop seemed fitting for the existential crisis in this poem. Mayakovsky writes in verbal cartwheels and associative flights of language, allowing wordplay, sonic riffs, and rhyme to drive his rhetoric and imagery. I sought to preserve both each line’s intended meaning and Mayakovsky’s rhythm and music. I also attempted to make the poem’s diction smooth, accessible, and idiomatically modern to a 21st century American ear. — Michael Dumanis https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959720642-WI6WDD3KG5JM2K8TK5JQ/mcba-prize-2017-thorsten-dennerline-a-cloud-in-trousers-3.jpg Entries & Jurors - 2017 Entries - Thorsten Dennerline Bennington, Vermont www.birdpress.com A Cloud in Trousers 2017 Plate Lithography, Letterpress edition size of 38 22 pages 36×22 cm 18×22 cm ARTIST STATEMENT This project emerged from my interest in El Lissitzky and his collaborations with the poet Vladimir Mayakovsky. I became fascinated by the incredible intensity of Mayakovsky’s work and life, and by the influence that his historical moment had on his art and thought. I wanted to make work about it. Rather than just illustrate a book of his poetry, I kept the project open-ended, letting it change and evolve, into a portrait of sorts. I started with the notion of the “monster artist” with broad gestural strokes of drawing ink, and then began to add layers of detail that reflected my sense of his complexity. As layers of ink built up on the paper, I began seeing the drawings as bodies, less as monsters and more as physical, mortal, vulnerable beings. I then invited the Russian-born American poet Michael Dumanis to collaborate on the project. He juxtaposed the images with a new translation of the prologue and first section of the Mayakovsky poem “A Cloud in Trousers.” We wanted our collaboration to put both of us in dialogue with Mayakovsky, as well as to reflect Mayakovsky’s own interests in collaborative experimentation and the relationship of text and image. – Thorsten Dennerline TRANSLATOR’S NOTE Vladimir Mayakovsky, Russian modernist poet and cultural icon, was born in Baghdati, Georgia, in 1893, and committed suicide in Moscow in 1930. A cosignatory of the Futurist manifesto “A Slap in the Face of Public Taste,” he was a towering, swaggering figure, whose personal life was as tumultuous as his wild public performances. “A Cloud in Trousers,” his first long poem, appeared in 1915, the same year as T.S. Eliot’s “The Love Song of J. Alfred Prufrock.” It consists of a prologue and four sections, roughly delineated as “Down with your love,” “Down with your art,” “Down with your social order,” and “Down with your faith.” Thorsten Dennerline’s twisting artworks suspended against a blue-sky backdrop seemed fitting for the existential crisis in this poem. Mayakovsky writes in verbal cartwheels and associative flights of language, allowing wordplay, sonic riffs, and rhyme to drive his rhetoric and imagery. I sought to preserve both each line’s intended meaning and Mayakovsky’s rhythm and music. I also attempted to make the poem’s diction smooth, accessible, and idiomatically modern to a 21st century American ear. — Michael Dumanis https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959721471-0HBANOKRGUIR9OZ4PG5E/mcba-prize-2017-thorsten-dennerline-a-cloud-in-trousers-4.jpg Entries & Jurors - 2017 Entries - Thorsten Dennerline Bennington, Vermont www.birdpress.com A Cloud in Trousers 2017 Plate Lithography, Letterpress edition size of 38 22 pages 36×22 cm 18×22 cm ARTIST STATEMENT This project emerged from my interest in El Lissitzky and his collaborations with the poet Vladimir Mayakovsky. I became fascinated by the incredible intensity of Mayakovsky’s work and life, and by the influence that his historical moment had on his art and thought. I wanted to make work about it. Rather than just illustrate a book of his poetry, I kept the project open-ended, letting it change and evolve, into a portrait of sorts. I started with the notion of the “monster artist” with broad gestural strokes of drawing ink, and then began to add layers of detail that reflected my sense of his complexity. As layers of ink built up on the paper, I began seeing the drawings as bodies, less as monsters and more as physical, mortal, vulnerable beings. I then invited the Russian-born American poet Michael Dumanis to collaborate on the project. He juxtaposed the images with a new translation of the prologue and first section of the Mayakovsky poem “A Cloud in Trousers.” We wanted our collaboration to put both of us in dialogue with Mayakovsky, as well as to reflect Mayakovsky’s own interests in collaborative experimentation and the relationship of text and image. – Thorsten Dennerline TRANSLATOR’S NOTE Vladimir Mayakovsky, Russian modernist poet and cultural icon, was born in Baghdati, Georgia, in 1893, and committed suicide in Moscow in 1930. A cosignatory of the Futurist manifesto “A Slap in the Face of Public Taste,” he was a towering, swaggering figure, whose personal life was as tumultuous as his wild public performances. “A Cloud in Trousers,” his first long poem, appeared in 1915, the same year as T.S. Eliot’s “The Love Song of J. Alfred Prufrock.” It consists of a prologue and four sections, roughly delineated as “Down with your love,” “Down with your art,” “Down with your social order,” and “Down with your faith.” Thorsten Dennerline’s twisting artworks suspended against a blue-sky backdrop seemed fitting for the existential crisis in this poem. Mayakovsky writes in verbal cartwheels and associative flights of language, allowing wordplay, sonic riffs, and rhyme to drive his rhetoric and imagery. I sought to preserve both each line’s intended meaning and Mayakovsky’s rhythm and music. I also attempted to make the poem’s diction smooth, accessible, and idiomatically modern to a 21st century American ear. — Michael Dumanis https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959719292-N18Q7V2XAWOVGJNTZRN0/mcba-prize-2017-thorsten-dennerline-a-cloud-in-trousers-5.jpg Entries & Jurors - 2017 Entries - Thorsten Dennerline Bennington, Vermont www.birdpress.com A Cloud in Trousers 2017 Plate Lithography, Letterpress edition size of 38 22 pages 36×22 cm 18×22 cm ARTIST STATEMENT This project emerged from my interest in El Lissitzky and his collaborations with the poet Vladimir Mayakovsky. I became fascinated by the incredible intensity of Mayakovsky’s work and life, and by the influence that his historical moment had on his art and thought. I wanted to make work about it. Rather than just illustrate a book of his poetry, I kept the project open-ended, letting it change and evolve, into a portrait of sorts. I started with the notion of the “monster artist” with broad gestural strokes of drawing ink, and then began to add layers of detail that reflected my sense of his complexity. As layers of ink built up on the paper, I began seeing the drawings as bodies, less as monsters and more as physical, mortal, vulnerable beings. I then invited the Russian-born American poet Michael Dumanis to collaborate on the project. He juxtaposed the images with a new translation of the prologue and first section of the Mayakovsky poem “A Cloud in Trousers.” We wanted our collaboration to put both of us in dialogue with Mayakovsky, as well as to reflect Mayakovsky’s own interests in collaborative experimentation and the relationship of text and image. – Thorsten Dennerline TRANSLATOR’S NOTE Vladimir Mayakovsky, Russian modernist poet and cultural icon, was born in Baghdati, Georgia, in 1893, and committed suicide in Moscow in 1930. A cosignatory of the Futurist manifesto “A Slap in the Face of Public Taste,” he was a towering, swaggering figure, whose personal life was as tumultuous as his wild public performances. “A Cloud in Trousers,” his first long poem, appeared in 1915, the same year as T.S. Eliot’s “The Love Song of J. Alfred Prufrock.” It consists of a prologue and four sections, roughly delineated as “Down with your love,” “Down with your art,” “Down with your social order,” and “Down with your faith.” Thorsten Dennerline’s twisting artworks suspended against a blue-sky backdrop seemed fitting for the existential crisis in this poem. Mayakovsky writes in verbal cartwheels and associative flights of language, allowing wordplay, sonic riffs, and rhyme to drive his rhetoric and imagery. I sought to preserve both each line’s intended meaning and Mayakovsky’s rhythm and music. I also attempted to make the poem’s diction smooth, accessible, and idiomatically modern to a 21st century American ear. — Michael Dumanis https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959795165-YMB8BZ0CBBSZNYIY5QXN/mcba-prize-2017-thorsten-dennerline-emergent-forms-volume-4-dream-1.jpg Entries & Jurors - 2017 Entries - Thorsten Dennerline Bennington, Vermont birdpress.com Emergent Forms, Volume 4: Dream 2017 Polymer letterpress on Usuyou Gampi paper 30 in set, plus 10 individual copies 28 pages 301 x 331 cm 150.5 x 331 cm This is part of a four-volume book collaboration between visual artist, Thorsten Dennerline, and dance artist, Susan Sgorbati. The ideas of Emergent Forms grew out of Sgorbati’s work and research in dance on the spontaneous composition of form in complex systems. For example, a flock of birds self-organizing into shifting “V” patterns is an improvisational form. By observing these improvisational forms, she has categorized them and translated them into her choreography. Dream is one of four of these forms selected for the project. This project contains four forms each represented by a “volume”, and each of which is a unique print/object. They are titled Pattern, Memory, Landscape, and Dream. For each volume, Thorsten and Susan worked together in different capacities to create a book or (print object) that was not only a documentation of their dialogue about the forms (and in some ways a choreography), but also a book that could elicit an experience of these individual forms. The finished project will contain all 4 volumes in a box with a short written document or guide to the Forms. Volume 4: Dream started with a simple drawing; a gestural brush mark that suggested movement of a bird in flight. By drawing on translucent films, this gesture was used as a template to create nine improvisational line drawings that fit inside of the shapes. They were then printed on very thin 15 grams/meter Usuyou Gampi paper so that they could be viewed layered upon one another or individually. Viewing the pages, there is a distinct repeated shape that is variable in its details. Because of the translucency and resultant option of seeing through the pages, the action of turning the pages changes the overall image and creates a movement in the picture space of the book. It repeats but is also variable. The result is a new emerging form, and movement, that is based on but different from the original brush drawing. It is also constantly changing. In observing the entire book, the viewer should experience that the sum as greater than its parts, or a reflection of a complex system. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959795220-1CCZR79PAD3JFA0YJ94E/mcba-prize-2017-thorsten-dennerline-emergent-forms-volume-4-dream-2.jpg Entries & Jurors - 2017 Entries - Thorsten Dennerline Bennington, Vermont birdpress.com Emergent Forms, Volume 4: Dream 2017 Polymer letterpress on Usuyou Gampi paper 30 in set, plus 10 individual copies 28 pages 301 x 331 cm 150.5 x 331 cm This is part of a four-volume book collaboration between visual artist, Thorsten Dennerline, and dance artist, Susan Sgorbati. The ideas of Emergent Forms grew out of Sgorbati’s work and research in dance on the spontaneous composition of form in complex systems. For example, a flock of birds self-organizing into shifting “V” patterns is an improvisational form. By observing these improvisational forms, she has categorized them and translated them into her choreography. Dream is one of four of these forms selected for the project. This project contains four forms each represented by a “volume”, and each of which is a unique print/object. They are titled Pattern, Memory, Landscape, and Dream. For each volume, Thorsten and Susan worked together in different capacities to create a book or (print object) that was not only a documentation of their dialogue about the forms (and in some ways a choreography), but also a book that could elicit an experience of these individual forms. The finished project will contain all 4 volumes in a box with a short written document or guide to the Forms. Volume 4: Dream started with a simple drawing; a gestural brush mark that suggested movement of a bird in flight. By drawing on translucent films, this gesture was used as a template to create nine improvisational line drawings that fit inside of the shapes. They were then printed on very thin 15 grams/meter Usuyou Gampi paper so that they could be viewed layered upon one another or individually. Viewing the pages, there is a distinct repeated shape that is variable in its details. Because of the translucency and resultant option of seeing through the pages, the action of turning the pages changes the overall image and creates a movement in the picture space of the book. It repeats but is also variable. The result is a new emerging form, and movement, that is based on but different from the original brush drawing. It is also constantly changing. In observing the entire book, the viewer should experience that the sum as greater than its parts, or a reflection of a complex system. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959796570-BEV6I68DWBOWU94RJDAK/mcba-prize-2017-thorsten-dennerline-emergent-forms-volume-4-dream-3.jpg Entries & Jurors - 2017 Entries - Thorsten Dennerline Bennington, Vermont birdpress.com Emergent Forms, Volume 4: Dream 2017 Polymer letterpress on Usuyou Gampi paper 30 in set, plus 10 individual copies 28 pages 301 x 331 cm 150.5 x 331 cm This is part of a four-volume book collaboration between visual artist, Thorsten Dennerline, and dance artist, Susan Sgorbati. The ideas of Emergent Forms grew out of Sgorbati’s work and research in dance on the spontaneous composition of form in complex systems. For example, a flock of birds self-organizing into shifting “V” patterns is an improvisational form. By observing these improvisational forms, she has categorized them and translated them into her choreography. Dream is one of four of these forms selected for the project. This project contains four forms each represented by a “volume”, and each of which is a unique print/object. They are titled Pattern, Memory, Landscape, and Dream. For each volume, Thorsten and Susan worked together in different capacities to create a book or (print object) that was not only a documentation of their dialogue about the forms (and in some ways a choreography), but also a book that could elicit an experience of these individual forms. The finished project will contain all 4 volumes in a box with a short written document or guide to the Forms. Volume 4: Dream started with a simple drawing; a gestural brush mark that suggested movement of a bird in flight. By drawing on translucent films, this gesture was used as a template to create nine improvisational line drawings that fit inside of the shapes. They were then printed on very thin 15 grams/meter Usuyou Gampi paper so that they could be viewed layered upon one another or individually. Viewing the pages, there is a distinct repeated shape that is variable in its details. Because of the translucency and resultant option of seeing through the pages, the action of turning the pages changes the overall image and creates a movement in the picture space of the book. It repeats but is also variable. The result is a new emerging form, and movement, that is based on but different from the original brush drawing. It is also constantly changing. In observing the entire book, the viewer should experience that the sum as greater than its parts, or a reflection of a complex system. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959796778-X3CUJRMJINWPM16KEY4O/mcba-prize-2017-thorsten-dennerline-emergent-forms-volume-4-dream-4.jpg Entries & Jurors - 2017 Entries - Thorsten Dennerline Bennington, Vermont birdpress.com Emergent Forms, Volume 4: Dream 2017 Polymer letterpress on Usuyou Gampi paper 30 in set, plus 10 individual copies 28 pages 301 x 331 cm 150.5 x 331 cm This is part of a four-volume book collaboration between visual artist, Thorsten Dennerline, and dance artist, Susan Sgorbati. The ideas of Emergent Forms grew out of Sgorbati’s work and research in dance on the spontaneous composition of form in complex systems. For example, a flock of birds self-organizing into shifting “V” patterns is an improvisational form. By observing these improvisational forms, she has categorized them and translated them into her choreography. Dream is one of four of these forms selected for the project. This project contains four forms each represented by a “volume”, and each of which is a unique print/object. They are titled Pattern, Memory, Landscape, and Dream. For each volume, Thorsten and Susan worked together in different capacities to create a book or (print object) that was not only a documentation of their dialogue about the forms (and in some ways a choreography), but also a book that could elicit an experience of these individual forms. The finished project will contain all 4 volumes in a box with a short written document or guide to the Forms. Volume 4: Dream started with a simple drawing; a gestural brush mark that suggested movement of a bird in flight. By drawing on translucent films, this gesture was used as a template to create nine improvisational line drawings that fit inside of the shapes. They were then printed on very thin 15 grams/meter Usuyou Gampi paper so that they could be viewed layered upon one another or individually. Viewing the pages, there is a distinct repeated shape that is variable in its details. Because of the translucency and resultant option of seeing through the pages, the action of turning the pages changes the overall image and creates a movement in the picture space of the book. It repeats but is also variable. The result is a new emerging form, and movement, that is based on but different from the original brush drawing. It is also constantly changing. In observing the entire book, the viewer should experience that the sum as greater than its parts, or a reflection of a complex system. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773959797873-ZW0WJPOZSGFFGBXQ7IYM/mcba-prize-2017-thorsten-dennerline-emergent-forms-volume-4-dream-5.jpg Entries & Jurors - 2017 Entries - Thorsten Dennerline Bennington, Vermont birdpress.com Emergent Forms, Volume 4: Dream 2017 Polymer letterpress on Usuyou Gampi paper 30 in set, plus 10 individual copies 28 pages 301 x 331 cm 150.5 x 331 cm This is part of a four-volume book collaboration between visual artist, Thorsten Dennerline, and dance artist, Susan Sgorbati. The ideas of Emergent Forms grew out of Sgorbati’s work and research in dance on the spontaneous composition of form in complex systems. For example, a flock of birds self-organizing into shifting “V” patterns is an improvisational form. By observing these improvisational forms, she has categorized them and translated them into her choreography. Dream is one of four of these forms selected for the project. This project contains four forms each represented by a “volume”, and each of which is a unique print/object. They are titled Pattern, Memory, Landscape, and Dream. For each volume, Thorsten and Susan worked together in different capacities to create a book or (print object) that was not only a documentation of their dialogue about the forms (and in some ways a choreography), but also a book that could elicit an experience of these individual forms. The finished project will contain all 4 volumes in a box with a short written document or guide to the Forms. Volume 4: Dream started with a simple drawing; a gestural brush mark that suggested movement of a bird in flight. By drawing on translucent films, this gesture was used as a template to create nine improvisational line drawings that fit inside of the shapes. They were then printed on very thin 15 grams/meter Usuyou Gampi paper so that they could be viewed layered upon one another or individually. Viewing the pages, there is a distinct repeated shape that is variable in its details. Because of the translucency and resultant option of seeing through the pages, the action of turning the pages changes the overall image and creates a movement in the picture space of the book. It repeats but is also variable. The result is a new emerging form, and movement, that is based on but different from the original brush drawing. It is also constantly changing. In observing the entire book, the viewer should experience that the sum as greater than its parts, or a reflection of a complex system. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960309394-382AR6AK5EP5P6YRXX09/mcba-prize-2017-wendy-fernstrum-one-is-the-holiest-number-2-1.jpg Entries & Jurors - 2017 Entries - Wendy Fernstrum Marine on Saint Croix, Minnesota fernwerks.com One Is the Holiest Number (#2) 2015 Letterpress, intaglio, relief edition size of 25 28 pages 10″ x 20″ x .25″ 10″ x 10″ x .5″ Cover of book with “Empty” spread. The “Empty” spread appears in the first third of the book. Artist Statement One Is the Holiest Number (#2) is a meditation on the paradox of one: how each of us as an individual is distinctly one, yet simultaneously part of a unified whole. We each have unique fingerprints. We look and sound and feel uniquely different. How could we be so distinct and yet part of one? Are the cells in my body pondering these very same questions? For over a decade I’ve been studying Buddhism, yoga, and Christianity. For me they are a trinity that joins together at the sense of being at one – with the divine, with each other, with the world around us. At times the space between ALONE and ALL ONE can seem vastly impassable. Yet the shift into feeling AT ONE can happen in an instant. My work explores this in-between space where identity is constantly shifting and all that seemed certain loses form. Using a combination of printing techniques, including intaglio, relief, and letterpress, One Is the Holiest Number (#2) communicates in many layers. Sparse text contrasts with drawings and backgrounds of interwoven lines. For the background, two layers of relief printing from linoleum rest beneath two layers of intaglio, bringing into sight an immense net or web that connects us yet otherwise remains unseen. Some of the pages are cut short to reveal text on the page beneath, and when the top page is turned the word transforms into another. For example, “alone” shifts into “all one.” “Hole” becomes “whole,” and “atone” transforms into “at one.” Although illusion tries to persuade us otherwise, we are always One. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960309308-1OTY4N6218N2RI1P7GG2/mcba-prize-2017-wendy-fernstrum-one-is-the-holiest-number-2-2.jpg Entries & Jurors - 2017 Entries - Wendy Fernstrum Marine on Saint Croix, Minnesota fernwerks.com One Is the Holiest Number (#2) 2015 Letterpress, intaglio, relief edition size of 25 28 pages 10″ x 20″ x .25″ 10″ x 10″ x .5″ “Emptied” spread. This spread appears in the last part of the book, using the same image from the “Empty” spread to suggest the relationship between and difference between the two, from a spiritual perspective. Artist Statement One Is the Holiest Number (#2) is a meditation on the paradox of one: how each of us as an individual is distinctly one, yet simultaneously part of a unified whole. We each have unique fingerprints. We look and sound and feel uniquely different. How could we be so distinct and yet part of one? Are the cells in my body pondering these very same questions? For over a decade I’ve been studying Buddhism, yoga, and Christianity. For me they are a trinity that joins together at the sense of being at one – with the divine, with each other, with the world around us. At times the space between ALONE and ALL ONE can seem vastly impassable. Yet the shift into feeling AT ONE can happen in an instant. My work explores this in-between space where identity is constantly shifting and all that seemed certain loses form. Using a combination of printing techniques, including intaglio, relief, and letterpress, One Is the Holiest Number (#2) communicates in many layers. Sparse text contrasts with drawings and backgrounds of interwoven lines. For the background, two layers of relief printing from linoleum rest beneath two layers of intaglio, bringing into sight an immense net or web that connects us yet otherwise remains unseen. Some of the pages are cut short to reveal text on the page beneath, and when the top page is turned the word transforms into another. For example, “alone” shifts into “all one.” “Hole” becomes “whole,” and “atone” transforms into “at one.” Although illusion tries to persuade us otherwise, we are always One. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960310907-Z7E8MN3TD6SI3KFD4M4K/mcba-prize-2017-wendy-fernstrum-one-is-the-holiest-number-2-3.jpg Entries & Jurors - 2017 Entries - Wendy Fernstrum Marine on Saint Croix, Minnesota fernwerks.com One Is the Holiest Number (#2) 2015 Letterpress, intaglio, relief edition size of 25 28 pages 10″ x 20″ x .25″ 10″ x 10″ x .5″ The right side of the page printed with lines around a hole is cut to reveal “hole” printed on the page below as the book is fully opened. Artist Statement One Is the Holiest Number (#2) is a meditation on the paradox of one: how each of us as an individual is distinctly one, yet simultaneously part of a unified whole. We each have unique fingerprints. We look and sound and feel uniquely different. How could we be so distinct and yet part of one? Are the cells in my body pondering these very same questions? For over a decade I’ve been studying Buddhism, yoga, and Christianity. For me they are a trinity that joins together at the sense of being at one – with the divine, with each other, with the world around us. At times the space between ALONE and ALL ONE can seem vastly impassable. Yet the shift into feeling AT ONE can happen in an instant. My work explores this in-between space where identity is constantly shifting and all that seemed certain loses form. Using a combination of printing techniques, including intaglio, relief, and letterpress, One Is the Holiest Number (#2) communicates in many layers. Sparse text contrasts with drawings and backgrounds of interwoven lines. For the background, two layers of relief printing from linoleum rest beneath two layers of intaglio, bringing into sight an immense net or web that connects us yet otherwise remains unseen. Some of the pages are cut short to reveal text on the page beneath, and when the top page is turned the word transforms into another. For example, “alone” shifts into “all one.” “Hole” becomes “whole,” and “atone” transforms into “at one.” Although illusion tries to persuade us otherwise, we are always One. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960311215-FEEC7TM3W9UFU876IVE2/mcba-prize-2017-wendy-fernstrum-one-is-the-holiest-number-2-4.jpg Entries & Jurors - 2017 Entries - Wendy Fernstrum Marine on Saint Croix, Minnesota fernwerks.com One Is the Holiest Number (#2) 2015 Letterpress, intaglio, relief edition size of 25 28 pages 10″ x 20″ x .25″ 10″ x 10″ x .5″ Turning the page reveals “w” and changes “hole” to “whole,” suggesting the role of perception in shaping an experience. Artist Statement One Is the Holiest Number (#2) is a meditation on the paradox of one: how each of us as an individual is distinctly one, yet simultaneously part of a unified whole. We each have unique fingerprints. We look and sound and feel uniquely different. How could we be so distinct and yet part of one? Are the cells in my body pondering these very same questions? For over a decade I’ve been studying Buddhism, yoga, and Christianity. For me they are a trinity that joins together at the sense of being at one – with the divine, with each other, with the world around us. At times the space between ALONE and ALL ONE can seem vastly impassable. Yet the shift into feeling AT ONE can happen in an instant. My work explores this in-between space where identity is constantly shifting and all that seemed certain loses form. Using a combination of printing techniques, including intaglio, relief, and letterpress, One Is the Holiest Number (#2) communicates in many layers. Sparse text contrasts with drawings and backgrounds of interwoven lines. For the background, two layers of relief printing from linoleum rest beneath two layers of intaglio, bringing into sight an immense net or web that connects us yet otherwise remains unseen. Some of the pages are cut short to reveal text on the page beneath, and when the top page is turned the word transforms into another. For example, “alone” shifts into “all one.” “Hole” becomes “whole,” and “atone” transforms into “at one.” Although illusion tries to persuade us otherwise, we are always One. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960312095-HDYUS0T3UBZAIW548HMF/mcba-prize-2017-wendy-fernstrum-one-is-the-holiest-number-2-5.jpg Entries & Jurors - 2017 Entries - Wendy Fernstrum Marine on Saint Croix, Minnesota fernwerks.com One Is the Holiest Number (#2) 2015 Letterpress, intaglio, relief edition size of 25 28 pages 10″ x 20″ x .25″ 10″ x 10″ x .5″ When the top page is flat, the printed word appears as “alone,” and lifting the top page reveals “all one” on the page beneath. Artist Statement One Is the Holiest Number (#2) is a meditation on the paradox of one: how each of us as an individual is distinctly one, yet simultaneously part of a unified whole. We each have unique fingerprints. We look and sound and feel uniquely different. How could we be so distinct and yet part of one? Are the cells in my body pondering these very same questions? For over a decade I’ve been studying Buddhism, yoga, and Christianity. For me they are a trinity that joins together at the sense of being at one – with the divine, with each other, with the world around us. At times the space between ALONE and ALL ONE can seem vastly impassable. Yet the shift into feeling AT ONE can happen in an instant. My work explores this in-between space where identity is constantly shifting and all that seemed certain loses form. Using a combination of printing techniques, including intaglio, relief, and letterpress, One Is the Holiest Number (#2) communicates in many layers. Sparse text contrasts with drawings and backgrounds of interwoven lines. For the background, two layers of relief printing from linoleum rest beneath two layers of intaglio, bringing into sight an immense net or web that connects us yet otherwise remains unseen. Some of the pages are cut short to reveal text on the page beneath, and when the top page is turned the word transforms into another. For example, “alone” shifts into “all one.” “Hole” becomes “whole,” and “atone” transforms into “at one.” Although illusion tries to persuade us otherwise, we are always One. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960534860-RH0GFM90O7F2DEPAGTYW/mcba-prize-2017-timothy-frerichs-st-olav-leden-book-3-1.jpg Entries & Jurors - 2017 Entries - Timothy Frerichs Fredonia, New York www.timothyfrerichs.com St Olav Leden Book 3 2017 Handmade abaca paper with watermarks/blow outs, perforated paper, Shifu, over beaten abaca cover, limp paper binding Unique 18″x24″ (fold out)x1″ 6″x9″x1″ – box 6.5″x9.25″x1.5″ Closed book, overbeaten abaca cover, perforation, shifu tacking and ties. 6”x9”x1” Artist Statement The artist book St Olav Leden 3 is part of a response series to the St Olav pilgrimage from Selånger, Sweden to Trondheim, Norway. I was invited to create an artwork for the exhibit Wanderlust at Lat. 63 ArtCenter in Östersund, Sweden the Fall of 2016. For the exhibition I created an installation of 37 suspended watermarked handmade sheets of abaca based on the St Olav pilgrimage trail map. A video of a robed “pilgrim” walking very slowly across the screen was projected onto the back of the paper installation. This illuminated the watermarked trail and page number. The book St Olav Leden 3 is a continuation of this work. The pages are watermarked and perforated fold-out abaca sheets that map sections of the pilgrimage trail through Sweden into Norway. The sections are sewn in a limp-vellum (overbeaten abaca cover) binding with shifu paper string tackets and tie. The video consists of the same footage as the installation, projected onto the page foldout. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960534959-EXGAE26O2OAS05O5GQLG/mcba-prize-2017-timothy-frerichs-st-olav-leden-book-3-2.jpg Entries & Jurors - 2017 Entries - Timothy Frerichs Fredonia, New York www.timothyfrerichs.com St Olav Leden Book 3 2017 Handmade abaca paper with watermarks/blow outs, perforated paper, Shifu, over beaten abaca cover, limp paper binding Unique 18″x24″ (fold out)x1″ 6″x9″x1″ – box 6.5″x9.25″x1.5″ View 2, page 12 open showing folded out trail map page 12, perforated and watermarked handmade abaca paper, 18”x24”. Artist Statement The artist book St Olav Leden 3 is part of a response series to the St Olav pilgrimage from Selånger, Sweden to Trondheim, Norway. I was invited to create an artwork for the exhibit Wanderlust at Lat. 63 ArtCenter in Östersund, Sweden the Fall of 2016. For the exhibition I created an installation of 37 suspended watermarked handmade sheets of abaca based on the St Olav pilgrimage trail map. A video of a robed “pilgrim” walking very slowly across the screen was projected onto the back of the paper installation. This illuminated the watermarked trail and page number. The book St Olav Leden 3 is a continuation of this work. The pages are watermarked and perforated fold-out abaca sheets that map sections of the pilgrimage trail through Sweden into Norway. The sections are sewn in a limp-vellum (overbeaten abaca cover) binding with shifu paper string tackets and tie. The video consists of the same footage as the installation, projected onto the page foldout. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960536620-V30FRL41NLVAX39YH3NR/mcba-prize-2017-timothy-frerichs-st-olav-leden-book-3-3.jpg Entries & Jurors - 2017 Entries - Timothy Frerichs Fredonia, New York www.timothyfrerichs.com St Olav Leden Book 3 2017 Handmade abaca paper with watermarks/blow outs, perforated paper, Shifu, over beaten abaca cover, limp paper binding Unique 18″x24″ (fold out)x1″ 6″x9″x1″ – box 6.5″x9.25″x1.5″ View 3, page 16 open showing folded out trail map page 16, perforated and watermarked handmade abaca paper, 18”x24” Artist Statement The artist book St Olav Leden 3 is part of a response series to the St Olav pilgrimage from Selånger, Sweden to Trondheim, Norway. I was invited to create an artwork for the exhibit Wanderlust at Lat. 63 ArtCenter in Östersund, Sweden the Fall of 2016. For the exhibition I created an installation of 37 suspended watermarked handmade sheets of abaca based on the St Olav pilgrimage trail map. A video of a robed “pilgrim” walking very slowly across the screen was projected onto the back of the paper installation. This illuminated the watermarked trail and page number. The book St Olav Leden 3 is a continuation of this work. The pages are watermarked and perforated fold-out abaca sheets that map sections of the pilgrimage trail through Sweden into Norway. The sections are sewn in a limp-vellum (overbeaten abaca cover) binding with shifu paper string tackets and tie. The video consists of the same footage as the installation, projected onto the page foldout. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960536797-ZM8NJ68U1ZEUI2W1G4R6/mcba-prize-2017-timothy-frerichs-st-olav-leden-book-3-4.jpg Entries & Jurors - 2017 Entries - Timothy Frerichs Fredonia, New York www.timothyfrerichs.com St Olav Leden Book 3 2017 Handmade abaca paper with watermarks/blow outs, perforated paper, Shifu, over beaten abaca cover, limp paper binding Unique 18″x24″ (fold out)x1″ 6″x9″x1″ – box 6.5″x9.25″x1.5″ View 4, video projection onto folded out page (8 minutes) Artist Statement The artist book St Olav Leden 3 is part of a response series to the St Olav pilgrimage from Selånger, Sweden to Trondheim, Norway. I was invited to create an artwork for the exhibit Wanderlust at Lat. 63 ArtCenter in Östersund, Sweden the Fall of 2016. For the exhibition I created an installation of 37 suspended watermarked handmade sheets of abaca based on the St Olav pilgrimage trail map. A video of a robed “pilgrim” walking very slowly across the screen was projected onto the back of the paper installation. This illuminated the watermarked trail and page number. The book St Olav Leden 3 is a continuation of this work. The pages are watermarked and perforated fold-out abaca sheets that map sections of the pilgrimage trail through Sweden into Norway. The sections are sewn in a limp-vellum (overbeaten abaca cover) binding with shifu paper string tackets and tie. The video consists of the same footage as the installation, projected onto the page foldout. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960538290-F51ZA97UTLN3WEYFEKRO/mcba-prize-2017-timothy-frerichs-st-olav-leden-book-3-5.jpg Entries & Jurors - 2017 Entries - Timothy Frerichs Fredonia, New York www.timothyfrerichs.com St Olav Leden Book 3 2017 Handmade abaca paper with watermarks/blow outs, perforated paper, Shifu, over beaten abaca cover, limp paper binding Unique 18″x24″ (fold out)x1″ 6″x9″x1″ – box 6.5″x9.25″x1.5″ View 5, close-up of video and perforated, watermarked page. Artist Statement The artist book St Olav Leden 3 is part of a response series to the St Olav pilgrimage from Selånger, Sweden to Trondheim, Norway. I was invited to create an artwork for the exhibit Wanderlust at Lat. 63 ArtCenter in Östersund, Sweden the Fall of 2016. For the exhibition I created an installation of 37 suspended watermarked handmade sheets of abaca based on the St Olav pilgrimage trail map. A video of a robed “pilgrim” walking very slowly across the screen was projected onto the back of the paper installation. This illuminated the watermarked trail and page number. The book St Olav Leden 3 is a continuation of this work. The pages are watermarked and perforated fold-out abaca sheets that map sections of the pilgrimage trail through Sweden into Norway. The sections are sewn in a limp-vellum (overbeaten abaca cover) binding with shifu paper string tackets and tie. The video consists of the same footage as the installation, projected onto the page foldout. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960750937-ILI3S55IMOVE1FUJI8EV/mcba-prize-2017-michal-fuchs-ishmael-1.jpg Entries & Jurors - 2017 Entries - Michal Fuchs Halle (Saale), Sachsen Anhalt, Germany cargocollective.com/michalfuchs-illustration Ishmael 2016 Book, blind cliché stamping, digital print, coptic binding, etching edition size of 5 16 pages 31 x 60cm 31 x 30 x 0.7cm Double spread with words cut out, transparent silk paper pocket containing the cutouts What drove me making this book was a hard feeling that awoke during and after the last war in Israel and Gaza in 2014. Seing how religious extremists from both sides design and define the reallity as it is. The helplessness thinking that a dialog with extremists is impossible. I am not able to understand them, neather they me. This book is a way of dealing with this feeling. The story of Ishmael is the origin of the separation between Judaism and Islam. While Isaac represent one of the most important roots of Judaism, Ishmael, his brother, disconnects from his jewish roots and starts a dynasty which eventually leads to Muhammad and the beginning of Islam. The questions around Ishmael’s character concern many jewish historians and bible interpreters, among them rabbis, who devote their lifes to understand the meaning of each word in the bible. Through years of study, they try to comprehend who was Ishmael, giving various interpretations for his smallest gestures and trying to understand his character as well as the relationship between him and his family: his father Abraham, his Egyptian mother Hagar, his brother Isaac and Isaac’s mother Sarah. Many of todays opinions are based on these interpretations. Some of them are building an ideology after them. In this book, there are three quotations from the Book of Genesis. Each of them deals with Ishmael’s character or his relationship with his family. To each of these quotes I give two opposing interpretations from two different rabbis. One shows Ishmael’s character in a negative way, the other one in a positive way. The opposing interpretations are printed each on one side of a double spread page (in Hebrew). The words are cut out, so the only thing left to see are the punctuation and holes which create kind of a wall. In between there is a closed transparent pocket which contains the words, blended together. The original interpretations are gone, one cannot read them anymore. A short research, using the little information appearing in the book, will lead to a bigger variety of interpretations regarding Ishmael’s character. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960751064-V5PSP3GQKC8QFT5S6FW7/mcba-prize-2017-michal-fuchs-ishmael-2.jpg Entries & Jurors - 2017 Entries - Michal Fuchs Halle (Saale), Sachsen Anhalt, Germany cargocollective.com/michalfuchs-illustration Ishmael 2016 Book, blind cliché stamping, digital print, coptic binding, etching edition size of 5 16 pages 31 x 60cm 31 x 30 x 0.7cm Pocket seeing from the other side What drove me making this book was a hard feeling that awoke during and after the last war in Israel and Gaza in 2014. Seing how religious extremists from both sides design and define the reallity as it is. The helplessness thinking that a dialog with extremists is impossible. I am not able to understand them, neather they me. This book is a way of dealing with this feeling. The story of Ishmael is the origin of the separation between Judaism and Islam. While Isaac represent one of the most important roots of Judaism, Ishmael, his brother, disconnects from his jewish roots and starts a dynasty which eventually leads to Muhammad and the beginning of Islam. The questions around Ishmael’s character concern many jewish historians and bible interpreters, among them rabbis, who devote their lifes to understand the meaning of each word in the bible. Through years of study, they try to comprehend who was Ishmael, giving various interpretations for his smallest gestures and trying to understand his character as well as the relationship between him and his family: his father Abraham, his Egyptian mother Hagar, his brother Isaac and Isaac’s mother Sarah. Many of todays opinions are based on these interpretations. Some of them are building an ideology after them. In this book, there are three quotations from the Book of Genesis. Each of them deals with Ishmael’s character or his relationship with his family. To each of these quotes I give two opposing interpretations from two different rabbis. One shows Ishmael’s character in a negative way, the other one in a positive way. The opposing interpretations are printed each on one side of a double spread page (in Hebrew). The words are cut out, so the only thing left to see are the punctuation and holes which create kind of a wall. In between there is a closed transparent pocket which contains the words, blended together. The original interpretations are gone, one cannot read them anymore. A short research, using the little information appearing in the book, will lead to a bigger variety of interpretations regarding Ishmael’s character. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960752481-3GUTRWIPLDSRMFBBILPI/mcba-prize-2017-michal-fuchs-ishmael-3.jpg Entries & Jurors - 2017 Entries - Michal Fuchs Halle (Saale), Sachsen Anhalt, Germany cargocollective.com/michalfuchs-illustration Ishmael 2016 Book, blind cliché stamping, digital print, coptic binding, etching edition size of 5 16 pages 31 x 60cm 31 x 30 x 0.7cm Double spread with words cut out, punctuation, name of interpreter and bible verse printed on transparent silk paper What drove me making this book was a hard feeling that awoke during and after the last war in Israel and Gaza in 2014. Seing how religious extremists from both sides design and define the reallity as it is. The helplessness thinking that a dialog with extremists is impossible. I am not able to understand them, neather they me. This book is a way of dealing with this feeling. The story of Ishmael is the origin of the separation between Judaism and Islam. While Isaac represent one of the most important roots of Judaism, Ishmael, his brother, disconnects from his jewish roots and starts a dynasty which eventually leads to Muhammad and the beginning of Islam. The questions around Ishmael’s character concern many jewish historians and bible interpreters, among them rabbis, who devote their lifes to understand the meaning of each word in the bible. Through years of study, they try to comprehend who was Ishmael, giving various interpretations for his smallest gestures and trying to understand his character as well as the relationship between him and his family: his father Abraham, his Egyptian mother Hagar, his brother Isaac and Isaac’s mother Sarah. Many of todays opinions are based on these interpretations. Some of them are building an ideology after them. In this book, there are three quotations from the Book of Genesis. Each of them deals with Ishmael’s character or his relationship with his family. To each of these quotes I give two opposing interpretations from two different rabbis. One shows Ishmael’s character in a negative way, the other one in a positive way. The opposing interpretations are printed each on one side of a double spread page (in Hebrew). The words are cut out, so the only thing left to see are the punctuation and holes which create kind of a wall. In between there is a closed transparent pocket which contains the words, blended together. The original interpretations are gone, one cannot read them anymore. A short research, using the little information appearing in the book, will lead to a bigger variety of interpretations regarding Ishmael’s character. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960752698-WAT6C26HXTPVICYW3TPF/mcba-prize-2017-michal-fuchs-ishmael-4.jpg Entries & Jurors - 2017 Entries - Michal Fuchs Halle (Saale), Sachsen Anhalt, Germany cargocollective.com/michalfuchs-illustration Ishmael 2016 Book, blind cliché stamping, digital print, coptic binding, etching edition size of 5 16 pages 31 x 60cm 31 x 30 x 0.7cm Detail from the cut out words What drove me making this book was a hard feeling that awoke during and after the last war in Israel and Gaza in 2014. Seing how religious extremists from both sides design and define the reallity as it is. The helplessness thinking that a dialog with extremists is impossible. I am not able to understand them, neather they me. This book is a way of dealing with this feeling. The story of Ishmael is the origin of the separation between Judaism and Islam. While Isaac represent one of the most important roots of Judaism, Ishmael, his brother, disconnects from his jewish roots and starts a dynasty which eventually leads to Muhammad and the beginning of Islam. The questions around Ishmael’s character concern many jewish historians and bible interpreters, among them rabbis, who devote their lifes to understand the meaning of each word in the bible. Through years of study, they try to comprehend who was Ishmael, giving various interpretations for his smallest gestures and trying to understand his character as well as the relationship between him and his family: his father Abraham, his Egyptian mother Hagar, his brother Isaac and Isaac’s mother Sarah. Many of todays opinions are based on these interpretations. Some of them are building an ideology after them. In this book, there are three quotations from the Book of Genesis. Each of them deals with Ishmael’s character or his relationship with his family. To each of these quotes I give two opposing interpretations from two different rabbis. One shows Ishmael’s character in a negative way, the other one in a positive way. The opposing interpretations are printed each on one side of a double spread page (in Hebrew). The words are cut out, so the only thing left to see are the punctuation and holes which create kind of a wall. In between there is a closed transparent pocket which contains the words, blended together. The original interpretations are gone, one cannot read them anymore. A short research, using the little information appearing in the book, will lead to a bigger variety of interpretations regarding Ishmael’s character. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960753691-JARYGALZRVD5ENQ7IJQC/mcba-prize-2017-michal-fuchs-ishmael-5.jpg Entries & Jurors - 2017 Entries - Michal Fuchs Halle (Saale), Sachsen Anhalt, Germany cargocollective.com/michalfuchs-illustration Ishmael 2016 Book, blind cliché stamping, digital print, coptic binding, etching edition size of 5 16 pages 31 x 60cm 31 x 30 x 0.7cm One out of three etching graphics What drove me making this book was a hard feeling that awoke during and after the last war in Israel and Gaza in 2014. Seing how religious extremists from both sides design and define the reallity as it is. The helplessness thinking that a dialog with extremists is impossible. I am not able to understand them, neather they me. This book is a way of dealing with this feeling. The story of Ishmael is the origin of the separation between Judaism and Islam. While Isaac represent one of the most important roots of Judaism, Ishmael, his brother, disconnects from his jewish roots and starts a dynasty which eventually leads to Muhammad and the beginning of Islam. The questions around Ishmael’s character concern many jewish historians and bible interpreters, among them rabbis, who devote their lifes to understand the meaning of each word in the bible. Through years of study, they try to comprehend who was Ishmael, giving various interpretations for his smallest gestures and trying to understand his character as well as the relationship between him and his family: his father Abraham, his Egyptian mother Hagar, his brother Isaac and Isaac’s mother Sarah. Many of todays opinions are based on these interpretations. Some of them are building an ideology after them. In this book, there are three quotations from the Book of Genesis. Each of them deals with Ishmael’s character or his relationship with his family. To each of these quotes I give two opposing interpretations from two different rabbis. One shows Ishmael’s character in a negative way, the other one in a positive way. The opposing interpretations are printed each on one side of a double spread page (in Hebrew). The words are cut out, so the only thing left to see are the punctuation and holes which create kind of a wall. In between there is a closed transparent pocket which contains the words, blended together. The original interpretations are gone, one cannot read them anymore. A short research, using the little information appearing in the book, will lead to a bigger variety of interpretations regarding Ishmael’s character. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960878386-47RV8JRK4YIPFI4QJE94/mcba-prize-2017-michal-fuchs-tsu-shlofn-in-eybiker-ru-1.jpg Entries & Jurors - 2017 Entries - Michal Fuchs Halle (Saale), Sachsen-Anhalt, Germany cargocollective.com/michalfuchs-illustration Tsu shlofn in eybiker ru 2016 Book, handmade paper, collages, hot stamping, digital print 3 uniques 21 pages 24.5 x 37cm open 24.5 x 18.5 x 0.7cm closed Book cover with book inside Tsu shlofn in eybiker ru Many of the Yiddish folk lullabies symbolize, directly or indirectly, the spiritual-cultural world of the diaspora jew. The eternal dreamer, with no roots, that is always looking for his place in the world. Some of them have been written by zionists who lived in Europe or Russia with constant longing to the holy land, or by jewish who emigrated from eastern Europe to America. Almost all these lullabies are a monologue of a mother talking to her child. While their monotone melody is very relaxing and quiet, trying to put the child into a deep sleep, the texts have, next to their calm and fantastic feeling also something very dark and melancholic, a bit sad, maybe not designated as children songs anymore, but as an expression of the mothers distress. This tension is what I am trying to express in the book and it’s collages. The book Tsu shlofn in eybiker ru (To sleep in eternal repose), contains five of these original old yiddish lullabies, translated also to Hebrew and German. Each lullaby is accompanied by one original and unique collage, responding to the lullaby’s dreamy, melancholic and dark content. The book pages are handmade paper, each made out of five very thin layers, containg Abacá fibers. The collages are made in a special technique: the elements of the collage are embedded within four different levels between the five transparent layers, creating a unique depth. The elements which appear nearer from one side of the paper, are seen further away from the other side – what creates eventually two different pictures, each from a different side. The text is printed on both sides of the transparent paper. The translated text, printed mirrored on the back, appears weaker then the original yiddish text printed on the front, creating a typography that matches the technique of the collages. Song list 1. OYFN VEG SHTEYT A BOYM / Yitzik Manger 2. AMOL IZ GEVEN A MAYSE / Traditional 3. SHLOF MAYN KIND / Scholem Alejchem 4. OYFN BOYDEM SHLOF DER DAKH / Berl Shafir 5. DI ZUN VET ARUNTERGEYN / Moyshe-Leyb Halpern https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960879943-9QBURNZKU82K5VE7T04O/mcba-prize-2017-michal-fuchs-tsu-shlofn-in-eybiker-ru-2.jpg Entries & Jurors - 2017 Entries - Michal Fuchs Halle (Saale), Sachsen-Anhalt, Germany cargocollective.com/michalfuchs-illustration Tsu shlofn in eybiker ru 2016 Book, handmade paper, collages, hot stamping, digital print 3 uniques 21 pages 24.5 x 37cm open 24.5 x 18.5 x 0.7cm closed Mirrored text and one of the collages Tsu shlofn in eybiker ru Many of the Yiddish folk lullabies symbolize, directly or indirectly, the spiritual-cultural world of the diaspora jew. The eternal dreamer, with no roots, that is always looking for his place in the world. Some of them have been written by zionists who lived in Europe or Russia with constant longing to the holy land, or by jewish who emigrated from eastern Europe to America. Almost all these lullabies are a monologue of a mother talking to her child. While their monotone melody is very relaxing and quiet, trying to put the child into a deep sleep, the texts have, next to their calm and fantastic feeling also something very dark and melancholic, a bit sad, maybe not designated as children songs anymore, but as an expression of the mothers distress. This tension is what I am trying to express in the book and it’s collages. The book Tsu shlofn in eybiker ru (To sleep in eternal repose), contains five of these original old yiddish lullabies, translated also to Hebrew and German. Each lullaby is accompanied by one original and unique collage, responding to the lullaby’s dreamy, melancholic and dark content. The book pages are handmade paper, each made out of five very thin layers, containg Abacá fibers. The collages are made in a special technique: the elements of the collage are embedded within four different levels between the five transparent layers, creating a unique depth. The elements which appear nearer from one side of the paper, are seen further away from the other side – what creates eventually two different pictures, each from a different side. The text is printed on both sides of the transparent paper. The translated text, printed mirrored on the back, appears weaker then the original yiddish text printed on the front, creating a typography that matches the technique of the collages. Song list 1. OYFN VEG SHTEYT A BOYM / Yitzik Manger 2. AMOL IZ GEVEN A MAYSE / Traditional 3. SHLOF MAYN KIND / Scholem Alejchem 4. OYFN BOYDEM SHLOF DER DAKH / Berl Shafir 5. DI ZUN VET ARUNTERGEYN / Moyshe-Leyb Halpern https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960879883-TZFFNMYBE8W32FXK580I/mcba-prize-2017-michal-fuchs-tsu-shlofn-in-eybiker-ru-3.jpg Entries & Jurors - 2017 Entries - Michal Fuchs Halle (Saale), Sachsen-Anhalt, Germany cargocollective.com/michalfuchs-illustration Tsu shlofn in eybiker ru 2016 Book, handmade paper, collages, hot stamping, digital print 3 uniques 21 pages 24.5 x 37cm open 24.5 x 18.5 x 0.7cm closed The same collage seen from the other side Tsu shlofn in eybiker ru Many of the Yiddish folk lullabies symbolize, directly or indirectly, the spiritual-cultural world of the diaspora jew. The eternal dreamer, with no roots, that is always looking for his place in the world. Some of them have been written by zionists who lived in Europe or Russia with constant longing to the holy land, or by jewish who emigrated from eastern Europe to America. Almost all these lullabies are a monologue of a mother talking to her child. While their monotone melody is very relaxing and quiet, trying to put the child into a deep sleep, the texts have, next to their calm and fantastic feeling also something very dark and melancholic, a bit sad, maybe not designated as children songs anymore, but as an expression of the mothers distress. This tension is what I am trying to express in the book and it’s collages. The book Tsu shlofn in eybiker ru (To sleep in eternal repose), contains five of these original old yiddish lullabies, translated also to Hebrew and German. Each lullaby is accompanied by one original and unique collage, responding to the lullaby’s dreamy, melancholic and dark content. The book pages are handmade paper, each made out of five very thin layers, containg Abacá fibers. The collages are made in a special technique: the elements of the collage are embedded within four different levels between the five transparent layers, creating a unique depth. The elements which appear nearer from one side of the paper, are seen further away from the other side – what creates eventually two different pictures, each from a different side. The text is printed on both sides of the transparent paper. The translated text, printed mirrored on the back, appears weaker then the original yiddish text printed on the front, creating a typography that matches the technique of the collages. Song list 1. OYFN VEG SHTEYT A BOYM / Yitzik Manger 2. AMOL IZ GEVEN A MAYSE / Traditional 3. SHLOF MAYN KIND / Scholem Alejchem 4. OYFN BOYDEM SHLOF DER DAKH / Berl Shafir 5. DI ZUN VET ARUNTERGEYN / Moyshe-Leyb Halpern https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960881446-1CYCXXWIGK30Z4SA7J7T/mcba-prize-2017-michal-fuchs-tsu-shlofn-in-eybiker-ru-4.jpg Entries & Jurors - 2017 Entries - Michal Fuchs Halle (Saale), Sachsen-Anhalt, Germany cargocollective.com/michalfuchs-illustration Tsu shlofn in eybiker ru 2016 Book, handmade paper, collages, hot stamping, digital print 3 uniques 21 pages 24.5 x 37cm open 24.5 x 18.5 x 0.7cm closed Collage in multiple layers Tsu shlofn in eybiker ru Many of the Yiddish folk lullabies symbolize, directly or indirectly, the spiritual-cultural world of the diaspora jew. The eternal dreamer, with no roots, that is always looking for his place in the world. Some of them have been written by zionists who lived in Europe or Russia with constant longing to the holy land, or by jewish who emigrated from eastern Europe to America. Almost all these lullabies are a monologue of a mother talking to her child. While their monotone melody is very relaxing and quiet, trying to put the child into a deep sleep, the texts have, next to their calm and fantastic feeling also something very dark and melancholic, a bit sad, maybe not designated as children songs anymore, but as an expression of the mothers distress. This tension is what I am trying to express in the book and it’s collages. The book Tsu shlofn in eybiker ru (To sleep in eternal repose), contains five of these original old yiddish lullabies, translated also to Hebrew and German. Each lullaby is accompanied by one original and unique collage, responding to the lullaby’s dreamy, melancholic and dark content. The book pages are handmade paper, each made out of five very thin layers, containg Abacá fibers. The collages are made in a special technique: the elements of the collage are embedded within four different levels between the five transparent layers, creating a unique depth. The elements which appear nearer from one side of the paper, are seen further away from the other side – what creates eventually two different pictures, each from a different side. The text is printed on both sides of the transparent paper. The translated text, printed mirrored on the back, appears weaker then the original yiddish text printed on the front, creating a typography that matches the technique of the collages. Song list 1. OYFN VEG SHTEYT A BOYM / Yitzik Manger 2. AMOL IZ GEVEN A MAYSE / Traditional 3. SHLOF MAYN KIND / Scholem Alejchem 4. OYFN BOYDEM SHLOF DER DAKH / Berl Shafir 5. DI ZUN VET ARUNTERGEYN / Moyshe-Leyb Halpern https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773960878414-NBP7SCZISC3YJGJUSN80/mcba-prize-2017-michal-fuchs-tsu-shlofn-in-eybiker-ru-5.jpg Entries & Jurors - 2017 Entries - Michal Fuchs Halle (Saale), Sachsen-Anhalt, Germany cargocollective.com/michalfuchs-illustration Tsu shlofn in eybiker ru 2016 Book, handmade paper, collages, hot stamping, digital print 3 uniques 21 pages 24.5 x 37cm open 24.5 x 18.5 x 0.7cm closed Text printed on both sides of the page Tsu shlofn in eybiker ru Many of the Yiddish folk lullabies symbolize, directly or indirectly, the spiritual-cultural world of the diaspora jew. The eternal dreamer, with no roots, that is always looking for his place in the world. Some of them have been written by zionists who lived in Europe or Russia with constant longing to the holy land, or by jewish who emigrated from eastern Europe to America. Almost all these lullabies are a monologue of a mother talking to her child. While their monotone melody is very relaxing and quiet, trying to put the child into a deep sleep, the texts have, next to their calm and fantastic feeling also something very dark and melancholic, a bit sad, maybe not designated as children songs anymore, but as an expression of the mothers distress. This tension is what I am trying to express in the book and it’s collages. The book Tsu shlofn in eybiker ru (To sleep in eternal repose), contains five of these original old yiddish lullabies, translated also to Hebrew and German. Each lullaby is accompanied by one original and unique collage, responding to the lullaby’s dreamy, melancholic and dark content. The book pages are handmade paper, each made out of five very thin layers, containg Abacá fibers. The collages are made in a special technique: the elements of the collage are embedded within four different levels between the five transparent layers, creating a unique depth. The elements which appear nearer from one side of the paper, are seen further away from the other side – what creates eventually two different pictures, each from a different side. The text is printed on both sides of the transparent paper. The translated text, printed mirrored on the back, appears weaker then the original yiddish text printed on the front, creating a typography that matches the technique of the collages. Song list 1. OYFN VEG SHTEYT A BOYM / Yitzik Manger 2. AMOL IZ GEVEN A MAYSE / Traditional 3. SHLOF MAYN KIND / Scholem Alejchem 4. OYFN BOYDEM SHLOF DER DAKH / Berl Shafir 5. DI ZUN VET ARUNTERGEYN / Moyshe-Leyb Halpern https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773961020169-FXBAK37J36M648UN47RU/mcba-prize-2017-eva-gallizzi-tiger-paper-1.jpg Entries & Jurors - 2017 Entries - Eva Gallizzi Zurich, Switzerland http://www.xylon.ch/de/kuenstler/gallizzi/gallizzi.shtml Tiger Paper 2017 used cotton scraps paper for the sheets/ woodcut red couleur edition of 5 6 pages/printed in the front and at the back side H: 14,5 x W: 23 x D 2 cm open H: 14,5 x W: 12 x D 2cm closed Book: The front side (Recycling paper (Tiger Paper) Artist Statement This book is a rarity! It is made from the first sheets Tiger paper the women ever made! The concept, the realization, engraving and printing the woodcut for this book is only the work from Eva Gallizzi The history of Tiger Paper In 1992, the Indian government created a Tiger Reserve near Nagpur, in the heart of India. Around the reserve, there had to be a buffer zone and all the villages within this zone removed. The villagers lost their homes, their fields and their livelihoods. A couple of year ago, I met a passionate young woman who had decided to adopt several of these villages and provide healthcare and education to these dislocated villagers. Once that was in place, she looked to provide them with the means to earn a livelihood. That is when she came to me to see if we could teach them to make paper using waste cotton fabric. There were many obstacles along the way, but thanks to Reshma’s persistence, the project is finally underway. The first papers were made of recycled paper. Once the women got the feel of lifting the sheets, they were taught how to use the cotton scraps. We decided to call it not to polish the paper as it has an interesting texture. And we decided to call it Tiger Paper to remind us always, where it came from. – Concept note, Neeta Premchand https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773961020202-N6DP8ULWMNEMRVGBMU9N/mcba-prize-2017-eva-gallizzi-tiger-paper-2.jpg Entries & Jurors - 2017 Entries - Eva Gallizzi Zurich, Switzerland http://www.xylon.ch/de/kuenstler/gallizzi/gallizzi.shtml Tiger Paper 2017 used cotton scraps paper for the sheets/ woodcut red couleur edition of 5 6 pages/printed in the front and at the back side H: 14,5 x W: 23 x D 2 cm open H: 14,5 x W: 12 x D 2cm closed Birds: Woodcut (XYLOGRAPHIE) printed by hand Artist Statement This book is a rarity! It is made from the first sheets Tiger paper the women ever made! The concept, the realization, engraving and printing the woodcut for this book is only the work from Eva Gallizzi The history of Tiger Paper In 1992, the Indian government created a Tiger Reserve near Nagpur, in the heart of India. Around the reserve, there had to be a buffer zone and all the villages within this zone removed. The villagers lost their homes, their fields and their livelihoods. A couple of year ago, I met a passionate young woman who had decided to adopt several of these villages and provide healthcare and education to these dislocated villagers. Once that was in place, she looked to provide them with the means to earn a livelihood. That is when she came to me to see if we could teach them to make paper using waste cotton fabric. There were many obstacles along the way, but thanks to Reshma’s persistence, the project is finally underway. The first papers were made of recycled paper. Once the women got the feel of lifting the sheets, they were taught how to use the cotton scraps. We decided to call it not to polish the paper as it has an interesting texture. And we decided to call it Tiger Paper to remind us always, where it came from. – Concept note, Neeta Premchand https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773961022108-D1VMNBJ7NERTD72HSK05/mcba-prize-2017-eva-gallizzi-tiger-paper-3.jpg Entries & Jurors - 2017 Entries - Eva Gallizzi Zurich, Switzerland http://www.xylon.ch/de/kuenstler/gallizzi/gallizzi.shtml Tiger Paper 2017 used cotton scraps paper for the sheets/ woodcut red couleur edition of 5 6 pages/printed in the front and at the back side H: 14,5 x W: 23 x D 2 cm open H: 14,5 x W: 12 x D 2cm closed Ornaments: Woodcut (XYLOGRAPHIE) printed by hand Artist Statement This book is a rarity! It is made from the first sheets Tiger paper the women ever made! The concept, the realization, engraving and printing the woodcut for this book is only the work from Eva Gallizzi The history of Tiger Paper In 1992, the Indian government created a Tiger Reserve near Nagpur, in the heart of India. Around the reserve, there had to be a buffer zone and all the villages within this zone removed. The villagers lost their homes, their fields and their livelihoods. A couple of year ago, I met a passionate young woman who had decided to adopt several of these villages and provide healthcare and education to these dislocated villagers. Once that was in place, she looked to provide them with the means to earn a livelihood. That is when she came to me to see if we could teach them to make paper using waste cotton fabric. There were many obstacles along the way, but thanks to Reshma’s persistence, the project is finally underway. The first papers were made of recycled paper. Once the women got the feel of lifting the sheets, they were taught how to use the cotton scraps. We decided to call it not to polish the paper as it has an interesting texture. And we decided to call it Tiger Paper to remind us always, where it came from. – Concept note, Neeta Premchand https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773961021991-GCB4XPGS1302K4SC81TJ/mcba-prize-2017-eva-gallizzi-tiger-paper-4.jpg Entries & Jurors - 2017 Entries - Eva Gallizzi Zurich, Switzerland http://www.xylon.ch/de/kuenstler/gallizzi/gallizzi.shtml Tiger Paper 2017 used cotton scraps paper for the sheets/ woodcut red couleur edition of 5 6 pages/printed in the front and at the back side H: 14,5 x W: 23 x D 2 cm open H: 14,5 x W: 12 x D 2cm closed Book: Standing open Artist Statement This book is a rarity! It is made from the first sheets Tiger paper the women ever made! The concept, the realization, engraving and printing the woodcut for this book is only the work from Eva Gallizzi The history of Tiger Paper In 1992, the Indian government created a Tiger Reserve near Nagpur, in the heart of India. Around the reserve, there had to be a buffer zone and all the villages within this zone removed. The villagers lost their homes, their fields and their livelihoods. A couple of year ago, I met a passionate young woman who had decided to adopt several of these villages and provide healthcare and education to these dislocated villagers. Once that was in place, she looked to provide them with the means to earn a livelihood. That is when she came to me to see if we could teach them to make paper using waste cotton fabric. There were many obstacles along the way, but thanks to Reshma’s persistence, the project is finally underway. The first papers were made of recycled paper. Once the women got the feel of lifting the sheets, they were taught how to use the cotton scraps. We decided to call it not to polish the paper as it has an interesting texture. And we decided to call it Tiger Paper to remind us always, where it came from. – Concept note, Neeta Premchand https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773961023622-U626FW1JH1JDIM2QRQBH/mcba-prize-2017-eva-gallizzi-tiger-paper-5.jpg Entries & Jurors - 2017 Entries - Eva Gallizzi Zurich, Switzerland http://www.xylon.ch/de/kuenstler/gallizzi/gallizzi.shtml Tiger Paper 2017 used cotton scraps paper for the sheets/ woodcut red couleur edition of 5 6 pages/printed in the front and at the back side H: 14,5 x W: 23 x D 2 cm open H: 14,5 x W: 12 x D 2cm closed Book: With the folded back Artist Statement This book is a rarity! It is made from the first sheets Tiger paper the women ever made! The concept, the realization, engraving and printing the woodcut for this book is only the work from Eva Gallizzi The history of Tiger Paper In 1992, the Indian government created a Tiger Reserve near Nagpur, in the heart of India. Around the reserve, there had to be a buffer zone and all the villages within this zone removed. The villagers lost their homes, their fields and their livelihoods. A couple of year ago, I met a passionate young woman who had decided to adopt several of these villages and provide healthcare and education to these dislocated villagers. Once that was in place, she looked to provide them with the means to earn a livelihood. That is when she came to me to see if we could teach them to make paper using waste cotton fabric. There were many obstacles along the way, but thanks to Reshma’s persistence, the project is finally underway. The first papers were made of recycled paper. Once the women got the feel of lifting the sheets, they were taught how to use the cotton scraps. We decided to call it not to polish the paper as it has an interesting texture. And we decided to call it Tiger Paper to remind us always, where it came from. – Concept note, Neeta Premchand https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773961240124-2B5424BJBRX13LVJPMC6/mcba-prize-2017-casey-gardner-the-gravity-series-1.jpg Entries & Jurors - 2017 Entries - Casey Gardner Berkeley, California setinmotionpress.com The Gravity Series 2017 Letterpress, Linoleum block printing, hand bound: bookcloth over board edition of 39 Carrier Case open: 14 by 13.25 open Carrier Case: 13.25 x 6.5; 12×6; 6×4; 6×6 closed Three interior books: How to Fall: 6 by 12.25 inches. All There Is: 4 by 6 inches. A Star Close Enough: 6 by 6 inches. Magnetically held in a celestial space, three books reckon with the motions of falling, climbing and orbiting. Artist Statement How To Fall Gravity guides our velocity into the unknown. In the language of life, there are many ways to fall: out of line, into place, through the cracks, apart…. Falling in love is a plunge of infinite permutations, and varying weights. This sublime catapult can be exhilarating yet daunting when a new center of the universe emerges. Meanwhile, falling is a lapse of control, of abandon, and falling from grace can unleash havoc. This book is about trust, finding your own center of gravity and moving your own weight. Climbing is a negotiation of gravity while tethered to another. We humans, ourselves forces of nature, must find our way through forces of nature. Sometimes holding on leads to progress, and sometimes, rising up calls for letting go. Included in this book is a fold-out map of a climbing route and conversation. A Star Close Enough In orbits, two mutually attracted bodies revolve around a joint center of mass, located in the space between them. In relationship, two bodies move closer together and farther apart as they mediate their distance, following the shape of their orbital path. Meanwhile, our earth is gravitationally bound in the most propitious orbit around our sun, making us just the right distance to receive its life-giving energy. This book includes a volvelle held in an end-sheet pocket. The Gravity Series Process: Letterpress printed with linoleum blocks, pressure printing, monotypes, and photo-polymer plates. Hand sewn binding. Digitally printed volvelle. Materials: Rives light & Rives heavyweight, .59 bookboard, .98 Davey board, Iris book cloth, linen thread, metal eyelet, 18 neodymium-iron-boron rare earth magnets. Binding: Pamphlet stitched signatures; cased binding, cloth-covered board. Unconditional Gravity Words, images, printing and binding by the artist. About the work The Gravity Series: No. 1, 2 & 3. What is this unseen power that, like love, is vital to life? This series of books reckons with gravity as a universal, yet intimate phenomenon holding everything in perpetual motion and relationship. Each book explores how we live with influences we cannot always control, but rely upon; forces that we cannot see, but feel. So finely tuned is gravity, that if its quantity had been infinitesimally altered, our universe could not have emerged and life would not exist. As one of the four fundamental forces of the universe, gravity is strong enough to hold galaxies together as they reel around the cosmos, and precise enough to give weight to each individual held on earth. Like love, gravity is mysteriously irresistible; invisible yet essential. Magnetically held in a sturdy portfolio printed to reveal the science behind gravity, each of the three books tells a tale of this compelling universal force in relationships of falling, climbing and orbiting. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773961240094-0SRFOXCEJ0XO85BFY6JU/mcba-prize-2017-casey-gardner-the-gravity-series-2.jpg Entries & Jurors - 2017 Entries - Casey Gardner Berkeley, California setinmotionpress.com The Gravity Series 2017 Letterpress, Linoleum block printing, hand bound: bookcloth over board edition of 39 Carrier Case open: 14 by 13.25 open Carrier Case: 13.25 x 6.5; 12×6; 6×4; 6×6 closed Three interior books: How to Fall: 6 by 12.25 inches. All There Is: 4 by 6 inches. A Star Close Enough: 6 by 6 inches. Linoleum block printed pages of How to Fall; “Everything in the universe has this pull.” Artist Statement How To Fall Gravity guides our velocity into the unknown. In the language of life, there are many ways to fall: out of line, into place, through the cracks, apart…. Falling in love is a plunge of infinite permutations, and varying weights. This sublime catapult can be exhilarating yet daunting when a new center of the universe emerges. Meanwhile, falling is a lapse of control, of abandon, and falling from grace can unleash havoc. This book is about trust, finding your own center of gravity and moving your own weight. Climbing is a negotiation of gravity while tethered to another. We humans, ourselves forces of nature, must find our way through forces of nature. Sometimes holding on leads to progress, and sometimes, rising up calls for letting go. Included in this book is a fold-out map of a climbing route and conversation. A Star Close Enough In orbits, two mutually attracted bodies revolve around a joint center of mass, located in the space between them. In relationship, two bodies move closer together and farther apart as they mediate their distance, following the shape of their orbital path. Meanwhile, our earth is gravitationally bound in the most propitious orbit around our sun, making us just the right distance to receive its life-giving energy. This book includes a volvelle held in an end-sheet pocket. The Gravity Series Process: Letterpress printed with linoleum blocks, pressure printing, monotypes, and photo-polymer plates. Hand sewn binding. Digitally printed volvelle. Materials: Rives light & Rives heavyweight, .59 bookboard, .98 Davey board, Iris book cloth, linen thread, metal eyelet, 18 neodymium-iron-boron rare earth magnets. Binding: Pamphlet stitched signatures; cased binding, cloth-covered board. Unconditional Gravity Words, images, printing and binding by the artist. About the work The Gravity Series: No. 1, 2 & 3. What is this unseen power that, like love, is vital to life? This series of books reckons with gravity as a universal, yet intimate phenomenon holding everything in perpetual motion and relationship. Each book explores how we live with influences we cannot always control, but rely upon; forces that we cannot see, but feel. So finely tuned is gravity, that if its quantity had been infinitesimally altered, our universe could not have emerged and life would not exist. As one of the four fundamental forces of the universe, gravity is strong enough to hold galaxies together as they reel around the cosmos, and precise enough to give weight to each individual held on earth. Like love, gravity is mysteriously irresistible; invisible yet essential. Magnetically held in a sturdy portfolio printed to reveal the science behind gravity, each of the three books tells a tale of this compelling universal force in relationships of falling, climbing and orbiting. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773961241278-36Y6GB03GNB2X02I6KAU/mcba-prize-2017-casey-gardner-the-gravity-series-3.jpg Entries & Jurors - 2017 Entries - Casey Gardner Berkeley, California setinmotionpress.com The Gravity Series 2017 Letterpress, Linoleum block printing, hand bound: bookcloth over board edition of 39 Carrier Case open: 14 by 13.25 open Carrier Case: 13.25 x 6.5; 12×6; 6×4; 6×6 closed Three interior books: How to Fall: 6 by 12.25 inches. All There Is: 4 by 6 inches. A Star Close Enough: 6 by 6 inches. Letterpress printed pages of All There Is; “Hovering high above whatever is infinite.” Artist Statement How To Fall Gravity guides our velocity into the unknown. In the language of life, there are many ways to fall: out of line, into place, through the cracks, apart…. Falling in love is a plunge of infinite permutations, and varying weights. This sublime catapult can be exhilarating yet daunting when a new center of the universe emerges. Meanwhile, falling is a lapse of control, of abandon, and falling from grace can unleash havoc. This book is about trust, finding your own center of gravity and moving your own weight. Climbing is a negotiation of gravity while tethered to another. We humans, ourselves forces of nature, must find our way through forces of nature. Sometimes holding on leads to progress, and sometimes, rising up calls for letting go. Included in this book is a fold-out map of a climbing route and conversation. A Star Close Enough In orbits, two mutually attracted bodies revolve around a joint center of mass, located in the space between them. In relationship, two bodies move closer together and farther apart as they mediate their distance, following the shape of their orbital path. Meanwhile, our earth is gravitationally bound in the most propitious orbit around our sun, making us just the right distance to receive its life-giving energy. This book includes a volvelle held in an end-sheet pocket. The Gravity Series Process: Letterpress printed with linoleum blocks, pressure printing, monotypes, and photo-polymer plates. Hand sewn binding. Digitally printed volvelle. Materials: Rives light & Rives heavyweight, .59 bookboard, .98 Davey board, Iris book cloth, linen thread, metal eyelet, 18 neodymium-iron-boron rare earth magnets. Binding: Pamphlet stitched signatures; cased binding, cloth-covered board. Unconditional Gravity Words, images, printing and binding by the artist. About the work The Gravity Series: No. 1, 2 & 3. What is this unseen power that, like love, is vital to life? This series of books reckons with gravity as a universal, yet intimate phenomenon holding everything in perpetual motion and relationship. Each book explores how we live with influences we cannot always control, but rely upon; forces that we cannot see, but feel. So finely tuned is gravity, that if its quantity had been infinitesimally altered, our universe could not have emerged and life would not exist. As one of the four fundamental forces of the universe, gravity is strong enough to hold galaxies together as they reel around the cosmos, and precise enough to give weight to each individual held on earth. Like love, gravity is mysteriously irresistible; invisible yet essential. Magnetically held in a sturdy portfolio printed to reveal the science behind gravity, each of the three books tells a tale of this compelling universal force in relationships of falling, climbing and orbiting. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773961241407-A0U306KNUGO3BJPFOHAK/mcba-prize-2017-casey-gardner-the-gravity-series-4.jpg Entries & Jurors - 2017 Entries - Casey Gardner Berkeley, California setinmotionpress.com The Gravity Series 2017 Letterpress, Linoleum block printing, hand bound: bookcloth over board edition of 39 Carrier Case open: 14 by 13.25 open Carrier Case: 13.25 x 6.5; 12×6; 6×4; 6×6 closed Three interior books: How to Fall: 6 by 12.25 inches. All There Is: 4 by 6 inches. A Star Close Enough: 6 by 6 inches. Letterpress printed pages of A Star Close Enough; “Speaking of space, as lovers do.” Artist Statement How To Fall Gravity guides our velocity into the unknown. In the language of life, there are many ways to fall: out of line, into place, through the cracks, apart…. Falling in love is a plunge of infinite permutations, and varying weights. This sublime catapult can be exhilarating yet daunting when a new center of the universe emerges. Meanwhile, falling is a lapse of control, of abandon, and falling from grace can unleash havoc. This book is about trust, finding your own center of gravity and moving your own weight. Climbing is a negotiation of gravity while tethered to another. We humans, ourselves forces of nature, must find our way through forces of nature. Sometimes holding on leads to progress, and sometimes, rising up calls for letting go. Included in this book is a fold-out map of a climbing route and conversation. A Star Close Enough In orbits, two mutually attracted bodies revolve around a joint center of mass, located in the space between them. In relationship, two bodies move closer together and farther apart as they mediate their distance, following the shape of their orbital path. Meanwhile, our earth is gravitationally bound in the most propitious orbit around our sun, making us just the right distance to receive its life-giving energy. This book includes a volvelle held in an end-sheet pocket. The Gravity Series Process: Letterpress printed with linoleum blocks, pressure printing, monotypes, and photo-polymer plates. Hand sewn binding. Digitally printed volvelle. Materials: Rives light & Rives heavyweight, .59 bookboard, .98 Davey board, Iris book cloth, linen thread, metal eyelet, 18 neodymium-iron-boron rare earth magnets. Binding: Pamphlet stitched signatures; cased binding, cloth-covered board. Unconditional Gravity Words, images, printing and binding by the artist. About the work The Gravity Series: No. 1, 2 & 3. What is this unseen power that, like love, is vital to life? This series of books reckons with gravity as a universal, yet intimate phenomenon holding everything in perpetual motion and relationship. Each book explores how we live with influences we cannot always control, but rely upon; forces that we cannot see, but feel. So finely tuned is gravity, that if its quantity had been infinitesimally altered, our universe could not have emerged and life would not exist. As one of the four fundamental forces of the universe, gravity is strong enough to hold galaxies together as they reel around the cosmos, and precise enough to give weight to each individual held on earth. Like love, gravity is mysteriously irresistible; invisible yet essential. Magnetically held in a sturdy portfolio printed to reveal the science behind gravity, each of the three books tells a tale of this compelling universal force in relationships of falling, climbing and orbiting. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773961242603-Y7BVI8FL246PVUKVRV54/mcba-prize-2017-casey-gardner-the-gravity-series-5.jpg Entries & Jurors - 2017 Entries - Casey Gardner Berkeley, California setinmotionpress.com The Gravity Series 2017 Letterpress, Linoleum block printing, hand bound: bookcloth over board edition of 39 Carrier Case open: 14 by 13.25 open Carrier Case: 13.25 x 6.5; 12×6; 6×4; 6×6 closed Three interior books: How to Fall: 6 by 12.25 inches. All There Is: 4 by 6 inches. A Star Close Enough: 6 by 6 inches. Letterpress printed carrying case revealing the science behind gravity, front cover of carrying case, three books, and a volvelle of orbital affinities. Artist Statement How To Fall Gravity guides our velocity into the unknown. In the language of life, there are many ways to fall: out of line, into place, through the cracks, apart…. Falling in love is a plunge of infinite permutations, and varying weights. This sublime catapult can be exhilarating yet daunting when a new center of the universe emerges. Meanwhile, falling is a lapse of control, of abandon, and falling from grace can unleash havoc. This book is about trust, finding your own center of gravity and moving your own weight. Climbing is a negotiation of gravity while tethered to another. We humans, ourselves forces of nature, must find our way through forces of nature. Sometimes holding on leads to progress, and sometimes, rising up calls for letting go. Included in this book is a fold-out map of a climbing route and conversation. A Star Close Enough In orbits, two mutually attracted bodies revolve around a joint center of mass, located in the space between them. In relationship, two bodies move closer together and farther apart as they mediate their distance, following the shape of their orbital path. Meanwhile, our earth is gravitationally bound in the most propitious orbit around our sun, making us just the right distance to receive its life-giving energy. This book includes a volvelle held in an end-sheet pocket. The Gravity Series Process: Letterpress printed with linoleum blocks, pressure printing, monotypes, and photo-polymer plates. Hand sewn binding. Digitally printed volvelle. Materials: Rives light & Rives heavyweight, .59 bookboard, .98 Davey board, Iris book cloth, linen thread, metal eyelet, 18 neodymium-iron-boron rare earth magnets. Binding: Pamphlet stitched signatures; cased binding, cloth-covered board. Unconditional Gravity Words, images, printing and binding by the artist. About the work The Gravity Series: No. 1, 2 & 3. What is this unseen power that, like love, is vital to life? This series of books reckons with gravity as a universal, yet intimate phenomenon holding everything in perpetual motion and relationship. Each book explores how we live with influences we cannot always control, but rely upon; forces that we cannot see, but feel. So finely tuned is gravity, that if its quantity had been infinitesimally altered, our universe could not have emerged and life would not exist. As one of the four fundamental forces of the universe, gravity is strong enough to hold galaxies together as they reel around the cosmos, and precise enough to give weight to each individual held on earth. Like love, gravity is mysteriously irresistible; invisible yet essential. Magnetically held in a sturdy portfolio printed to reveal the science behind gravity, each of the three books tells a tale of this compelling universal force in relationships of falling, climbing and orbiting. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774019230296-KSQ7KH6TH9K6IU1Y3SA7/mcba-prize-2017-madelyn-garrett-sekhmets-casket-1.jpg Entries & Jurors - 2017 Entries - Madelyn Garrett Herriman, Utah 801-230-9330 Sekhmet’s Casket 2015 papyrus, paper, silk, inks, acrylics, gems, herbs, essential oils, in a repurposed antique writing case. 12 x 10.5 x 8 inches open 4 x 10.5 x 8 inches closed A votive offering of personal archeology, Sekhmet’s Casket includes objects of memory; talismans, amulets and fetish intimations; vestigial fragments; oblations and immolations. Miniature books, maps, “newspaper clippings,” and descriptive cards provide additional context for this supplication to Egypt’s lion-headed goddess. Artist’s Statement Sekhmet’s Casket is at once a reverent homage to 19th-century art and early 20th-century archeology; and an examination of an artist’s methodology. The book is dominated by the romantic watercolors of David Roberts, who documented early archeological excavations in the Middle East. These glorious watercolors are magical and I used as many as I could. I also included title pages from some of the more significant books documenting early travel in Egypt. As a former rare book curator, I fell in love with these illustrations and books, especially the monumental Description de l’Egypt, the exquisitely detailed record of Napoleon’s invasion. There is a little-known tradition among magic practitioners of making a box dedicated to the Egyptian goddess Sekhmet, in which to enclose memories that can be offered up to the goddess and burned away in her fires. This is the conceit I chose, making the box appear to be a traveling case of an early 20th-century archeologist. Sekhmet is one of several changing aspects of the Egyptian goddess Mut, wife of Amun and mother of all the gods. Mut’s aspects changed over 1000s of years, as she became first Sekhmet the fierce lion-headed protector of Egypt. Bastet, a later manifestation of Mut, was first considered ferocious too, but with the domestication of cats (circa 1500 B.C). her attributes shifted, revealing a more nurturing and approachable deity. Mut in all her aspects always holds the symbolic ankh, key to the Nile and the breath of life. Thus, the ankh mounted on the miniature papyrus book is placed on the right side of the box, the conscious and rational side of the individual. The unconscious and symbolic aspects appropriately are placed to the left side of the box. Likewise, the top section of the box represents consciousness or semiconsciousness of the artist, while the drawer more appropriately represents the unconscious. Enclosed in the top section of the box is a map of the sacred precinct of Mut at Karnak. And in the drawer below, an expanded map of Karnak, in which the Precinct of Mut is a part. Burned immolations buried in the sand around and near the precinct are meant to be unopened and protected by Mut. Since I have always loved classic British mysteries of the 1930s, I wanted to include the quote from Agatha Christie’s Death on the Nile that I thought startlingly appropriate: Once I went professionally to an archaeological expedition–and I learnt something there. In the course of an excavation, when something comes up out of the ground, everything is cleared away very carefully all around it. You take away the loose earth, and you scrape here and there with a knife until finally your object is there, all alone, ready to be drawn and photographed with no extraneous matter confusing it. That is what I have been seeking to do–clear away the extraneous matter so that we can see the truth–the naked shining truth. ~ Hercule Poirot Each of the corked bottles contains personal memories—scents or mementoes or stones—that have multiple meanings. But it is through the informational cards and the “newspaper clippings” that the real investigation emerges. I wanted to elicit a silent discussion with the viewer about what exactly is an artifact and how we as artists approach art. I think this is the most important part of the book. Artifacts in themselves mean nothing. It is only when they are interpreted that they become invested with meaning. Thus, our knowledge of the world and of ourselves is not grounded upon the material evidence itself. It arises from the interpretive strategies that we bring to bear upon the material evidence. It is process, not research results or finished artist’s book, that provides the deepest insight for the artist. Throughout, I sought to make this book open-ended, so that the reader would be not only engaged, but could extrapolate whatever personal experiences that might be elicited. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774019230297-R327202BY0E36FPTWTUA/mcba-prize-2017-madelyn-garrett-sekhmets-casket-2.jpg Entries & Jurors - 2017 Entries - Madelyn Garrett Herriman, Utah 801-230-9330 Sekhmet’s Casket 2015 papyrus, paper, silk, inks, acrylics, gems, herbs, essential oils, in a repurposed antique writing case. 12 x 10.5 x 8 inches open 4 x 10.5 x 8 inches closed Closeup of lid and tray with newspaper clippings and “handwritten” note. Artist’s Statement Sekhmet’s Casket is at once a reverent homage to 19th-century art and early 20th-century archeology; and an examination of an artist’s methodology. The book is dominated by the romantic watercolors of David Roberts, who documented early archeological excavations in the Middle East. These glorious watercolors are magical and I used as many as I could. I also included title pages from some of the more significant books documenting early travel in Egypt. As a former rare book curator, I fell in love with these illustrations and books, especially the monumental Description de l’Egypt, the exquisitely detailed record of Napoleon’s invasion. There is a little-known tradition among magic practitioners of making a box dedicated to the Egyptian goddess Sekhmet, in which to enclose memories that can be offered up to the goddess and burned away in her fires. This is the conceit I chose, making the box appear to be a traveling case of an early 20th-century archeologist. Sekhmet is one of several changing aspects of the Egyptian goddess Mut, wife of Amun and mother of all the gods. Mut’s aspects changed over 1000s of years, as she became first Sekhmet the fierce lion-headed protector of Egypt. Bastet, a later manifestation of Mut, was first considered ferocious too, but with the domestication of cats (circa 1500 B.C). her attributes shifted, revealing a more nurturing and approachable deity. Mut in all her aspects always holds the symbolic ankh, key to the Nile and the breath of life. Thus, the ankh mounted on the miniature papyrus book is placed on the right side of the box, the conscious and rational side of the individual. The unconscious and symbolic aspects appropriately are placed to the left side of the box. Likewise, the top section of the box represents consciousness or semiconsciousness of the artist, while the drawer more appropriately represents the unconscious. Enclosed in the top section of the box is a map of the sacred precinct of Mut at Karnak. And in the drawer below, an expanded map of Karnak, in which the Precinct of Mut is a part. Burned immolations buried in the sand around and near the precinct are meant to be unopened and protected by Mut. Since I have always loved classic British mysteries of the 1930s, I wanted to include the quote from Agatha Christie’s Death on the Nile that I thought startlingly appropriate: Once I went professionally to an archaeological expedition–and I learnt something there. In the course of an excavation, when something comes up out of the ground, everything is cleared away very carefully all around it. You take away the loose earth, and you scrape here and there with a knife until finally your object is there, all alone, ready to be drawn and photographed with no extraneous matter confusing it. That is what I have been seeking to do–clear away the extraneous matter so that we can see the truth–the naked shining truth. ~ Hercule Poirot Each of the corked bottles contains personal memories—scents or mementoes or stones—that have multiple meanings. But it is through the informational cards and the “newspaper clippings” that the real investigation emerges. I wanted to elicit a silent discussion with the viewer about what exactly is an artifact and how we as artists approach art. I think this is the most important part of the book. Artifacts in themselves mean nothing. It is only when they are interpreted that they become invested with meaning. Thus, our knowledge of the world and of ourselves is not grounded upon the material evidence itself. It arises from the interpretive strategies that we bring to bear upon the material evidence. It is process, not research results or finished artist’s book, that provides the deepest insight for the artist. Throughout, I sought to make this book open-ended, so that the reader would be not only engaged, but could extrapolate whatever personal experiences that might be elicited. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774019232683-O9AJW3KNPD6UOYVN2H5F/mcba-prize-2017-madelyn-garrett-sekhmets-casket-3.jpg Entries & Jurors - 2017 Entries - Madelyn Garrett Herriman, Utah 801-230-9330 Sekhmet’s Casket 2015 papyrus, paper, silk, inks, acrylics, gems, herbs, essential oils, in a repurposed antique writing case. 12 x 10.5 x 8 inches open 4 x 10.5 x 8 inches closed Archeologist’s traveling box with bottom tray showing map of Karnak and buried offerings. Artist’s Statement Sekhmet’s Casket is at once a reverent homage to 19th-century art and early 20th-century archeology; and an examination of an artist’s methodology. The book is dominated by the romantic watercolors of David Roberts, who documented early archeological excavations in the Middle East. These glorious watercolors are magical and I used as many as I could. I also included title pages from some of the more significant books documenting early travel in Egypt. As a former rare book curator, I fell in love with these illustrations and books, especially the monumental Description de l’Egypt, the exquisitely detailed record of Napoleon’s invasion. There is a little-known tradition among magic practitioners of making a box dedicated to the Egyptian goddess Sekhmet, in which to enclose memories that can be offered up to the goddess and burned away in her fires. This is the conceit I chose, making the box appear to be a traveling case of an early 20th-century archeologist. Sekhmet is one of several changing aspects of the Egyptian goddess Mut, wife of Amun and mother of all the gods. Mut’s aspects changed over 1000s of years, as she became first Sekhmet the fierce lion-headed protector of Egypt. Bastet, a later manifestation of Mut, was first considered ferocious too, but with the domestication of cats (circa 1500 B.C). her attributes shifted, revealing a more nurturing and approachable deity. Mut in all her aspects always holds the symbolic ankh, key to the Nile and the breath of life. Thus, the ankh mounted on the miniature papyrus book is placed on the right side of the box, the conscious and rational side of the individual. The unconscious and symbolic aspects appropriately are placed to the left side of the box. Likewise, the top section of the box represents consciousness or semiconsciousness of the artist, while the drawer more appropriately represents the unconscious. Enclosed in the top section of the box is a map of the sacred precinct of Mut at Karnak. And in the drawer below, an expanded map of Karnak, in which the Precinct of Mut is a part. Burned immolations buried in the sand around and near the precinct are meant to be unopened and protected by Mut. Since I have always loved classic British mysteries of the 1930s, I wanted to include the quote from Agatha Christie’s Death on the Nile that I thought startlingly appropriate: Once I went professionally to an archaeological expedition–and I learnt something there. In the course of an excavation, when something comes up out of the ground, everything is cleared away very carefully all around it. You take away the loose earth, and you scrape here and there with a knife until finally your object is there, all alone, ready to be drawn and photographed with no extraneous matter confusing it. That is what I have been seeking to do–clear away the extraneous matter so that we can see the truth–the naked shining truth. ~ Hercule Poirot Each of the corked bottles contains personal memories—scents or mementoes or stones—that have multiple meanings. But it is through the informational cards and the “newspaper clippings” that the real investigation emerges. I wanted to elicit a silent discussion with the viewer about what exactly is an artifact and how we as artists approach art. I think this is the most important part of the book. Artifacts in themselves mean nothing. It is only when they are interpreted that they become invested with meaning. Thus, our knowledge of the world and of ourselves is not grounded upon the material evidence itself. It arises from the interpretive strategies that we bring to bear upon the material evidence. It is process, not research results or finished artist’s book, that provides the deepest insight for the artist. Throughout, I sought to make this book open-ended, so that the reader would be not only engaged, but could extrapolate whatever personal experiences that might be elicited. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774019232196-0RSOJJ28AQ8CQAIRLGCM/mcba-prize-2017-madelyn-garrett-sekhmets-casket-4.jpg Entries & Jurors - 2017 Entries - Madelyn Garrett Herriman, Utah 801-230-9330 Sekhmet’s Casket 2015 papyrus, paper, silk, inks, acrylics, gems, herbs, essential oils, in a repurposed antique writing case. 12 x 10.5 x 8 inches open 4 x 10.5 x 8 inches closed Top tray of traveling box, including Bastet amulet, papyrus book, scarab, and other fragments. Artist’s Statement Sekhmet’s Casket is at once a reverent homage to 19th-century art and early 20th-century archeology; and an examination of an artist’s methodology. The book is dominated by the romantic watercolors of David Roberts, who documented early archeological excavations in the Middle East. These glorious watercolors are magical and I used as many as I could. I also included title pages from some of the more significant books documenting early travel in Egypt. As a former rare book curator, I fell in love with these illustrations and books, especially the monumental Description de l’Egypt, the exquisitely detailed record of Napoleon’s invasion. There is a little-known tradition among magic practitioners of making a box dedicated to the Egyptian goddess Sekhmet, in which to enclose memories that can be offered up to the goddess and burned away in her fires. This is the conceit I chose, making the box appear to be a traveling case of an early 20th-century archeologist. Sekhmet is one of several changing aspects of the Egyptian goddess Mut, wife of Amun and mother of all the gods. Mut’s aspects changed over 1000s of years, as she became first Sekhmet the fierce lion-headed protector of Egypt. Bastet, a later manifestation of Mut, was first considered ferocious too, but with the domestication of cats (circa 1500 B.C). her attributes shifted, revealing a more nurturing and approachable deity. Mut in all her aspects always holds the symbolic ankh, key to the Nile and the breath of life. Thus, the ankh mounted on the miniature papyrus book is placed on the right side of the box, the conscious and rational side of the individual. The unconscious and symbolic aspects appropriately are placed to the left side of the box. Likewise, the top section of the box represents consciousness or semiconsciousness of the artist, while the drawer more appropriately represents the unconscious. Enclosed in the top section of the box is a map of the sacred precinct of Mut at Karnak. And in the drawer below, an expanded map of Karnak, in which the Precinct of Mut is a part. Burned immolations buried in the sand around and near the precinct are meant to be unopened and protected by Mut. Since I have always loved classic British mysteries of the 1930s, I wanted to include the quote from Agatha Christie’s Death on the Nile that I thought startlingly appropriate: Once I went professionally to an archaeological expedition–and I learnt something there. In the course of an excavation, when something comes up out of the ground, everything is cleared away very carefully all around it. You take away the loose earth, and you scrape here and there with a knife until finally your object is there, all alone, ready to be drawn and photographed with no extraneous matter confusing it. That is what I have been seeking to do–clear away the extraneous matter so that we can see the truth–the naked shining truth. ~ Hercule Poirot Each of the corked bottles contains personal memories—scents or mementoes or stones—that have multiple meanings. But it is through the informational cards and the “newspaper clippings” that the real investigation emerges. I wanted to elicit a silent discussion with the viewer about what exactly is an artifact and how we as artists approach art. I think this is the most important part of the book. Artifacts in themselves mean nothing. It is only when they are interpreted that they become invested with meaning. Thus, our knowledge of the world and of ourselves is not grounded upon the material evidence itself. It arises from the interpretive strategies that we bring to bear upon the material evidence. It is process, not research results or finished artist’s book, that provides the deepest insight for the artist. Throughout, I sought to make this book open-ended, so that the reader would be not only engaged, but could extrapolate whatever personal experiences that might be elicited. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774019233558-J3J4MZLDFC0YXAUKSKE3/mcba-prize-2017-madelyn-garrett-sekhmets-casket-5.jpg Entries & Jurors - 2017 Entries - Madelyn Garrett Herriman, Utah 801-230-9330 Sekhmet’s Casket 2015 papyrus, paper, silk, inks, acrylics, gems, herbs, essential oils, in a repurposed antique writing case. 12 x 10.5 x 8 inches open 4 x 10.5 x 8 inches closed Bottom tray of traveling box. Sealed and unopened offerings to Sekhmet. Artist’s Statement Sekhmet’s Casket is at once a reverent homage to 19th-century art and early 20th-century archeology; and an examination of an artist’s methodology. The book is dominated by the romantic watercolors of David Roberts, who documented early archeological excavations in the Middle East. These glorious watercolors are magical and I used as many as I could. I also included title pages from some of the more significant books documenting early travel in Egypt. As a former rare book curator, I fell in love with these illustrations and books, especially the monumental Description de l’Egypt, the exquisitely detailed record of Napoleon’s invasion. There is a little-known tradition among magic practitioners of making a box dedicated to the Egyptian goddess Sekhmet, in which to enclose memories that can be offered up to the goddess and burned away in her fires. This is the conceit I chose, making the box appear to be a traveling case of an early 20th-century archeologist. Sekhmet is one of several changing aspects of the Egyptian goddess Mut, wife of Amun and mother of all the gods. Mut’s aspects changed over 1000s of years, as she became first Sekhmet the fierce lion-headed protector of Egypt. Bastet, a later manifestation of Mut, was first considered ferocious too, but with the domestication of cats (circa 1500 B.C). her attributes shifted, revealing a more nurturing and approachable deity. Mut in all her aspects always holds the symbolic ankh, key to the Nile and the breath of life. Thus, the ankh mounted on the miniature papyrus book is placed on the right side of the box, the conscious and rational side of the individual. The unconscious and symbolic aspects appropriately are placed to the left side of the box. Likewise, the top section of the box represents consciousness or semiconsciousness of the artist, while the drawer more appropriately represents the unconscious. Enclosed in the top section of the box is a map of the sacred precinct of Mut at Karnak. And in the drawer below, an expanded map of Karnak, in which the Precinct of Mut is a part. Burned immolations buried in the sand around and near the precinct are meant to be unopened and protected by Mut. Since I have always loved classic British mysteries of the 1930s, I wanted to include the quote from Agatha Christie’s Death on the Nile that I thought startlingly appropriate: Once I went professionally to an archaeological expedition–and I learnt something there. In the course of an excavation, when something comes up out of the ground, everything is cleared away very carefully all around it. You take away the loose earth, and you scrape here and there with a knife until finally your object is there, all alone, ready to be drawn and photographed with no extraneous matter confusing it. That is what I have been seeking to do–clear away the extraneous matter so that we can see the truth–the naked shining truth. ~ Hercule Poirot Each of the corked bottles contains personal memories—scents or mementoes or stones—that have multiple meanings. But it is through the informational cards and the “newspaper clippings” that the real investigation emerges. I wanted to elicit a silent discussion with the viewer about what exactly is an artifact and how we as artists approach art. I think this is the most important part of the book. Artifacts in themselves mean nothing. It is only when they are interpreted that they become invested with meaning. Thus, our knowledge of the world and of ourselves is not grounded upon the material evidence itself. It arises from the interpretive strategies that we bring to bear upon the material evidence. It is process, not research results or finished artist’s book, that provides the deepest insight for the artist. Throughout, I sought to make this book open-ended, so that the reader would be not only engaged, but could extrapolate whatever personal experiences that might be elicited. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774019642659-AJQJ267NFS1XIRVUP9SF/mcba-prize-2017-leslie-gerry-havana-1.jpg Entries & Jurors - 2017 Entries - Leslie Gerry Dowdeswell, Gloucestershire UK www.lesliegerryeditions.com Havana 2017 Archival inkjet edition of 70 60 pages 18.5 in x 28 in open 18.5 in x 14 in closed Cover of Havana. Cloth bound with gigantic letters hot foil stamped in 3 colours. It sits in a drop-back cloth covered solander box. Havana I like to choose a location unfamiliar to me and of architectural interest, although it is often the street life that instills inspiration. I will spend two to three weeks walking around, sketching and taking many reference photographs, recording the colours, light, shadows and patterns. It is that first exposure which is so intense; you see things locals are often unaware of and that you will not notice on subsequent visits. I try to capture this intensity in the paintings I am about to do. On returning home to my studio I will run through the reference material over and over again, absorbing and reflecting on the images, until some sort of narrative develops. This will then become the basis of my book. Painting on the computer, in Illustrator, I use a tablet and stylus. Working only with flat areas of colour and no tone, I “cut out” the shapes with the stylus, arranging them on different layers, creating a collage. In fact, I first started working this way years ago by cutting into sheets of coloured paper with scissors, similar to the way Matisse created his paper collages. I will start by sketching out a composition in blocks of colour as I would have done painting in oils. Using the reference photos as guidance only, I gradually build up the painting with darker areas first and then lighter shades. The paintings end up as digital files; vector images which can be reduced or enlarged to any size. Havana was printed using archival inks with an Epson 7880 ink jet printer on Somerset Folio, a mould-made cotton paper. I like the idea of accompanying the paintings with a text describing the location, either historical or contemporary – a different perspective, through different eyes. In Havana I have used extracts from Cuba, by Irene A Wright, an American journalist / editor. Published in 1910, it contains impressions of Havana gathered during ten years living in Cuba, providing interesting first-hand insights as to the ongoing rich tapestry of daily life; full of curious flavour, detail and manners of the period. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774019642319-9OTQ0OBRNA1WAMF5K3LI/mcba-prize-2017-leslie-gerry-havana-2.jpg Entries & Jurors - 2017 Entries - Leslie Gerry Dowdeswell, Gloucestershire UK www.lesliegerryeditions.com Havana 2017 Archival inkjet edition of 70 60 pages 18.5 in x 28 in open 18.5 in x 14 in closed Spread – Old Man Portrait Havana I like to choose a location unfamiliar to me and of architectural interest, although it is often the street life that instills inspiration. I will spend two to three weeks walking around, sketching and taking many reference photographs, recording the colours, light, shadows and patterns. It is that first exposure which is so intense; you see things locals are often unaware of and that you will not notice on subsequent visits. I try to capture this intensity in the paintings I am about to do. On returning home to my studio I will run through the reference material over and over again, absorbing and reflecting on the images, until some sort of narrative develops. This will then become the basis of my book. Painting on the computer, in Illustrator, I use a tablet and stylus. Working only with flat areas of colour and no tone, I “cut out” the shapes with the stylus, arranging them on different layers, creating a collage. In fact, I first started working this way years ago by cutting into sheets of coloured paper with scissors, similar to the way Matisse created his paper collages. I will start by sketching out a composition in blocks of colour as I would have done painting in oils. Using the reference photos as guidance only, I gradually build up the painting with darker areas first and then lighter shades. The paintings end up as digital files; vector images which can be reduced or enlarged to any size. Havana was printed using archival inks with an Epson 7880 ink jet printer on Somerset Folio, a mould-made cotton paper. I like the idea of accompanying the paintings with a text describing the location, either historical or contemporary – a different perspective, through different eyes. In Havana I have used extracts from Cuba, by Irene A Wright, an American journalist / editor. Published in 1910, it contains impressions of Havana gathered during ten years living in Cuba, providing interesting first-hand insights as to the ongoing rich tapestry of daily life; full of curious flavour, detail and manners of the period. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774019762594-A87OD61VLN3MYKOUFCTK/mcba-prize-2017-leslie-gerry-havana-3.jpg Entries & Jurors - 2017 Entries - Leslie Gerry Dowdeswell, Gloucestershire UK www.lesliegerryeditions.com Havana 2017 Archival inkjet edition of 70 60 pages 18.5 in x 28 in open 18.5 in x 14 in closed Spread – Avenida de Belgica Havana I like to choose a location unfamiliar to me and of architectural interest, although it is often the street life that instills inspiration. I will spend two to three weeks walking around, sketching and taking many reference photographs, recording the colours, light, shadows and patterns. It is that first exposure which is so intense; you see things locals are often unaware of and that you will not notice on subsequent visits. I try to capture this intensity in the paintings I am about to do. On returning home to my studio I will run through the reference material over and over again, absorbing and reflecting on the images, until some sort of narrative develops. This will then become the basis of my book. Painting on the computer, in Illustrator, I use a tablet and stylus. Working only with flat areas of colour and no tone, I “cut out” the shapes with the stylus, arranging them on different layers, creating a collage. In fact, I first started working this way years ago by cutting into sheets of coloured paper with scissors, similar to the way Matisse created his paper collages. I will start by sketching out a composition in blocks of colour as I would have done painting in oils. Using the reference photos as guidance only, I gradually build up the painting with darker areas first and then lighter shades. The paintings end up as digital files; vector images which can be reduced or enlarged to any size. Havana was printed using archival inks with an Epson 7880 ink jet printer on Somerset Folio, a mould-made cotton paper. I like the idea of accompanying the paintings with a text describing the location, either historical or contemporary – a different perspective, through different eyes. In Havana I have used extracts from Cuba, by Irene A Wright, an American journalist / editor. Published in 1910, it contains impressions of Havana gathered during ten years living in Cuba, providing interesting first-hand insights as to the ongoing rich tapestry of daily life; full of curious flavour, detail and manners of the period. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774019762504-4QHBNHRYGUR9UR3UUYLT/mcba-prize-2017-leslie-gerry-havana-4.jpg Entries & Jurors - 2017 Entries - Leslie Gerry Dowdeswell, Gloucestershire UK www.lesliegerryeditions.com Havana 2017 Archival inkjet edition of 70 60 pages 18.5 in x 28 in open 18.5 in x 14 in closed Spread – Red Ford Taxi Havana I like to choose a location unfamiliar to me and of architectural interest, although it is often the street life that instills inspiration. I will spend two to three weeks walking around, sketching and taking many reference photographs, recording the colours, light, shadows and patterns. It is that first exposure which is so intense; you see things locals are often unaware of and that you will not notice on subsequent visits. I try to capture this intensity in the paintings I am about to do. On returning home to my studio I will run through the reference material over and over again, absorbing and reflecting on the images, until some sort of narrative develops. This will then become the basis of my book. Painting on the computer, in Illustrator, I use a tablet and stylus. Working only with flat areas of colour and no tone, I “cut out” the shapes with the stylus, arranging them on different layers, creating a collage. In fact, I first started working this way years ago by cutting into sheets of coloured paper with scissors, similar to the way Matisse created his paper collages. I will start by sketching out a composition in blocks of colour as I would have done painting in oils. Using the reference photos as guidance only, I gradually build up the painting with darker areas first and then lighter shades. The paintings end up as digital files; vector images which can be reduced or enlarged to any size. Havana was printed using archival inks with an Epson 7880 ink jet printer on Somerset Folio, a mould-made cotton paper. I like the idea of accompanying the paintings with a text describing the location, either historical or contemporary – a different perspective, through different eyes. In Havana I have used extracts from Cuba, by Irene A Wright, an American journalist / editor. Published in 1910, it contains impressions of Havana gathered during ten years living in Cuba, providing interesting first-hand insights as to the ongoing rich tapestry of daily life; full of curious flavour, detail and manners of the period. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774019764243-MW4HSN36H45V85RMY1GW/mcba-prize-2017-leslie-gerry-havana-5.jpg Entries & Jurors - 2017 Entries - Leslie Gerry Dowdeswell, Gloucestershire UK www.lesliegerryeditions.com Havana 2017 Archival inkjet edition of 70 60 pages 18.5 in x 28 in open 18.5 in x 14 in closed Spread – The Chess Match Havana I like to choose a location unfamiliar to me and of architectural interest, although it is often the street life that instills inspiration. I will spend two to three weeks walking around, sketching and taking many reference photographs, recording the colours, light, shadows and patterns. It is that first exposure which is so intense; you see things locals are often unaware of and that you will not notice on subsequent visits. I try to capture this intensity in the paintings I am about to do. On returning home to my studio I will run through the reference material over and over again, absorbing and reflecting on the images, until some sort of narrative develops. This will then become the basis of my book. Painting on the computer, in Illustrator, I use a tablet and stylus. Working only with flat areas of colour and no tone, I “cut out” the shapes with the stylus, arranging them on different layers, creating a collage. In fact, I first started working this way years ago by cutting into sheets of coloured paper with scissors, similar to the way Matisse created his paper collages. I will start by sketching out a composition in blocks of colour as I would have done painting in oils. Using the reference photos as guidance only, I gradually build up the painting with darker areas first and then lighter shades. The paintings end up as digital files; vector images which can be reduced or enlarged to any size. Havana was printed using archival inks with an Epson 7880 ink jet printer on Somerset Folio, a mould-made cotton paper. I like the idea of accompanying the paintings with a text describing the location, either historical or contemporary – a different perspective, through different eyes. In Havana I have used extracts from Cuba, by Irene A Wright, an American journalist / editor. Published in 1910, it contains impressions of Havana gathered during ten years living in Cuba, providing interesting first-hand insights as to the ongoing rich tapestry of daily life; full of curious flavour, detail and manners of the period. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774020269691-97W7DI9Y27CH57CRW7BS/mcba-prize-2017-Leslie-Gerry-New-York-Reflections-1.jpg Entries & Jurors - 2017 Entries - Leslie Gerry Dowdeswell, Gloucestershire, UK www.lesliegerryeditions.com New York Reflections 2015 Flat bed UV inkjet, Letterpress edition of 55 88 pages 22 in x 16 in open 22 in x 32 in closed On the left is a drop back cloth covered solander box inlaid with printed metal panels and yellow leather circles hot foil stamped with the letters N Y. The box is designed to have an architectural feel. On the right is is the casebound book with a cloth quarter-binding. New York Reflections I like to choose a location unfamiliar to me and of architectural interest, although it is often the street life that instills inspiration. I will spend two to three weeks walking around, sketching and taking many reference photographs, recording the colours, light, shadows and patterns. It is that first exposure which is so intense; you see things locals are often unaware of and that you will not notice on subsequent visits. I try to capture this intensity in the paintings I am about to do. On returning home to my studio I will run through the reference material over and over again, absorbing and reflecting on the images, until some sort of narrative develops. This will then become the basis of my book. Painting on the computer, in Illustrator, I use a tablet and stylus. Working only with flat areas of colour and no tone, I “cut out” the shapes with the stylus, arranging them on different layers, creating a collage. In fact, I first started working this way years ago by cutting into sheets of coloured paper with scissors, similar to the way Matisse created his paper collages. I will start by sketching out a composition in blocks of colour as I would have done painting in oils. Using the reference photos as guidance only, I gradually build up the painting with darker areas first and then lighter shades. The paintings end up as digital files; vector images which can be reduced or enlarged to any size. New York Reflections was printed with a flat bed UV ink jet printer on Moulin du Gue, a French mould-made paper, 85% cotton and 15% linen. As the ink is sprayed onto the paper, UV lamps harden the ink instantly so that it remains on the surface. With this process it is possible to print onto any substrate without the need for a digital coating. I like the idea of accompanying the paintings with a text describing the location, either historical or contemporary; a different perspective, through different eyes. In New York Reflections I have used extracts from Manhattan ’45 by Jan Morris – a reconstruction of life in New York in 1945. The text was keyboarded and cast in 22-point Caslon and printed by the Whittington Press on Zerkall mould-made paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774020272611-G87SUCEF0VCWNCFF3F7S/mcba-prize-2017-Leslie-Gerry-New-York-Reflections-5.jpg Entries & Jurors - 2017 Entries - Leslie Gerry Dowdeswell, Gloucestershire, UK www.lesliegerryeditions.com New York Reflections 2015 Flat bed UV inkjet, Letterpress edition of 55 88 pages 22 in x 16 in open 22 in x 32 in closed Title page. Colour printed with a flat-bed UV digital printer and the text hand set in metal and woodblock type, printed letterpress. New York Reflections I like to choose a location unfamiliar to me and of architectural interest, although it is often the street life that instills inspiration. I will spend two to three weeks walking around, sketching and taking many reference photographs, recording the colours, light, shadows and patterns. It is that first exposure which is so intense; you see things locals are often unaware of and that you will not notice on subsequent visits. I try to capture this intensity in the paintings I am about to do. On returning home to my studio I will run through the reference material over and over again, absorbing and reflecting on the images, until some sort of narrative develops. This will then become the basis of my book. Painting on the computer, in Illustrator, I use a tablet and stylus. Working only with flat areas of colour and no tone, I “cut out” the shapes with the stylus, arranging them on different layers, creating a collage. In fact, I first started working this way years ago by cutting into sheets of coloured paper with scissors, similar to the way Matisse created his paper collages. I will start by sketching out a composition in blocks of colour as I would have done painting in oils. Using the reference photos as guidance only, I gradually build up the painting with darker areas first and then lighter shades. The paintings end up as digital files; vector images which can be reduced or enlarged to any size. New York Reflections was printed with a flat bed UV ink jet printer on Moulin du Gue, a French mould-made paper, 85% cotton and 15% linen. As the ink is sprayed onto the paper, UV lamps harden the ink instantly so that it remains on the surface. With this process it is possible to print onto any substrate without the need for a digital coating. I like the idea of accompanying the paintings with a text describing the location, either historical or contemporary; a different perspective, through different eyes. In New York Reflections I have used extracts from Manhattan ’45 by Jan Morris – a reconstruction of life in New York in 1945. The text was keyboarded and cast in 22-point Caslon and printed by the Whittington Press on Zerkall mould-made paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774020270935-78R20HR26ZGDXFQCR4XN/mcba-prize-2017-Leslie-Gerry-New-York-Reflections-3.jpg Entries & Jurors - 2017 Entries - Leslie Gerry Dowdeswell, Gloucestershire, UK www.lesliegerryeditions.com New York Reflections 2015 Flat bed UV inkjet, Letterpress edition of 55 88 pages 22 in x 16 in open 22 in x 32 in closed Spread – New York Crossing New York Reflections I like to choose a location unfamiliar to me and of architectural interest, although it is often the street life that instills inspiration. I will spend two to three weeks walking around, sketching and taking many reference photographs, recording the colours, light, shadows and patterns. It is that first exposure which is so intense; you see things locals are often unaware of and that you will not notice on subsequent visits. I try to capture this intensity in the paintings I am about to do. On returning home to my studio I will run through the reference material over and over again, absorbing and reflecting on the images, until some sort of narrative develops. This will then become the basis of my book. Painting on the computer, in Illustrator, I use a tablet and stylus. Working only with flat areas of colour and no tone, I “cut out” the shapes with the stylus, arranging them on different layers, creating a collage. In fact, I first started working this way years ago by cutting into sheets of coloured paper with scissors, similar to the way Matisse created his paper collages. I will start by sketching out a composition in blocks of colour as I would have done painting in oils. Using the reference photos as guidance only, I gradually build up the painting with darker areas first and then lighter shades. The paintings end up as digital files; vector images which can be reduced or enlarged to any size. New York Reflections was printed with a flat bed UV ink jet printer on Moulin du Gue, a French mould-made paper, 85% cotton and 15% linen. As the ink is sprayed onto the paper, UV lamps harden the ink instantly so that it remains on the surface. With this process it is possible to print onto any substrate without the need for a digital coating. I like the idea of accompanying the paintings with a text describing the location, either historical or contemporary; a different perspective, through different eyes. In New York Reflections I have used extracts from Manhattan ’45 by Jan Morris – a reconstruction of life in New York in 1945. The text was keyboarded and cast in 22-point Caslon and printed by the Whittington Press on Zerkall mould-made paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774020271439-USMRLCUGUUYYFYT00BMQ/mcba-prize-2017-Leslie-Gerry-New-York-Reflections-4.jpg Entries & Jurors - 2017 Entries - Leslie Gerry Dowdeswell, Gloucestershire, UK www.lesliegerryeditions.com New York Reflections 2015 Flat bed UV inkjet, Letterpress edition of 55 88 pages 22 in x 16 in open 22 in x 32 in closed Spread – West Broadway New York Reflections I like to choose a location unfamiliar to me and of architectural interest, although it is often the street life that instills inspiration. I will spend two to three weeks walking around, sketching and taking many reference photographs, recording the colours, light, shadows and patterns. It is that first exposure which is so intense; you see things locals are often unaware of and that you will not notice on subsequent visits. I try to capture this intensity in the paintings I am about to do. On returning home to my studio I will run through the reference material over and over again, absorbing and reflecting on the images, until some sort of narrative develops. This will then become the basis of my book. Painting on the computer, in Illustrator, I use a tablet and stylus. Working only with flat areas of colour and no tone, I “cut out” the shapes with the stylus, arranging them on different layers, creating a collage. In fact, I first started working this way years ago by cutting into sheets of coloured paper with scissors, similar to the way Matisse created his paper collages. I will start by sketching out a composition in blocks of colour as I would have done painting in oils. Using the reference photos as guidance only, I gradually build up the painting with darker areas first and then lighter shades. The paintings end up as digital files; vector images which can be reduced or enlarged to any size. New York Reflections was printed with a flat bed UV ink jet printer on Moulin du Gue, a French mould-made paper, 85% cotton and 15% linen. As the ink is sprayed onto the paper, UV lamps harden the ink instantly so that it remains on the surface. With this process it is possible to print onto any substrate without the need for a digital coating. I like the idea of accompanying the paintings with a text describing the location, either historical or contemporary; a different perspective, through different eyes. In New York Reflections I have used extracts from Manhattan ’45 by Jan Morris – a reconstruction of life in New York in 1945. The text was keyboarded and cast in 22-point Caslon and printed by the Whittington Press on Zerkall mould-made paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774020269901-6ZWZEPNUKPTW9DH5TFMB/mcba-prize-2017-Leslie-Gerry-New-York-Reflections-2.jpg Entries & Jurors - 2017 Entries - Leslie Gerry Dowdeswell, Gloucestershire, UK www.lesliegerryeditions.com New York Reflections 2015 Flat bed UV inkjet, Letterpress edition of 55 88 pages 22 in x 16 in open 22 in x 32 in closed Spread – Red Ladder, SoHo New York Reflections I like to choose a location unfamiliar to me and of architectural interest, although it is often the street life that instills inspiration. I will spend two to three weeks walking around, sketching and taking many reference photographs, recording the colours, light, shadows and patterns. It is that first exposure which is so intense; you see things locals are often unaware of and that you will not notice on subsequent visits. I try to capture this intensity in the paintings I am about to do. On returning home to my studio I will run through the reference material over and over again, absorbing and reflecting on the images, until some sort of narrative develops. This will then become the basis of my book. Painting on the computer, in Illustrator, I use a tablet and stylus. Working only with flat areas of colour and no tone, I “cut out” the shapes with the stylus, arranging them on different layers, creating a collage. In fact, I first started working this way years ago by cutting into sheets of coloured paper with scissors, similar to the way Matisse created his paper collages. I will start by sketching out a composition in blocks of colour as I would have done painting in oils. Using the reference photos as guidance only, I gradually build up the painting with darker areas first and then lighter shades. The paintings end up as digital files; vector images which can be reduced or enlarged to any size. New York Reflections was printed with a flat bed UV ink jet printer on Moulin du Gue, a French mould-made paper, 85% cotton and 15% linen. As the ink is sprayed onto the paper, UV lamps harden the ink instantly so that it remains on the surface. With this process it is possible to print onto any substrate without the need for a digital coating. I like the idea of accompanying the paintings with a text describing the location, either historical or contemporary; a different perspective, through different eyes. In New York Reflections I have used extracts from Manhattan ’45 by Jan Morris – a reconstruction of life in New York in 1945. The text was keyboarded and cast in 22-point Caslon and printed by the Whittington Press on Zerkall mould-made paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774020666925-HYVAKV4NG8N09F6NOV6B/mcba-prize-2017-julien-gil-vega-algunos-descates-y-otras-descargas-1.jpg Entries & Jurors - 2017 Entries - Julien Gil Vega La Habana Cuba Algunos descates y otras descargas 2017 Woodcut Unique 120 pages 50 x 69,5 x 3,5cm abierto 50 x 35 x 3,5cm cerrado Algunos descates y otras descargas (Some discards and other discharges) El resto de las imágenes son descartes o malas impresiones que han sido manipuladas imprimiendo y mesclando diferentes matrices de xilografía durante el proceso de trabajo de un largo periodo de tiempo (un año). Sin tener ninguna idea de cuál es la imagen que quiero, voy imprimiendo con desenfado hasta que la estampa me pida que pare. The printing process of any graphic technique generates many bad prints and workshop samples which end up in the wastebasket. Some discards and other discharges is a compilation of all those “bad” prints, low in ink, and all the workshop samples and prints which are made to eliminate the ink from the matrix, for the sake of cleaning, at the end of the printing process. All these “bad prints” are usually discarded and not taken into consideration due to their bad quality. The characteristics of these “unfortunate” bad prints have always called my attention because of their flaws, spontaneity and free-and-easy manner, for their marginalization and also because I knew that, somehow, one could make some kind of manual art with all that trash. I have been keeping these prints for a long time without knowing what to do with them. During the elaboration of one my series, “Baix Ebre”, besides keeping these images, I started printing and discharging other matrixes on them, and I manipulated them at my own will. Thus, they acquired a different character and they turned to be more attractive to me; they were not trash anymore. Artist Statement Some years ago, when I was 27 and I left for Europe for the first time, I discovered YouTube, Internet, and all the rest. Then I started studying the different binding techniques, and began to download multiple videos and tutorials on how to bind a book. On my return to Cuba, I studied those materials and, little by little, I started learning the art of binding, getting to be more enthusiastic about this noble process day after day. Besides, I met other colleagues who were also fond of binding, and we started sharing knowledge, videos, and binding techniques. Two years ago, I made my first art book, and after flirting with some art books, I came to the idea of what to do with all those kept useless prints. Ahaa! Eureka! I will bind them and make a big book out of them. This is how, in an incidental, non premeditated way, out of curiosity and work, Some discards and other discharges was born. Here on the island, one doesn’t always have the ideal materials to create some type of artistic work (if they do exist), and that is why –and also because of their beauty- I continued keeping all these discarded materials in order to work with them later on. For example, I did not have the necessary cardboard for the cover of the book (or a store where I could buy it), so I had to make it myself, pasting pieces and pieces of thin cardboard and methyl cellulose so as to “make” my own version of industrial cardboard. At that time, I did not have the slightest idea of the outcome or its quality, but, well, everything was satisfactory. The whole book is made with recycled material, which I recycled from my own work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774020667390-E8JRDYI9MTDVJQS5JSH8/mcba-prize-2017-julien-gil-vega-algunos-descates-y-otras-descargas-2.jpg Entries & Jurors - 2017 Entries - Julien Gil Vega La Habana Cuba Algunos descates y otras descargas 2017 Woodcut Unique 120 pages 50 x 69,5 x 3,5cm abierto 50 x 35 x 3,5cm cerrado Algunos descates y otras descargas (Some discards and other discharges) El resto de las imágenes son descartes o malas impresiones que han sido manipuladas imprimiendo y mesclando diferentes matrices de xilografía durante el proceso de trabajo de un largo periodo de tiempo (un año). Sin tener ninguna idea de cuál es la imagen que quiero, voy imprimiendo con desenfado hasta que la estampa me pida que pare. The printing process of any graphic technique generates many bad prints and workshop samples which end up in the wastebasket. Some discards and other discharges is a compilation of all those “bad” prints, low in ink, and all the workshop samples and prints which are made to eliminate the ink from the matrix, for the sake of cleaning, at the end of the printing process. All these “bad prints” are usually discarded and not taken into consideration due to their bad quality. The characteristics of these “unfortunate” bad prints have always called my attention because of their flaws, spontaneity and free-and-easy manner, for their marginalization and also because I knew that, somehow, one could make some kind of manual art with all that trash. I have been keeping these prints for a long time without knowing what to do with them. During the elaboration of one my series, “Baix Ebre”, besides keeping these images, I started printing and discharging other matrixes on them, and I manipulated them at my own will. Thus, they acquired a different character and they turned to be more attractive to me; they were not trash anymore. Artist Statement Some years ago, when I was 27 and I left for Europe for the first time, I discovered YouTube, Internet, and all the rest. Then I started studying the different binding techniques, and began to download multiple videos and tutorials on how to bind a book. On my return to Cuba, I studied those materials and, little by little, I started learning the art of binding, getting to be more enthusiastic about this noble process day after day. Besides, I met other colleagues who were also fond of binding, and we started sharing knowledge, videos, and binding techniques. Two years ago, I made my first art book, and after flirting with some art books, I came to the idea of what to do with all those kept useless prints. Ahaa! Eureka! I will bind them and make a big book out of them. This is how, in an incidental, non premeditated way, out of curiosity and work, Some discards and other discharges was born. Here on the island, one doesn’t always have the ideal materials to create some type of artistic work (if they do exist), and that is why –and also because of their beauty- I continued keeping all these discarded materials in order to work with them later on. For example, I did not have the necessary cardboard for the cover of the book (or a store where I could buy it), so I had to make it myself, pasting pieces and pieces of thin cardboard and methyl cellulose so as to “make” my own version of industrial cardboard. At that time, I did not have the slightest idea of the outcome or its quality, but, well, everything was satisfactory. The whole book is made with recycled material, which I recycled from my own work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774020669915-BZ4SS2151XTKPNE2A3BI/mcba-prize-2017-julien-gil-vega-algunos-descates-y-otras-descargas-3.jpg Entries & Jurors - 2017 Entries - Julien Gil Vega La Habana Cuba Algunos descates y otras descargas 2017 Woodcut Unique 120 pages 50 x 69,5 x 3,5cm abierto 50 x 35 x 3,5cm cerrado Algunos descates y otras descargas (Some discards and other discharges) El resto de las imágenes son descartes o malas impresiones que han sido manipuladas imprimiendo y mesclando diferentes matrices de xilografía durante el proceso de trabajo de un largo periodo de tiempo (un año). Sin tener ninguna idea de cuál es la imagen que quiero, voy imprimiendo con desenfado hasta que la estampa me pida que pare. The printing process of any graphic technique generates many bad prints and workshop samples which end up in the wastebasket. Some discards and other discharges is a compilation of all those “bad” prints, low in ink, and all the workshop samples and prints which are made to eliminate the ink from the matrix, for the sake of cleaning, at the end of the printing process. All these “bad prints” are usually discarded and not taken into consideration due to their bad quality. The characteristics of these “unfortunate” bad prints have always called my attention because of their flaws, spontaneity and free-and-easy manner, for their marginalization and also because I knew that, somehow, one could make some kind of manual art with all that trash. I have been keeping these prints for a long time without knowing what to do with them. During the elaboration of one my series, “Baix Ebre”, besides keeping these images, I started printing and discharging other matrixes on them, and I manipulated them at my own will. Thus, they acquired a different character and they turned to be more attractive to me; they were not trash anymore. Artist Statement Some years ago, when I was 27 and I left for Europe for the first time, I discovered YouTube, Internet, and all the rest. Then I started studying the different binding techniques, and began to download multiple videos and tutorials on how to bind a book. On my return to Cuba, I studied those materials and, little by little, I started learning the art of binding, getting to be more enthusiastic about this noble process day after day. Besides, I met other colleagues who were also fond of binding, and we started sharing knowledge, videos, and binding techniques. Two years ago, I made my first art book, and after flirting with some art books, I came to the idea of what to do with all those kept useless prints. Ahaa! Eureka! I will bind them and make a big book out of them. This is how, in an incidental, non premeditated way, out of curiosity and work, Some discards and other discharges was born. Here on the island, one doesn’t always have the ideal materials to create some type of artistic work (if they do exist), and that is why –and also because of their beauty- I continued keeping all these discarded materials in order to work with them later on. For example, I did not have the necessary cardboard for the cover of the book (or a store where I could buy it), so I had to make it myself, pasting pieces and pieces of thin cardboard and methyl cellulose so as to “make” my own version of industrial cardboard. At that time, I did not have the slightest idea of the outcome or its quality, but, well, everything was satisfactory. The whole book is made with recycled material, which I recycled from my own work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774020672558-230PI56XOJA39UCKAWMI/mcba-prize-2017-julien-gil-vega-algunos-descates-y-otras-descargas-4.jpg Entries & Jurors - 2017 Entries - Julien Gil Vega La Habana Cuba Algunos descates y otras descargas 2017 Woodcut Unique 120 pages 50 x 69,5 x 3,5cm abierto 50 x 35 x 3,5cm cerrado Algunos descates y otras descargas (Some discards and other discharges) El resto de las imágenes son descartes o malas impresiones que han sido manipuladas imprimiendo y mesclando diferentes matrices de xilografía durante el proceso de trabajo de un largo periodo de tiempo (un año). Sin tener ninguna idea de cuál es la imagen que quiero, voy imprimiendo con desenfado hasta que la estampa me pida que pare. The printing process of any graphic technique generates many bad prints and workshop samples which end up in the wastebasket. Some discards and other discharges is a compilation of all those “bad” prints, low in ink, and all the workshop samples and prints which are made to eliminate the ink from the matrix, for the sake of cleaning, at the end of the printing process. All these “bad prints” are usually discarded and not taken into consideration due to their bad quality. The characteristics of these “unfortunate” bad prints have always called my attention because of their flaws, spontaneity and free-and-easy manner, for their marginalization and also because I knew that, somehow, one could make some kind of manual art with all that trash. I have been keeping these prints for a long time without knowing what to do with them. During the elaboration of one my series, “Baix Ebre”, besides keeping these images, I started printing and discharging other matrixes on them, and I manipulated them at my own will. Thus, they acquired a different character and they turned to be more attractive to me; they were not trash anymore. Artist Statement Some years ago, when I was 27 and I left for Europe for the first time, I discovered YouTube, Internet, and all the rest. Then I started studying the different binding techniques, and began to download multiple videos and tutorials on how to bind a book. On my return to Cuba, I studied those materials and, little by little, I started learning the art of binding, getting to be more enthusiastic about this noble process day after day. Besides, I met other colleagues who were also fond of binding, and we started sharing knowledge, videos, and binding techniques. Two years ago, I made my first art book, and after flirting with some art books, I came to the idea of what to do with all those kept useless prints. Ahaa! Eureka! I will bind them and make a big book out of them. This is how, in an incidental, non premeditated way, out of curiosity and work, Some discards and other discharges was born. Here on the island, one doesn’t always have the ideal materials to create some type of artistic work (if they do exist), and that is why –and also because of their beauty- I continued keeping all these discarded materials in order to work with them later on. For example, I did not have the necessary cardboard for the cover of the book (or a store where I could buy it), so I had to make it myself, pasting pieces and pieces of thin cardboard and methyl cellulose so as to “make” my own version of industrial cardboard. At that time, I did not have the slightest idea of the outcome or its quality, but, well, everything was satisfactory. The whole book is made with recycled material, which I recycled from my own work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774020671956-QD8NKNKR5RAP0Z593N7Z/mcba-prize-2017-julien-gil-vega-algunos-descates-y-otras-descargas-5.jpg Entries & Jurors - 2017 Entries - Julien Gil Vega La Habana Cuba Algunos descates y otras descargas 2017 Woodcut Unique 120 pages 50 x 69,5 x 3,5cm abierto 50 x 35 x 3,5cm cerrado Algunos descates y otras descargas (Some discards and other discharges) El resto de las imágenes son descartes o malas impresiones que han sido manipuladas imprimiendo y mesclando diferentes matrices de xilografía durante el proceso de trabajo de un largo periodo de tiempo (un año). Sin tener ninguna idea de cuál es la imagen que quiero, voy imprimiendo con desenfado hasta que la estampa me pida que pare. The printing process of any graphic technique generates many bad prints and workshop samples which end up in the wastebasket. Some discards and other discharges is a compilation of all those “bad” prints, low in ink, and all the workshop samples and prints which are made to eliminate the ink from the matrix, for the sake of cleaning, at the end of the printing process. All these “bad prints” are usually discarded and not taken into consideration due to their bad quality. The characteristics of these “unfortunate” bad prints have always called my attention because of their flaws, spontaneity and free-and-easy manner, for their marginalization and also because I knew that, somehow, one could make some kind of manual art with all that trash. I have been keeping these prints for a long time without knowing what to do with them. During the elaboration of one my series, “Baix Ebre”, besides keeping these images, I started printing and discharging other matrixes on them, and I manipulated them at my own will. Thus, they acquired a different character and they turned to be more attractive to me; they were not trash anymore. Artist Statement Some years ago, when I was 27 and I left for Europe for the first time, I discovered YouTube, Internet, and all the rest. Then I started studying the different binding techniques, and began to download multiple videos and tutorials on how to bind a book. On my return to Cuba, I studied those materials and, little by little, I started learning the art of binding, getting to be more enthusiastic about this noble process day after day. Besides, I met other colleagues who were also fond of binding, and we started sharing knowledge, videos, and binding techniques. Two years ago, I made my first art book, and after flirting with some art books, I came to the idea of what to do with all those kept useless prints. Ahaa! Eureka! I will bind them and make a big book out of them. This is how, in an incidental, non premeditated way, out of curiosity and work, Some discards and other discharges was born. Here on the island, one doesn’t always have the ideal materials to create some type of artistic work (if they do exist), and that is why –and also because of their beauty- I continued keeping all these discarded materials in order to work with them later on. For example, I did not have the necessary cardboard for the cover of the book (or a store where I could buy it), so I had to make it myself, pasting pieces and pieces of thin cardboard and methyl cellulose so as to “make” my own version of industrial cardboard. At that time, I did not have the slightest idea of the outcome or its quality, but, well, everything was satisfactory. The whole book is made with recycled material, which I recycled from my own work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774020997114-A4M952U87T39CWDE4YN3/mcba-prize-2017-yerandee-gonzalez-duran-alli-fume-1.jpg Entries & Jurors - 2017 Entries - Yerandee Gonzalez Duran Habana, Cuba http://www.art.inhavana.net/profile/yera “Allí Fumé” 2016 Litografía, hojas de tabaco, anillas de tabaco, sellos – calado a mano Edición de 3 ejemplares 17″ x 11″ x 1/2″ 8 3/4″ x 11″ x 1/2″ Artist Statement With a self-referential character the work focuses on my experience as a laborer on the cuban tobacco fields. The interaction with the workpiece generates a ludic (interplay) that is imply by discovering a passage of a classic stamp and reveals another landscape through the carvings, a more idyllic and personal scenery appears. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774020997262-CSPV1ZJ2VRXJGQKNKXNP/mcba-prize-2017-yerandee-gonzalez-duran-alli-fume-2.jpg Entries & Jurors - 2017 Entries - Yerandee Gonzalez Duran Habana, Cuba http://www.art.inhavana.net/profile/yera “Allí Fumé” 2016 Litografía, hojas de tabaco, anillas de tabaco, sellos – calado a mano Edición de 3 ejemplares 17″ x 11″ x 1/2″ 8 3/4″ x 11″ x 1/2″ Artist Statement With a self-referential character the work focuses on my experience as a laborer on the cuban tobacco fields. The interaction with the workpiece generates a ludic (interplay) that is imply by discovering a passage of a classic stamp and reveals another landscape through the carvings, a more idyllic and personal scenery appears. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774020998141-TNT81MLMK3E0OE3TARGA/mcba-prize-2017-yerandee-gonzalez-duran-alli-fume-3.jpg Entries & Jurors - 2017 Entries - Yerandee Gonzalez Duran Habana, Cuba http://www.art.inhavana.net/profile/yera “Allí Fumé” 2016 Litografía, hojas de tabaco, anillas de tabaco, sellos – calado a mano Edición de 3 ejemplares 17″ x 11″ x 1/2″ 8 3/4″ x 11″ x 1/2″ Artist Statement With a self-referential character the work focuses on my experience as a laborer on the cuban tobacco fields. The interaction with the workpiece generates a ludic (interplay) that is imply by discovering a passage of a classic stamp and reveals another landscape through the carvings, a more idyllic and personal scenery appears. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774020998387-8H9M5KKNAODR3PMDFTV7/mcba-prize-2017-yerandee-gonzalez-duran-alli-fume-4.jpg Entries & Jurors - 2017 Entries - Yerandee Gonzalez Duran Habana, Cuba http://www.art.inhavana.net/profile/yera “Allí Fumé” 2016 Litografía, hojas de tabaco, anillas de tabaco, sellos – calado a mano Edición de 3 ejemplares 17″ x 11″ x 1/2″ 8 3/4″ x 11″ x 1/2″ Artist Statement With a self-referential character the work focuses on my experience as a laborer on the cuban tobacco fields. The interaction with the workpiece generates a ludic (interplay) that is imply by discovering a passage of a classic stamp and reveals another landscape through the carvings, a more idyllic and personal scenery appears. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774020999246-MZR9D7LP03MTKYEM5EBC/mcba-prize-2017-yerandee-gonzalez-duran-alli-fume-5.jpg Entries & Jurors - 2017 Entries - Yerandee Gonzalez Duran Habana, Cuba http://www.art.inhavana.net/profile/yera “Allí Fumé” 2016 Litografía, hojas de tabaco, anillas de tabaco, sellos – calado a mano Edición de 3 ejemplares 17″ x 11″ x 1/2″ 8 3/4″ x 11″ x 1/2″ Artist Statement With a self-referential character the work focuses on my experience as a laborer on the cuban tobacco fields. The interaction with the workpiece generates a ludic (interplay) that is imply by discovering a passage of a classic stamp and reveals another landscape through the carvings, a more idyllic and personal scenery appears. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021074621-QB2ZQCSJF299A6RFKOBC/mcba-prize-2017-yerandee-gonzalez-duran-what-hath-god-wrought-1.jpg Entries & Jurors - 2017 Entries - Yerandee Gonzalez Duran La Habana Habana, Cuba http://www.art.inhavana.net/profile/yerandee-gonzalez-duran “What hath God wrought” 2016 Litografías, impresos digitales y sellos – calado a mano. edición 5 ejemplares 19 1/2″ x 9 1/2″ x 1/2″ 13 1/2″ x 9 1/2″ x 1/2″ Artist Statement This piece of work begins with a code as old as stamping can be, continues with the book itself, another reference code and ends up with the Morse code. The message “What Hath God wrought”, which was first broadcasted by Samuel More in 1844 encompasses a key component for communication in the evolution of mankind. The book as a whole demonstrates it is possible to eliminate some unnecessary barriers of the 21st century. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021074604-0ELOK6EKGSWJ5LVZKE4P/mcba-prize-2017-yerandee-gonzalez-duran-what-hath-god-wrought-2.jpg Entries & Jurors - 2017 Entries - Yerandee Gonzalez Duran La Habana Habana, Cuba http://www.art.inhavana.net/profile/yerandee-gonzalez-duran “What hath God wrought” 2016 Litografías, impresos digitales y sellos – calado a mano. edición 5 ejemplares 19 1/2″ x 9 1/2″ x 1/2″ 13 1/2″ x 9 1/2″ x 1/2″ Artist Statement This piece of work begins with a code as old as stamping can be, continues with the book itself, another reference code and ends up with the Morse code. The message “What Hath God wrought”, which was first broadcasted by Samuel More in 1844 encompasses a key component for communication in the evolution of mankind. The book as a whole demonstrates it is possible to eliminate some unnecessary barriers of the 21st century. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021075701-FIBC37EO0GQT3G50XXU4/mcba-prize-2017-yerandee-gonzalez-duran-what-hath-god-wrought-3.jpg Entries & Jurors - 2017 Entries - Yerandee Gonzalez Duran La Habana Habana, Cuba http://www.art.inhavana.net/profile/yerandee-gonzalez-duran “What hath God wrought” 2016 Litografías, impresos digitales y sellos – calado a mano. edición 5 ejemplares 19 1/2″ x 9 1/2″ x 1/2″ 13 1/2″ x 9 1/2″ x 1/2″ Artist Statement This piece of work begins with a code as old as stamping can be, continues with the book itself, another reference code and ends up with the Morse code. The message “What Hath God wrought”, which was first broadcasted by Samuel More in 1844 encompasses a key component for communication in the evolution of mankind. The book as a whole demonstrates it is possible to eliminate some unnecessary barriers of the 21st century. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021075915-207R3DZ3QLZU1EOV579Y/mcba-prize-2017-yerandee-gonzalez-duran-what-hath-god-wrought-4.jpg Entries & Jurors - 2017 Entries - Yerandee Gonzalez Duran La Habana Habana, Cuba http://www.art.inhavana.net/profile/yerandee-gonzalez-duran “What hath God wrought” 2016 Litografías, impresos digitales y sellos – calado a mano. edición 5 ejemplares 19 1/2″ x 9 1/2″ x 1/2″ 13 1/2″ x 9 1/2″ x 1/2″ Artist Statement This piece of work begins with a code as old as stamping can be, continues with the book itself, another reference code and ends up with the Morse code. The message “What Hath God wrought”, which was first broadcasted by Samuel More in 1844 encompasses a key component for communication in the evolution of mankind. The book as a whole demonstrates it is possible to eliminate some unnecessary barriers of the 21st century. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021076742-L03MYCXUPJP4SBCMX0EI/mcba-prize-2017-yerandee-gonzalez-duran-what-hath-god-wrought-5.jpg Entries & Jurors - 2017 Entries - Yerandee Gonzalez Duran La Habana Habana, Cuba http://www.art.inhavana.net/profile/yerandee-gonzalez-duran “What hath God wrought” 2016 Litografías, impresos digitales y sellos – calado a mano. edición 5 ejemplares 19 1/2″ x 9 1/2″ x 1/2″ 13 1/2″ x 9 1/2″ x 1/2″ Artist Statement This piece of work begins with a code as old as stamping can be, continues with the book itself, another reference code and ends up with the Morse code. The message “What Hath God wrought”, which was first broadcasted by Samuel More in 1844 encompasses a key component for communication in the evolution of mankind. The book as a whole demonstrates it is possible to eliminate some unnecessary barriers of the 21st century. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021159241-NWPGF9AWR13XIAQAFDXY/mcba-prize-2017-anne-greenwood-rioseco-tapestry-of-hours-1.jpg Entries & Jurors - 2017 Entries - Anne Greenwood Rioseco Portland, Oregon www.annegreenwood.net Tapestry of Hours 2016 Textiles, ponchoir, hand and machine stitching, pressure printing, hand embroidery, buckram, indigo, fustic, cochineal, oasage natural dyes, digital printing, Mohawk Superfine & Mulberry papers special edition:12, trade edition:138 22 pages 8”x16.5”x.5 open 8”x12”x1” closed Tapestry of Hours is an edition of one hundred and thirty-eight chapbooks and twelve special edition portfolios with chapbook and tapestry. Artist Statement My current work investigates the social histories embedded in cultural and art objects, especially those combining historic and contemporary materials. I am interested in repurposing textiles and book art, and recasting these artifacts with new meanings while preserving their historical integrity. My latest work, Tapestry of Hours, an edition of fabric books, is at once physical and ephemeral: it fuses the work of early 20th c. Oregon poet Hazel Hall with my own writing and hand and machine stitching and printing on hand-dyed crinoline. I collaborated with emerging artist Shannon Ayuyu who, like Hall, was disabled at a young age and has personally experienced how it is to feel separate, but also how art can be a tool for transformation and connection. Hazel Hall was born in St. Paul, Minnesota on February 2, 1886 and moved to Portland, Oregon as a small child. At the age of twelve, she suffered from scarlet fever and related complications leaving her confined to a wheel chair: her formal schooling ended in the fifth grade. To help her family financially, Hazel Hall took in sewing and as her eyesight began to fail in her early twenties, she wrote poetry. She died in Portland, in 1924 at the age of thirtyeight. Hazel’s sister Ruth, who was a librarian, helped her immensely as an advocate and agent for both her stitching and poetry. Tapestry of Hours is made in an edition of one hundred and thirty-eight laser printed, hand-bound chapbooks and twelve special edition portfolios with chapbook and tapestry. The special edition portfolio is made of buckram, machine sewn and handdyed with pressure-printed, machine-stitched text from a cut-up poem written by Anne Greenwood. The chapbook cover is machine stitching on crinoline, the under print is pressure printed, hand-stitched embroidery with pochoir and hand-bound using the pamphlet stitch. The decorations are hand-stitched embroidery sigils by Anne Greenwood and Shannon Ayuyu pressure printed on kitakata paper. The tapestry is made of crinoline handdyed in madder, fustic, cochineal and indigo, with hand stitching and mpochoir. The machine-stitched texts are cut-ups of Hazel Hall’s poetry made by Shannon Ayuyu and Anne Greenwood. The pressure printed textiles are found fabric and doily with hand cutwork. The poem Loneliness, is written by Hazel Hall, rewritten by Anne Greenwood and printed with a polymer plate. The printing is all by Clare Carpenter 2016 Portland, Oregon. This project was funded in part by a Oregon Regional Arts & Culture Council Grant, Caldera Artist-In-Residency, and The Hallie Ford Foundation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021159305-UO674NO8EJ30JLDM645X/mcba-prize-2017-anne-greenwood-rioseco-tapestry-of-hours-2.jpg Entries & Jurors - 2017 Entries - Anne Greenwood Rioseco Portland, Oregon www.annegreenwood.net Tapestry of Hours 2016 Textiles, ponchoir, hand and machine stitching, pressure printing, hand embroidery, buckram, indigo, fustic, cochineal, oasage natural dyes, digital printing, Mohawk Superfine & Mulberry papers special edition:12, trade edition:138 22 pages 8”x16.5”x.5 open 8”x12”x1” closed The special edition portfolio is made of crinoline, machine sewn and hand-dyed in fustic with the pressure printed, machine-stitched text from a cut-up poem written by Anne Greenwood. 8”x12”x1” closed, 8”x16.5”x.5 open, edition: 12 Artist Statement My current work investigates the social histories embedded in cultural and art objects, especially those combining historic and contemporary materials. I am interested in repurposing textiles and book art, and recasting these artifacts with new meanings while preserving their historical integrity. My latest work, Tapestry of Hours, an edition of fabric books, is at once physical and ephemeral: it fuses the work of early 20th c. Oregon poet Hazel Hall with my own writing and hand and machine stitching and printing on hand-dyed crinoline. I collaborated with emerging artist Shannon Ayuyu who, like Hall, was disabled at a young age and has personally experienced how it is to feel separate, but also how art can be a tool for transformation and connection. Hazel Hall was born in St. Paul, Minnesota on February 2, 1886 and moved to Portland, Oregon as a small child. At the age of twelve, she suffered from scarlet fever and related complications leaving her confined to a wheel chair: her formal schooling ended in the fifth grade. To help her family financially, Hazel Hall took in sewing and as her eyesight began to fail in her early twenties, she wrote poetry. She died in Portland, in 1924 at the age of thirtyeight. Hazel’s sister Ruth, who was a librarian, helped her immensely as an advocate and agent for both her stitching and poetry. Tapestry of Hours is made in an edition of one hundred and thirty-eight laser printed, hand-bound chapbooks and twelve special edition portfolios with chapbook and tapestry. The special edition portfolio is made of buckram, machine sewn and handdyed with pressure-printed, machine-stitched text from a cut-up poem written by Anne Greenwood. The chapbook cover is machine stitching on crinoline, the under print is pressure printed, hand-stitched embroidery with pochoir and hand-bound using the pamphlet stitch. The decorations are hand-stitched embroidery sigils by Anne Greenwood and Shannon Ayuyu pressure printed on kitakata paper. The tapestry is made of crinoline handdyed in madder, fustic, cochineal and indigo, with hand stitching and mpochoir. The machine-stitched texts are cut-ups of Hazel Hall’s poetry made by Shannon Ayuyu and Anne Greenwood. The pressure printed textiles are found fabric and doily with hand cutwork. The poem Loneliness, is written by Hazel Hall, rewritten by Anne Greenwood and printed with a polymer plate. The printing is all by Clare Carpenter 2016 Portland, Oregon. This project was funded in part by a Oregon Regional Arts & Culture Council Grant, Caldera Artist-In-Residency, and The Hallie Ford Foundation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021162100-7OHTWBOO8RNPG6CV6K7F/mcba-prize-2017-anne-greenwood-rioseco-tapestry-of-hours-3.jpg Entries & Jurors - 2017 Entries - Anne Greenwood Rioseco Portland, Oregon www.annegreenwood.net Tapestry of Hours 2016 Textiles, ponchoir, hand and machine stitching, pressure printing, hand embroidery, buckram, indigo, fustic, cochineal, oasage natural dyes, digital printing, Mohawk Superfine & Mulberry papers special edition:12, trade edition:138 22 pages 8”x16.5”x.5 open 8”x12”x1” closed The special edition chapbook cover is machine stitching on crinoline, the under print is pressure printed, hand-stitched embroidery with pochoir. The decorations are handstitched embroidery sigils by Anne Greenwood and Shannon Ayuyu pressure printed on kitakata paper. 7”x11”x.5”, edition: 12 Artist Statement My current work investigates the social histories embedded in cultural and art objects, especially those combining historic and contemporary materials. I am interested in repurposing textiles and book art, and recasting these artifacts with new meanings while preserving their historical integrity. My latest work, Tapestry of Hours, an edition of fabric books, is at once physical and ephemeral: it fuses the work of early 20th c. Oregon poet Hazel Hall with my own writing and hand and machine stitching and printing on hand-dyed crinoline. I collaborated with emerging artist Shannon Ayuyu who, like Hall, was disabled at a young age and has personally experienced how it is to feel separate, but also how art can be a tool for transformation and connection. Hazel Hall was born in St. Paul, Minnesota on February 2, 1886 and moved to Portland, Oregon as a small child. At the age of twelve, she suffered from scarlet fever and related complications leaving her confined to a wheel chair: her formal schooling ended in the fifth grade. To help her family financially, Hazel Hall took in sewing and as her eyesight began to fail in her early twenties, she wrote poetry. She died in Portland, in 1924 at the age of thirtyeight. Hazel’s sister Ruth, who was a librarian, helped her immensely as an advocate and agent for both her stitching and poetry. Tapestry of Hours is made in an edition of one hundred and thirty-eight laser printed, hand-bound chapbooks and twelve special edition portfolios with chapbook and tapestry. The special edition portfolio is made of buckram, machine sewn and handdyed with pressure-printed, machine-stitched text from a cut-up poem written by Anne Greenwood. The chapbook cover is machine stitching on crinoline, the under print is pressure printed, hand-stitched embroidery with pochoir and hand-bound using the pamphlet stitch. The decorations are hand-stitched embroidery sigils by Anne Greenwood and Shannon Ayuyu pressure printed on kitakata paper. The tapestry is made of crinoline handdyed in madder, fustic, cochineal and indigo, with hand stitching and mpochoir. The machine-stitched texts are cut-ups of Hazel Hall’s poetry made by Shannon Ayuyu and Anne Greenwood. The pressure printed textiles are found fabric and doily with hand cutwork. The poem Loneliness, is written by Hazel Hall, rewritten by Anne Greenwood and printed with a polymer plate. The printing is all by Clare Carpenter 2016 Portland, Oregon. This project was funded in part by a Oregon Regional Arts & Culture Council Grant, Caldera Artist-In-Residency, and The Hallie Ford Foundation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021162624-ZXL9RA3AGV434Z1WWF8Q/mcba-prize-2017-anne-greenwood-rioseco-tapestry-of-hours-4.jpg Entries & Jurors - 2017 Entries - Anne Greenwood Rioseco Portland, Oregon www.annegreenwood.net Tapestry of Hours 2016 Textiles, ponchoir, hand and machine stitching, pressure printing, hand embroidery, buckram, indigo, fustic, cochineal, oasage natural dyes, digital printing, Mohawk Superfine & Mulberry papers special edition:12, trade edition:138 22 pages 8”x16.5”x.5 open 8”x12”x1” closed The tapestry is made of crinoline hand-dyed in madder, fustic, cochineal and indigo, with hand-stitching and pochoir. The machine-stitched texts are cut-ups of Hazel Hall’s poetry made by Shannon Ayuyu and Anne Greenwood. The pressure printed textiles are found mfabric and doily with hand cutwork. The poem Loneliness is written by Hazel Hall, rewritten by Anne Greenwood and printed with a polymer plate. 34”x 22”, edition: 12 Artist Statement My current work investigates the social histories embedded in cultural and art objects, especially those combining historic and contemporary materials. I am interested in repurposing textiles and book art, and recasting these artifacts with new meanings while preserving their historical integrity. My latest work, Tapestry of Hours, an edition of fabric books, is at once physical and ephemeral: it fuses the work of early 20th c. Oregon poet Hazel Hall with my own writing and hand and machine stitching and printing on hand-dyed crinoline. I collaborated with emerging artist Shannon Ayuyu who, like Hall, was disabled at a young age and has personally experienced how it is to feel separate, but also how art can be a tool for transformation and connection. Hazel Hall was born in St. Paul, Minnesota on February 2, 1886 and moved to Portland, Oregon as a small child. At the age of twelve, she suffered from scarlet fever and related complications leaving her confined to a wheel chair: her formal schooling ended in the fifth grade. To help her family financially, Hazel Hall took in sewing and as her eyesight began to fail in her early twenties, she wrote poetry. She died in Portland, in 1924 at the age of thirtyeight. Hazel’s sister Ruth, who was a librarian, helped her immensely as an advocate and agent for both her stitching and poetry. Tapestry of Hours is made in an edition of one hundred and thirty-eight laser printed, hand-bound chapbooks and twelve special edition portfolios with chapbook and tapestry. The special edition portfolio is made of buckram, machine sewn and handdyed with pressure-printed, machine-stitched text from a cut-up poem written by Anne Greenwood. The chapbook cover is machine stitching on crinoline, the under print is pressure printed, hand-stitched embroidery with pochoir and hand-bound using the pamphlet stitch. The decorations are hand-stitched embroidery sigils by Anne Greenwood and Shannon Ayuyu pressure printed on kitakata paper. The tapestry is made of crinoline handdyed in madder, fustic, cochineal and indigo, with hand stitching and mpochoir. The machine-stitched texts are cut-ups of Hazel Hall’s poetry made by Shannon Ayuyu and Anne Greenwood. The pressure printed textiles are found fabric and doily with hand cutwork. The poem Loneliness, is written by Hazel Hall, rewritten by Anne Greenwood and printed with a polymer plate. The printing is all by Clare Carpenter 2016 Portland, Oregon. This project was funded in part by a Oregon Regional Arts & Culture Council Grant, Caldera Artist-In-Residency, and The Hallie Ford Foundation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021164169-IWSTW3X1BJNFWMFBHS6F/mcba-prize-2017-anne-greenwood-rioseco-tapestry-of-hours-5.jpg Entries & Jurors - 2017 Entries - Anne Greenwood Rioseco Portland, Oregon www.annegreenwood.net Tapestry of Hours 2016 Textiles, ponchoir, hand and machine stitching, pressure printing, hand embroidery, buckram, indigo, fustic, cochineal, oasage natural dyes, digital printing, Mohawk Superfine & Mulberry papers special edition:12, trade edition:138 22 pages 8”x16.5”x.5 open 8”x12”x1” closed The larger edition chapbook is laser printed on Mohawk Superfine. 6”x10” edition: 138 The printing is all by Clare Carpenter, and laser printing by Minute Man, 2016 Portland, Oregon. Artist Statement My current work investigates the social histories embedded in cultural and art objects, especially those combining historic and contemporary materials. I am interested in repurposing textiles and book art, and recasting these artifacts with new meanings while preserving their historical integrity. My latest work, Tapestry of Hours, an edition of fabric books, is at once physical and ephemeral: it fuses the work of early 20th c. Oregon poet Hazel Hall with my own writing and hand and machine stitching and printing on hand-dyed crinoline. I collaborated with emerging artist Shannon Ayuyu who, like Hall, was disabled at a young age and has personally experienced how it is to feel separate, but also how art can be a tool for transformation and connection. Hazel Hall was born in St. Paul, Minnesota on February 2, 1886 and moved to Portland, Oregon as a small child. At the age of twelve, she suffered from scarlet fever and related complications leaving her confined to a wheel chair: her formal schooling ended in the fifth grade. To help her family financially, Hazel Hall took in sewing and as her eyesight began to fail in her early twenties, she wrote poetry. She died in Portland, in 1924 at the age of thirtyeight. Hazel’s sister Ruth, who was a librarian, helped her immensely as an advocate and agent for both her stitching and poetry. Tapestry of Hours is made in an edition of one hundred and thirty-eight laser printed, hand-bound chapbooks and twelve special edition portfolios with chapbook and tapestry. The special edition portfolio is made of buckram, machine sewn and handdyed with pressure-printed, machine-stitched text from a cut-up poem written by Anne Greenwood. The chapbook cover is machine stitching on crinoline, the under print is pressure printed, hand-stitched embroidery with pochoir and hand-bound using the pamphlet stitch. The decorations are hand-stitched embroidery sigils by Anne Greenwood and Shannon Ayuyu pressure printed on kitakata paper. The tapestry is made of crinoline handdyed in madder, fustic, cochineal and indigo, with hand stitching and mpochoir. The machine-stitched texts are cut-ups of Hazel Hall’s poetry made by Shannon Ayuyu and Anne Greenwood. The pressure printed textiles are found fabric and doily with hand cutwork. The poem Loneliness, is written by Hazel Hall, rewritten by Anne Greenwood and printed with a polymer plate. The printing is all by Clare Carpenter 2016 Portland, Oregon. This project was funded in part by a Oregon Regional Arts & Culture Council Grant, Caldera Artist-In-Residency, and The Hallie Ford Foundation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021303622-IL85ZDJFRHE5CFVNT67L/mcba-prize-2017-monica-goldstein-from-far-way-1.jpg Entries & Jurors - 2017 Entries - Mónica Goldstein Buenos Aires, Argentina artebus.net/monicagoldstein From far away 2015 Chest of drawers in MDF, acrylic, stones, Fine art printings in Baryta Photographic paper, 310 g. Texts: digital prints in vellum paper. unique work 4 photos + 4 texts and the colophon in the folder in the 2nd drawer. H 12,5 cm x W 18,5 cm x D 26 cm as in the images 1 and 2. Then is variable, as shown in 3 and 4 H 12,5 cm x W 18,5 cm x D 15,5 cm closed The chest of drawers is open, we can see the real stones in the first drawer. The photo in its upper side is taken at the same place where the stones were collected. Artist Statement In this artist book I worked with three basic ideas: the attraction that stones have over me, Olga Orozco poems and the support. I took the subtle-colored stones from a beach near the Golden Gate Bridge. As part of the book, I included black and white photos of stones. In this way I want to illustrate the distance between the object and its representation. I looked for Olga Orozco poems verses in which the word stone or a synonym appears and then matched photos from my archive with the verse’s meaning. The verses are printed on vellum paper; words don’t have the same density than stone’s images. Since the stones came from San Francisco Bay and I live in Buenos Aires, the name of Olga Orozco’s book From Far Away, seemed appropriate. The chest of drawers was a good place to keep, hide and show my stones, the photos and verses. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021303631-MU7XKTHXU2I60MPY3W3H/mcba-prize-2017-monica-goldstein-from-far-way-2.jpg Entries & Jurors - 2017 Entries - Mónica Goldstein Buenos Aires, Argentina artebus.net/monicagoldstein From far away 2015 Chest of drawers in MDF, acrylic, stones, Fine art printings in Baryta Photographic paper, 310 g. Texts: digital prints in vellum paper. unique work 4 photos + 4 texts and the colophon in the folder in the 2nd drawer. H 12,5 cm x W 18,5 cm x D 26 cm as in the images 1 and 2. Then is variable, as shown in 3 and 4 H 12,5 cm x W 18,5 cm x D 15,5 cm closed The first drawer now is closed, we can see a folder with a little stone in the second drawer. Artist Statement In this artist book I worked with three basic ideas: the attraction that stones have over me, Olga Orozco poems and the support. I took the subtle-colored stones from a beach near the Golden Gate Bridge. As part of the book, I included black and white photos of stones. In this way I want to illustrate the distance between the object and its representation. I looked for Olga Orozco poems verses in which the word stone or a synonym appears and then matched photos from my archive with the verse’s meaning. The verses are printed on vellum paper; words don’t have the same density than stone’s images. Since the stones came from San Francisco Bay and I live in Buenos Aires, the name of Olga Orozco’s book From Far Away, seemed appropriate. The chest of drawers was a good place to keep, hide and show my stones, the photos and verses. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021305730-RB22U7SAXVHQQN1EIEJK/mcba-prize-2017-monica-goldstein-from-far-way-3.jpg Entries & Jurors - 2017 Entries - Mónica Goldstein Buenos Aires, Argentina artebus.net/monicagoldstein From far away 2015 Chest of drawers in MDF, acrylic, stones, Fine art printings in Baryta Photographic paper, 310 g. Texts: digital prints in vellum paper. unique work 4 photos + 4 texts and the colophon in the folder in the 2nd drawer. H 12,5 cm x W 18,5 cm x D 26 cm as in the images 1 and 2. Then is variable, as shown in 3 and 4 H 12,5 cm x W 18,5 cm x D 15,5 cm closed The drawers are almost closed, but now we can see some photos and texts that were into the folder. Artist Statement In this artist book I worked with three basic ideas: the attraction that stones have over me, Olga Orozco poems and the support. I took the subtle-colored stones from a beach near the Golden Gate Bridge. As part of the book, I included black and white photos of stones. In this way I want to illustrate the distance between the object and its representation. I looked for Olga Orozco poems verses in which the word stone or a synonym appears and then matched photos from my archive with the verse’s meaning. The verses are printed on vellum paper; words don’t have the same density than stone’s images. Since the stones came from San Francisco Bay and I live in Buenos Aires, the name of Olga Orozco’s book From Far Away, seemed appropriate. The chest of drawers was a good place to keep, hide and show my stones, the photos and verses. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021306000-O8WARX56XUR110KW5ASE/mcba-prize-2017-monica-goldstein-from-far-way-4.jpg Entries & Jurors - 2017 Entries - Mónica Goldstein Buenos Aires, Argentina artebus.net/monicagoldstein From far away 2015 Chest of drawers in MDF, acrylic, stones, Fine art printings in Baryta Photographic paper, 310 g. Texts: digital prints in vellum paper. unique work 4 photos + 4 texts and the colophon in the folder in the 2nd drawer. H 12,5 cm x W 18,5 cm x D 26 cm as in the images 1 and 2. Then is variable, as shown in 3 and 4 H 12,5 cm x W 18,5 cm x D 15,5 cm closed The folder is now into de second drawer and we can see some of the photos ouside. Artist Statement In this artist book I worked with three basic ideas: the attraction that stones have over me, Olga Orozco poems and the support. I took the subtle-colored stones from a beach near the Golden Gate Bridge. As part of the book, I included black and white photos of stones. In this way I want to illustrate the distance between the object and its representation. I looked for Olga Orozco poems verses in which the word stone or a synonym appears and then matched photos from my archive with the verse’s meaning. The verses are printed on vellum paper; words don’t have the same density than stone’s images. Since the stones came from San Francisco Bay and I live in Buenos Aires, the name of Olga Orozco’s book From Far Away, seemed appropriate. The chest of drawers was a good place to keep, hide and show my stones, the photos and verses. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021449723-Z71Q82E0SEVJBD6ULQOM/mcba-prize-2017-kyle-holland-birds-of-prey-1.jpg Entries & Jurors - 2017 Entries - Kyle Holland Cleveland, Ohio http://www.kyleaholland.com/ Birds of Prey 2015 Inkjet printing, screenprinting and letterpress printing on handmade paper edition of 6 50 pages 10.5″ x 14.5″ x 0.5″ open 10.75″ x 7.25″ x 1.25″ closed The book is bound as a full leather drum leaf and the antlers on the front cover are cold tooled. The box is a slipcase that is covered with wood veneer. The images within the book are echoed by the form of the object. Artist Statement Both the history of my relationship with my father and my experience growing up in the South have led me to believe that I must possess a certain set of qualities to be considered a man in the context of masculine subculture. It seems that a man should be risk-taking and effortlessly exhibit strength, pride, confidence and superiority. I believe that embodying these characteristics is a requisite for living among other men without judgment. However, both my behavior and physical appearance prevent me from blending in among the conventional man. I feel that I am looked upon with disdain by other men who disallow my individuality while simultaneously rejecting my efforts to fit in, rendering my attempt to attain “manliness” as socially forbidden. By referencing the masculine recreation of hunting, I am able to express my feelings of inadequacy towards the Southern male archetype and my desire to be regarded favorably by other men. I chose to present this system of conflicts in the form of a book. The book format enables the narration of a journey through my psychological landscape, metaphorically represented by the forest. The vulnerable, skinless deer represents myself and is overshadowed by vultures that loom, embodying the feeling of being looked down on by other men. To persevere and complete this journey is to be reborn as a man. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021449697-O3XH6CKSZ8711761B6NT/mcba-prize-2017-kyle-holland-birds-of-prey-2.jpg Entries & Jurors - 2017 Entries - Kyle Holland Cleveland, Ohio http://www.kyleaholland.com/ Birds of Prey 2015 Inkjet printing, screenprinting and letterpress printing on handmade paper edition of 6 50 pages 10.5″ x 14.5″ x 0.5″ open 10.75″ x 7.25″ x 1.25″ closed This spread depicts a seemingly skinless deer running through the forest. The images of deer that appear throughout the book are scanned from taxidermy catalogs and inkjet printed. The trees are pressure printed to create depth in the images and for the noise that is characteristic of the process which reads as fog in the images. Some of the spreads also have trees that are printed from photopolymer plates, such as this one, to give the images more depth. Artist Statement Both the history of my relationship with my father and my experience growing up in the South have led me to believe that I must possess a certain set of qualities to be considered a man in the context of masculine subculture. It seems that a man should be risk-taking and effortlessly exhibit strength, pride, confidence and superiority. I believe that embodying these characteristics is a requisite for living among other men without judgment. However, both my behavior and physical appearance prevent me from blending in among the conventional man. I feel that I am looked upon with disdain by other men who disallow my individuality while simultaneously rejecting my efforts to fit in, rendering my attempt to attain “manliness” as socially forbidden. By referencing the masculine recreation of hunting, I am able to express my feelings of inadequacy towards the Southern male archetype and my desire to be regarded favorably by other men. I chose to present this system of conflicts in the form of a book. The book format enables the narration of a journey through my psychological landscape, metaphorically represented by the forest. The vulnerable, skinless deer represents myself and is overshadowed by vultures that loom, embodying the feeling of being looked down on by other men. To persevere and complete this journey is to be reborn as a man. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021450923-KEU2WJOKOD0FO6TUDRC5/mcba-prize-2017-kyle-holland-birds-of-prey-3.jpg Entries & Jurors - 2017 Entries - Kyle Holland Cleveland, Ohio http://www.kyleaholland.com/ Birds of Prey 2015 Inkjet printing, screenprinting and letterpress printing on handmade paper edition of 6 50 pages 10.5″ x 14.5″ x 0.5″ open 10.75″ x 7.25″ x 1.25″ closed The viewer’s perspective sometimes shifts to being the deer looking up through the tree branches. This spread is the first time that a vulture is spotted in the book. Artist Statement Both the history of my relationship with my father and my experience growing up in the South have led me to believe that I must possess a certain set of qualities to be considered a man in the context of masculine subculture. It seems that a man should be risk-taking and effortlessly exhibit strength, pride, confidence and superiority. I believe that embodying these characteristics is a requisite for living among other men without judgment. However, both my behavior and physical appearance prevent me from blending in among the conventional man. I feel that I am looked upon with disdain by other men who disallow my individuality while simultaneously rejecting my efforts to fit in, rendering my attempt to attain “manliness” as socially forbidden. By referencing the masculine recreation of hunting, I am able to express my feelings of inadequacy towards the Southern male archetype and my desire to be regarded favorably by other men. I chose to present this system of conflicts in the form of a book. The book format enables the narration of a journey through my psychological landscape, metaphorically represented by the forest. The vulnerable, skinless deer represents myself and is overshadowed by vultures that loom, embodying the feeling of being looked down on by other men. To persevere and complete this journey is to be reborn as a man. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021451167-CPXDBTIHLL2PRB9EYM4I/mcba-prize-2017-kyle-holland-birds-of-prey-4.jpg Entries & Jurors - 2017 Entries - Kyle Holland Cleveland, Ohio http://www.kyleaholland.com/ Birds of Prey 2015 Inkjet printing, screenprinting and letterpress printing on handmade paper edition of 6 50 pages 10.5″ x 14.5″ x 0.5″ open 10.75″ x 7.25″ x 1.25″ closed The text in the book was culled from Mary Shelley’s Frankenstein. The book was partially inspired by my relationship with my father which I relate to Dr. Frankenstein’s relationship with his creation. The text is organized on an axial grid and is printed along the folds of the spreads to be reminiscent of the tree imagery if one imagines the fold as a tree trunk and the bodies of text as branches. Printed from 14 pt. Fabritius lead type, the text is dark purple on the left-hand side of the spreads as the voice of the vultures and yellow ochre on the right-hand side as the voice of the deer. Artist Statement Both the history of my relationship with my father and my experience growing up in the South have led me to believe that I must possess a certain set of qualities to be considered a man in the context of masculine subculture. It seems that a man should be risk-taking and effortlessly exhibit strength, pride, confidence and superiority. I believe that embodying these characteristics is a requisite for living among other men without judgment. However, both my behavior and physical appearance prevent me from blending in among the conventional man. I feel that I am looked upon with disdain by other men who disallow my individuality while simultaneously rejecting my efforts to fit in, rendering my attempt to attain “manliness” as socially forbidden. By referencing the masculine recreation of hunting, I am able to express my feelings of inadequacy towards the Southern male archetype and my desire to be regarded favorably by other men. I chose to present this system of conflicts in the form of a book. The book format enables the narration of a journey through my psychological landscape, metaphorically represented by the forest. The vulnerable, skinless deer represents myself and is overshadowed by vultures that loom, embodying the feeling of being looked down on by other men. To persevere and complete this journey is to be reborn as a man. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021452100-UQMM9LNNFODZOLFNBO7Z/mcba-prize-2017-kyle-holland-birds-of-prey-5.jpg Entries & Jurors - 2017 Entries - Kyle Holland Cleveland, Ohio http://www.kyleaholland.com/ Birds of Prey 2015 Inkjet printing, screenprinting and letterpress printing on handmade paper edition of 6 50 pages 10.5″ x 14.5″ x 0.5″ open 10.75″ x 7.25″ x 1.25″ closed This spread depicts the vultures circling around an ornament which represents the eye of my father, embodying the feeling of being looked down upon. The ornament was printed and dusted with gold powdered pigment referencing Frankenstein’s creation speaking of his creator like he is a god. Artist Statement Both the history of my relationship with my father and my experience growing up in the South have led me to believe that I must possess a certain set of qualities to be considered a man in the context of masculine subculture. It seems that a man should be risk-taking and effortlessly exhibit strength, pride, confidence and superiority. I believe that embodying these characteristics is a requisite for living among other men without judgment. However, both my behavior and physical appearance prevent me from blending in among the conventional man. I feel that I am looked upon with disdain by other men who disallow my individuality while simultaneously rejecting my efforts to fit in, rendering my attempt to attain “manliness” as socially forbidden. By referencing the masculine recreation of hunting, I am able to express my feelings of inadequacy towards the Southern male archetype and my desire to be regarded favorably by other men. I chose to present this system of conflicts in the form of a book. The book format enables the narration of a journey through my psychological landscape, metaphorically represented by the forest. The vulnerable, skinless deer represents myself and is overshadowed by vultures that loom, embodying the feeling of being looked down on by other men. To persevere and complete this journey is to be reborn as a man. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021657898-IX5AXVLQAHKCCTCBQ2BM/mcba-prize-2017-sarah-horowitz-footprints-1.jpg Entries & Jurors - 2017 Entries - Sarah Horowitz Leavenworth, Washington http://sarahhorowitzartist.com/ Footprints 2017 etching, letterpress, sewn binding edition size of 36 22 pages 12.5 x 19 x .5″ 12.5 x 9.5″ Footprints: soft case binding with Cave paper with a translucent abaca wrapper; cloth covered box Artist Statement I recently relocated to Leavenworth, WA from Portland, Oregon where I was a member of Atelier Mars printmaking studio for fifteen years, since 1999, and worked as a print and drawing instructor at Portland State University for seven years. As a teenager I attended Glasell School of Art in Houston, Texas and then received a BA from Hampshire College in Amherst, Massachusetts where I studied mathematics, physics and art. My work is based primarily in drawing, printmaking, and book arts with a focus on formal aesthetics, the natural world, and history of place. My limited edition books are published under the imprint Wiesedruck after Schudeldruck, a press run by my uncle, grandfather, and greatgrandfather in Riehen Switzerland where my mother grew up. The Wiese is the stream that runs by the gardens and wildlife lands near my grandparent’s home. In Footprints (תוֹבֵקֲע) the narrator struggles with existence, voice, and memory after the trama of genocide. Souls and words cannot burn but they can be forgotten. The poem was written by late Israeli poet Dan Pagis with translation by Carl Adamshick. Thirteen etchings were drawn, etched, and printed in graphite. The text was printed in Arno and Harel types on Zerkall paper by Art Larson of Horton Tank Graphics. Thirteen etchings were drawn, etched, and printed in graphite ink by Sarah Horowitz. The book was boxed and bound by Julia Weese-Young. Excerpt: “From the sky to the sky of skies, from the sky of skies to fog. Yannai Despite myself I continue in this cloud: hurried, gray, trying to forget. In the distance the distance is retreating. The knocking teeth of hail: seeds, refugees shoved quickly into their deaths….” “The newly burned yet to understand, the prisoners of hope, wander the hapless freedom, wary as always on how to exploit a sudden hole or best use the duel citizenship, the old passport, or that cloud? What’s new in the cloud? Of course, they take a bribe here. Between you and I: the big bills are still hidden nicely, sewn between soles— https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021657935-577CDM19VZJB1AMJG4IL/mcba-prize-2017-sarah-horowitz-footprints-2.jpg Entries & Jurors - 2017 Entries - Sarah Horowitz Leavenworth, Washington http://sarahhorowitzartist.com/ Footprints 2017 etching, letterpress, sewn binding edition size of 36 22 pages 12.5 x 19 x .5″ 12.5 x 9.5″ Cover from right ‘Footprints’ and left ‘Akevot’ (in Hebrew), representing the original poem and its translation that are the foundation of the book. The titles are intentionally partially obscured by the translucent abaca wrapper, but readable when held in one’s hand. Artist Statement I recently relocated to Leavenworth, WA from Portland, Oregon where I was a member of Atelier Mars printmaking studio for fifteen years, since 1999, and worked as a print and drawing instructor at Portland State University for seven years. As a teenager I attended Glasell School of Art in Houston, Texas and then received a BA from Hampshire College in Amherst, Massachusetts where I studied mathematics, physics and art. My work is based primarily in drawing, printmaking, and book arts with a focus on formal aesthetics, the natural world, and history of place. My limited edition books are published under the imprint Wiesedruck after Schudeldruck, a press run by my uncle, grandfather, and greatgrandfather in Riehen Switzerland where my mother grew up. The Wiese is the stream that runs by the gardens and wildlife lands near my grandparent’s home. In Footprints (תוֹבֵקֲע) the narrator struggles with existence, voice, and memory after the trama of genocide. Souls and words cannot burn but they can be forgotten. The poem was written by late Israeli poet Dan Pagis with translation by Carl Adamshick. Thirteen etchings were drawn, etched, and printed in graphite. The text was printed in Arno and Harel types on Zerkall paper by Art Larson of Horton Tank Graphics. Thirteen etchings were drawn, etched, and printed in graphite ink by Sarah Horowitz. The book was boxed and bound by Julia Weese-Young. Excerpt: “From the sky to the sky of skies, from the sky of skies to fog. Yannai Despite myself I continue in this cloud: hurried, gray, trying to forget. In the distance the distance is retreating. The knocking teeth of hail: seeds, refugees shoved quickly into their deaths….” “The newly burned yet to understand, the prisoners of hope, wander the hapless freedom, wary as always on how to exploit a sudden hole or best use the duel citizenship, the old passport, or that cloud? What’s new in the cloud? Of course, they take a bribe here. Between you and I: the big bills are still hidden nicely, sewn between soles— https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021659095-5B5IE80ISOST92YL1YPS/mcba-prize-2017-sarah-horowitz-footprints-3.jpg Entries & Jurors - 2017 Entries - Sarah Horowitz Leavenworth, Washington http://sarahhorowitzartist.com/ Footprints 2017 etching, letterpress, sewn binding edition size of 36 22 pages 12.5 x 19 x .5″ 12.5 x 9.5″ Three page etching sequence with poem stanzas (excerpt): Artist Statement I recently relocated to Leavenworth, WA from Portland, Oregon where I was a member of Atelier Mars printmaking studio for fifteen years, since 1999, and worked as a print and drawing instructor at Portland State University for seven years. As a teenager I attended Glasell School of Art in Houston, Texas and then received a BA from Hampshire College in Amherst, Massachusetts where I studied mathematics, physics and art. My work is based primarily in drawing, printmaking, and book arts with a focus on formal aesthetics, the natural world, and history of place. My limited edition books are published under the imprint Wiesedruck after Schudeldruck, a press run by my uncle, grandfather, and greatgrandfather in Riehen Switzerland where my mother grew up. The Wiese is the stream that runs by the gardens and wildlife lands near my grandparent’s home. In Footprints (תוֹבֵקֲע) the narrator struggles with existence, voice, and memory after the trama of genocide. Souls and words cannot burn but they can be forgotten. The poem was written by late Israeli poet Dan Pagis with translation by Carl Adamshick. Thirteen etchings were drawn, etched, and printed in graphite. The text was printed in Arno and Harel types on Zerkall paper by Art Larson of Horton Tank Graphics. Thirteen etchings were drawn, etched, and printed in graphite ink by Sarah Horowitz. The book was boxed and bound by Julia Weese-Young. Excerpt: “From the sky to the sky of skies, from the sky of skies to fog. Yannai Despite myself I continue in this cloud: hurried, gray, trying to forget. In the distance the distance is retreating. The knocking teeth of hail: seeds, refugees shoved quickly into their deaths….” “The newly burned yet to understand, the prisoners of hope, wander the hapless freedom, wary as always on how to exploit a sudden hole or best use the duel citizenship, the old passport, or that cloud? What’s new in the cloud? Of course, they take a bribe here. Between you and I: the big bills are still hidden nicely, sewn between soles— https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021659432-TURHJNA9NAOUVU360CE0/mcba-prize-2017-sarah-horowitz-footprints-4.jpg Entries & Jurors - 2017 Entries - Sarah Horowitz Leavenworth, Washington http://sarahhorowitzartist.com/ Footprints 2017 etching, letterpress, sewn binding edition size of 36 22 pages 12.5 x 19 x .5″ 12.5 x 9.5″ The knocking teeth/
of hail:/
seeds, refugees shoved quickly into their deaths./ Artist Statement I recently relocated to Leavenworth, WA from Portland, Oregon where I was a member of Atelier Mars printmaking studio for fifteen years, since 1999, and worked as a print and drawing instructor at Portland State University for seven years. As a teenager I attended Glasell School of Art in Houston, Texas and then received a BA from Hampshire College in Amherst, Massachusetts where I studied mathematics, physics and art. My work is based primarily in drawing, printmaking, and book arts with a focus on formal aesthetics, the natural world, and history of place. My limited edition books are published under the imprint Wiesedruck after Schudeldruck, a press run by my uncle, grandfather, and greatgrandfather in Riehen Switzerland where my mother grew up. The Wiese is the stream that runs by the gardens and wildlife lands near my grandparent’s home. In Footprints (תוֹבֵקֲע) the narrator struggles with existence, voice, and memory after the trama of genocide. Souls and words cannot burn but they can be forgotten. The poem was written by late Israeli poet Dan Pagis with translation by Carl Adamshick. Thirteen etchings were drawn, etched, and printed in graphite. The text was printed in Arno and Harel types on Zerkall paper by Art Larson of Horton Tank Graphics. Thirteen etchings were drawn, etched, and printed in graphite ink by Sarah Horowitz. The book was boxed and bound by Julia Weese-Young. Excerpt: “From the sky to the sky of skies, from the sky of skies to fog. Yannai Despite myself I continue in this cloud: hurried, gray, trying to forget. In the distance the distance is retreating. The knocking teeth of hail: seeds, refugees shoved quickly into their deaths….” “The newly burned yet to understand, the prisoners of hope, wander the hapless freedom, wary as always on how to exploit a sudden hole or best use the duel citizenship, the old passport, or that cloud? What’s new in the cloud? Of course, they take a bribe here. Between you and I: the big bills are still hidden nicely, sewn between soles— https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774021660271-BPZKR1T7FO0YZP6W6QWA/mcba-prize-2017-sarah-horowitz-footprints-5.jpg Entries & Jurors - 2017 Entries - Sarah Horowitz Leavenworth, Washington http://sarahhorowitzartist.com/ Footprints 2017 etching, letterpress, sewn binding edition size of 36 22 pages 12.5 x 19 x .5″ 12.5 x 9.5″ On another front/
unidentifed clouds./
Spotlights stationed/
in large crosses of light for victims./ The unloading of railcars. Artist Statement I recently relocated to Leavenworth, WA from Portland, Oregon where I was a member of Atelier Mars printmaking studio for fifteen years, since 1999, and worked as a print and drawing instructor at Portland State University for seven years. As a teenager I attended Glasell School of Art in Houston, Texas and then received a BA from Hampshire College in Amherst, Massachusetts where I studied mathematics, physics and art. My work is based primarily in drawing, printmaking, and book arts with a focus on formal aesthetics, the natural world, and history of place. My limited edition books are published under the imprint Wiesedruck after Schudeldruck, a press run by my uncle, grandfather, and greatgrandfather in Riehen Switzerland where my mother grew up. The Wiese is the stream that runs by the gardens and wildlife lands near my grandparent’s home. In Footprints (תוֹבֵקֲע) the narrator struggles with existence, voice, and memory after the trama of genocide. Souls and words cannot burn but they can be forgotten. The poem was written by late Israeli poet Dan Pagis with translation by Carl Adamshick. Thirteen etchings were drawn, etched, and printed in graphite. The text was printed in Arno and Harel types on Zerkall paper by Art Larson of Horton Tank Graphics. Thirteen etchings were drawn, etched, and printed in graphite ink by Sarah Horowitz. The book was boxed and bound by Julia Weese-Young. Excerpt: “From the sky to the sky of skies, from the sky of skies to fog. Yannai Despite myself I continue in this cloud: hurried, gray, trying to forget. In the distance the distance is retreating. The knocking teeth of hail: seeds, refugees shoved quickly into their deaths….” “The newly burned yet to understand, the prisoners of hope, wander the hapless freedom, wary as always on how to exploit a sudden hole or best use the duel citizenship, the old passport, or that cloud? What’s new in the cloud? Of course, they take a bribe here. Between you and I: the big bills are still hidden nicely, sewn between soles— https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022010902-7PXOCRVEAG9AGVRAH5BF/mcba-prize-2017-ian-huebert-beans-1.jpg Entries & Jurors - 2017 Entries - Ian Huebert Iowa City, Iowa www.engineandwell.com Beans 2017 Letterpress, woodcuts, airbrush edition of 100 2 pages 4 x 109 in. (Scroll) 4.5 x 3.375 in. (Can) http://engineandwell.com/beans-video Exterior view of can. Artist Statement Beans is a tall tale about a wolf who howls at the moon and plays music on his squeezebox. One night he is swindled out of his cart (that contains a barrel of potion) and his mule by a witch who offers him some magic beans in exchange. Watered by tears of remorse, the beans grow into a stalk that reaches up into the clouds where the one-eyed giant lives. The wolf takes to the clouds to find his mule (and barrel of potion) and ends up making off with the giant’s singing cigar box banjo instead. When the giant gives chase, the wolf hacks down the beanstalk and the giant falls to his end. Shacking up in the giant’s boot, the wolf ends up with plenty of beans to eat and a cigar box banjo that sings funny songs The story is told in a sequence of fifty woodcuts, letterpress printed on a scroll consisting of five sheets of paper joined together, measuring 4 x 109 inches long. The woodcuts are imposed vertically, printed in alternating red and blue ink, running down one side and up the other side of the paper. Finished maple dowels attached to both ends serve as winding spools. It is printed in an edition of one hundred, each one hand colored with two additional ink colors applied with an airbrush. The scroll is housed in a cotton muslin drawstring bag that has red dots printed on it. The scroll and bag are housed in a food grade tin can and sealed with pull tab lids using a canning machine. A clear plastic lid covers the top of the can. The can has a printed label that includes the title and description, as well as an image of a beanstalk that can grow taller when the cans are stacked. The act of scrolling is a combination of ancient and modern technologies. In practice, the scroll is unrolled and rolled simultaneously and one reads the section of paper spanning the two rolls, though there’s no correct way to go about it. If unfurled altogether, it becomes a pile of Beans and can be read in the same manner one reads a loose ribbon of paper. The woodcuts are imposed so it is possible to end up at the beginning of the story after reaching the end, without having to rewind the scroll. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022010745-KBTRQV2X5INYABLRPF20/mcba-prize-2017-ian-huebert-beans-2.jpg Entries & Jurors - 2017 Entries - Ian Huebert Iowa City, Iowa www.engineandwell.com Beans 2017 Letterpress, woodcuts, airbrush edition of 100 2 pages 4 x 109 in. (Scroll) 4.5 x 3.375 in. (Can) http://engineandwell.com/beans-video Side view of cans stacked in a pyramid. Artist Statement Beans is a tall tale about a wolf who howls at the moon and plays music on his squeezebox. One night he is swindled out of his cart (that contains a barrel of potion) and his mule by a witch who offers him some magic beans in exchange. Watered by tears of remorse, the beans grow into a stalk that reaches up into the clouds where the one-eyed giant lives. The wolf takes to the clouds to find his mule (and barrel of potion) and ends up making off with the giant’s singing cigar box banjo instead. When the giant gives chase, the wolf hacks down the beanstalk and the giant falls to his end. Shacking up in the giant’s boot, the wolf ends up with plenty of beans to eat and a cigar box banjo that sings funny songs The story is told in a sequence of fifty woodcuts, letterpress printed on a scroll consisting of five sheets of paper joined together, measuring 4 x 109 inches long. The woodcuts are imposed vertically, printed in alternating red and blue ink, running down one side and up the other side of the paper. Finished maple dowels attached to both ends serve as winding spools. It is printed in an edition of one hundred, each one hand colored with two additional ink colors applied with an airbrush. The scroll is housed in a cotton muslin drawstring bag that has red dots printed on it. The scroll and bag are housed in a food grade tin can and sealed with pull tab lids using a canning machine. A clear plastic lid covers the top of the can. The can has a printed label that includes the title and description, as well as an image of a beanstalk that can grow taller when the cans are stacked. The act of scrolling is a combination of ancient and modern technologies. In practice, the scroll is unrolled and rolled simultaneously and one reads the section of paper spanning the two rolls, though there’s no correct way to go about it. If unfurled altogether, it becomes a pile of Beans and can be read in the same manner one reads a loose ribbon of paper. The woodcuts are imposed so it is possible to end up at the beginning of the story after reaching the end, without having to rewind the scroll. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022012352-O5BQUHCR9IDBA4U57DEH/mcba-prize-2017-ian-huebert-beans-3.jpg Entries & Jurors - 2017 Entries - Ian Huebert Iowa City, Iowa www.engineandwell.com Beans 2017 Letterpress, woodcuts, airbrush edition of 100 2 pages 4 x 109 in. (Scroll) 4.5 x 3.375 in. (Can) http://engineandwell.com/beans-video Title page / beginning of scroll. Artist Statement Beans is a tall tale about a wolf who howls at the moon and plays music on his squeezebox. One night he is swindled out of his cart (that contains a barrel of potion) and his mule by a witch who offers him some magic beans in exchange. Watered by tears of remorse, the beans grow into a stalk that reaches up into the clouds where the one-eyed giant lives. The wolf takes to the clouds to find his mule (and barrel of potion) and ends up making off with the giant’s singing cigar box banjo instead. When the giant gives chase, the wolf hacks down the beanstalk and the giant falls to his end. Shacking up in the giant’s boot, the wolf ends up with plenty of beans to eat and a cigar box banjo that sings funny songs The story is told in a sequence of fifty woodcuts, letterpress printed on a scroll consisting of five sheets of paper joined together, measuring 4 x 109 inches long. The woodcuts are imposed vertically, printed in alternating red and blue ink, running down one side and up the other side of the paper. Finished maple dowels attached to both ends serve as winding spools. It is printed in an edition of one hundred, each one hand colored with two additional ink colors applied with an airbrush. The scroll is housed in a cotton muslin drawstring bag that has red dots printed on it. The scroll and bag are housed in a food grade tin can and sealed with pull tab lids using a canning machine. A clear plastic lid covers the top of the can. The can has a printed label that includes the title and description, as well as an image of a beanstalk that can grow taller when the cans are stacked. The act of scrolling is a combination of ancient and modern technologies. In practice, the scroll is unrolled and rolled simultaneously and one reads the section of paper spanning the two rolls, though there’s no correct way to go about it. If unfurled altogether, it becomes a pile of Beans and can be read in the same manner one reads a loose ribbon of paper. The woodcuts are imposed so it is possible to end up at the beginning of the story after reaching the end, without having to rewind the scroll. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022012807-6QXIP8NZ991UT3PG9WAM/mcba-prize-2017-ian-huebert-beans-4.jpg Entries & Jurors - 2017 Entries - Ian Huebert Iowa City, Iowa www.engineandwell.com Beans 2017 Letterpress, woodcuts, airbrush edition of 100 2 pages 4 x 109 in. (Scroll) 4.5 x 3.375 in. (Can) http://engineandwell.com/beans-video View of panels midway through the scroll Artist Statement Beans is a tall tale about a wolf who howls at the moon and plays music on his squeezebox. One night he is swindled out of his cart (that contains a barrel of potion) and his mule by a witch who offers him some magic beans in exchange. Watered by tears of remorse, the beans grow into a stalk that reaches up into the clouds where the one-eyed giant lives. The wolf takes to the clouds to find his mule (and barrel of potion) and ends up making off with the giant’s singing cigar box banjo instead. When the giant gives chase, the wolf hacks down the beanstalk and the giant falls to his end. Shacking up in the giant’s boot, the wolf ends up with plenty of beans to eat and a cigar box banjo that sings funny songs The story is told in a sequence of fifty woodcuts, letterpress printed on a scroll consisting of five sheets of paper joined together, measuring 4 x 109 inches long. The woodcuts are imposed vertically, printed in alternating red and blue ink, running down one side and up the other side of the paper. Finished maple dowels attached to both ends serve as winding spools. It is printed in an edition of one hundred, each one hand colored with two additional ink colors applied with an airbrush. The scroll is housed in a cotton muslin drawstring bag that has red dots printed on it. The scroll and bag are housed in a food grade tin can and sealed with pull tab lids using a canning machine. A clear plastic lid covers the top of the can. The can has a printed label that includes the title and description, as well as an image of a beanstalk that can grow taller when the cans are stacked. The act of scrolling is a combination of ancient and modern technologies. In practice, the scroll is unrolled and rolled simultaneously and one reads the section of paper spanning the two rolls, though there’s no correct way to go about it. If unfurled altogether, it becomes a pile of Beans and can be read in the same manner one reads a loose ribbon of paper. The woodcuts are imposed so it is possible to end up at the beginning of the story after reaching the end, without having to rewind the scroll. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022248107-XYUKX8HFVC2A1FTNIB1L/mcba-prize-2017-diane-jacobs-object-n-object-v-1.jpg Entries & Jurors - 2017 Entries - Diane Jacobs Portland, Oregon www.dianejacobs.net object n. object v. 2016 sculptural artist’s book edition of 4 12 pages 13″ x 27″ x 6″ open 13″ x 12″ x 12″ closed object n. object v. is housed in a cylindrical box reminiscent of a Greek column, a wonder cabinet, and Pandora’s box. More than two hundred Amazon names were sandblasted on the outer shell, as was additional text on the glass doors. Artist Statement Laughter is a powerful way to access the heart — to coax a viewer to let down their guard so that they can venture into new territory. My work is political and makes commentary on social justice issues; I challenge the status quo through artist’s books, installations, mixed-media sculpture, printmaking, and works on paper. I lure my audience with texture, juxtaposition, humor, and the unexpected. I use the sensual quality of letterpress-printed paper, the intrinsic meaning of found objects (such as military dog tags), and the element of surprise to seduce the viewer to come close, open their mind, be courageous, and make connections between power, greed, and exploitation. object n. object v. is a sculptural artist book that juxtaposes two very different realities for women who lived north of the Mediterranean Sea during Classical antiquity. Ancient Greek society regarded beauty along with chastity, as the most important characteristics for females; male desire objectified the female body. Beautiful women represented danger that had to be controlled, thus giving rise to an oppressive and misogynist culture. At the same time, an egalitarian nomadic society roamed from Thrace to as far east as Mongolia. These Scythian women warriors were known as Amazons. These starkly opposite realities simultaneously obscure and magnify our present day struggle for equality. object n. object v. is housed in a cylindrical box reminiscent of a Greek column, a wonder cabinet, and Pandora’s box. The left side of the box features body parts made of tangerine rind, eggshell, ceramic, and human hair on semicircular shelves. These are paired, on the obverse of the shelves, with excerpts from Ruby Blondell’s book Helen of Troy – Beauty, Myth, Devastation. The shocking quotes cut to the core of the sexist paradigm. The right side of the box tells an empowering story, unraveling the myths associated with the Amazons and offering evidence about the warrior queens’ legacy. Objects, images and excerpts from Adrienne Mayor’s book The Amazons: Lives & Legends of Warrior Women Across the Ancient World reveal that the skilled horse riders wore trousers; adorned themselves with tattoos, fought valiantly using recurve bows, battle-axes, slings and lassos, and enjoyed sexual freedom. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022248031-0TZ1VU1IC5DC8YS3QVO1/mcba-prize-2017-diane-jacobs-object-n-object-v-2.jpg Entries & Jurors - 2017 Entries - Diane Jacobs Portland, Oregon www.dianejacobs.net object n. object v. 2016 sculptural artist’s book edition of 4 12 pages 13″ x 27″ x 6″ open 13″ x 12″ x 12″ closed The left side of the box features body parts. Eggshells were filled with plaster and nipples were painted with oil paint. Each semicircular shelf is paired, on the obverse side with an excerpt from Ruby Blondell’s book Helen of Troy – Beauty, Myth, Devastation. The shocking quotes cut to the core of the sexist paradigm. Artist Statement Laughter is a powerful way to access the heart — to coax a viewer to let down their guard so that they can venture into new territory. My work is political and makes commentary on social justice issues; I challenge the status quo through artist’s books, installations, mixed-media sculpture, printmaking, and works on paper. I lure my audience with texture, juxtaposition, humor, and the unexpected. I use the sensual quality of letterpress-printed paper, the intrinsic meaning of found objects (such as military dog tags), and the element of surprise to seduce the viewer to come close, open their mind, be courageous, and make connections between power, greed, and exploitation. object n. object v. is a sculptural artist book that juxtaposes two very different realities for women who lived north of the Mediterranean Sea during Classical antiquity. Ancient Greek society regarded beauty along with chastity, as the most important characteristics for females; male desire objectified the female body. Beautiful women represented danger that had to be controlled, thus giving rise to an oppressive and misogynist culture. At the same time, an egalitarian nomadic society roamed from Thrace to as far east as Mongolia. These Scythian women warriors were known as Amazons. These starkly opposite realities simultaneously obscure and magnify our present day struggle for equality. object n. object v. is housed in a cylindrical box reminiscent of a Greek column, a wonder cabinet, and Pandora’s box. The left side of the box features body parts made of tangerine rind, eggshell, ceramic, and human hair on semicircular shelves. These are paired, on the obverse of the shelves, with excerpts from Ruby Blondell’s book Helen of Troy – Beauty, Myth, Devastation. The shocking quotes cut to the core of the sexist paradigm. The right side of the box tells an empowering story, unraveling the myths associated with the Amazons and offering evidence about the warrior queens’ legacy. Objects, images and excerpts from Adrienne Mayor’s book The Amazons: Lives & Legends of Warrior Women Across the Ancient World reveal that the skilled horse riders wore trousers; adorned themselves with tattoos, fought valiantly using recurve bows, battle-axes, slings and lassos, and enjoyed sexual freedom. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022249582-UIIOXV3LTF91ULMUMAZX/mcba-prize-2017-diane-jacobs-object-n-object-v-3.jpg Entries & Jurors - 2017 Entries - Diane Jacobs Portland, Oregon www.dianejacobs.net object n. object v. 2016 sculptural artist’s book edition of 4 12 pages 13″ x 27″ x 6″ open 13″ x 12″ x 12″ closed Human hair, the text is laser cut. Artist Statement Laughter is a powerful way to access the heart — to coax a viewer to let down their guard so that they can venture into new territory. My work is political and makes commentary on social justice issues; I challenge the status quo through artist’s books, installations, mixed-media sculpture, printmaking, and works on paper. I lure my audience with texture, juxtaposition, humor, and the unexpected. I use the sensual quality of letterpress-printed paper, the intrinsic meaning of found objects (such as military dog tags), and the element of surprise to seduce the viewer to come close, open their mind, be courageous, and make connections between power, greed, and exploitation. object n. object v. is a sculptural artist book that juxtaposes two very different realities for women who lived north of the Mediterranean Sea during Classical antiquity. Ancient Greek society regarded beauty along with chastity, as the most important characteristics for females; male desire objectified the female body. Beautiful women represented danger that had to be controlled, thus giving rise to an oppressive and misogynist culture. At the same time, an egalitarian nomadic society roamed from Thrace to as far east as Mongolia. These Scythian women warriors were known as Amazons. These starkly opposite realities simultaneously obscure and magnify our present day struggle for equality. object n. object v. is housed in a cylindrical box reminiscent of a Greek column, a wonder cabinet, and Pandora’s box. The left side of the box features body parts made of tangerine rind, eggshell, ceramic, and human hair on semicircular shelves. These are paired, on the obverse of the shelves, with excerpts from Ruby Blondell’s book Helen of Troy – Beauty, Myth, Devastation. The shocking quotes cut to the core of the sexist paradigm. The right side of the box tells an empowering story, unraveling the myths associated with the Amazons and offering evidence about the warrior queens’ legacy. Objects, images and excerpts from Adrienne Mayor’s book The Amazons: Lives & Legends of Warrior Women Across the Ancient World reveal that the skilled horse riders wore trousers; adorned themselves with tattoos, fought valiantly using recurve bows, battle-axes, slings and lassos, and enjoyed sexual freedom. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022250213-V6W2NVBSWAISBPZ4UBR2/mcba-prize-2017-diane-jacobs-object-n-object-v-4.jpg Entries & Jurors - 2017 Entries - Diane Jacobs Portland, Oregon www.dianejacobs.net object n. object v. 2016 sculptural artist’s book edition of 4 12 pages 13″ x 27″ x 6″ open 13″ x 12″ x 12″ closed The India ink Amazon figures were derived from imagery on ancient Greek pottery. Handset type and polymer plate images are letterpress printed on Johannot paper. Artist Statement Laughter is a powerful way to access the heart — to coax a viewer to let down their guard so that they can venture into new territory. My work is political and makes commentary on social justice issues; I challenge the status quo through artist’s books, installations, mixed-media sculpture, printmaking, and works on paper. I lure my audience with texture, juxtaposition, humor, and the unexpected. I use the sensual quality of letterpress-printed paper, the intrinsic meaning of found objects (such as military dog tags), and the element of surprise to seduce the viewer to come close, open their mind, be courageous, and make connections between power, greed, and exploitation. object n. object v. is a sculptural artist book that juxtaposes two very different realities for women who lived north of the Mediterranean Sea during Classical antiquity. Ancient Greek society regarded beauty along with chastity, as the most important characteristics for females; male desire objectified the female body. Beautiful women represented danger that had to be controlled, thus giving rise to an oppressive and misogynist culture. At the same time, an egalitarian nomadic society roamed from Thrace to as far east as Mongolia. These Scythian women warriors were known as Amazons. These starkly opposite realities simultaneously obscure and magnify our present day struggle for equality. object n. object v. is housed in a cylindrical box reminiscent of a Greek column, a wonder cabinet, and Pandora’s box. The left side of the box features body parts made of tangerine rind, eggshell, ceramic, and human hair on semicircular shelves. These are paired, on the obverse of the shelves, with excerpts from Ruby Blondell’s book Helen of Troy – Beauty, Myth, Devastation. The shocking quotes cut to the core of the sexist paradigm. The right side of the box tells an empowering story, unraveling the myths associated with the Amazons and offering evidence about the warrior queens’ legacy. Objects, images and excerpts from Adrienne Mayor’s book The Amazons: Lives & Legends of Warrior Women Across the Ancient World reveal that the skilled horse riders wore trousers; adorned themselves with tattoos, fought valiantly using recurve bows, battle-axes, slings and lassos, and enjoyed sexual freedom. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022250928-Q2BA5B5JHMVFCUA60H4B/mcba-prize-2017-diane-jacobs-object-n-object-v-5.jpg Entries & Jurors - 2017 Entries - Diane Jacobs Portland, Oregon www.dianejacobs.net object n. object v. 2016 sculptural artist’s book edition of 4 12 pages 13″ x 27″ x 6″ open 13″ x 12″ x 12″ closed 3-color letterpress printed hand drawn pop-up map. Other materials in project include: gold leaf, molded handmade cotton paper, acrylic balls, military dog tags, plaster, leather, brass and metal beads, wire, and antique glass & aluminum slide mounts; India ink on vellum, and water color. Artist Statement Laughter is a powerful way to access the heart — to coax a viewer to let down their guard so that they can venture into new territory. My work is political and makes commentary on social justice issues; I challenge the status quo through artist’s books, installations, mixed-media sculpture, printmaking, and works on paper. I lure my audience with texture, juxtaposition, humor, and the unexpected. I use the sensual quality of letterpress-printed paper, the intrinsic meaning of found objects (such as military dog tags), and the element of surprise to seduce the viewer to come close, open their mind, be courageous, and make connections between power, greed, and exploitation. object n. object v. is a sculptural artist book that juxtaposes two very different realities for women who lived north of the Mediterranean Sea during Classical antiquity. Ancient Greek society regarded beauty along with chastity, as the most important characteristics for females; male desire objectified the female body. Beautiful women represented danger that had to be controlled, thus giving rise to an oppressive and misogynist culture. At the same time, an egalitarian nomadic society roamed from Thrace to as far east as Mongolia. These Scythian women warriors were known as Amazons. These starkly opposite realities simultaneously obscure and magnify our present day struggle for equality. object n. object v. is housed in a cylindrical box reminiscent of a Greek column, a wonder cabinet, and Pandora’s box. The left side of the box features body parts made of tangerine rind, eggshell, ceramic, and human hair on semicircular shelves. These are paired, on the obverse of the shelves, with excerpts from Ruby Blondell’s book Helen of Troy – Beauty, Myth, Devastation. The shocking quotes cut to the core of the sexist paradigm. The right side of the box tells an empowering story, unraveling the myths associated with the Amazons and offering evidence about the warrior queens’ legacy. Objects, images and excerpts from Adrienne Mayor’s book The Amazons: Lives & Legends of Warrior Women Across the Ancient World reveal that the skilled horse riders wore trousers; adorned themselves with tattoos, fought valiantly using recurve bows, battle-axes, slings and lassos, and enjoyed sexual freedom. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022387869-JAFLI7HPLESFFW3ICJV7/mcba-prize-2017-alexandra-janezic-punctuated-weaving-1.jpg Entries & Jurors - 2017 Entries - Alexandra Janezic Iowa City, Iowa www.alexandrajanezic.com Punctuated Weaving 2015 Metal type, polymer plates, letterpress printed, clamshell box enclosure Edition of 25 7 pages 14.75 x 21 x .75 inches open 14.75 x 10 x 1 inches closed Artist Statement Alexandra Janezic is a visual artist and letterpress printer. She is interested in the intersection between text and image, particularly where text has the potential to become image. Her most recent work is a series of letterpress printed ‘weavings,’ using punctuation to create images reminiscent of woven textiles. Alexandra strives to use simple materials: paper, ink, and metal type, to create forms which describe the complicated patterns of humanity. Her work is an exploration of mark making, using the tools humans have developed to communicate and distribute language. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022387451-OYA9P8A13VGTUZBKJD0J/mcba-prize-2017-alexandra-janezic-punctuated-weaving-2.jpg Entries & Jurors - 2017 Entries - Alexandra Janezic Iowa City, Iowa www.alexandrajanezic.com Punctuated Weaving 2015 Metal type, polymer plates, letterpress printed, clamshell box enclosure Edition of 25 7 pages 14.75 x 21 x .75 inches open 14.75 x 10 x 1 inches closed Artist Statement Alexandra Janezic is a visual artist and letterpress printer. She is interested in the intersection between text and image, particularly where text has the potential to become image. Her most recent work is a series of letterpress printed ‘weavings,’ using punctuation to create images reminiscent of woven textiles. Alexandra strives to use simple materials: paper, ink, and metal type, to create forms which describe the complicated patterns of humanity. Her work is an exploration of mark making, using the tools humans have developed to communicate and distribute language. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022389309-KYCJZ41WGM4DYTQPNZU9/mcba-prize-2017-alexandra-janezic-punctuated-weaving-3.jpg Entries & Jurors - 2017 Entries - Alexandra Janezic Iowa City, Iowa www.alexandrajanezic.com Punctuated Weaving 2015 Metal type, polymer plates, letterpress printed, clamshell box enclosure Edition of 25 7 pages 14.75 x 21 x .75 inches open 14.75 x 10 x 1 inches closed Artist Statement Alexandra Janezic is a visual artist and letterpress printer. She is interested in the intersection between text and image, particularly where text has the potential to become image. Her most recent work is a series of letterpress printed ‘weavings,’ using punctuation to create images reminiscent of woven textiles. Alexandra strives to use simple materials: paper, ink, and metal type, to create forms which describe the complicated patterns of humanity. Her work is an exploration of mark making, using the tools humans have developed to communicate and distribute language. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022389895-A8W46YYDTF8JNUOE3G6D/mcba-prize-2017-alexandra-janezic-punctuated-weaving-4.jpg Entries & Jurors - 2017 Entries - Alexandra Janezic Iowa City, Iowa www.alexandrajanezic.com Punctuated Weaving 2015 Metal type, polymer plates, letterpress printed, clamshell box enclosure Edition of 25 7 pages 14.75 x 21 x .75 inches open 14.75 x 10 x 1 inches closed Artist Statement Alexandra Janezic is a visual artist and letterpress printer. She is interested in the intersection between text and image, particularly where text has the potential to become image. Her most recent work is a series of letterpress printed ‘weavings,’ using punctuation to create images reminiscent of woven textiles. Alexandra strives to use simple materials: paper, ink, and metal type, to create forms which describe the complicated patterns of humanity. Her work is an exploration of mark making, using the tools humans have developed to communicate and distribute language. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022390215-4IZDY9DAVRNLU9JL2RZV/mcba-prize-2017-alexandra-janezic-punctuated-weaving-5.jpg Entries & Jurors - 2017 Entries - Alexandra Janezic Iowa City, Iowa www.alexandrajanezic.com Punctuated Weaving 2015 Metal type, polymer plates, letterpress printed, clamshell box enclosure Edition of 25 7 pages 14.75 x 21 x .75 inches open 14.75 x 10 x 1 inches closed Artist Statement Alexandra Janezic is a visual artist and letterpress printer. She is interested in the intersection between text and image, particularly where text has the potential to become image. Her most recent work is a series of letterpress printed ‘weavings,’ using punctuation to create images reminiscent of woven textiles. Alexandra strives to use simple materials: paper, ink, and metal type, to create forms which describe the complicated patterns of humanity. Her work is an exploration of mark making, using the tools humans have developed to communicate and distribute language. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022500235-XG7YN7SFJN41QMX9EYUI/mcba-prize-2017-paul-johnson-flying-cathedral-1.jpg Entries & Jurors - 2017 Entries - Paul Johnson Cheadle Hulme, Stockport, UK www.bookart.co.uk Flying Cathedral 2017 Pop-up paper engineering 36cm x36cm x 27cm open 36cm x 32cm x 14cm closed Artist Statement The Flying Cathedral. I have taken the 1950s classic French film – The Red Balloon as my starting point, but here it is a cathedral that is lifted off the ground by balloons rather than a small boy. The famous wooded churches of Russia – many of them sadly falling down – is a sub-theme, so the cathedral appears to be collapsing. Pop-up storybook narrative – a small boy, grandson of the cathedral janitor saves the building by tying balloons to it so that it floats up into the sky. The story, illustrations, paper engineering, sculptural cover are all by the book artist. Saunders Waterford watercolour paper is dyed with industrial textile dyes with gold leaf and pen and ink overlays. None of the pop-ups have folds – all units joined by interlocking units and dovetail joints. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022499927-3PZSATSMRBD3UP4QJQ5Z/mcba-prize-2017-paul-johnson-flying-cathedral-2.jpg Entries & Jurors - 2017 Entries - Paul Johnson Cheadle Hulme, Stockport, UK www.bookart.co.uk Flying Cathedral 2017 Pop-up paper engineering 36cm x36cm x 27cm open 36cm x 32cm x 14cm closed Artist Statement The Flying Cathedral. I have taken the 1950s classic French film – The Red Balloon as my starting point, but here it is a cathedral that is lifted off the ground by balloons rather than a small boy. The famous wooded churches of Russia – many of them sadly falling down – is a sub-theme, so the cathedral appears to be collapsing. Pop-up storybook narrative – a small boy, grandson of the cathedral janitor saves the building by tying balloons to it so that it floats up into the sky. The story, illustrations, paper engineering, sculptural cover are all by the book artist. Saunders Waterford watercolour paper is dyed with industrial textile dyes with gold leaf and pen and ink overlays. None of the pop-ups have folds – all units joined by interlocking units and dovetail joints. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022501344-SR9TS8NBYI347PI29NS2/mcba-prize-2017-paul-johnson-flying-cathedral-3.jpg Entries & Jurors - 2017 Entries - Paul Johnson Cheadle Hulme, Stockport, UK www.bookart.co.uk Flying Cathedral 2017 Pop-up paper engineering 36cm x36cm x 27cm open 36cm x 32cm x 14cm closed Artist Statement The Flying Cathedral. I have taken the 1950s classic French film – The Red Balloon as my starting point, but here it is a cathedral that is lifted off the ground by balloons rather than a small boy. The famous wooded churches of Russia – many of them sadly falling down – is a sub-theme, so the cathedral appears to be collapsing. Pop-up storybook narrative – a small boy, grandson of the cathedral janitor saves the building by tying balloons to it so that it floats up into the sky. The story, illustrations, paper engineering, sculptural cover are all by the book artist. Saunders Waterford watercolour paper is dyed with industrial textile dyes with gold leaf and pen and ink overlays. None of the pop-ups have folds – all units joined by interlocking units and dovetail joints. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022502082-R7YWDXY8YPWPQ4BX3LCV/mcba-prize-2017-paul-johnson-flying-cathedral-4.jpg Entries & Jurors - 2017 Entries - Paul Johnson Cheadle Hulme, Stockport, UK www.bookart.co.uk Flying Cathedral 2017 Pop-up paper engineering 36cm x36cm x 27cm open 36cm x 32cm x 14cm closed Artist Statement The Flying Cathedral. I have taken the 1950s classic French film – The Red Balloon as my starting point, but here it is a cathedral that is lifted off the ground by balloons rather than a small boy. The famous wooded churches of Russia – many of them sadly falling down – is a sub-theme, so the cathedral appears to be collapsing. Pop-up storybook narrative – a small boy, grandson of the cathedral janitor saves the building by tying balloons to it so that it floats up into the sky. The story, illustrations, paper engineering, sculptural cover are all by the book artist. Saunders Waterford watercolour paper is dyed with industrial textile dyes with gold leaf and pen and ink overlays. None of the pop-ups have folds – all units joined by interlocking units and dovetail joints. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022579993-SGHPL5ABSDJR0SMAG6FT/mcba-prize-2017-reza-kalfane-island-1.jpg Entries & Jurors - 2017 Entries - Réza Kalfane Lessard, Gévezé, FRANCE ÍSLAND 2017 Silver offset on 120g soft black-tinted paper, tritones offset dried by ultra violet on 145g textured white paper 500 of which 200 are signed and numbered 116 42 x 26 cm 21 x 26 cm Jacket cover printed with silver ink on thick black-tinted paper Artist Statement ÍSLAND, the first book of Réza offers a photographic story in a three-part progression: mysterious, picturesque and unexpected. This visual story begins with a series of waterfalls that punctuate the landscape of the country and the tourist’s itinerary. Revealed through a play of light and shadow, each image evokes the atmosphere of the Icelandic legends the waterfalls are named after. The story continues with images of a timeless and rugged landscape. With the same graphic interest, Réza captures the profile of a glacier or the juxtaposition of black sand and snow. ÍSLAND ends with aerial views that merge the contrasting abstract yet organic qualities of this unique landscape. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022579514-O25MOFV00FF702SDGI5D/mcba-prize-2017-reza-kalfane-island-2.jpg Entries & Jurors - 2017 Entries - Réza Kalfane Lessard, Gévezé, FRANCE ÍSLAND 2017 Silver offset on 120g soft black-tinted paper, tritones offset dried by ultra violet on 145g textured white paper 500 of which 200 are signed and numbered 116 42 x 26 cm 21 x 26 cm Hardcover marked with the title Artist Statement ÍSLAND, the first book of Réza offers a photographic story in a three-part progression: mysterious, picturesque and unexpected. This visual story begins with a series of waterfalls that punctuate the landscape of the country and the tourist’s itinerary. Revealed through a play of light and shadow, each image evokes the atmosphere of the Icelandic legends the waterfalls are named after. The story continues with images of a timeless and rugged landscape. With the same graphic interest, Réza captures the profile of a glacier or the juxtaposition of black sand and snow. ÍSLAND ends with aerial views that merge the contrasting abstract yet organic qualities of this unique landscape. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022580999-QTCOS1OL0WR7M2VUOTA1/mcba-prize-2017-reza-kalfane-island-3.jpg Entries & Jurors - 2017 Entries - Réza Kalfane Lessard, Gévezé, FRANCE ÍSLAND 2017 Silver offset on 120g soft black-tinted paper, tritones offset dried by ultra violet on 145g textured white paper 500 of which 200 are signed and numbered 116 42 x 26 cm 21 x 26 cm Part I of the book with some beautiful waterfalls, printed with silver ink on black-tinted paper Artist Statement ÍSLAND, the first book of Réza offers a photographic story in a three-part progression: mysterious, picturesque and unexpected. This visual story begins with a series of waterfalls that punctuate the landscape of the country and the tourist’s itinerary. Revealed through a play of light and shadow, each image evokes the atmosphere of the Icelandic legends the waterfalls are named after. The story continues with images of a timeless and rugged landscape. With the same graphic interest, Réza captures the profile of a glacier or the juxtaposition of black sand and snow. ÍSLAND ends with aerial views that merge the contrasting abstract yet organic qualities of this unique landscape. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022581104-3QVC3S4BCJFSJEO3U3HF/mcba-prize-2017-reza-kalfane-island-4.jpg Entries & Jurors - 2017 Entries - Réza Kalfane Lessard, Gévezé, FRANCE ÍSLAND 2017 Silver offset on 120g soft black-tinted paper, tritones offset dried by ultra violet on 145g textured white paper 500 of which 200 are signed and numbered 116 42 x 26 cm 21 x 26 cm Part II of the book with black and white pictures, printed using tritones dried by ultra violet Artist Statement ÍSLAND, the first book of Réza offers a photographic story in a three-part progression: mysterious, picturesque and unexpected. This visual story begins with a series of waterfalls that punctuate the landscape of the country and the tourist’s itinerary. Revealed through a play of light and shadow, each image evokes the atmosphere of the Icelandic legends the waterfalls are named after. The story continues with images of a timeless and rugged landscape. With the same graphic interest, Réza captures the profile of a glacier or the juxtaposition of black sand and snow. ÍSLAND ends with aerial views that merge the contrasting abstract yet organic qualities of this unique landscape. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022582147-5KW6FIN1GFA4S4R6CFSA/mcba-prize-2017-reza-kalfane-island-5.jpg Entries & Jurors - 2017 Entries - Réza Kalfane Lessard, Gévezé, FRANCE ÍSLAND 2017 Silver offset on 120g soft black-tinted paper, tritones offset dried by ultra violet on 145g textured white paper 500 of which 200 are signed and numbered 116 42 x 26 cm 21 x 26 cm Part III of the book with abstract aerial shots, printed with silver ink on black-tinted paper Artist Statement ÍSLAND, the first book of Réza offers a photographic story in a three-part progression: mysterious, picturesque and unexpected. This visual story begins with a series of waterfalls that punctuate the landscape of the country and the tourist’s itinerary. Revealed through a play of light and shadow, each image evokes the atmosphere of the Icelandic legends the waterfalls are named after. The story continues with images of a timeless and rugged landscape. With the same graphic interest, Réza captures the profile of a glacier or the juxtaposition of black sand and snow. ÍSLAND ends with aerial views that merge the contrasting abstract yet organic qualities of this unique landscape. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022773613-9RSGJI63TZIBC2P7MHQ2/mcba-prize-2017-ravikumar-kashi-book-of-destiny-1.jpg Entries & Jurors - 2017 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com Book of Destiny 2016 Ink and photocopy transfer on Japanese raka stained Hanji paper. Korean binding. Unique book. 25 pages H 9″ x W25”x D 1/2″ open H 9″ x W 12.5”x D 1/2″ closed Book of destiny https://youtu.be/bhFd24GOaJU Artist Statement Ever since I was young, we were told that ‘destiny‘ decides what happens in one’s life. That if it is ‘written’ it will happen. This is an idea ingrained in the Indian ethos. Being young and rebellious, I questioned and fought this diktat every inch. For me choice was everything; choice was dignity. I didn’t subscribe to the idea that without His will, not even a blade of grass can move (tEna vina truNamapi na chalati). But I slowly realized, one need not take this so rigidly; that in every given situation there are some possibilities which can be chosen, and those in turn will lead to more choices. So, I feel that by acting on those choices I’m making my own destiny. It is a commingling of the choices that were given and the ones which were taken. ‘Karma’, the action, will decide further karma. And so, the story continues. For me the grid is like an analogy for destiny. It is like a map with points as registers for action and destiny. The options taken initially decide further moves. I also wanted to bring various approaches possible when faced with a fixed grid/ destiny: co-opt, obey, follow, succumb, fight, resist and overcome. I adopted the worn-out look to bring forth the idea of a book that contains ancient wisdom that has survived through the ages, or a witness to a battle that is afoot between ‘destiny’ and ‘choice’ since time immemorial. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022773613-VG15QSP0WSRJEOKGQ4RZ/mcba-prize-2017-ravikumar-kashi-book-of-destiny-2.jpg Entries & Jurors - 2017 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com Book of Destiny 2016 Ink and photocopy transfer on Japanese raka stained Hanji paper. Korean binding. Unique book. 25 pages H 9″ x W25”x D 1/2″ open H 9″ x W 12.5”x D 1/2″ closed Book of destiny https://youtu.be/bhFd24GOaJU Artist Statement Ever since I was young, we were told that ‘destiny‘ decides what happens in one’s life. That if it is ‘written’ it will happen. This is an idea ingrained in the Indian ethos. Being young and rebellious, I questioned and fought this diktat every inch. For me choice was everything; choice was dignity. I didn’t subscribe to the idea that without His will, not even a blade of grass can move (tEna vina truNamapi na chalati). But I slowly realized, one need not take this so rigidly; that in every given situation there are some possibilities which can be chosen, and those in turn will lead to more choices. So, I feel that by acting on those choices I’m making my own destiny. It is a commingling of the choices that were given and the ones which were taken. ‘Karma’, the action, will decide further karma. And so, the story continues. For me the grid is like an analogy for destiny. It is like a map with points as registers for action and destiny. The options taken initially decide further moves. I also wanted to bring various approaches possible when faced with a fixed grid/ destiny: co-opt, obey, follow, succumb, fight, resist and overcome. I adopted the worn-out look to bring forth the idea of a book that contains ancient wisdom that has survived through the ages, or a witness to a battle that is afoot between ‘destiny’ and ‘choice’ since time immemorial. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022775135-HEU1PGJ95CLZVG5P5DUW/mcba-prize-2017-ravikumar-kashi-book-of-destiny-3.jpg Entries & Jurors - 2017 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com Book of Destiny 2016 Ink and photocopy transfer on Japanese raka stained Hanji paper. Korean binding. Unique book. 25 pages H 9″ x W25”x D 1/2″ open H 9″ x W 12.5”x D 1/2″ closed Book of destiny https://youtu.be/bhFd24GOaJU Artist Statement Ever since I was young, we were told that ‘destiny‘ decides what happens in one’s life. That if it is ‘written’ it will happen. This is an idea ingrained in the Indian ethos. Being young and rebellious, I questioned and fought this diktat every inch. For me choice was everything; choice was dignity. I didn’t subscribe to the idea that without His will, not even a blade of grass can move (tEna vina truNamapi na chalati). But I slowly realized, one need not take this so rigidly; that in every given situation there are some possibilities which can be chosen, and those in turn will lead to more choices. So, I feel that by acting on those choices I’m making my own destiny. It is a commingling of the choices that were given and the ones which were taken. ‘Karma’, the action, will decide further karma. And so, the story continues. For me the grid is like an analogy for destiny. It is like a map with points as registers for action and destiny. The options taken initially decide further moves. I also wanted to bring various approaches possible when faced with a fixed grid/ destiny: co-opt, obey, follow, succumb, fight, resist and overcome. I adopted the worn-out look to bring forth the idea of a book that contains ancient wisdom that has survived through the ages, or a witness to a battle that is afoot between ‘destiny’ and ‘choice’ since time immemorial. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022775282-41L6K7UG41Q69G9VI8SV/mcba-prize-2017-ravikumar-kashi-book-of-destiny-4.jpg Entries & Jurors - 2017 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com Book of Destiny 2016 Ink and photocopy transfer on Japanese raka stained Hanji paper. Korean binding. Unique book. 25 pages H 9″ x W25”x D 1/2″ open H 9″ x W 12.5”x D 1/2″ closed Book of destiny https://youtu.be/bhFd24GOaJU Artist Statement Ever since I was young, we were told that ‘destiny‘ decides what happens in one’s life. That if it is ‘written’ it will happen. This is an idea ingrained in the Indian ethos. Being young and rebellious, I questioned and fought this diktat every inch. For me choice was everything; choice was dignity. I didn’t subscribe to the idea that without His will, not even a blade of grass can move (tEna vina truNamapi na chalati). But I slowly realized, one need not take this so rigidly; that in every given situation there are some possibilities which can be chosen, and those in turn will lead to more choices. So, I feel that by acting on those choices I’m making my own destiny. It is a commingling of the choices that were given and the ones which were taken. ‘Karma’, the action, will decide further karma. And so, the story continues. For me the grid is like an analogy for destiny. It is like a map with points as registers for action and destiny. The options taken initially decide further moves. I also wanted to bring various approaches possible when faced with a fixed grid/ destiny: co-opt, obey, follow, succumb, fight, resist and overcome. I adopted the worn-out look to bring forth the idea of a book that contains ancient wisdom that has survived through the ages, or a witness to a battle that is afoot between ‘destiny’ and ‘choice’ since time immemorial. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022836564-E9QJTC4N72WHEQWZD406/mcba-prize-2017-ravikumar-kashi-cross-talk-1.jpg Entries & Jurors - 2017 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com Cross Talk 2016 Water mark created in Daphne paper interleaved with black sheets. Korean binding. Unique book. 24 pages H 10″ x W 18″ x 1″ open H 10″ x W 10″ x 1″ closed https://youtu.be/AEuliAWECI4 Artist Statement Cross Talk is a work about two people / groups/ nations in conflict. Work suggests an ongoing dialogue but there is hardly any meaningful communication happening because each one is playing aggressor and victim in turns and they can’t agree on any fixed position because they keep changing their views and a resolution seems far away. The work is inspired by the ideas of Transaction Analysis and an understanding gained from reading about human transactions in the frame work of TA. The work itself was done keeping the Indo-Pak relations in mind. I wanted to bring analogies for the troubled relations we share. But people who saw the work also felt that it sounded like a couple quarrelling. Each image was created as a water mark keeping in mind that only when you hold some of these issues against light and examine them that the truth is revealed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022836601-J6FEFDFZIPIP1ZXLG5OB/mcba-prize-2017-ravikumar-kashi-cross-talk-2.jpg Entries & Jurors - 2017 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com Cross Talk 2016 Water mark created in Daphne paper interleaved with black sheets. Korean binding. Unique book. 24 pages H 10″ x W 18″ x 1″ open H 10″ x W 10″ x 1″ closed https://youtu.be/AEuliAWECI4 Artist Statement Cross Talk is a work about two people / groups/ nations in conflict. Work suggests an ongoing dialogue but there is hardly any meaningful communication happening because each one is playing aggressor and victim in turns and they can’t agree on any fixed position because they keep changing their views and a resolution seems far away. The work is inspired by the ideas of Transaction Analysis and an understanding gained from reading about human transactions in the frame work of TA. The work itself was done keeping the Indo-Pak relations in mind. I wanted to bring analogies for the troubled relations we share. But people who saw the work also felt that it sounded like a couple quarrelling. Each image was created as a water mark keeping in mind that only when you hold some of these issues against light and examine them that the truth is revealed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022837808-6W7XE5VVRXSBH9J9D0IR/mcba-prize-2017-ravikumar-kashi-cross-talk-3.jpg Entries & Jurors - 2017 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com Cross Talk 2016 Water mark created in Daphne paper interleaved with black sheets. Korean binding. Unique book. 24 pages H 10″ x W 18″ x 1″ open H 10″ x W 10″ x 1″ closed https://youtu.be/AEuliAWECI4 Artist Statement Cross Talk is a work about two people / groups/ nations in conflict. Work suggests an ongoing dialogue but there is hardly any meaningful communication happening because each one is playing aggressor and victim in turns and they can’t agree on any fixed position because they keep changing their views and a resolution seems far away. The work is inspired by the ideas of Transaction Analysis and an understanding gained from reading about human transactions in the frame work of TA. The work itself was done keeping the Indo-Pak relations in mind. I wanted to bring analogies for the troubled relations we share. But people who saw the work also felt that it sounded like a couple quarrelling. Each image was created as a water mark keeping in mind that only when you hold some of these issues against light and examine them that the truth is revealed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774022838247-EZHT9NGTP8YNOHT84H2B/mcba-prize-2017-ravikumar-kashi-cross-talk-4.jpg Entries & Jurors - 2017 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com Cross Talk 2016 Water mark created in Daphne paper interleaved with black sheets. Korean binding. Unique book. 24 pages H 10″ x W 18″ x 1″ open H 10″ x W 10″ x 1″ closed https://youtu.be/AEuliAWECI4 Artist Statement Cross Talk is a work about two people / groups/ nations in conflict. Work suggests an ongoing dialogue but there is hardly any meaningful communication happening because each one is playing aggressor and victim in turns and they can’t agree on any fixed position because they keep changing their views and a resolution seems far away. The work is inspired by the ideas of Transaction Analysis and an understanding gained from reading about human transactions in the frame work of TA. The work itself was done keeping the Indo-Pak relations in mind. I wanted to bring analogies for the troubled relations we share. But people who saw the work also felt that it sounded like a couple quarrelling. Each image was created as a water mark keeping in mind that only when you hold some of these issues against light and examine them that the truth is revealed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023579182-3BDIX4O82LOKURA84HX1/mcba-prize-2017-ravikumar-kashi-in-my-beginning-is-my-end-in-my-end-is-my-beginning-1.jpg Entries & Jurors - 2017 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com in my beginning is my end… in my end is my beginning 2016 White board, photocopy transfer and marker on OHP sheet. Unique book. 12 pages variable H 8″ x W 12″ x 1/2″ closed Artist Statement ’in my beginning is my end… in my end is my beginning’ book is about choices and their outcome. It is also about cyclical nature of beginning and endings. Minor choices made in each stage come together to form final picture. When the alignments change new patterns emerge, throwing up new possibilities. Nothing is final or fixed. In this book, created using OHP sheets, there are twelve pages. Each page has the same grid and in each page the grid is connected / utilized in a unique way. The choices made are recorded with red lines which form a pattern. All marks come together to make a bigger picture / pattern. The sheets are anchored in a corner and can rotate in circular fashion. Thus one can go round and round without a definitive beginning or an end. I’m using it as a metaphor for our life where small decisions become part of bigger scheme of things. And what seems like an ending can be a beginning for something new or vice versa. The title lines are taken from T.S. Elliot’s poetry. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023579031-GR6RR6QXRUPW5H7EQP4H/mcba-prize-2017-ravikumar-kashi-in-my-beginning-is-my-end-in-my-end-is-my-beginning-2.jpg Entries & Jurors - 2017 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com in my beginning is my end… in my end is my beginning 2016 White board, photocopy transfer and marker on OHP sheet. Unique book. 12 pages variable H 8″ x W 12″ x 1/2″ closed Artist Statement ’in my beginning is my end… in my end is my beginning’ book is about choices and their outcome. It is also about cyclical nature of beginning and endings. Minor choices made in each stage come together to form final picture. When the alignments change new patterns emerge, throwing up new possibilities. Nothing is final or fixed. In this book, created using OHP sheets, there are twelve pages. Each page has the same grid and in each page the grid is connected / utilized in a unique way. The choices made are recorded with red lines which form a pattern. All marks come together to make a bigger picture / pattern. The sheets are anchored in a corner and can rotate in circular fashion. Thus one can go round and round without a definitive beginning or an end. I’m using it as a metaphor for our life where small decisions become part of bigger scheme of things. And what seems like an ending can be a beginning for something new or vice versa. The title lines are taken from T.S. Elliot’s poetry. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023580275-39PGW1RJOU5BFCEWR713/mcba-prize-2017-ravikumar-kashi-in-my-beginning-is-my-end-in-my-end-is-my-beginning-3.jpg Entries & Jurors - 2017 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com in my beginning is my end… in my end is my beginning 2016 White board, photocopy transfer and marker on OHP sheet. Unique book. 12 pages variable H 8″ x W 12″ x 1/2″ closed Artist Statement ’in my beginning is my end… in my end is my beginning’ book is about choices and their outcome. It is also about cyclical nature of beginning and endings. Minor choices made in each stage come together to form final picture. When the alignments change new patterns emerge, throwing up new possibilities. Nothing is final or fixed. In this book, created using OHP sheets, there are twelve pages. Each page has the same grid and in each page the grid is connected / utilized in a unique way. The choices made are recorded with red lines which form a pattern. All marks come together to make a bigger picture / pattern. The sheets are anchored in a corner and can rotate in circular fashion. Thus one can go round and round without a definitive beginning or an end. I’m using it as a metaphor for our life where small decisions become part of bigger scheme of things. And what seems like an ending can be a beginning for something new or vice versa. The title lines are taken from T.S. Elliot’s poetry. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023581206-BMAD4GMZ7LOGP7LV112U/mcba-prize-2017-ravikumar-kashi-in-my-beginning-is-my-end-in-my-end-is-my-beginning-4.jpg Entries & Jurors - 2017 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com in my beginning is my end… in my end is my beginning 2016 White board, photocopy transfer and marker on OHP sheet. Unique book. 12 pages variable H 8″ x W 12″ x 1/2″ closed Artist Statement ’in my beginning is my end… in my end is my beginning’ book is about choices and their outcome. It is also about cyclical nature of beginning and endings. Minor choices made in each stage come together to form final picture. When the alignments change new patterns emerge, throwing up new possibilities. Nothing is final or fixed. In this book, created using OHP sheets, there are twelve pages. Each page has the same grid and in each page the grid is connected / utilized in a unique way. The choices made are recorded with red lines which form a pattern. All marks come together to make a bigger picture / pattern. The sheets are anchored in a corner and can rotate in circular fashion. Thus one can go round and round without a definitive beginning or an end. I’m using it as a metaphor for our life where small decisions become part of bigger scheme of things. And what seems like an ending can be a beginning for something new or vice versa. The title lines are taken from T.S. Elliot’s poetry. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023581639-JV6UFBSIEQHA4KR00O3D/mcba-prize-2017-ravikumar-kashi-in-my-beginning-is-my-end-in-my-end-is-my-beginning-5.jpg Entries & Jurors - 2017 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com in my beginning is my end… in my end is my beginning 2016 White board, photocopy transfer and marker on OHP sheet. Unique book. 12 pages variable H 8″ x W 12″ x 1/2″ closed Artist Statement ’in my beginning is my end… in my end is my beginning’ book is about choices and their outcome. It is also about cyclical nature of beginning and endings. Minor choices made in each stage come together to form final picture. When the alignments change new patterns emerge, throwing up new possibilities. Nothing is final or fixed. In this book, created using OHP sheets, there are twelve pages. Each page has the same grid and in each page the grid is connected / utilized in a unique way. The choices made are recorded with red lines which form a pattern. All marks come together to make a bigger picture / pattern. The sheets are anchored in a corner and can rotate in circular fashion. Thus one can go round and round without a definitive beginning or an end. I’m using it as a metaphor for our life where small decisions become part of bigger scheme of things. And what seems like an ending can be a beginning for something new or vice versa. The title lines are taken from T.S. Elliot’s poetry. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023652352-ZHP5G75QPARFYLTN9KZ7/mcba-prize-2017-ravikumar-kashi-together-we-can-be-something-1.jpg Entries & Jurors - 2017 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com Together we can be something… 2017 Ink on cast cotton rag pulp. Korean Binding. Unique book. 19 pages H 10″ x W 20″ x 2″ open H 10″ x W 10″ x 2″ closed Artist Statement We live in troubled times. There is a wave of polarisation and of dividing people sweeping across the world rather than uniting them. Dividing them into ever smaller identities based on class, colour, caste, language, ethnicity. At times it looks like we are becoming floating islands with no connectivity. The fact is when people come together many positive things are achieved. I wanted to emphasize that positive aspect as well as the many innovative ways of coming together other than the readily available templates. While forming the sheets DIY craft kit templates are used to achieve the relief motifs. In these kits, pieces come together to create a form. In each page I have used pieces that are seen in the template to create my own form. It is as if my drawings illustrate various possibilities of these pieces coming together. Each page carries the sentence ‘ ‘Together we can be something…’ with varied gaps between the letters there by generating funny and garbled sentences, calling our attention to the fact that coming together and separation are nuanced acts and cannot be achieved blindly. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023652453-BFWVK8KDYM8D40SMEJMW/mcba-prize-2017-ravikumar-kashi-together-we-can-be-something-2.jpg Entries & Jurors - 2017 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com Together we can be something… 2017 Ink on cast cotton rag pulp. Korean Binding. Unique book. 19 pages H 10″ x W 20″ x 2″ open H 10″ x W 10″ x 2″ closed Artist Statement We live in troubled times. There is a wave of polarisation and of dividing people sweeping across the world rather than uniting them. Dividing them into ever smaller identities based on class, colour, caste, language, ethnicity. At times it looks like we are becoming floating islands with no connectivity. The fact is when people come together many positive things are achieved. I wanted to emphasize that positive aspect as well as the many innovative ways of coming together other than the readily available templates. While forming the sheets DIY craft kit templates are used to achieve the relief motifs. In these kits, pieces come together to create a form. In each page I have used pieces that are seen in the template to create my own form. It is as if my drawings illustrate various possibilities of these pieces coming together. Each page carries the sentence ‘ ‘Together we can be something…’ with varied gaps between the letters there by generating funny and garbled sentences, calling our attention to the fact that coming together and separation are nuanced acts and cannot be achieved blindly. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023653797-1MVQ78LPVHO976ZXUXD0/mcba-prize-2017-ravikumar-kashi-together-we-can-be-something-3.jpg Entries & Jurors - 2017 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com Together we can be something… 2017 Ink on cast cotton rag pulp. Korean Binding. Unique book. 19 pages H 10″ x W 20″ x 2″ open H 10″ x W 10″ x 2″ closed Artist Statement We live in troubled times. There is a wave of polarisation and of dividing people sweeping across the world rather than uniting them. Dividing them into ever smaller identities based on class, colour, caste, language, ethnicity. At times it looks like we are becoming floating islands with no connectivity. The fact is when people come together many positive things are achieved. I wanted to emphasize that positive aspect as well as the many innovative ways of coming together other than the readily available templates. While forming the sheets DIY craft kit templates are used to achieve the relief motifs. In these kits, pieces come together to create a form. In each page I have used pieces that are seen in the template to create my own form. It is as if my drawings illustrate various possibilities of these pieces coming together. Each page carries the sentence ‘ ‘Together we can be something…’ with varied gaps between the letters there by generating funny and garbled sentences, calling our attention to the fact that coming together and separation are nuanced acts and cannot be achieved blindly. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023654469-BXAXCIT4TQNPLO52UCBC/mcba-prize-2017-ravikumar-kashi-together-we-can-be-something-4.jpg Entries & Jurors - 2017 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com Together we can be something… 2017 Ink on cast cotton rag pulp. Korean Binding. Unique book. 19 pages H 10″ x W 20″ x 2″ open H 10″ x W 10″ x 2″ closed Artist Statement We live in troubled times. There is a wave of polarisation and of dividing people sweeping across the world rather than uniting them. Dividing them into ever smaller identities based on class, colour, caste, language, ethnicity. At times it looks like we are becoming floating islands with no connectivity. The fact is when people come together many positive things are achieved. I wanted to emphasize that positive aspect as well as the many innovative ways of coming together other than the readily available templates. While forming the sheets DIY craft kit templates are used to achieve the relief motifs. In these kits, pieces come together to create a form. In each page I have used pieces that are seen in the template to create my own form. It is as if my drawings illustrate various possibilities of these pieces coming together. Each page carries the sentence ‘ ‘Together we can be something…’ with varied gaps between the letters there by generating funny and garbled sentences, calling our attention to the fact that coming together and separation are nuanced acts and cannot be achieved blindly. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023655558-1PGCVLKJRJKW4C1EQKZ8/mcba-prize-2017-ravikumar-kashi-together-we-can-be-something-5.jpg Entries & Jurors - 2017 Entries - Ravikumar Kashi Bangalore, India www.ravikashi.com Together we can be something… 2017 Ink on cast cotton rag pulp. Korean Binding. Unique book. 19 pages H 10″ x W 20″ x 2″ open H 10″ x W 10″ x 2″ closed Artist Statement We live in troubled times. There is a wave of polarisation and of dividing people sweeping across the world rather than uniting them. Dividing them into ever smaller identities based on class, colour, caste, language, ethnicity. At times it looks like we are becoming floating islands with no connectivity. The fact is when people come together many positive things are achieved. I wanted to emphasize that positive aspect as well as the many innovative ways of coming together other than the readily available templates. While forming the sheets DIY craft kit templates are used to achieve the relief motifs. In these kits, pieces come together to create a form. In each page I have used pieces that are seen in the template to create my own form. It is as if my drawings illustrate various possibilities of these pieces coming together. Each page carries the sentence ‘ ‘Together we can be something…’ with varied gaps between the letters there by generating funny and garbled sentences, calling our attention to the fact that coming together and separation are nuanced acts and cannot be achieved blindly. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023771784-A1H3O5CKH1W7LQUDT0DF/mcba-prize-2017-vesna-kittelson-babel-library-1.jpg Entries & Jurors - 2017 Entries - Vesna Kittelson BROKEN and MENDED I 2017 Two altered second hand dictionaries, cut and restructured with string and encaustic 10 inches high by 8 inches wide, 2 inches deep Artist’s Statement In my altered books project – Babel Library – I synthesize ideas and visual elements that relate to misunderstandings and conflicts between different human groups and nations. My intention is to explore visually, what underlies the deep fears and uncertainties that complicate engagements inside and outside our society today. I abstracted didactic aspects of the ancient myth of the Tower of Babel. By using foreign language dictionaries, I emphasize that communication through different languages is frequently labeled as responsible for misunderstandings between different groups or governments – and also – that language is often a victim of war (libraries are frequently burned). This led to the idea of creating art work – Babel Library – featuring designed metal book stacks, and plinths, displaying altered foreign language dictionaries as if they are coexisting in tolerance and silence of this library project (offering a library of peace, as an idea). For three years I collected third and fourth hand, variety of foreign language dictionaries. The dictionaries have undergone a spectacular transformation by being cut up and covered in humble materials such as: encaustic, imitation gold leaf, tar, rust, and paint. The altered dictionaries are crude but fascinating, disposable but exquisite, books but sculptural objects, words but babel. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023771700-LTXR95RRB137MMTPZXJ9/mcba-prize-2017-vesna-kittelson-babel-library-2.jpg Entries & Jurors - 2017 Entries - Vesna Kittelson BROKEN and MENDED I 2017 Two altered second hand dictionaries, cut and restructured with string and encaustic 10 inches high by 8 inches wide, 2 inches deep Artist’s Statement In my altered books project – Babel Library – I synthesize ideas and visual elements that relate to misunderstandings and conflicts between different human groups and nations. My intention is to explore visually, what underlies the deep fears and uncertainties that complicate engagements inside and outside our society today. I abstracted didactic aspects of the ancient myth of the Tower of Babel. By using foreign language dictionaries, I emphasize that communication through different languages is frequently labeled as responsible for misunderstandings between different groups or governments – and also – that language is often a victim of war (libraries are frequently burned). This led to the idea of creating art work – Babel Library – featuring designed metal book stacks, and plinths, displaying altered foreign language dictionaries as if they are coexisting in tolerance and silence of this library project (offering a library of peace, as an idea). For three years I collected third and fourth hand, variety of foreign language dictionaries. The dictionaries have undergone a spectacular transformation by being cut up and covered in humble materials such as: encaustic, imitation gold leaf, tar, rust, and paint. The altered dictionaries are crude but fascinating, disposable but exquisite, books but sculptural objects, words but babel. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023772921-92WXNE1EGCUZTE6MZRAL/mcba-prize-2017-vesna-kittelson-babel-library-3.jpg Entries & Jurors - 2017 Entries - Vesna Kittelson BROKEN and MENDED I 2017 Two altered second hand dictionaries, cut and restructured with string and encaustic 10 inches high by 8 inches wide, 2 inches deep Artist’s Statement In my altered books project – Babel Library – I synthesize ideas and visual elements that relate to misunderstandings and conflicts between different human groups and nations. My intention is to explore visually, what underlies the deep fears and uncertainties that complicate engagements inside and outside our society today. I abstracted didactic aspects of the ancient myth of the Tower of Babel. By using foreign language dictionaries, I emphasize that communication through different languages is frequently labeled as responsible for misunderstandings between different groups or governments – and also – that language is often a victim of war (libraries are frequently burned). This led to the idea of creating art work – Babel Library – featuring designed metal book stacks, and plinths, displaying altered foreign language dictionaries as if they are coexisting in tolerance and silence of this library project (offering a library of peace, as an idea). For three years I collected third and fourth hand, variety of foreign language dictionaries. The dictionaries have undergone a spectacular transformation by being cut up and covered in humble materials such as: encaustic, imitation gold leaf, tar, rust, and paint. The altered dictionaries are crude but fascinating, disposable but exquisite, books but sculptural objects, words but babel. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023773164-7EVNFHUGK0BM1AXQHPGX/mcba-prize-2017-vesna-kittelson-babel-library-4.jpg Entries & Jurors - 2017 Entries - Vesna Kittelson BROKEN and MENDED I 2017 Two altered second hand dictionaries, cut and restructured with string and encaustic 10 inches high by 8 inches wide, 2 inches deep Artist’s Statement In my altered books project – Babel Library – I synthesize ideas and visual elements that relate to misunderstandings and conflicts between different human groups and nations. My intention is to explore visually, what underlies the deep fears and uncertainties that complicate engagements inside and outside our society today. I abstracted didactic aspects of the ancient myth of the Tower of Babel. By using foreign language dictionaries, I emphasize that communication through different languages is frequently labeled as responsible for misunderstandings between different groups or governments – and also – that language is often a victim of war (libraries are frequently burned). This led to the idea of creating art work – Babel Library – featuring designed metal book stacks, and plinths, displaying altered foreign language dictionaries as if they are coexisting in tolerance and silence of this library project (offering a library of peace, as an idea). For three years I collected third and fourth hand, variety of foreign language dictionaries. The dictionaries have undergone a spectacular transformation by being cut up and covered in humble materials such as: encaustic, imitation gold leaf, tar, rust, and paint. The altered dictionaries are crude but fascinating, disposable but exquisite, books but sculptural objects, words but babel. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023774165-00A7OLX15R5EQIBE995W/mcba-prize-2017-vesna-kittelson-babel-library-5.jpg Entries & Jurors - 2017 Entries - Vesna Kittelson BROKEN and MENDED I 2017 Two altered second hand dictionaries, cut and restructured with string and encaustic 10 inches high by 8 inches wide, 2 inches deep Artist’s Statement In my altered books project – Babel Library – I synthesize ideas and visual elements that relate to misunderstandings and conflicts between different human groups and nations. My intention is to explore visually, what underlies the deep fears and uncertainties that complicate engagements inside and outside our society today. I abstracted didactic aspects of the ancient myth of the Tower of Babel. By using foreign language dictionaries, I emphasize that communication through different languages is frequently labeled as responsible for misunderstandings between different groups or governments – and also – that language is often a victim of war (libraries are frequently burned). This led to the idea of creating art work – Babel Library – featuring designed metal book stacks, and plinths, displaying altered foreign language dictionaries as if they are coexisting in tolerance and silence of this library project (offering a library of peace, as an idea). For three years I collected third and fourth hand, variety of foreign language dictionaries. The dictionaries have undergone a spectacular transformation by being cut up and covered in humble materials such as: encaustic, imitation gold leaf, tar, rust, and paint. The altered dictionaries are crude but fascinating, disposable but exquisite, books but sculptural objects, words but babel. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023899001-YPZ55LEQVMGOU3SJZ76P/mcba-prize-2017-ellen-knudson-made-up-1.jpg Entries & Jurors - 2017 Entries - Ellen Knudson Gainesville, Florida ellen@crookedletterpress.com Made Up 2015 Letterpress printing, multi-block and reduction linoleum prints edition of 50 20 pages 12 x 12 x 1″ open 12 x 6 x 1″ closed Cover of book (drumleaf) and clamshell enclosure. Foil-stamped title on spine and window cut-out on clamshell box. Artist Statement The work produced by crooked letterpress is the synthesis of images and words in the form of letterpress printed handmade books and printed matter. In all of the work produced by the crooked letterpress, a visual environment is created in which the reader/viewer is an active participant; the typography is to be viewed, the imagery to be read, and vice versa. The choices of text, imagery, materials, and binding structure are made entirely in support of the environment of the printed piece. I’m interested in the distillation of a subject using typography and image within the book form. Reading is a sequential and time-based process. My interest in the book lies in the opportunity to guide a reader’s progression through the visual organization of text and image. I also revel in the craft of book art: the exploration of materials, and the effort to strike a balance between artistic and practical choices. Those processes involve intimacy and acute observation. That is ultimately what my work is about. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023899036-EGE3642OH4Y47YXJ51XC/mcba-prize-2017-ellen-knudson-made-up-2.jpg Entries & Jurors - 2017 Entries - Ellen Knudson Gainesville, Florida ellen@crookedletterpress.com Made Up 2015 Letterpress printing, multi-block and reduction linoleum prints edition of 50 20 pages 12 x 12 x 1″ open 12 x 6 x 1″ closed Interior page displayed with interior of clamshell enclosure. Linoleum print of the Anger cell. Artist Statement The work produced by crooked letterpress is the synthesis of images and words in the form of letterpress printed handmade books and printed matter. In all of the work produced by the crooked letterpress, a visual environment is created in which the reader/viewer is an active participant; the typography is to be viewed, the imagery to be read, and vice versa. The choices of text, imagery, materials, and binding structure are made entirely in support of the environment of the printed piece. I’m interested in the distillation of a subject using typography and image within the book form. Reading is a sequential and time-based process. My interest in the book lies in the opportunity to guide a reader’s progression through the visual organization of text and image. I also revel in the craft of book art: the exploration of materials, and the effort to strike a balance between artistic and practical choices. Those processes involve intimacy and acute observation. That is ultimately what my work is about. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023900786-GJVZ4XUQLEW0JH7ILFPB/mcba-prize-2017-ellen-knudson-made-up-3.jpg Entries & Jurors - 2017 Entries - Ellen Knudson Gainesville, Florida ellen@crookedletterpress.com Made Up 2015 Letterpress printing, multi-block and reduction linoleum prints edition of 50 20 pages 12 x 12 x 1″ open 12 x 6 x 1″ closed Detail of three linoleum prints from the book: Anger, Curiosity, and Failure. Artist Statement The work produced by crooked letterpress is the synthesis of images and words in the form of letterpress printed handmade books and printed matter. In all of the work produced by the crooked letterpress, a visual environment is created in which the reader/viewer is an active participant; the typography is to be viewed, the imagery to be read, and vice versa. The choices of text, imagery, materials, and binding structure are made entirely in support of the environment of the printed piece. I’m interested in the distillation of a subject using typography and image within the book form. Reading is a sequential and time-based process. My interest in the book lies in the opportunity to guide a reader’s progression through the visual organization of text and image. I also revel in the craft of book art: the exploration of materials, and the effort to strike a balance between artistic and practical choices. Those processes involve intimacy and acute observation. That is ultimately what my work is about. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023901022-K3JYD3ODRK4GE5VQ5AN6/mcba-prize-2017-ellen-knudson-made-up-4.jpg Entries & Jurors - 2017 Entries - Ellen Knudson Gainesville, Florida ellen@crookedletterpress.com Made Up 2015 Letterpress printing, multi-block and reduction linoleum prints edition of 50 20 pages 12 x 12 x 1″ open 12 x 6 x 1″ closed Image of the fold-out sections of the book, featuring one of the large linoleum prints. (Shown here: Fear) Artist Statement The work produced by crooked letterpress is the synthesis of images and words in the form of letterpress printed handmade books and printed matter. In all of the work produced by the crooked letterpress, a visual environment is created in which the reader/viewer is an active participant; the typography is to be viewed, the imagery to be read, and vice versa. The choices of text, imagery, materials, and binding structure are made entirely in support of the environment of the printed piece. I’m interested in the distillation of a subject using typography and image within the book form. Reading is a sequential and time-based process. My interest in the book lies in the opportunity to guide a reader’s progression through the visual organization of text and image. I also revel in the craft of book art: the exploration of materials, and the effort to strike a balance between artistic and practical choices. Those processes involve intimacy and acute observation. That is ultimately what my work is about. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774023902026-PSJCFECA6IYIHY31479D/mcba-prize-2017-ellen-knudson-made-up-5.jpg Entries & Jurors - 2017 Entries - Ellen Knudson Gainesville, Florida ellen@crookedletterpress.com Made Up 2015 Letterpress printing, multi-block and reduction linoleum prints edition of 50 20 pages 12 x 12 x 1″ open 12 x 6 x 1″ closed Overview of the open book, without the open foldouts displayed. Artist Statement The work produced by crooked letterpress is the synthesis of images and words in the form of letterpress printed handmade books and printed matter. In all of the work produced by the crooked letterpress, a visual environment is created in which the reader/viewer is an active participant; the typography is to be viewed, the imagery to be read, and vice versa. The choices of text, imagery, materials, and binding structure are made entirely in support of the environment of the printed piece. I’m interested in the distillation of a subject using typography and image within the book form. Reading is a sequential and time-based process. My interest in the book lies in the opportunity to guide a reader’s progression through the visual organization of text and image. I also revel in the craft of book art: the exploration of materials, and the effort to strike a balance between artistic and practical choices. Those processes involve intimacy and acute observation. That is ultimately what my work is about. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774024096896-DPA3KYNMP92GFSAT10PH/mcba-prize-2017-rob-kovitz-the-sweets-of-home-1.jpg Entries & Jurors - 2017 Entries - Rob Kovitz Winnipeg, Canada The Sweets of Home 2016 paperback, digital printing, matte coated interior 288 pages trim size 5.875 x 8.25 inches https://vimeo.com/204831835 Artist Statement The word “home” can be used as a directional or a (non-directional) locative, as shown in the following examples … Chris Collins, “Home Sweet Home,” NYU Working Papers in Linguistics Home Sweet Home (V) — An investigative team of documentary filmmakers explore the paranormal possibilities of an alleged haunted house. However they find more than they bargained for. Internet Movie Database, Plot Summaries In Rob Kovitz’s latest super-cut bookwork, The Sweets of Home, which was originally commissioned by Dazibao Gallery in Montreal for the exhibition and publication titled Home Sweet Home: À propos de l’inquiétude, every text selection includes the words “home,” “sweet,” or “inquietude.” With special appropriated guest star David Byrne. In the meantime, Captain Truffier is murdered. On the other hand, no one entered the house and no one left … Sunday morning, she’s at home. On a sheet of paper, Henry Demassis wrote, the night before, during a visit of five minutes, Bureau 42 … Georges Simenon, La Maison de l’inquiétude … which in turn was polished until it ceased to be and in its place stood the empty home of a heart in trouble. Then suddenly … Mark Strand, The Everyday Enchantment of Music A Treyf Flip Book https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774024096924-B3TVWTHHGRNWPLQDIXFS/mcba-prize-2017-rob-kovitz-the-sweets-of-home-2.jpg Entries & Jurors - 2017 Entries - Rob Kovitz Winnipeg, Canada The Sweets of Home 2016 paperback, digital printing, matte coated interior 288 pages trim size 5.875 x 8.25 inches https://vimeo.com/204831835 Artist Statement The word “home” can be used as a directional or a (non-directional) locative, as shown in the following examples … Chris Collins, “Home Sweet Home,” NYU Working Papers in Linguistics Home Sweet Home (V) — An investigative team of documentary filmmakers explore the paranormal possibilities of an alleged haunted house. However they find more than they bargained for. Internet Movie Database, Plot Summaries In Rob Kovitz’s latest super-cut bookwork, The Sweets of Home, which was originally commissioned by Dazibao Gallery in Montreal for the exhibition and publication titled Home Sweet Home: À propos de l’inquiétude, every text selection includes the words “home,” “sweet,” or “inquietude.” With special appropriated guest star David Byrne. In the meantime, Captain Truffier is murdered. On the other hand, no one entered the house and no one left … Sunday morning, she’s at home. On a sheet of paper, Henry Demassis wrote, the night before, during a visit of five minutes, Bureau 42 … Georges Simenon, La Maison de l’inquiétude … which in turn was polished until it ceased to be and in its place stood the empty home of a heart in trouble. Then suddenly … Mark Strand, The Everyday Enchantment of Music A Treyf Flip Book https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774024099883-J66Q03ZCB1RM6BIF32XY/mcba-prize-2017-rob-kovitz-the-sweets-of-home-3.jpg Entries & Jurors - 2017 Entries - Rob Kovitz Winnipeg, Canada The Sweets of Home 2016 paperback, digital printing, matte coated interior 288 pages trim size 5.875 x 8.25 inches https://vimeo.com/204831835 Artist Statement The word “home” can be used as a directional or a (non-directional) locative, as shown in the following examples … Chris Collins, “Home Sweet Home,” NYU Working Papers in Linguistics Home Sweet Home (V) — An investigative team of documentary filmmakers explore the paranormal possibilities of an alleged haunted house. However they find more than they bargained for. Internet Movie Database, Plot Summaries In Rob Kovitz’s latest super-cut bookwork, The Sweets of Home, which was originally commissioned by Dazibao Gallery in Montreal for the exhibition and publication titled Home Sweet Home: À propos de l’inquiétude, every text selection includes the words “home,” “sweet,” or “inquietude.” With special appropriated guest star David Byrne. In the meantime, Captain Truffier is murdered. On the other hand, no one entered the house and no one left … Sunday morning, she’s at home. On a sheet of paper, Henry Demassis wrote, the night before, during a visit of five minutes, Bureau 42 … Georges Simenon, La Maison de l’inquiétude … which in turn was polished until it ceased to be and in its place stood the empty home of a heart in trouble. Then suddenly … Mark Strand, The Everyday Enchantment of Music A Treyf Flip Book https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774024100003-AOECHHPWMXKD9I44191O/mcba-prize-2017-rob-kovitz-the-sweets-of-home-4.jpg Entries & Jurors - 2017 Entries - Rob Kovitz Winnipeg, Canada The Sweets of Home 2016 paperback, digital printing, matte coated interior 288 pages trim size 5.875 x 8.25 inches https://vimeo.com/204831835 Artist Statement The word “home” can be used as a directional or a (non-directional) locative, as shown in the following examples … Chris Collins, “Home Sweet Home,” NYU Working Papers in Linguistics Home Sweet Home (V) — An investigative team of documentary filmmakers explore the paranormal possibilities of an alleged haunted house. However they find more than they bargained for. Internet Movie Database, Plot Summaries In Rob Kovitz’s latest super-cut bookwork, The Sweets of Home, which was originally commissioned by Dazibao Gallery in Montreal for the exhibition and publication titled Home Sweet Home: À propos de l’inquiétude, every text selection includes the words “home,” “sweet,” or “inquietude.” With special appropriated guest star David Byrne. In the meantime, Captain Truffier is murdered. On the other hand, no one entered the house and no one left … Sunday morning, she’s at home. On a sheet of paper, Henry Demassis wrote, the night before, during a visit of five minutes, Bureau 42 … Georges Simenon, La Maison de l’inquiétude … which in turn was polished until it ceased to be and in its place stood the empty home of a heart in trouble. Then suddenly … Mark Strand, The Everyday Enchantment of Music A Treyf Flip Book https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774024204915-K9TLDB0ZKWH5GB1VWTR5/mcba-prize-2017-sara-langworthy-naturans-naturata-1.jpg Entries & Jurors - 2017 Entries - Sara Langworthy Iowa City, Iowa www.slangworthy.com Naturans Naturata 2017 letterpress printed from handset Univers type; pressure prints; polymer; sewn boards binding, housed in a clamshell box. 25 60 11.5 x 16 x .25 11.5 x 8 x .5 Units ordered over distance / components complete, nothing omitted. / Lines that go through – Naturans Naturata explores order and connection, with layered prints of geometric forms, and a text assembled from Baruch Spinoza’s Ethics and geometry primers. The book depicts the chaos of endless connections, and the stillness and clarity when a connection is recognized. The book examines the ideal form v. the real, and the idea that an object can be known at the point where positive and negative spaces meet. The project started as an exploration of simple geometric form, and then wanting to find out what would happen when the forms were layered. With this project I was strongly influenced by the writings of Baruch Spinoza, and his discussion of active Nature — Nature naturing/Naura Naturans — and passive Nature, Nature natured/Natura Naturata. Prints repeat from page to page, flipped or inverted, printed as the inverse of the previous print. Most of the geometric images are prints as pressure prints, and this process allows for up to eight variations of every image. The drawing is intentionally imperfect, off-kilter. On some pages the imagery is minimal and connections are easily made, while on others heavily layered printing makes it more difficult to isolate any individual shapes or their relationships to one another. Throughout the book shapes are repeated but no combination is the same. The book uses a quotation from Spinoza’s Ethics as an epigraph: In a circle there are contained infinitely many rectangles which are equal to one another. Nevertheless, none of these rectangles can be said to exist except insofar as the circle exists; nor also can the idea of any of these rectangles exist except insofar as they are comprehended in the idea of the circle. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774024204912-0B5RED75E1UBOD6HLKJD/mcba-prize-2017-sara-langworthy-naturans-naturata-2.jpg Entries & Jurors - 2017 Entries - Sara Langworthy Iowa City, Iowa www.slangworthy.com Naturans Naturata 2017 letterpress printed from handset Univers type; pressure prints; polymer; sewn boards binding, housed in a clamshell box. 25 60 11.5 x 16 x .25 11.5 x 8 x .5 Matter is everywhere the same – / aspatial, atemporal / transcendent to space, transcendent to time. Naturans Naturata explores order and connection, with layered prints of geometric forms, and a text assembled from Baruch Spinoza’s Ethics and geometry primers. The book depicts the chaos of endless connections, and the stillness and clarity when a connection is recognized. The book examines the ideal form v. the real, and the idea that an object can be known at the point where positive and negative spaces meet. The project started as an exploration of simple geometric form, and then wanting to find out what would happen when the forms were layered. With this project I was strongly influenced by the writings of Baruch Spinoza, and his discussion of active Nature — Nature naturing/Naura Naturans — and passive Nature, Nature natured/Natura Naturata. Prints repeat from page to page, flipped or inverted, printed as the inverse of the previous print. Most of the geometric images are prints as pressure prints, and this process allows for up to eight variations of every image. The drawing is intentionally imperfect, off-kilter. On some pages the imagery is minimal and connections are easily made, while on others heavily layered printing makes it more difficult to isolate any individual shapes or their relationships to one another. Throughout the book shapes are repeated but no combination is the same. The book uses a quotation from Spinoza’s Ethics as an epigraph: In a circle there are contained infinitely many rectangles which are equal to one another. Nevertheless, none of these rectangles can be said to exist except insofar as the circle exists; nor also can the idea of any of these rectangles exist except insofar as they are comprehended in the idea of the circle. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774024206477-GCCC5R1HI5OFU08QCHR9/mcba-prize-2017-sara-langworthy-naturans-naturata-3.jpg Entries & Jurors - 2017 Entries - Sara Langworthy Iowa City, Iowa www.slangworthy.com Naturans Naturata 2017 letterpress printed from handset Univers type; pressure prints; polymer; sewn boards binding, housed in a clamshell box. 25 60 11.5 x 16 x .25 11.5 x 8 x .5 Absolute form, / uninflected / viewed without relation to or comparison with. / Always to be considered as a whole / and not as a part. Naturans Naturata explores order and connection, with layered prints of geometric forms, and a text assembled from Baruch Spinoza’s Ethics and geometry primers. The book depicts the chaos of endless connections, and the stillness and clarity when a connection is recognized. The book examines the ideal form v. the real, and the idea that an object can be known at the point where positive and negative spaces meet. The project started as an exploration of simple geometric form, and then wanting to find out what would happen when the forms were layered. With this project I was strongly influenced by the writings of Baruch Spinoza, and his discussion of active Nature — Nature naturing/Naura Naturans — and passive Nature, Nature natured/Natura Naturata. Prints repeat from page to page, flipped or inverted, printed as the inverse of the previous print. Most of the geometric images are prints as pressure prints, and this process allows for up to eight variations of every image. The drawing is intentionally imperfect, off-kilter. On some pages the imagery is minimal and connections are easily made, while on others heavily layered printing makes it more difficult to isolate any individual shapes or their relationships to one another. Throughout the book shapes are repeated but no combination is the same. The book uses a quotation from Spinoza’s Ethics as an epigraph: In a circle there are contained infinitely many rectangles which are equal to one another. Nevertheless, none of these rectangles can be said to exist except insofar as the circle exists; nor also can the idea of any of these rectangles exist except insofar as they are comprehended in the idea of the circle. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774024206751-ZE3Z10YRQI1T3YU0ZINN/mcba-prize-2017-sara-langworthy-naturans-naturata-4.jpg Entries & Jurors - 2017 Entries - Sara Langworthy Iowa City, Iowa www.slangworthy.com Naturans Naturata 2017 letterpress printed from handset Univers type; pressure prints; polymer; sewn boards binding, housed in a clamshell box. 25 60 11.5 x 16 x .25 11.5 x 8 x .5 Lines that go through – / – go around: chord, radius, tangent, secant, passant. / Infinitely many things in infinitely many modes / they are one and the same. Naturans Naturata explores order and connection, with layered prints of geometric forms, and a text assembled from Baruch Spinoza’s Ethics and geometry primers. The book depicts the chaos of endless connections, and the stillness and clarity when a connection is recognized. The book examines the ideal form v. the real, and the idea that an object can be known at the point where positive and negative spaces meet. The project started as an exploration of simple geometric form, and then wanting to find out what would happen when the forms were layered. With this project I was strongly influenced by the writings of Baruch Spinoza, and his discussion of active Nature — Nature naturing/Naura Naturans — and passive Nature, Nature natured/Natura Naturata. Prints repeat from page to page, flipped or inverted, printed as the inverse of the previous print. Most of the geometric images are prints as pressure prints, and this process allows for up to eight variations of every image. The drawing is intentionally imperfect, off-kilter. On some pages the imagery is minimal and connections are easily made, while on others heavily layered printing makes it more difficult to isolate any individual shapes or their relationships to one another. Throughout the book shapes are repeated but no combination is the same. The book uses a quotation from Spinoza’s Ethics as an epigraph: In a circle there are contained infinitely many rectangles which are equal to one another. Nevertheless, none of these rectangles can be said to exist except insofar as the circle exists; nor also can the idea of any of these rectangles exist except insofar as they are comprehended in the idea of the circle. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774024208088-OVYN7YUOF93V5U5I3T92/mcba-prize-2017-sara-langworthy-naturans-naturata-5.jpg Entries & Jurors - 2017 Entries - Sara Langworthy Iowa City, Iowa www.slangworthy.com Naturans Naturata 2017 letterpress printed from handset Univers type; pressure prints; polymer; sewn boards binding, housed in a clamshell box. 25 60 11.5 x 16 x .25 11.5 x 8 x .5 This is the final page spread of the book. The words leading up to it are: Nevertheless, we set parts in order / polish lenses, grind glass. / The order and connection of things / is infinite. Naturans Naturata explores order and connection, with layered prints of geometric forms, and a text assembled from Baruch Spinoza’s Ethics and geometry primers. The book depicts the chaos of endless connections, and the stillness and clarity when a connection is recognized. The book examines the ideal form v. the real, and the idea that an object can be known at the point where positive and negative spaces meet. The project started as an exploration of simple geometric form, and then wanting to find out what would happen when the forms were layered. With this project I was strongly influenced by the writings of Baruch Spinoza, and his discussion of active Nature — Nature naturing/Naura Naturans — and passive Nature, Nature natured/Natura Naturata. Prints repeat from page to page, flipped or inverted, printed as the inverse of the previous print. Most of the geometric images are prints as pressure prints, and this process allows for up to eight variations of every image. The drawing is intentionally imperfect, off-kilter. On some pages the imagery is minimal and connections are easily made, while on others heavily layered printing makes it more difficult to isolate any individual shapes or their relationships to one another. Throughout the book shapes are repeated but no combination is the same. The book uses a quotation from Spinoza’s Ethics as an epigraph: In a circle there are contained infinitely many rectangles which are equal to one another. Nevertheless, none of these rectangles can be said to exist except insofar as the circle exists; nor also can the idea of any of these rectangles exist except insofar as they are comprehended in the idea of the circle. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774024987829-U84HGWY15WAYYZEFD1KW/mcba-prize-2017-sammy-lee-mammorial-1.jpg Entries & Jurors - 2017 Entries - Sammy Lee Denver, Colorado www.studiosmlk.com Mammorial 2017 Handmade paper cover created with joomchi (traditional Korean paper felting technique). Interior features text and 16 digital archival prints, a silicon breast, and a CD. Prints feature histologic images of breasts with cells during pregnancy, lactation, and involution phases, on 50 lb vellum (Neenah Paper, White Eames Diffused). Accompanying CD includes a soundtrack of different settings on the Pump In Style Advanced Breast pump by Medela. 25 18 2”x 6.75″x12.5” Cover, felted paper to depict cadaver, closed Mammorial Sammy Seung-min Lee, Studio SML | k, Denver, Colorado According to the American Society of Plastic Surgeons, over 60 percent of mothers seek cosmetic surgery to return to their pre-pregnancy bodies. The breast lift is the most popular procedure, and it’s no wonder. Pert, youthful breasts are symbols of power and beauty — a stark contrast to oddly enlarged, pigmented, and sometime leaky breasts that often follow pregnancy. But poor self-image following pregnancy has both physical and psychological elements. For many mothers, public nursing is uncomfortable, and being seen with a bottle of breast milk can be as embarrassing as if one was holding a bottle filled with urine. Speaking from experience, I can assure you that there is nothing more humiliating than being attached to an electric breast pump, like some Jersey cow. Mammorial is thus an artist book about what women experience through birthing and nursing. Throughout one’s bodily changes, there is an inherent duality of both pride and shame. I gave birth to my second son in 2015, nearly a decade after my first. My older body struggled to carry, deliver, and sustain a newborn the second time around. While part of me viewed my postpartum body with gratitude and awe, I felt a fair amount of pity and embarrassment as well. I conceived of Mammorial upon discovering a Korean portrait of a bare-chested woman from the late 1800s. It was a rather scandalous image given Korea’s conservative culture at the time; societal norms suggested that women’s curves were best concealed in public until one bears a child and nurses. I imagined this mother and other women of the past celebrating their physiques, perhaps like today’s feminist protesters. Inspired, I embarked on a project of my own to both showcase and process the physical and psychological shifts of motherhood. Mammorial centers around 16 histological images featuring the microscopic anatomy of breast cells and tissues. Documenting various stages from pregnancy to involution, the images mimic botanic changes through seasonal cycles: the transformation and proliferation of milk-producing cells blossom like flowers in spring and summer. The visual parallels highlight the beautiful, natural, and functional aspects of breasts, in addition to the temporal changes triggered by motherhood. And yet, breastfeeding is no walk in the park. Within Mammorial’s silicone breast are printed stories from frustrated and anxious mothers, pulled from the online breastfeeding support forum, La Leche League International. From sleepless nights to pumping schedule conflicts, motherhood is filled with anxiety, fear, and frustration. I was particularly empathetic to a discussion thread about the sounds of a breast pump, often heard as “chanting” to many mothers who are sleep-deprived, and awake at 3 in the morning to nurse their crying babies. An enclosed CD mixes the rhythmic emissions of my own breast pump on various settings. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774024987979-SCLT83PAREQO4V6DPMD5/mcba-prize-2017-sammy-lee-mammorial-2.jpg Entries & Jurors - 2017 Entries - Sammy Lee Denver, Colorado www.studiosmlk.com Mammorial 2017 Handmade paper cover created with joomchi (traditional Korean paper felting technique). Interior features text and 16 digital archival prints, a silicon breast, and a CD. Prints feature histologic images of breasts with cells during pregnancy, lactation, and involution phases, on 50 lb vellum (Neenah Paper, White Eames Diffused). Accompanying CD includes a soundtrack of different settings on the Pump In Style Advanced Breast pump by Medela. 25 18 2”x 6.75″x12.5” Open, title page, silicon breast with resin core, resin cast with texts from breastfeeding mothers, breast nesting within the text block Mammorial Sammy Seung-min Lee, Studio SML | k, Denver, Colorado According to the American Society of Plastic Surgeons, over 60 percent of mothers seek cosmetic surgery to return to their pre-pregnancy bodies. The breast lift is the most popular procedure, and it’s no wonder. Pert, youthful breasts are symbols of power and beauty — a stark contrast to oddly enlarged, pigmented, and sometime leaky breasts that often follow pregnancy. But poor self-image following pregnancy has both physical and psychological elements. For many mothers, public nursing is uncomfortable, and being seen with a bottle of breast milk can be as embarrassing as if one was holding a bottle filled with urine. Speaking from experience, I can assure you that there is nothing more humiliating than being attached to an electric breast pump, like some Jersey cow. Mammorial is thus an artist book about what women experience through birthing and nursing. Throughout one’s bodily changes, there is an inherent duality of both pride and shame. I gave birth to my second son in 2015, nearly a decade after my first. My older body struggled to carry, deliver, and sustain a newborn the second time around. While part of me viewed my postpartum body with gratitude and awe, I felt a fair amount of pity and embarrassment as well. I conceived of Mammorial upon discovering a Korean portrait of a bare-chested woman from the late 1800s. It was a rather scandalous image given Korea’s conservative culture at the time; societal norms suggested that women’s curves were best concealed in public until one bears a child and nurses. I imagined this mother and other women of the past celebrating their physiques, perhaps like today’s feminist protesters. Inspired, I embarked on a project of my own to both showcase and process the physical and psychological shifts of motherhood. Mammorial centers around 16 histological images featuring the microscopic anatomy of breast cells and tissues. Documenting various stages from pregnancy to involution, the images mimic botanic changes through seasonal cycles: the transformation and proliferation of milk-producing cells blossom like flowers in spring and summer. The visual parallels highlight the beautiful, natural, and functional aspects of breasts, in addition to the temporal changes triggered by motherhood. And yet, breastfeeding is no walk in the park. Within Mammorial’s silicone breast are printed stories from frustrated and anxious mothers, pulled from the online breastfeeding support forum, La Leche League International. From sleepless nights to pumping schedule conflicts, motherhood is filled with anxiety, fear, and frustration. I was particularly empathetic to a discussion thread about the sounds of a breast pump, often heard as “chanting” to many mothers who are sleep-deprived, and awake at 3 in the morning to nurse their crying babies. An enclosed CD mixes the rhythmic emissions of my own breast pump on various settings. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774024991279-6MPRV0JQPQ9OV3PBBYTP/mcba-prize-2017-sammy-lee-mammorial-3.jpg Entries & Jurors - 2017 Entries - Sammy Lee Denver, Colorado www.studiosmlk.com Mammorial 2017 Handmade paper cover created with joomchi (traditional Korean paper felting technique). Interior features text and 16 digital archival prints, a silicon breast, and a CD. Prints feature histologic images of breasts with cells during pregnancy, lactation, and involution phases, on 50 lb vellum (Neenah Paper, White Eames Diffused). Accompanying CD includes a soundtrack of different settings on the Pump In Style Advanced Breast pump by Medela. 25 18 2”x 6.75″x12.5” Page view, verso showing reverse side of breast imaging print. Recto, a fold out page revealing a “leak”, a handmade paper depicting breast tissue underneath. Text is printed on the front side of the fold out, but not shown on the photo due to unfolding. Mammorial Sammy Seung-min Lee, Studio SML | k, Denver, Colorado According to the American Society of Plastic Surgeons, over 60 percent of mothers seek cosmetic surgery to return to their pre-pregnancy bodies. The breast lift is the most popular procedure, and it’s no wonder. Pert, youthful breasts are symbols of power and beauty — a stark contrast to oddly enlarged, pigmented, and sometime leaky breasts that often follow pregnancy. But poor self-image following pregnancy has both physical and psychological elements. For many mothers, public nursing is uncomfortable, and being seen with a bottle of breast milk can be as embarrassing as if one was holding a bottle filled with urine. Speaking from experience, I can assure you that there is nothing more humiliating than being attached to an electric breast pump, like some Jersey cow. Mammorial is thus an artist book about what women experience through birthing and nursing. Throughout one’s bodily changes, there is an inherent duality of both pride and shame. I gave birth to my second son in 2015, nearly a decade after my first. My older body struggled to carry, deliver, and sustain a newborn the second time around. While part of me viewed my postpartum body with gratitude and awe, I felt a fair amount of pity and embarrassment as well. I conceived of Mammorial upon discovering a Korean portrait of a bare-chested woman from the late 1800s. It was a rather scandalous image given Korea’s conservative culture at the time; societal norms suggested that women’s curves were best concealed in public until one bears a child and nurses. I imagined this mother and other women of the past celebrating their physiques, perhaps like today’s feminist protesters. Inspired, I embarked on a project of my own to both showcase and process the physical and psychological shifts of motherhood. Mammorial centers around 16 histological images featuring the microscopic anatomy of breast cells and tissues. Documenting various stages from pregnancy to involution, the images mimic botanic changes through seasonal cycles: the transformation and proliferation of milk-producing cells blossom like flowers in spring and summer. The visual parallels highlight the beautiful, natural, and functional aspects of breasts, in addition to the temporal changes triggered by motherhood. And yet, breastfeeding is no walk in the park. Within Mammorial’s silicone breast are printed stories from frustrated and anxious mothers, pulled from the online breastfeeding support forum, La Leche League International. From sleepless nights to pumping schedule conflicts, motherhood is filled with anxiety, fear, and frustration. I was particularly empathetic to a discussion thread about the sounds of a breast pump, often heard as “chanting” to many mothers who are sleep-deprived, and awake at 3 in the morning to nurse their crying babies. An enclosed CD mixes the rhythmic emissions of my own breast pump on various settings. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774024991283-4A4Z7ZJFAG3XPBWTEQE0/mcba-prize-2017-sammy-lee-mammorial-4.jpg Entries & Jurors - 2017 Entries - Sammy Lee Denver, Colorado www.studiosmlk.com Mammorial 2017 Handmade paper cover created with joomchi (traditional Korean paper felting technique). Interior features text and 16 digital archival prints, a silicon breast, and a CD. Prints feature histologic images of breasts with cells during pregnancy, lactation, and involution phases, on 50 lb vellum (Neenah Paper, White Eames Diffused). Accompanying CD includes a soundtrack of different settings on the Pump In Style Advanced Breast pump by Medela. 25 18 2”x 6.75″x12.5” Close-up page view, verso showing reverse side of breast imaging print, recto with a printed photo of a woman from old Korea. Mammorial Sammy Seung-min Lee, Studio SML | k, Denver, Colorado According to the American Society of Plastic Surgeons, over 60 percent of mothers seek cosmetic surgery to return to their pre-pregnancy bodies. The breast lift is the most popular procedure, and it’s no wonder. Pert, youthful breasts are symbols of power and beauty — a stark contrast to oddly enlarged, pigmented, and sometime leaky breasts that often follow pregnancy. But poor self-image following pregnancy has both physical and psychological elements. For many mothers, public nursing is uncomfortable, and being seen with a bottle of breast milk can be as embarrassing as if one was holding a bottle filled with urine. Speaking from experience, I can assure you that there is nothing more humiliating than being attached to an electric breast pump, like some Jersey cow. Mammorial is thus an artist book about what women experience through birthing and nursing. Throughout one’s bodily changes, there is an inherent duality of both pride and shame. I gave birth to my second son in 2015, nearly a decade after my first. My older body struggled to carry, deliver, and sustain a newborn the second time around. While part of me viewed my postpartum body with gratitude and awe, I felt a fair amount of pity and embarrassment as well. I conceived of Mammorial upon discovering a Korean portrait of a bare-chested woman from the late 1800s. It was a rather scandalous image given Korea’s conservative culture at the time; societal norms suggested that women’s curves were best concealed in public until one bears a child and nurses. I imagined this mother and other women of the past celebrating their physiques, perhaps like today’s feminist protesters. Inspired, I embarked on a project of my own to both showcase and process the physical and psychological shifts of motherhood. Mammorial centers around 16 histological images featuring the microscopic anatomy of breast cells and tissues. Documenting various stages from pregnancy to involution, the images mimic botanic changes through seasonal cycles: the transformation and proliferation of milk-producing cells blossom like flowers in spring and summer. The visual parallels highlight the beautiful, natural, and functional aspects of breasts, in addition to the temporal changes triggered by motherhood. And yet, breastfeeding is no walk in the park. Within Mammorial’s silicone breast are printed stories from frustrated and anxious mothers, pulled from the online breastfeeding support forum, La Leche League International. From sleepless nights to pumping schedule conflicts, motherhood is filled with anxiety, fear, and frustration. I was particularly empathetic to a discussion thread about the sounds of a breast pump, often heard as “chanting” to many mothers who are sleep-deprived, and awake at 3 in the morning to nurse their crying babies. An enclosed CD mixes the rhythmic emissions of my own breast pump on various settings. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774024993063-IBAMJDHD0NI6PI0SBHYO/mcba-prize-2017-sammy-lee-mammorial-5.jpg Entries & Jurors - 2017 Entries - Sammy Lee Denver, Colorado www.studiosmlk.com Mammorial 2017 Handmade paper cover created with joomchi (traditional Korean paper felting technique). Interior features text and 16 digital archival prints, a silicon breast, and a CD. Prints feature histologic images of breasts with cells during pregnancy, lactation, and involution phases, on 50 lb vellum (Neenah Paper, White Eames Diffused). Accompanying CD includes a soundtrack of different settings on the Pump In Style Advanced Breast pump by Medela. 25 18 2”x 6.75″x12.5” Open, a CD with a recording of breast pump sound mix is nested in a pocket, secured by a clasp. Silicon breast, removed from the book shown Mammorial Sammy Seung-min Lee, Studio SML | k, Denver, Colorado According to the American Society of Plastic Surgeons, over 60 percent of mothers seek cosmetic surgery to return to their pre-pregnancy bodies. The breast lift is the most popular procedure, and it’s no wonder. Pert, youthful breasts are symbols of power and beauty — a stark contrast to oddly enlarged, pigmented, and sometime leaky breasts that often follow pregnancy. But poor self-image following pregnancy has both physical and psychological elements. For many mothers, public nursing is uncomfortable, and being seen with a bottle of breast milk can be as embarrassing as if one was holding a bottle filled with urine. Speaking from experience, I can assure you that there is nothing more humiliating than being attached to an electric breast pump, like some Jersey cow. Mammorial is thus an artist book about what women experience through birthing and nursing. Throughout one’s bodily changes, there is an inherent duality of both pride and shame. I gave birth to my second son in 2015, nearly a decade after my first. My older body struggled to carry, deliver, and sustain a newborn the second time around. While part of me viewed my postpartum body with gratitude and awe, I felt a fair amount of pity and embarrassment as well. I conceived of Mammorial upon discovering a Korean portrait of a bare-chested woman from the late 1800s. It was a rather scandalous image given Korea’s conservative culture at the time; societal norms suggested that women’s curves were best concealed in public until one bears a child and nurses. I imagined this mother and other women of the past celebrating their physiques, perhaps like today’s feminist protesters. Inspired, I embarked on a project of my own to both showcase and process the physical and psychological shifts of motherhood. Mammorial centers around 16 histological images featuring the microscopic anatomy of breast cells and tissues. Documenting various stages from pregnancy to involution, the images mimic botanic changes through seasonal cycles: the transformation and proliferation of milk-producing cells blossom like flowers in spring and summer. The visual parallels highlight the beautiful, natural, and functional aspects of breasts, in addition to the temporal changes triggered by motherhood. And yet, breastfeeding is no walk in the park. Within Mammorial’s silicone breast are printed stories from frustrated and anxious mothers, pulled from the online breastfeeding support forum, La Leche League International. From sleepless nights to pumping schedule conflicts, motherhood is filled with anxiety, fear, and frustration. I was particularly empathetic to a discussion thread about the sounds of a breast pump, often heard as “chanting” to many mothers who are sleep-deprived, and awake at 3 in the morning to nurse their crying babies. An enclosed CD mixes the rhythmic emissions of my own breast pump on various settings. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025122524-8Z03KJQL5N1HF7BJMNPT/mcba-prize-2017-woody-leslie-parsley-1.jpg Entries & Jurors - 2017 Entries - Woody Leslie Chicago, Illinois Parsely 2016 Offset prints on Mohawk Superfine, laser-cut Daler-Rowney Canford cover. 200, plus a deluxe edition of 10 40 6.5 x 18.5 6.5 x 9.25 x .25 Artist Statement I construct large homes for tiny ideas. Equal parts book artist and writer, I take small thoughts about language, memories, and insignificant personal ritual, and reframe them as official histories, grand theories, and significant objects. Language is at the heart of my creative exploration. The convoluted mess of the English language provides an ample playground for me to invent my own words, letters, false etymologies, and grammar, building one on top of the other until my constructed systems simultaneously support and contradict themselves. Through this (de)construction, I force the consideration of individual words. Parsely is a thirty-second story that takes thirty minutes to read. Through words alone, the book illustrates a story, ostensibly about the neighbor’s parsley being eaten under the author’s watchful eye. The reader is pulled through the book by the story’s narrative, but simultaneously slowed down by escalating digressions of language. As the book progresses, the pages grow ever denser, filled by increasing footnotes, vocabulary definitions, exegesis by individual words, talking punctuation and page numbers, and growing chains of word associations spilling across the page. The main text of the story runs through the book in the center of each recto page, a sentence at a time spoken by a red W (the author). Other words start talking too, adding their own commentary to the unfolding story. The parsley and caterpillars become characters, represented by the words that spell them. Eventually the punctuation and even the page numbers start talking. Every mark on the page has a voice. Footnotes and vocabulary referenced in the main text crop up on the verso pages. The footnotes explain the text, philosophize on finer points of language, and go off on tangential memories. More often than not, they paint pictures around the main text rather than their usual role of serving it. The vocabulary lists at first clarify the meaning of certain words, but it is not long before they just add to the confusion: poetic and metaphorical definitions, invented words, false etymologies, philosophical linguistic implications, bad puns even. Earlier footnotes are referenced on later pages, and introduced vocabulary is adopted into the text going forward. The reader is compelled to flip back and forth between pages, rather than read strictly linearly. The space between words is slowly filled in by more words—growing chains of word associations meandering across the page like multiplying caterpillars. They get denser and denser, eventually spilling across the gutter to reach the vocabulary and footnotes, and crawling off the edges of the page. Ancillary as they are, even these words are not immune to being footnoted or vocabularized. In the end, the book is a meditation on words and language, the caterpillars and parsley simply acting as our guides. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025121783-FLHO24R6G1SZFV5VA94W/mcba-prize-2017-woody-leslie-parsley-2.jpg Entries & Jurors - 2017 Entries - Woody Leslie Chicago, Illinois Parsely 2016 Offset prints on Mohawk Superfine, laser-cut Daler-Rowney Canford cover. 200, plus a deluxe edition of 10 40 6.5 x 18.5 6.5 x 9.25 x .25 Artist Statement I construct large homes for tiny ideas. Equal parts book artist and writer, I take small thoughts about language, memories, and insignificant personal ritual, and reframe them as official histories, grand theories, and significant objects. Language is at the heart of my creative exploration. The convoluted mess of the English language provides an ample playground for me to invent my own words, letters, false etymologies, and grammar, building one on top of the other until my constructed systems simultaneously support and contradict themselves. Through this (de)construction, I force the consideration of individual words. Parsely is a thirty-second story that takes thirty minutes to read. Through words alone, the book illustrates a story, ostensibly about the neighbor’s parsley being eaten under the author’s watchful eye. The reader is pulled through the book by the story’s narrative, but simultaneously slowed down by escalating digressions of language. As the book progresses, the pages grow ever denser, filled by increasing footnotes, vocabulary definitions, exegesis by individual words, talking punctuation and page numbers, and growing chains of word associations spilling across the page. The main text of the story runs through the book in the center of each recto page, a sentence at a time spoken by a red W (the author). Other words start talking too, adding their own commentary to the unfolding story. The parsley and caterpillars become characters, represented by the words that spell them. Eventually the punctuation and even the page numbers start talking. Every mark on the page has a voice. Footnotes and vocabulary referenced in the main text crop up on the verso pages. The footnotes explain the text, philosophize on finer points of language, and go off on tangential memories. More often than not, they paint pictures around the main text rather than their usual role of serving it. The vocabulary lists at first clarify the meaning of certain words, but it is not long before they just add to the confusion: poetic and metaphorical definitions, invented words, false etymologies, philosophical linguistic implications, bad puns even. Earlier footnotes are referenced on later pages, and introduced vocabulary is adopted into the text going forward. The reader is compelled to flip back and forth between pages, rather than read strictly linearly. The space between words is slowly filled in by more words—growing chains of word associations meandering across the page like multiplying caterpillars. They get denser and denser, eventually spilling across the gutter to reach the vocabulary and footnotes, and crawling off the edges of the page. Ancillary as they are, even these words are not immune to being footnoted or vocabularized. In the end, the book is a meditation on words and language, the caterpillars and parsley simply acting as our guides. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025123144-5EC6YQZFQWU6DMOQFBTA/mcba-prize-2017-woody-leslie-parsley-3.jpg Entries & Jurors - 2017 Entries - Woody Leslie Chicago, Illinois Parsely 2016 Offset prints on Mohawk Superfine, laser-cut Daler-Rowney Canford cover. 200, plus a deluxe edition of 10 40 6.5 x 18.5 6.5 x 9.25 x .25 Artist Statement I construct large homes for tiny ideas. Equal parts book artist and writer, I take small thoughts about language, memories, and insignificant personal ritual, and reframe them as official histories, grand theories, and significant objects. Language is at the heart of my creative exploration. The convoluted mess of the English language provides an ample playground for me to invent my own words, letters, false etymologies, and grammar, building one on top of the other until my constructed systems simultaneously support and contradict themselves. Through this (de)construction, I force the consideration of individual words. Parsely is a thirty-second story that takes thirty minutes to read. Through words alone, the book illustrates a story, ostensibly about the neighbor’s parsley being eaten under the author’s watchful eye. The reader is pulled through the book by the story’s narrative, but simultaneously slowed down by escalating digressions of language. As the book progresses, the pages grow ever denser, filled by increasing footnotes, vocabulary definitions, exegesis by individual words, talking punctuation and page numbers, and growing chains of word associations spilling across the page. The main text of the story runs through the book in the center of each recto page, a sentence at a time spoken by a red W (the author). Other words start talking too, adding their own commentary to the unfolding story. The parsley and caterpillars become characters, represented by the words that spell them. Eventually the punctuation and even the page numbers start talking. Every mark on the page has a voice. Footnotes and vocabulary referenced in the main text crop up on the verso pages. The footnotes explain the text, philosophize on finer points of language, and go off on tangential memories. More often than not, they paint pictures around the main text rather than their usual role of serving it. The vocabulary lists at first clarify the meaning of certain words, but it is not long before they just add to the confusion: poetic and metaphorical definitions, invented words, false etymologies, philosophical linguistic implications, bad puns even. Earlier footnotes are referenced on later pages, and introduced vocabulary is adopted into the text going forward. The reader is compelled to flip back and forth between pages, rather than read strictly linearly. The space between words is slowly filled in by more words—growing chains of word associations meandering across the page like multiplying caterpillars. They get denser and denser, eventually spilling across the gutter to reach the vocabulary and footnotes, and crawling off the edges of the page. Ancillary as they are, even these words are not immune to being footnoted or vocabularized. In the end, the book is a meditation on words and language, the caterpillars and parsley simply acting as our guides. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025124181-M8QIQ357X7FX6PWQ44E7/mcba-prize-2017-woody-leslie-parsley-4.jpg Entries & Jurors - 2017 Entries - Woody Leslie Chicago, Illinois Parsely 2016 Offset prints on Mohawk Superfine, laser-cut Daler-Rowney Canford cover. 200, plus a deluxe edition of 10 40 6.5 x 18.5 6.5 x 9.25 x .25 Artist Statement I construct large homes for tiny ideas. Equal parts book artist and writer, I take small thoughts about language, memories, and insignificant personal ritual, and reframe them as official histories, grand theories, and significant objects. Language is at the heart of my creative exploration. The convoluted mess of the English language provides an ample playground for me to invent my own words, letters, false etymologies, and grammar, building one on top of the other until my constructed systems simultaneously support and contradict themselves. Through this (de)construction, I force the consideration of individual words. Parsely is a thirty-second story that takes thirty minutes to read. Through words alone, the book illustrates a story, ostensibly about the neighbor’s parsley being eaten under the author’s watchful eye. The reader is pulled through the book by the story’s narrative, but simultaneously slowed down by escalating digressions of language. As the book progresses, the pages grow ever denser, filled by increasing footnotes, vocabulary definitions, exegesis by individual words, talking punctuation and page numbers, and growing chains of word associations spilling across the page. The main text of the story runs through the book in the center of each recto page, a sentence at a time spoken by a red W (the author). Other words start talking too, adding their own commentary to the unfolding story. The parsley and caterpillars become characters, represented by the words that spell them. Eventually the punctuation and even the page numbers start talking. Every mark on the page has a voice. Footnotes and vocabulary referenced in the main text crop up on the verso pages. The footnotes explain the text, philosophize on finer points of language, and go off on tangential memories. More often than not, they paint pictures around the main text rather than their usual role of serving it. The vocabulary lists at first clarify the meaning of certain words, but it is not long before they just add to the confusion: poetic and metaphorical definitions, invented words, false etymologies, philosophical linguistic implications, bad puns even. Earlier footnotes are referenced on later pages, and introduced vocabulary is adopted into the text going forward. The reader is compelled to flip back and forth between pages, rather than read strictly linearly. The space between words is slowly filled in by more words—growing chains of word associations meandering across the page like multiplying caterpillars. They get denser and denser, eventually spilling across the gutter to reach the vocabulary and footnotes, and crawling off the edges of the page. Ancillary as they are, even these words are not immune to being footnoted or vocabularized. In the end, the book is a meditation on words and language, the caterpillars and parsley simply acting as our guides. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025124770-VX3Z4MITN934MRWTK87M/mcba-prize-2017-woody-leslie-parsley-5.jpg Entries & Jurors - 2017 Entries - Woody Leslie Chicago, Illinois Parsely 2016 Offset prints on Mohawk Superfine, laser-cut Daler-Rowney Canford cover. 200, plus a deluxe edition of 10 40 6.5 x 18.5 6.5 x 9.25 x .25 Artist Statement I construct large homes for tiny ideas. Equal parts book artist and writer, I take small thoughts about language, memories, and insignificant personal ritual, and reframe them as official histories, grand theories, and significant objects. Language is at the heart of my creative exploration. The convoluted mess of the English language provides an ample playground for me to invent my own words, letters, false etymologies, and grammar, building one on top of the other until my constructed systems simultaneously support and contradict themselves. Through this (de)construction, I force the consideration of individual words. Parsely is a thirty-second story that takes thirty minutes to read. Through words alone, the book illustrates a story, ostensibly about the neighbor’s parsley being eaten under the author’s watchful eye. The reader is pulled through the book by the story’s narrative, but simultaneously slowed down by escalating digressions of language. As the book progresses, the pages grow ever denser, filled by increasing footnotes, vocabulary definitions, exegesis by individual words, talking punctuation and page numbers, and growing chains of word associations spilling across the page. The main text of the story runs through the book in the center of each recto page, a sentence at a time spoken by a red W (the author). Other words start talking too, adding their own commentary to the unfolding story. The parsley and caterpillars become characters, represented by the words that spell them. Eventually the punctuation and even the page numbers start talking. Every mark on the page has a voice. Footnotes and vocabulary referenced in the main text crop up on the verso pages. The footnotes explain the text, philosophize on finer points of language, and go off on tangential memories. More often than not, they paint pictures around the main text rather than their usual role of serving it. The vocabulary lists at first clarify the meaning of certain words, but it is not long before they just add to the confusion: poetic and metaphorical definitions, invented words, false etymologies, philosophical linguistic implications, bad puns even. Earlier footnotes are referenced on later pages, and introduced vocabulary is adopted into the text going forward. The reader is compelled to flip back and forth between pages, rather than read strictly linearly. The space between words is slowly filled in by more words—growing chains of word associations meandering across the page like multiplying caterpillars. They get denser and denser, eventually spilling across the gutter to reach the vocabulary and footnotes, and crawling off the edges of the page. Ancillary as they are, even these words are not immune to being footnoted or vocabularized. In the end, the book is a meditation on words and language, the caterpillars and parsley simply acting as our guides. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025309665-IOZ7T987NYA6858LXN5Z/mcba-prize-2017-louise-levergneux-finding-home-1.jpg Entries & Jurors - 2017 Entries - Louise Levergneux Boise, Idaho www.louiselevergneux.com Finding Home 2015 inkjet prints, paper, 3D printing, binders board second edition of 3 copies 12 x 12 x 4 4 x 4 x 4 Artist Statement Finding Home is a visual narrative on being unsettled in an environment. The artist has moved many times during her lifetime but still desires to be home—to find a sense of place, a sense of belonging. Levergneux’s new artists’ book Finding Home tackles the experience of living in Idaho while still deeply rooted in Canada. Different elevation, latitude, and longitude between her home divided by miles and miles of where she lives give rise to common elements: butterflies, snow, sunsets, and the Maple Leaf. Where Louise belongs means more than the place she inhabits. The question remains for Louise Levergneux—where do I belong? Finding Home developed from a sense of place, a sense of belonging, or not! The text and houses represent the artist’s journey living in a different country far from her hometown in East-Central Canada. The small 3D printed houses and images represent the experience of finding where one belongs. Designed and produced by the artist in Photoshop with Adobe Caslon Pro, Arial Narrow, Centabel Book, Dream Orphanage, Stackyard and Zapf Dingbats fonts. Ink jet prints on Lasal Matte paper, 235 gsm with an Epson Stylus Photo R3000. Explosion box with Turkish Map Folds, cloth over board binding with inkjet printed images. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025309482-QRC49M5XE2CDG0KQ63BE/mcba-prize-2017-louise-levergneux-finding-home-2.jpg Entries & Jurors - 2017 Entries - Louise Levergneux Boise, Idaho www.louiselevergneux.com Finding Home 2015 inkjet prints, paper, 3D printing, binders board second edition of 3 copies 12 x 12 x 4 4 x 4 x 4 Artist Statement Finding Home is a visual narrative on being unsettled in an environment. The artist has moved many times during her lifetime but still desires to be home—to find a sense of place, a sense of belonging. Levergneux’s new artists’ book Finding Home tackles the experience of living in Idaho while still deeply rooted in Canada. Different elevation, latitude, and longitude between her home divided by miles and miles of where she lives give rise to common elements: butterflies, snow, sunsets, and the Maple Leaf. Where Louise belongs means more than the place she inhabits. The question remains for Louise Levergneux—where do I belong? Finding Home developed from a sense of place, a sense of belonging, or not! The text and houses represent the artist’s journey living in a different country far from her hometown in East-Central Canada. The small 3D printed houses and images represent the experience of finding where one belongs. Designed and produced by the artist in Photoshop with Adobe Caslon Pro, Arial Narrow, Centabel Book, Dream Orphanage, Stackyard and Zapf Dingbats fonts. Ink jet prints on Lasal Matte paper, 235 gsm with an Epson Stylus Photo R3000. Explosion box with Turkish Map Folds, cloth over board binding with inkjet printed images. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025310792-023I3270KW37LYUHTPN3/mcba-prize-2017-louise-levergneux-finding-home-3.jpg Entries & Jurors - 2017 Entries - Louise Levergneux Boise, Idaho www.louiselevergneux.com Finding Home 2015 inkjet prints, paper, 3D printing, binders board second edition of 3 copies 12 x 12 x 4 4 x 4 x 4 Artist Statement Finding Home is a visual narrative on being unsettled in an environment. The artist has moved many times during her lifetime but still desires to be home—to find a sense of place, a sense of belonging. Levergneux’s new artists’ book Finding Home tackles the experience of living in Idaho while still deeply rooted in Canada. Different elevation, latitude, and longitude between her home divided by miles and miles of where she lives give rise to common elements: butterflies, snow, sunsets, and the Maple Leaf. Where Louise belongs means more than the place she inhabits. The question remains for Louise Levergneux—where do I belong? Finding Home developed from a sense of place, a sense of belonging, or not! The text and houses represent the artist’s journey living in a different country far from her hometown in East-Central Canada. The small 3D printed houses and images represent the experience of finding where one belongs. Designed and produced by the artist in Photoshop with Adobe Caslon Pro, Arial Narrow, Centabel Book, Dream Orphanage, Stackyard and Zapf Dingbats fonts. Ink jet prints on Lasal Matte paper, 235 gsm with an Epson Stylus Photo R3000. Explosion box with Turkish Map Folds, cloth over board binding with inkjet printed images. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025311115-EUEOZ826NOW9ATKSA0K3/mcba-prize-2017-louise-levergneux-finding-home-4.jpg Entries & Jurors - 2017 Entries - Louise Levergneux Boise, Idaho www.louiselevergneux.com Finding Home 2015 inkjet prints, paper, 3D printing, binders board second edition of 3 copies 12 x 12 x 4 4 x 4 x 4 Artist Statement Finding Home is a visual narrative on being unsettled in an environment. The artist has moved many times during her lifetime but still desires to be home—to find a sense of place, a sense of belonging. Levergneux’s new artists’ book Finding Home tackles the experience of living in Idaho while still deeply rooted in Canada. Different elevation, latitude, and longitude between her home divided by miles and miles of where she lives give rise to common elements: butterflies, snow, sunsets, and the Maple Leaf. Where Louise belongs means more than the place she inhabits. The question remains for Louise Levergneux—where do I belong? Finding Home developed from a sense of place, a sense of belonging, or not! The text and houses represent the artist’s journey living in a different country far from her hometown in East-Central Canada. The small 3D printed houses and images represent the experience of finding where one belongs. Designed and produced by the artist in Photoshop with Adobe Caslon Pro, Arial Narrow, Centabel Book, Dream Orphanage, Stackyard and Zapf Dingbats fonts. Ink jet prints on Lasal Matte paper, 235 gsm with an Epson Stylus Photo R3000. Explosion box with Turkish Map Folds, cloth over board binding with inkjet printed images. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025312168-LP2Z0YAHN6H759H8D57H/mcba-prize-2017-louise-levergneux-finding-home-5.jpg Entries & Jurors - 2017 Entries - Louise Levergneux Boise, Idaho www.louiselevergneux.com Finding Home 2015 inkjet prints, paper, 3D printing, binders board second edition of 3 copies 12 x 12 x 4 4 x 4 x 4 Artist Statement Finding Home is a visual narrative on being unsettled in an environment. The artist has moved many times during her lifetime but still desires to be home—to find a sense of place, a sense of belonging. Levergneux’s new artists’ book Finding Home tackles the experience of living in Idaho while still deeply rooted in Canada. Different elevation, latitude, and longitude between her home divided by miles and miles of where she lives give rise to common elements: butterflies, snow, sunsets, and the Maple Leaf. Where Louise belongs means more than the place she inhabits. The question remains for Louise Levergneux—where do I belong? Finding Home developed from a sense of place, a sense of belonging, or not! The text and houses represent the artist’s journey living in a different country far from her hometown in East-Central Canada. The small 3D printed houses and images represent the experience of finding where one belongs. Designed and produced by the artist in Photoshop with Adobe Caslon Pro, Arial Narrow, Centabel Book, Dream Orphanage, Stackyard and Zapf Dingbats fonts. Ink jet prints on Lasal Matte paper, 235 gsm with an Epson Stylus Photo R3000. Explosion box with Turkish Map Folds, cloth over board binding with inkjet printed images. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025402304-T2O7IDGB000X9D311BOS/mcba-prize-2017-liudmila-lopez-dominguez-a-diario-every-day-1.jpg Entries & Jurors - 2017 Entries - Liudmila López Domínguez A diario (Every day) 2016 Medium / technique(s) : Laser on acrylic and paper Edition size (if applicable): Unique piece Dimensions, open (H x W x D) : 73 x 50 x 50 cm https://www.youtube.com/watch?v=mvtyQkgE0cI Artist Statement “A diario” is a book art very special and a unique piece within the recent work of Liudmila López Domínguez. Through the pages of the book it possible read small fragment of the personal journal, laser engraved on parchment paper, material that allow to preserve the intimacy of the artist while exposing it, crowned with a bust of woman in red acrylic (3mm), is an exaltation of the feminine, without reaching any feminist extreme, attribute of the woman, turned by her into an artistic symbol. The book constantly rotates on a transparent acrylic base (3mm), the aspirations, desires and biographical data of the artist pass light and subtle before our eyes, artefact created by Liudmila in order to disturb the audience. Biography Liudmila López Domínguez (Havana, 1977) has made more than twenty solo shows in Spain, Greece and Cuba and has participated in nearly one-hundred group exhibitions in Mexico, the US, Spain, Puerto Rico, Venezuela, the Dominican Republic, Australia and Cuba , as well as in contemporary art fairs such as Artbo, Estampa. She has been jury member in several events, has curated exhibitions and dictated conferences. Articles on her work and images from it have been included in El Caimán Barbudo, La Jiribillla, Cubarte, among other publications. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025402902-D5XL58YFPHD19E7VUCAX/mcba-prize-2017-liudmila-lopez-dominguez-a-diario-every-day-2.jpg Entries & Jurors - 2017 Entries - Liudmila López Domínguez A diario (Every day) 2016 Medium / technique(s) : Laser on acrylic and paper Edition size (if applicable): Unique piece Dimensions, open (H x W x D) : 73 x 50 x 50 cm https://www.youtube.com/watch?v=mvtyQkgE0cI Artist Statement “A diario” is a book art very special and a unique piece within the recent work of Liudmila López Domínguez. Through the pages of the book it possible read small fragment of the personal journal, laser engraved on parchment paper, material that allow to preserve the intimacy of the artist while exposing it, crowned with a bust of woman in red acrylic (3mm), is an exaltation of the feminine, without reaching any feminist extreme, attribute of the woman, turned by her into an artistic symbol. The book constantly rotates on a transparent acrylic base (3mm), the aspirations, desires and biographical data of the artist pass light and subtle before our eyes, artefact created by Liudmila in order to disturb the audience. Biography Liudmila López Domínguez (Havana, 1977) has made more than twenty solo shows in Spain, Greece and Cuba and has participated in nearly one-hundred group exhibitions in Mexico, the US, Spain, Puerto Rico, Venezuela, the Dominican Republic, Australia and Cuba , as well as in contemporary art fairs such as Artbo, Estampa. She has been jury member in several events, has curated exhibitions and dictated conferences. Articles on her work and images from it have been included in El Caimán Barbudo, La Jiribillla, Cubarte, among other publications. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025404367-VGB0FVZ7DQIPPOP7F9YR/mcba-prize-2017-liudmila-lopez-dominguez-a-diario-every-day-3.jpg Entries & Jurors - 2017 Entries - Liudmila López Domínguez A diario (Every day) 2016 Medium / technique(s) : Laser on acrylic and paper Edition size (if applicable): Unique piece Dimensions, open (H x W x D) : 73 x 50 x 50 cm https://www.youtube.com/watch?v=mvtyQkgE0cI Artist Statement “A diario” is a book art very special and a unique piece within the recent work of Liudmila López Domínguez. Through the pages of the book it possible read small fragment of the personal journal, laser engraved on parchment paper, material that allow to preserve the intimacy of the artist while exposing it, crowned with a bust of woman in red acrylic (3mm), is an exaltation of the feminine, without reaching any feminist extreme, attribute of the woman, turned by her into an artistic symbol. The book constantly rotates on a transparent acrylic base (3mm), the aspirations, desires and biographical data of the artist pass light and subtle before our eyes, artefact created by Liudmila in order to disturb the audience. Biography Liudmila López Domínguez (Havana, 1977) has made more than twenty solo shows in Spain, Greece and Cuba and has participated in nearly one-hundred group exhibitions in Mexico, the US, Spain, Puerto Rico, Venezuela, the Dominican Republic, Australia and Cuba , as well as in contemporary art fairs such as Artbo, Estampa. She has been jury member in several events, has curated exhibitions and dictated conferences. Articles on her work and images from it have been included in El Caimán Barbudo, La Jiribillla, Cubarte, among other publications. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025404989-OSKPUT0M51K14P96R9ET/mcba-prize-2017-liudmila-lopez-dominguez-a-diario-every-day-4.jpg Entries & Jurors - 2017 Entries - Liudmila López Domínguez A diario (Every day) 2016 Medium / technique(s) : Laser on acrylic and paper Edition size (if applicable): Unique piece Dimensions, open (H x W x D) : 73 x 50 x 50 cm https://www.youtube.com/watch?v=mvtyQkgE0cI Artist Statement “A diario” is a book art very special and a unique piece within the recent work of Liudmila López Domínguez. Through the pages of the book it possible read small fragment of the personal journal, laser engraved on parchment paper, material that allow to preserve the intimacy of the artist while exposing it, crowned with a bust of woman in red acrylic (3mm), is an exaltation of the feminine, without reaching any feminist extreme, attribute of the woman, turned by her into an artistic symbol. The book constantly rotates on a transparent acrylic base (3mm), the aspirations, desires and biographical data of the artist pass light and subtle before our eyes, artefact created by Liudmila in order to disturb the audience. Biography Liudmila López Domínguez (Havana, 1977) has made more than twenty solo shows in Spain, Greece and Cuba and has participated in nearly one-hundred group exhibitions in Mexico, the US, Spain, Puerto Rico, Venezuela, the Dominican Republic, Australia and Cuba , as well as in contemporary art fairs such as Artbo, Estampa. She has been jury member in several events, has curated exhibitions and dictated conferences. Articles on her work and images from it have been included in El Caimán Barbudo, La Jiribillla, Cubarte, among other publications. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025484308-4TZ1OP9JZX4RNXQ0EZ21/mcba-prize-2017-michelle-maguire-salami-dreamin-1.jpg Entries & Jurors - 2017 Entries - Michelle Maguire Columbus, Ohio Salami Dreamin’ 2016 photo-lithography, silkscreen, letterpress 50 68 14.25 x 23.5″ 14.25 x 11.75″ a stack of books from the edition of 50 Artist Statement I grew up in a family of loud Italian Americans. They drank, they ate plentiful amounts of pasta and cured meats, they went to mass, they gambled. The still-standing continue to make as much noise and have as good of a time as their creaky bones will allow. Originally from Castelluccio Valmaggiore in southern Italy (“the ankle of the boot made up of 768 families”), their parents came to the United States in the early 1900s, putting down roots in Canton, Ohio, and working hard to make better lives for themselves. I entered the world in 1977 and was an immediate hit with this crew. My parents divorced when I was five, so I spent a lot of time with my maternal grandparents and their siblings while my mom and dad went to work. During nightly dinners at my grandparents’ house, I absorbed the sights and sounds of this beautiful cross-cultural, Italian-American hybrid. There was my grandpa’s usual dinner-party balancing act, grabbing whatever items available to him from the table. For this particular show, from bottom to top: salt-and-pepper shakers, a porcelain sugar packet holder, an empty Coors bottle, a dinner roll, one last salt shaker, a pizzelle. My grandma, her siblings, and their spouses whistling him on with great delight. Boisterous, headstrong, and robust, my older relatives made my childhood rich and colorful. I was dazzled by them. I remember nothing but good times while being raised by this village. Even as a young person, I knew these people were a special bunch to observe, and as I’ve grown older I’ve realized just how entertaining they really were—and continue to be. That’s why for years now I’ve been traveling back and forth from Columbus, Ohio, to my hometown to visit and document one of them in particular, my Great-Aunt Doll. Now 85, Doll remains one of the funniest, straightest-shooting people alive. I love hanging out with her. Whether she’s cocooned in an afghan and hollering at the Cleveland Browns on her TV or declaring that she can “kill two coney dogs, no problem,” she has no intention of making anyone laugh, but everything she says and does leaves me wanting more. I am deeply fond of those who move to the beat of their own drum. I strive to be more like them, but I am comparatively quiet and more reserved, so I take pictures, admiring these self-confident souls from behind the camera. My work as a photographer derives primarily from my upbringing, which has shaped my character and filtered the way I interpret the world. As for my documentation of Aunt Doll, it originated merely as a means to preserve the spirit of a woman from my favorite generation. But as the years have gone by, I realize my time with her has been an exercise in learning to listen and to be in the moment. Aunt Doll lives her life entirely in the present. My only aspiration is to honor her with this book. DESCRIPTION OF WORK Salami Dreamin’, a limited-edition artist’s book by Michelle Maguire, features eye-popping, hand-printed images of her blunt, funny, completely unimpressed Italian American Great-Aunt Doll, with colorful Aunt Doll anecdotes by Aaron Beck. Maguire and Beck are married and live in Columbus, Ohio. WHO IS AUNT DOLL? Aunt Doll, age 85, has lived in Canton, Ohio, her entire life. She cusses, loves cured meats, knows more about the NFL than you do, plays strip mall slot machines with her vegetarian hairdresser of 42 years, isn’t trying to be funny but is, worships the sun from her concrete-slab patio, and frets about nothing except her beloved Italian bread packing on the pounds. Aunt Doll makes the most if it. The gist of her story: enjoy every chicken wing while you holler at the Cleveland Browns on your gigantic analog TV, because we aren’t here forever. BOOK SPECS • Printed on Arches 88 mould-made paper using lithography and silkscreen printing techniques; and Stonehenge rag cotton paper using letterpress printing from polymer plates • Limited to 50 numbered and signed copies signature-sewn bound into bonded leather over boards https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025484363-SQRW3T3VZGWL3KB1SHMG/mcba-prize-2017-michelle-maguire-salami-dreamin-2.jpg Entries & Jurors - 2017 Entries - Michelle Maguire Columbus, Ohio Salami Dreamin’ 2016 photo-lithography, silkscreen, letterpress 50 68 14.25 x 23.5″ 14.25 x 11.75″ a spread from Salami Dreamin’ Artist Statement I grew up in a family of loud Italian Americans. They drank, they ate plentiful amounts of pasta and cured meats, they went to mass, they gambled. The still-standing continue to make as much noise and have as good of a time as their creaky bones will allow. Originally from Castelluccio Valmaggiore in southern Italy (“the ankle of the boot made up of 768 families”), their parents came to the United States in the early 1900s, putting down roots in Canton, Ohio, and working hard to make better lives for themselves. I entered the world in 1977 and was an immediate hit with this crew. My parents divorced when I was five, so I spent a lot of time with my maternal grandparents and their siblings while my mom and dad went to work. During nightly dinners at my grandparents’ house, I absorbed the sights and sounds of this beautiful cross-cultural, Italian-American hybrid. There was my grandpa’s usual dinner-party balancing act, grabbing whatever items available to him from the table. For this particular show, from bottom to top: salt-and-pepper shakers, a porcelain sugar packet holder, an empty Coors bottle, a dinner roll, one last salt shaker, a pizzelle. My grandma, her siblings, and their spouses whistling him on with great delight. Boisterous, headstrong, and robust, my older relatives made my childhood rich and colorful. I was dazzled by them. I remember nothing but good times while being raised by this village. Even as a young person, I knew these people were a special bunch to observe, and as I’ve grown older I’ve realized just how entertaining they really were—and continue to be. That’s why for years now I’ve been traveling back and forth from Columbus, Ohio, to my hometown to visit and document one of them in particular, my Great-Aunt Doll. Now 85, Doll remains one of the funniest, straightest-shooting people alive. I love hanging out with her. Whether she’s cocooned in an afghan and hollering at the Cleveland Browns on her TV or declaring that she can “kill two coney dogs, no problem,” she has no intention of making anyone laugh, but everything she says and does leaves me wanting more. I am deeply fond of those who move to the beat of their own drum. I strive to be more like them, but I am comparatively quiet and more reserved, so I take pictures, admiring these self-confident souls from behind the camera. My work as a photographer derives primarily from my upbringing, which has shaped my character and filtered the way I interpret the world. As for my documentation of Aunt Doll, it originated merely as a means to preserve the spirit of a woman from my favorite generation. But as the years have gone by, I realize my time with her has been an exercise in learning to listen and to be in the moment. Aunt Doll lives her life entirely in the present. My only aspiration is to honor her with this book. DESCRIPTION OF WORK Salami Dreamin’, a limited-edition artist’s book by Michelle Maguire, features eye-popping, hand-printed images of her blunt, funny, completely unimpressed Italian American Great-Aunt Doll, with colorful Aunt Doll anecdotes by Aaron Beck. Maguire and Beck are married and live in Columbus, Ohio. WHO IS AUNT DOLL? Aunt Doll, age 85, has lived in Canton, Ohio, her entire life. She cusses, loves cured meats, knows more about the NFL than you do, plays strip mall slot machines with her vegetarian hairdresser of 42 years, isn’t trying to be funny but is, worships the sun from her concrete-slab patio, and frets about nothing except her beloved Italian bread packing on the pounds. Aunt Doll makes the most if it. The gist of her story: enjoy every chicken wing while you holler at the Cleveland Browns on your gigantic analog TV, because we aren’t here forever. BOOK SPECS • Printed on Arches 88 mould-made paper using lithography and silkscreen printing techniques; and Stonehenge rag cotton paper using letterpress printing from polymer plates • Limited to 50 numbered and signed copies signature-sewn bound into bonded leather over boards https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025486225-SKHUYHJMAZYBEHFWUR86/mcba-prize-2017-michelle-maguire-salami-dreamin-3.jpg Entries & Jurors - 2017 Entries - Michelle Maguire Columbus, Ohio Salami Dreamin’ 2016 photo-lithography, silkscreen, letterpress 50 68 14.25 x 23.5″ 14.25 x 11.75″ detail showing hand-sewn endbands, signature sewing, and prints Artist Statement I grew up in a family of loud Italian Americans. They drank, they ate plentiful amounts of pasta and cured meats, they went to mass, they gambled. The still-standing continue to make as much noise and have as good of a time as their creaky bones will allow. Originally from Castelluccio Valmaggiore in southern Italy (“the ankle of the boot made up of 768 families”), their parents came to the United States in the early 1900s, putting down roots in Canton, Ohio, and working hard to make better lives for themselves. I entered the world in 1977 and was an immediate hit with this crew. My parents divorced when I was five, so I spent a lot of time with my maternal grandparents and their siblings while my mom and dad went to work. During nightly dinners at my grandparents’ house, I absorbed the sights and sounds of this beautiful cross-cultural, Italian-American hybrid. There was my grandpa’s usual dinner-party balancing act, grabbing whatever items available to him from the table. For this particular show, from bottom to top: salt-and-pepper shakers, a porcelain sugar packet holder, an empty Coors bottle, a dinner roll, one last salt shaker, a pizzelle. My grandma, her siblings, and their spouses whistling him on with great delight. Boisterous, headstrong, and robust, my older relatives made my childhood rich and colorful. I was dazzled by them. I remember nothing but good times while being raised by this village. Even as a young person, I knew these people were a special bunch to observe, and as I’ve grown older I’ve realized just how entertaining they really were—and continue to be. That’s why for years now I’ve been traveling back and forth from Columbus, Ohio, to my hometown to visit and document one of them in particular, my Great-Aunt Doll. Now 85, Doll remains one of the funniest, straightest-shooting people alive. I love hanging out with her. Whether she’s cocooned in an afghan and hollering at the Cleveland Browns on her TV or declaring that she can “kill two coney dogs, no problem,” she has no intention of making anyone laugh, but everything she says and does leaves me wanting more. I am deeply fond of those who move to the beat of their own drum. I strive to be more like them, but I am comparatively quiet and more reserved, so I take pictures, admiring these self-confident souls from behind the camera. My work as a photographer derives primarily from my upbringing, which has shaped my character and filtered the way I interpret the world. As for my documentation of Aunt Doll, it originated merely as a means to preserve the spirit of a woman from my favorite generation. But as the years have gone by, I realize my time with her has been an exercise in learning to listen and to be in the moment. Aunt Doll lives her life entirely in the present. My only aspiration is to honor her with this book. DESCRIPTION OF WORK Salami Dreamin’, a limited-edition artist’s book by Michelle Maguire, features eye-popping, hand-printed images of her blunt, funny, completely unimpressed Italian American Great-Aunt Doll, with colorful Aunt Doll anecdotes by Aaron Beck. Maguire and Beck are married and live in Columbus, Ohio. WHO IS AUNT DOLL? Aunt Doll, age 85, has lived in Canton, Ohio, her entire life. She cusses, loves cured meats, knows more about the NFL than you do, plays strip mall slot machines with her vegetarian hairdresser of 42 years, isn’t trying to be funny but is, worships the sun from her concrete-slab patio, and frets about nothing except her beloved Italian bread packing on the pounds. Aunt Doll makes the most if it. The gist of her story: enjoy every chicken wing while you holler at the Cleveland Browns on your gigantic analog TV, because we aren’t here forever. BOOK SPECS • Printed on Arches 88 mould-made paper using lithography and silkscreen printing techniques; and Stonehenge rag cotton paper using letterpress printing from polymer plates • Limited to 50 numbered and signed copies signature-sewn bound into bonded leather over boards https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025486417-S2V393C2CFXVWNI21T18/mcba-prize-2017-michelle-maguire-salami-dreamin-4.jpg Entries & Jurors - 2017 Entries - Michelle Maguire Columbus, Ohio Salami Dreamin’ 2016 photo-lithography, silkscreen, letterpress 50 68 14.25 x 23.5″ 14.25 x 11.75″ a spread from Salami Dreamin’ Artist Statement I grew up in a family of loud Italian Americans. They drank, they ate plentiful amounts of pasta and cured meats, they went to mass, they gambled. The still-standing continue to make as much noise and have as good of a time as their creaky bones will allow. Originally from Castelluccio Valmaggiore in southern Italy (“the ankle of the boot made up of 768 families”), their parents came to the United States in the early 1900s, putting down roots in Canton, Ohio, and working hard to make better lives for themselves. I entered the world in 1977 and was an immediate hit with this crew. My parents divorced when I was five, so I spent a lot of time with my maternal grandparents and their siblings while my mom and dad went to work. During nightly dinners at my grandparents’ house, I absorbed the sights and sounds of this beautiful cross-cultural, Italian-American hybrid. There was my grandpa’s usual dinner-party balancing act, grabbing whatever items available to him from the table. For this particular show, from bottom to top: salt-and-pepper shakers, a porcelain sugar packet holder, an empty Coors bottle, a dinner roll, one last salt shaker, a pizzelle. My grandma, her siblings, and their spouses whistling him on with great delight. Boisterous, headstrong, and robust, my older relatives made my childhood rich and colorful. I was dazzled by them. I remember nothing but good times while being raised by this village. Even as a young person, I knew these people were a special bunch to observe, and as I’ve grown older I’ve realized just how entertaining they really were—and continue to be. That’s why for years now I’ve been traveling back and forth from Columbus, Ohio, to my hometown to visit and document one of them in particular, my Great-Aunt Doll. Now 85, Doll remains one of the funniest, straightest-shooting people alive. I love hanging out with her. Whether she’s cocooned in an afghan and hollering at the Cleveland Browns on her TV or declaring that she can “kill two coney dogs, no problem,” she has no intention of making anyone laugh, but everything she says and does leaves me wanting more. I am deeply fond of those who move to the beat of their own drum. I strive to be more like them, but I am comparatively quiet and more reserved, so I take pictures, admiring these self-confident souls from behind the camera. My work as a photographer derives primarily from my upbringing, which has shaped my character and filtered the way I interpret the world. As for my documentation of Aunt Doll, it originated merely as a means to preserve the spirit of a woman from my favorite generation. But as the years have gone by, I realize my time with her has been an exercise in learning to listen and to be in the moment. Aunt Doll lives her life entirely in the present. My only aspiration is to honor her with this book. DESCRIPTION OF WORK Salami Dreamin’, a limited-edition artist’s book by Michelle Maguire, features eye-popping, hand-printed images of her blunt, funny, completely unimpressed Italian American Great-Aunt Doll, with colorful Aunt Doll anecdotes by Aaron Beck. Maguire and Beck are married and live in Columbus, Ohio. WHO IS AUNT DOLL? Aunt Doll, age 85, has lived in Canton, Ohio, her entire life. She cusses, loves cured meats, knows more about the NFL than you do, plays strip mall slot machines with her vegetarian hairdresser of 42 years, isn’t trying to be funny but is, worships the sun from her concrete-slab patio, and frets about nothing except her beloved Italian bread packing on the pounds. Aunt Doll makes the most if it. The gist of her story: enjoy every chicken wing while you holler at the Cleveland Browns on your gigantic analog TV, because we aren’t here forever. BOOK SPECS • Printed on Arches 88 mould-made paper using lithography and silkscreen printing techniques; and Stonehenge rag cotton paper using letterpress printing from polymer plates • Limited to 50 numbered and signed copies signature-sewn bound into bonded leather over boards https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025487741-HOIKSO50QHS69UXCYS87/mcba-prize-2017-michelle-maguire-salami-dreamin-5.jpg Entries & Jurors - 2017 Entries - Michelle Maguire Columbus, Ohio Salami Dreamin’ 2016 photo-lithography, silkscreen, letterpress 50 68 14.25 x 23.5″ 14.25 x 11.75″ back pocket containing a bonus silkscreen-on-newsprint pamphlet – each one totally unique and a remnant of a day’s work in the print studio. Artist Statement I grew up in a family of loud Italian Americans. They drank, they ate plentiful amounts of pasta and cured meats, they went to mass, they gambled. The still-standing continue to make as much noise and have as good of a time as their creaky bones will allow. Originally from Castelluccio Valmaggiore in southern Italy (“the ankle of the boot made up of 768 families”), their parents came to the United States in the early 1900s, putting down roots in Canton, Ohio, and working hard to make better lives for themselves. I entered the world in 1977 and was an immediate hit with this crew. My parents divorced when I was five, so I spent a lot of time with my maternal grandparents and their siblings while my mom and dad went to work. During nightly dinners at my grandparents’ house, I absorbed the sights and sounds of this beautiful cross-cultural, Italian-American hybrid. There was my grandpa’s usual dinner-party balancing act, grabbing whatever items available to him from the table. For this particular show, from bottom to top: salt-and-pepper shakers, a porcelain sugar packet holder, an empty Coors bottle, a dinner roll, one last salt shaker, a pizzelle. My grandma, her siblings, and their spouses whistling him on with great delight. Boisterous, headstrong, and robust, my older relatives made my childhood rich and colorful. I was dazzled by them. I remember nothing but good times while being raised by this village. Even as a young person, I knew these people were a special bunch to observe, and as I’ve grown older I’ve realized just how entertaining they really were—and continue to be. That’s why for years now I’ve been traveling back and forth from Columbus, Ohio, to my hometown to visit and document one of them in particular, my Great-Aunt Doll. Now 85, Doll remains one of the funniest, straightest-shooting people alive. I love hanging out with her. Whether she’s cocooned in an afghan and hollering at the Cleveland Browns on her TV or declaring that she can “kill two coney dogs, no problem,” she has no intention of making anyone laugh, but everything she says and does leaves me wanting more. I am deeply fond of those who move to the beat of their own drum. I strive to be more like them, but I am comparatively quiet and more reserved, so I take pictures, admiring these self-confident souls from behind the camera. My work as a photographer derives primarily from my upbringing, which has shaped my character and filtered the way I interpret the world. As for my documentation of Aunt Doll, it originated merely as a means to preserve the spirit of a woman from my favorite generation. But as the years have gone by, I realize my time with her has been an exercise in learning to listen and to be in the moment. Aunt Doll lives her life entirely in the present. My only aspiration is to honor her with this book. DESCRIPTION OF WORK Salami Dreamin’, a limited-edition artist’s book by Michelle Maguire, features eye-popping, hand-printed images of her blunt, funny, completely unimpressed Italian American Great-Aunt Doll, with colorful Aunt Doll anecdotes by Aaron Beck. Maguire and Beck are married and live in Columbus, Ohio. WHO IS AUNT DOLL? Aunt Doll, age 85, has lived in Canton, Ohio, her entire life. She cusses, loves cured meats, knows more about the NFL than you do, plays strip mall slot machines with her vegetarian hairdresser of 42 years, isn’t trying to be funny but is, worships the sun from her concrete-slab patio, and frets about nothing except her beloved Italian bread packing on the pounds. Aunt Doll makes the most if it. The gist of her story: enjoy every chicken wing while you holler at the Cleveland Browns on your gigantic analog TV, because we aren’t here forever. BOOK SPECS • Printed on Arches 88 mould-made paper using lithography and silkscreen printing techniques; and Stonehenge rag cotton paper using letterpress printing from polymer plates • Limited to 50 numbered and signed copies signature-sewn bound into bonded leather over boards https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025638824-U0NGFG83C0S1O04623S0/mcba-prize-2017-celeste-maia-enes-de-castro-passion-duplicity-death-1.jpg Entries & Jurors - 2017 Entries - Celeste Maia Estoril, Portugal www.celestemaia.com Enes de Castro, Passion Duplicity Death 2017 Enes de Castro, Passion Duplicity Death is letterpress printed on Arjowiggins 100% cotton paper, hand sewn, with soie sauvage covers, gold engraved title and individually painted Lotka end papers. The 84-page book includes my handmade map of the Iberian Peninsula in 1350 and the 11 diary pages I “found”, hand written in script Gothic calligraphy in the Galician, Portuguese and Castilian of that time and illustrated on aged Capellades paper, made according to paper available in Portugal in the 14th Century. The original diary pages are enveloped in 5 gr Tengucho paper. Enes de Castro is presented in a box inspired by a 19th Century chocolate-maker’s case from Cuenca, Spain. The box contains three levels – a sealed transparent compartment enclosing (a) the reliquary veil from when Enes’s body was exhumed and she was crowned Queen and a lock of her hair, (b) a silk and velvet medieval pouch holding the book, and (c) a tray bearing her crown. The Cuenca box opens with hinged wings lined with hand painted Lotka paper and covered in book cloth. edition size of 3 84 pages 25 cm X 36 cm X 2,5 cm 25 cm X 18 cm X 2,5 cm https://www.youtube.com/watch?v=KnhTX1VKiUM 3:12 – 5:12 Cuenca box – inspired by a 19th Century chocolate-maker’s case from Cuenca, Spain – open showing a tray holding Enes’s crown. Enes de Castro, Passion Duplicity Death is the true story of a remarkable 14th Century woman who lived a grandiose, dangerous and tragic love affair with Prince Pedro, heir to the throne of Portugal. Enes was the lady-in-waiting of the Castilian Princess marrying the Prince, the marriage sealing an important alliance between the feuding Kingdoms of Portugal and Castile. Pedro and Enes’s love affair required years of duplicity and subterfuge, and has been documented by chroniclers and historians and fixed in popular mythology. However, Enes has been portrayed throughout the centuries as the meek and terrified victim of Pedro’s father the King, and the inconvenient lover of his son and heir. How wrong they all were! My extraordinary “discovery” of Enes’s heavily damaged diary, and my painstaking research reveal her to be well-educated, an accomplished seductress and an influential protagonist in the complicated dynastic maneuverings between the kingdoms of Portugal and Castile in the wake of the wars against the Moors. The 11 still legible pages of Enes’s diary – written in a mixture of Galician, Portuguese and Castilian, and dating from January 1340 to November 1354, two months before she was murdered — are surprisingly explicit and personal, baring the torments of Enes’s prohibited love for Pedro, her loyalty to Castile, and how she shaped the destinies of Portugal and Spain. Before writing Enes’s story for this letter-press book, I spent more than a year piecing together the story of this myth shrouded woman, researching in medieval libraries, monasteries and universities of the Iberian Peninsula, visiting the castles where Enes grew up and was exiled to, the manor houses where she hid and spied for Castile, the fountain where she was brutally murdered. Finally visiting the Monastery of Alcobaça where millions have viewed the magnificent sarcophagi Pedro had commissioned in 1362 for Enes and himself, now protected as UNESCO World Heritage. I chose the artist book medium to make real this 700-year-old story. Every detail was meticulously studied and crafted: the paper handmade according to the way paper was first produced in Xátiva, Al-Andalus, and introduced in Europe in 1150, the Iberian Gothic script calligraphy, the authentic illustrations, the medieval pouch holding her diary, the stained and tattered veil Enes was covered with when her body was exhumed two years after burial and she was crowned Queen of Portugal by Pedro when he became King, the lock of her hair tied in a threadbare ribbon, her replicated crown. Even the ancient past is immediate, when revealed through passion. The artist book Enes de Castro, Passion Duplicity Death gives the reader an intellectual, emotional and tactile experience of the beauty and tragedy of this true medieval love story. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025638819-395TIWJKOKHP6MUSX3JS/mcba-prize-2017-celeste-maia-enes-de-castro-passion-duplicity-death-2.jpg Entries & Jurors - 2017 Entries - Celeste Maia Estoril, Portugal www.celestemaia.com Enes de Castro, Passion Duplicity Death 2017 Enes de Castro, Passion Duplicity Death is letterpress printed on Arjowiggins 100% cotton paper, hand sewn, with soie sauvage covers, gold engraved title and individually painted Lotka end papers. The 84-page book includes my handmade map of the Iberian Peninsula in 1350 and the 11 diary pages I “found”, hand written in script Gothic calligraphy in the Galician, Portuguese and Castilian of that time and illustrated on aged Capellades paper, made according to paper available in Portugal in the 14th Century. The original diary pages are enveloped in 5 gr Tengucho paper. Enes de Castro is presented in a box inspired by a 19th Century chocolate-maker’s case from Cuenca, Spain. The box contains three levels – a sealed transparent compartment enclosing (a) the reliquary veil from when Enes’s body was exhumed and she was crowned Queen and a lock of her hair, (b) a silk and velvet medieval pouch holding the book, and (c) a tray bearing her crown. The Cuenca box opens with hinged wings lined with hand painted Lotka paper and covered in book cloth. edition size of 3 84 pages 25 cm X 36 cm X 2,5 cm 25 cm X 18 cm X 2,5 cm https://www.youtube.com/watch?v=KnhTX1VKiUM 3:12 – 5:12 Underneath the tray holding the crown is a silk medieval pouch holding the 84-page letterpress book. Enes de Castro, Passion Duplicity Death is the true story of a remarkable 14th Century woman who lived a grandiose, dangerous and tragic love affair with Prince Pedro, heir to the throne of Portugal. Enes was the lady-in-waiting of the Castilian Princess marrying the Prince, the marriage sealing an important alliance between the feuding Kingdoms of Portugal and Castile. Pedro and Enes’s love affair required years of duplicity and subterfuge, and has been documented by chroniclers and historians and fixed in popular mythology. However, Enes has been portrayed throughout the centuries as the meek and terrified victim of Pedro’s father the King, and the inconvenient lover of his son and heir. How wrong they all were! My extraordinary “discovery” of Enes’s heavily damaged diary, and my painstaking research reveal her to be well-educated, an accomplished seductress and an influential protagonist in the complicated dynastic maneuverings between the kingdoms of Portugal and Castile in the wake of the wars against the Moors. The 11 still legible pages of Enes’s diary – written in a mixture of Galician, Portuguese and Castilian, and dating from January 1340 to November 1354, two months before she was murdered — are surprisingly explicit and personal, baring the torments of Enes’s prohibited love for Pedro, her loyalty to Castile, and how she shaped the destinies of Portugal and Spain. Before writing Enes’s story for this letter-press book, I spent more than a year piecing together the story of this myth shrouded woman, researching in medieval libraries, monasteries and universities of the Iberian Peninsula, visiting the castles where Enes grew up and was exiled to, the manor houses where she hid and spied for Castile, the fountain where she was brutally murdered. Finally visiting the Monastery of Alcobaça where millions have viewed the magnificent sarcophagi Pedro had commissioned in 1362 for Enes and himself, now protected as UNESCO World Heritage. I chose the artist book medium to make real this 700-year-old story. Every detail was meticulously studied and crafted: the paper handmade according to the way paper was first produced in Xátiva, Al-Andalus, and introduced in Europe in 1150, the Iberian Gothic script calligraphy, the authentic illustrations, the medieval pouch holding her diary, the stained and tattered veil Enes was covered with when her body was exhumed two years after burial and she was crowned Queen of Portugal by Pedro when he became King, the lock of her hair tied in a threadbare ribbon, her replicated crown. Even the ancient past is immediate, when revealed through passion. The artist book Enes de Castro, Passion Duplicity Death gives the reader an intellectual, emotional and tactile experience of the beauty and tragedy of this true medieval love story. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025639759-3ISBMWXMAICPS6V1C28Q/mcba-prize-2017-celeste-maia-enes-de-castro-passion-duplicity-death-3.jpg Entries & Jurors - 2017 Entries - Celeste Maia Estoril, Portugal www.celestemaia.com Enes de Castro, Passion Duplicity Death 2017 Enes de Castro, Passion Duplicity Death is letterpress printed on Arjowiggins 100% cotton paper, hand sewn, with soie sauvage covers, gold engraved title and individually painted Lotka end papers. The 84-page book includes my handmade map of the Iberian Peninsula in 1350 and the 11 diary pages I “found”, hand written in script Gothic calligraphy in the Galician, Portuguese and Castilian of that time and illustrated on aged Capellades paper, made according to paper available in Portugal in the 14th Century. The original diary pages are enveloped in 5 gr Tengucho paper. Enes de Castro is presented in a box inspired by a 19th Century chocolate-maker’s case from Cuenca, Spain. The box contains three levels – a sealed transparent compartment enclosing (a) the reliquary veil from when Enes’s body was exhumed and she was crowned Queen and a lock of her hair, (b) a silk and velvet medieval pouch holding the book, and (c) a tray bearing her crown. The Cuenca box opens with hinged wings lined with hand painted Lotka paper and covered in book cloth. edition size of 3 84 pages 25 cm X 36 cm X 2,5 cm 25 cm X 18 cm X 2,5 cm https://www.youtube.com/watch?v=KnhTX1VKiUM 3:12 – 5:12 Underneath the medieval pouch is a sealed compartment enclosing the reliquary veil which covered Enes’s body – exhumed two years after her murder – when crowned Queen, and a lock of her hair. Enes de Castro, Passion Duplicity Death is the true story of a remarkable 14th Century woman who lived a grandiose, dangerous and tragic love affair with Prince Pedro, heir to the throne of Portugal. Enes was the lady-in-waiting of the Castilian Princess marrying the Prince, the marriage sealing an important alliance between the feuding Kingdoms of Portugal and Castile. Pedro and Enes’s love affair required years of duplicity and subterfuge, and has been documented by chroniclers and historians and fixed in popular mythology. However, Enes has been portrayed throughout the centuries as the meek and terrified victim of Pedro’s father the King, and the inconvenient lover of his son and heir. How wrong they all were! My extraordinary “discovery” of Enes’s heavily damaged diary, and my painstaking research reveal her to be well-educated, an accomplished seductress and an influential protagonist in the complicated dynastic maneuverings between the kingdoms of Portugal and Castile in the wake of the wars against the Moors. The 11 still legible pages of Enes’s diary – written in a mixture of Galician, Portuguese and Castilian, and dating from January 1340 to November 1354, two months before she was murdered — are surprisingly explicit and personal, baring the torments of Enes’s prohibited love for Pedro, her loyalty to Castile, and how she shaped the destinies of Portugal and Spain. Before writing Enes’s story for this letter-press book, I spent more than a year piecing together the story of this myth shrouded woman, researching in medieval libraries, monasteries and universities of the Iberian Peninsula, visiting the castles where Enes grew up and was exiled to, the manor houses where she hid and spied for Castile, the fountain where she was brutally murdered. Finally visiting the Monastery of Alcobaça where millions have viewed the magnificent sarcophagi Pedro had commissioned in 1362 for Enes and himself, now protected as UNESCO World Heritage. I chose the artist book medium to make real this 700-year-old story. Every detail was meticulously studied and crafted: the paper handmade according to the way paper was first produced in Xátiva, Al-Andalus, and introduced in Europe in 1150, the Iberian Gothic script calligraphy, the authentic illustrations, the medieval pouch holding her diary, the stained and tattered veil Enes was covered with when her body was exhumed two years after burial and she was crowned Queen of Portugal by Pedro when he became King, the lock of her hair tied in a threadbare ribbon, her replicated crown. Even the ancient past is immediate, when revealed through passion. The artist book Enes de Castro, Passion Duplicity Death gives the reader an intellectual, emotional and tactile experience of the beauty and tragedy of this true medieval love story. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025640349-V851U61JDL4ZVTADF7SZ/mcba-prize-2017-celeste-maia-enes-de-castro-passion-duplicity-death-4.jpg Entries & Jurors - 2017 Entries - Celeste Maia Estoril, Portugal www.celestemaia.com Enes de Castro, Passion Duplicity Death 2017 Enes de Castro, Passion Duplicity Death is letterpress printed on Arjowiggins 100% cotton paper, hand sewn, with soie sauvage covers, gold engraved title and individually painted Lotka end papers. The 84-page book includes my handmade map of the Iberian Peninsula in 1350 and the 11 diary pages I “found”, hand written in script Gothic calligraphy in the Galician, Portuguese and Castilian of that time and illustrated on aged Capellades paper, made according to paper available in Portugal in the 14th Century. The original diary pages are enveloped in 5 gr Tengucho paper. Enes de Castro is presented in a box inspired by a 19th Century chocolate-maker’s case from Cuenca, Spain. The box contains three levels – a sealed transparent compartment enclosing (a) the reliquary veil from when Enes’s body was exhumed and she was crowned Queen and a lock of her hair, (b) a silk and velvet medieval pouch holding the book, and (c) a tray bearing her crown. The Cuenca box opens with hinged wings lined with hand painted Lotka paper and covered in book cloth. edition size of 3 84 pages 25 cm X 36 cm X 2,5 cm 25 cm X 18 cm X 2,5 cm https://www.youtube.com/watch?v=KnhTX1VKiUM 3:12 – 5:12 Closed Cuenca box with two books open showing (1) my handmade map of the Iberian Peninsula in 1350, and (2) one of the 11 diary pages handwritten in script Gothic calligraphy, in the Galician, Portuguese and Castilian of the time, wrapped in Tengucho paper. My translation is on the preceding page. Enes de Castro, Passion Duplicity Death is the true story of a remarkable 14th Century woman who lived a grandiose, dangerous and tragic love affair with Prince Pedro, heir to the throne of Portugal. Enes was the lady-in-waiting of the Castilian Princess marrying the Prince, the marriage sealing an important alliance between the feuding Kingdoms of Portugal and Castile. Pedro and Enes’s love affair required years of duplicity and subterfuge, and has been documented by chroniclers and historians and fixed in popular mythology. However, Enes has been portrayed throughout the centuries as the meek and terrified victim of Pedro’s father the King, and the inconvenient lover of his son and heir. How wrong they all were! My extraordinary “discovery” of Enes’s heavily damaged diary, and my painstaking research reveal her to be well-educated, an accomplished seductress and an influential protagonist in the complicated dynastic maneuverings between the kingdoms of Portugal and Castile in the wake of the wars against the Moors. The 11 still legible pages of Enes’s diary – written in a mixture of Galician, Portuguese and Castilian, and dating from January 1340 to November 1354, two months before she was murdered — are surprisingly explicit and personal, baring the torments of Enes’s prohibited love for Pedro, her loyalty to Castile, and how she shaped the destinies of Portugal and Spain. Before writing Enes’s story for this letter-press book, I spent more than a year piecing together the story of this myth shrouded woman, researching in medieval libraries, monasteries and universities of the Iberian Peninsula, visiting the castles where Enes grew up and was exiled to, the manor houses where she hid and spied for Castile, the fountain where she was brutally murdered. Finally visiting the Monastery of Alcobaça where millions have viewed the magnificent sarcophagi Pedro had commissioned in 1362 for Enes and himself, now protected as UNESCO World Heritage. I chose the artist book medium to make real this 700-year-old story. Every detail was meticulously studied and crafted: the paper handmade according to the way paper was first produced in Xátiva, Al-Andalus, and introduced in Europe in 1150, the Iberian Gothic script calligraphy, the authentic illustrations, the medieval pouch holding her diary, the stained and tattered veil Enes was covered with when her body was exhumed two years after burial and she was crowned Queen of Portugal by Pedro when he became King, the lock of her hair tied in a threadbare ribbon, her replicated crown. Even the ancient past is immediate, when revealed through passion. The artist book Enes de Castro, Passion Duplicity Death gives the reader an intellectual, emotional and tactile experience of the beauty and tragedy of this true medieval love story. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025824661-UUFDS1B4DEVNNYRV31YO/mcba-prize-2017-mary-v-marsh-this-river-has-no-ego-1.jpg Entries & Jurors - 2017 Entries - Mary V. Marsh Oakland, California http://mvmarsh.com/home.html This river has no ego 2016 Accordion fold, letterpress printed, handset type, polymer plates, linocut on Arches Cover, hand cut paper, maple veneer cover, vertebrae. Slipcover, redwood veneer. edition of 15 13 pages 7.5″ x 35″ x 6″ 7.5″ x 6.75″ x 1.75″ This river has no ego A meditation on our need to control nature, this collaborative book with original poetry and images by Tony Bellaver and Mary V. Marsh is a letterpress printed accordion-fold book. The making of This river has no ego has been a process of years of conversations while camping, backpacking and fly fishing. The close observation required for fly fishing reveals the interconnectedness of the river, trees, fish and insects. We reflect on our relationship to nature, the power and endurance of rivers, and our insignificance. We try to understand it through the lens of science and words. The river doesn’t care if we are here or not. We strive to see and respect the river, without naming or cultural construct. From our sketchbook drawings and poetry we developed the content and designed the format collaboratively. The accordion structure allows the book to unfold in an uneven rhythm like a river. The maple burl and redwood veneer relates to trees around our favorite rivers of California. The salmon vertebrae shows one part of the cycle of life of the river. We stand apart as voyeurs, responding to what we see, and at the same time are active contributors. We put ourselves in the natural environment somewhere between viewer and participant. Journals and diaries of our experiences while backpacking in the wilderness provide the source for our projects. We want to share our awe and respect for wildness, and our gratitude of being able to be in these places for a time. This river has no ego, no care, no consciousness of itself. To the sea it flows, over rocks of granite, down cascades of mist. Often turbid, sometimes placid, always moving. Water flows deeper, into rock and soil it cuts. Competition in the wilderness, process of evolution, defined and invented. Made of creeks, of lakes, to join into rivers. Blue, green, turbid, clear, 2 parts hydrogen, 1 part oxygen, water is chemical. Earth’s solvent. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025823949-15QJF8J2JIP4QIFND4R3/mcba-prize-2017-mary-v-marsh-this-river-has-no-ego-2.jpg Entries & Jurors - 2017 Entries - Mary V. Marsh Oakland, California http://mvmarsh.com/home.html This river has no ego 2016 Accordion fold, letterpress printed, handset type, polymer plates, linocut on Arches Cover, hand cut paper, maple veneer cover, vertebrae. Slipcover, redwood veneer. edition of 15 13 pages 7.5″ x 35″ x 6″ 7.5″ x 6.75″ x 1.75″ This river has no ego A meditation on our need to control nature, this collaborative book with original poetry and images by Tony Bellaver and Mary V. Marsh is a letterpress printed accordion-fold book. The making of This river has no ego has been a process of years of conversations while camping, backpacking and fly fishing. The close observation required for fly fishing reveals the interconnectedness of the river, trees, fish and insects. We reflect on our relationship to nature, the power and endurance of rivers, and our insignificance. We try to understand it through the lens of science and words. The river doesn’t care if we are here or not. We strive to see and respect the river, without naming or cultural construct. From our sketchbook drawings and poetry we developed the content and designed the format collaboratively. The accordion structure allows the book to unfold in an uneven rhythm like a river. The maple burl and redwood veneer relates to trees around our favorite rivers of California. The salmon vertebrae shows one part of the cycle of life of the river. We stand apart as voyeurs, responding to what we see, and at the same time are active contributors. We put ourselves in the natural environment somewhere between viewer and participant. Journals and diaries of our experiences while backpacking in the wilderness provide the source for our projects. We want to share our awe and respect for wildness, and our gratitude of being able to be in these places for a time. This river has no ego, no care, no consciousness of itself. To the sea it flows, over rocks of granite, down cascades of mist. Often turbid, sometimes placid, always moving. Water flows deeper, into rock and soil it cuts. Competition in the wilderness, process of evolution, defined and invented. Made of creeks, of lakes, to join into rivers. Blue, green, turbid, clear, 2 parts hydrogen, 1 part oxygen, water is chemical. Earth’s solvent. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774025825319-BO3EOGSCIND2UAI3Y3R7/mcba-prize-2017-mary-v-marsh-this-river-has-no-ego-3.jpg Entries & Jurors - 2017 Entries - Mary V. Marsh Oakland, California http://mvmarsh.com/home.html This river has no ego 2016 Accordion fold, letterpress printed, handset type, polymer plates, linocut on Arches Cover, hand cut paper, maple veneer cover, vertebrae. Slipcover, redwood veneer. edition of 15 13 pages 7.5″ x 35″ x 6″ 7.5″ x 6.75″ x 1.75″ This river has no ego A meditation on our need to control nature, this collaborative book with original poetry and images by Tony Bellaver and Mary V. Marsh is a letterpress printed accordion-fold book. The making of This river has no ego has been a process of years of conversations while camping, backpacking and fly fishing. The close observation required for fly fishing reveals the interconnectedness of the river, trees, fish and insects. We reflect on our relationship to nature, the power and endurance of rivers, and our insignificance. We try to understand it through the lens of science and words. The river doesn’t care if we are here or not. We strive to see and respect the river, without naming or cultural construct. From our sketchbook drawings and poetry we developed the content and designed the format collaboratively. The accordion structure allows the book to unfold in an uneven rhythm like a river. The maple burl and redwood veneer relates to trees around our favorite rivers of California. The salmon vertebrae shows one part of the cycle of life of the river. We stand apart as voyeurs, responding to what we see, and at the same time are active contributors. We put ourselves in the natural environment somewhere between viewer and participant. Journals and diaries of our experiences while backpacking in the wilderness provide the source for our projects. We want to share our awe and respect for wildness, and our gratitude of being able to be in these places for a time. This river has no ego, no care, no consciousness of itself. To the sea it flows, over rocks of granite, down cascades of mist. Often turbid, sometimes placid, always moving. Water flows deeper, into rock and soil it cuts. Competition in the wilderness, process of evolution, defined and invented. Made of creeks, of lakes, to join into rivers. Blue, green, turbid, clear, 2 parts hydrogen, 1 part oxygen, water is chemical. Earth’s solvent. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774033539120-I6N7IIFUFHSQC7JY227A/mcba-prize-2017-emily-martin-funny-ha-ha-funny-peculiar-1.jpg Entries & Jurors - 2017 Entries - Emily Martin Iowa City, Iowa www.emilymartin.com Funny Ha Ha Funny Peculiar 2017 letterpress, graphite rubbing, ink wash edition of 25 34 pages 12 x 20 x 1 12 x 10 x 1 front cover, custom handmade paper from Katie MacGregor. Letterpress printed from P22 blox and handset type. Funny Ha Ha Funny Peculiar or Funny Peculiar Funny Ha Ha is the result of my extended study of Shakespeare’s comedies. I find the comedies individually to be enjoyable but there is a sameness to many of the plots that allows me to mix them up in my head. So much mistaken identity, gender confusion and various other contrivances while romping their way to a fifth act wedding or two. Even more problematic are the decidedly unfunny themes that are common in many of these same comedies such as hypocrisy, sexual harassment, intolerance, sexism, misogyny, and anti-Semitism. I struggled for a long time to integrate all these ideas. I finally realized that what I needed to do was to address each aspect separately, thus a dos a do book. Each side has its own focus and treatment. The characters are the same in both books. They are printed using the P22 Blox which are a set of modular shapes that can be interchanged to change the body’s posture and gestures. The P22 Blox allows the presentation of the characters as interchangeable as well. Funny Peculiar is a drum leaf book and presents selected lines from five plays delivered by characters on a stage set. Funny Ha Ha is a slice book allowing the viewer to mix and match the costumes and gender of the characters in a variety of postures. Funny Peculiar is letterpress printed on an SP15 Vandercook proof press using hand set type and P22 Blox combined with rubbings, ink washes, and collagraphs to make the images. Printed on Domestic Etch paper with gray Pescia end sheets. Funny Ha Ha is printed on an SP15 Vandercook proof press using hand set type combined with relief printing using P22 Blox, collagraphs, and polymer plates from Boxcar Press to make the images. Printed on white Pescia paper with gray Pescia end sheets. Bound in a modified dos a do binding to hold the sewn text block slice book on one side and the drum leaf text block on the other side. The hard covers are covered with Arrestox book cloth and three vivid colored cotton papers color matched and custom made by Katie MacGregor. The book is 12 inches tall, 10 inches wide, and 1 inch thick. Housed in a clamshell box covered in Japanese linen cloth. Funded in part by a grant from the College Book Arts Association. Made in an edition of 25. Emily Martin has published over 40 artists books through her imprint The Naughty Dog Press. Her work is in collections worldwide. Martin is on the faculty of the University of Iowa Center for the Book. Martin has two adult daughters and lives in Iowa City, IA with her Vandercook SP15. She rides her bicycle as often as she can, sometimes all the way across the state of Iowa. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774033539103-6A6BN7OJG2JS3M4QHPZS/mcba-prize-2017-emily-martin-funny-ha-ha-funny-peculiar-2.jpg Entries & Jurors - 2017 Entries - Emily Martin Iowa City, Iowa www.emilymartin.com Funny Ha Ha Funny Peculiar 2017 letterpress, graphite rubbing, ink wash edition of 25 34 pages 12 x 20 x 1 12 x 10 x 1 elevated view of the dos a do format, red front cover for Ha Ha side, sewn pages, gray front cover for Peculiar side, drum leaf binding. Funny Ha Ha Funny Peculiar or Funny Peculiar Funny Ha Ha is the result of my extended study of Shakespeare’s comedies. I find the comedies individually to be enjoyable but there is a sameness to many of the plots that allows me to mix them up in my head. So much mistaken identity, gender confusion and various other contrivances while romping their way to a fifth act wedding or two. Even more problematic are the decidedly unfunny themes that are common in many of these same comedies such as hypocrisy, sexual harassment, intolerance, sexism, misogyny, and anti-Semitism. I struggled for a long time to integrate all these ideas. I finally realized that what I needed to do was to address each aspect separately, thus a dos a do book. Each side has its own focus and treatment. The characters are the same in both books. They are printed using the P22 Blox which are a set of modular shapes that can be interchanged to change the body’s posture and gestures. The P22 Blox allows the presentation of the characters as interchangeable as well. Funny Peculiar is a drum leaf book and presents selected lines from five plays delivered by characters on a stage set. Funny Ha Ha is a slice book allowing the viewer to mix and match the costumes and gender of the characters in a variety of postures. Funny Peculiar is letterpress printed on an SP15 Vandercook proof press using hand set type and P22 Blox combined with rubbings, ink washes, and collagraphs to make the images. Printed on Domestic Etch paper with gray Pescia end sheets. Funny Ha Ha is printed on an SP15 Vandercook proof press using hand set type combined with relief printing using P22 Blox, collagraphs, and polymer plates from Boxcar Press to make the images. Printed on white Pescia paper with gray Pescia end sheets. Bound in a modified dos a do binding to hold the sewn text block slice book on one side and the drum leaf text block on the other side. The hard covers are covered with Arrestox book cloth and three vivid colored cotton papers color matched and custom made by Katie MacGregor. The book is 12 inches tall, 10 inches wide, and 1 inch thick. Housed in a clamshell box covered in Japanese linen cloth. Funded in part by a grant from the College Book Arts Association. Made in an edition of 25. Emily Martin has published over 40 artists books through her imprint The Naughty Dog Press. Her work is in collections worldwide. Martin is on the faculty of the University of Iowa Center for the Book. Martin has two adult daughters and lives in Iowa City, IA with her Vandercook SP15. She rides her bicycle as often as she can, sometimes all the way across the state of Iowa. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774033540453-ROUD0TNIM64PNFSOLC53/mcba-prize-2017-emily-martin-funny-ha-ha-funny-peculiar-3.jpg Entries & Jurors - 2017 Entries - Emily Martin Iowa City, Iowa www.emilymartin.com Funny Ha Ha Funny Peculiar 2017 letterpress, graphite rubbing, ink wash edition of 25 34 pages 12 x 20 x 1 12 x 10 x 1 title page letterpress printed on Pescia paper from P22 blox, polymer plates and handset type. Funny Ha Ha Funny Peculiar or Funny Peculiar Funny Ha Ha is the result of my extended study of Shakespeare’s comedies. I find the comedies individually to be enjoyable but there is a sameness to many of the plots that allows me to mix them up in my head. So much mistaken identity, gender confusion and various other contrivances while romping their way to a fifth act wedding or two. Even more problematic are the decidedly unfunny themes that are common in many of these same comedies such as hypocrisy, sexual harassment, intolerance, sexism, misogyny, and anti-Semitism. I struggled for a long time to integrate all these ideas. I finally realized that what I needed to do was to address each aspect separately, thus a dos a do book. Each side has its own focus and treatment. The characters are the same in both books. They are printed using the P22 Blox which are a set of modular shapes that can be interchanged to change the body’s posture and gestures. The P22 Blox allows the presentation of the characters as interchangeable as well. Funny Peculiar is a drum leaf book and presents selected lines from five plays delivered by characters on a stage set. Funny Ha Ha is a slice book allowing the viewer to mix and match the costumes and gender of the characters in a variety of postures. Funny Peculiar is letterpress printed on an SP15 Vandercook proof press using hand set type and P22 Blox combined with rubbings, ink washes, and collagraphs to make the images. Printed on Domestic Etch paper with gray Pescia end sheets. Funny Ha Ha is printed on an SP15 Vandercook proof press using hand set type combined with relief printing using P22 Blox, collagraphs, and polymer plates from Boxcar Press to make the images. Printed on white Pescia paper with gray Pescia end sheets. Bound in a modified dos a do binding to hold the sewn text block slice book on one side and the drum leaf text block on the other side. The hard covers are covered with Arrestox book cloth and three vivid colored cotton papers color matched and custom made by Katie MacGregor. The book is 12 inches tall, 10 inches wide, and 1 inch thick. Housed in a clamshell box covered in Japanese linen cloth. Funded in part by a grant from the College Book Arts Association. Made in an edition of 25. Emily Martin has published over 40 artists books through her imprint The Naughty Dog Press. Her work is in collections worldwide. Martin is on the faculty of the University of Iowa Center for the Book. Martin has two adult daughters and lives in Iowa City, IA with her Vandercook SP15. She rides her bicycle as often as she can, sometimes all the way across the state of Iowa. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774033540795-1JJWQ5WPVFL7KVE422FW/mcba-prize-2017-emily-martin-funny-ha-ha-funny-peculiar-4.jpg Entries & Jurors - 2017 Entries - Emily Martin Iowa City, Iowa www.emilymartin.com Funny Ha Ha Funny Peculiar 2017 letterpress, graphite rubbing, ink wash edition of 25 34 pages 12 x 20 x 1 12 x 10 x 1 page spread. Letterpress printed on Domestic Etch paper from P22 blox and hand set type combined with graphite rubbing and sumi ink washes. Funny Ha Ha Funny Peculiar or Funny Peculiar Funny Ha Ha is the result of my extended study of Shakespeare’s comedies. I find the comedies individually to be enjoyable but there is a sameness to many of the plots that allows me to mix them up in my head. So much mistaken identity, gender confusion and various other contrivances while romping their way to a fifth act wedding or two. Even more problematic are the decidedly unfunny themes that are common in many of these same comedies such as hypocrisy, sexual harassment, intolerance, sexism, misogyny, and anti-Semitism. I struggled for a long time to integrate all these ideas. I finally realized that what I needed to do was to address each aspect separately, thus a dos a do book. Each side has its own focus and treatment. The characters are the same in both books. They are printed using the P22 Blox which are a set of modular shapes that can be interchanged to change the body’s posture and gestures. The P22 Blox allows the presentation of the characters as interchangeable as well. Funny Peculiar is a drum leaf book and presents selected lines from five plays delivered by characters on a stage set. Funny Ha Ha is a slice book allowing the viewer to mix and match the costumes and gender of the characters in a variety of postures. Funny Peculiar is letterpress printed on an SP15 Vandercook proof press using hand set type and P22 Blox combined with rubbings, ink washes, and collagraphs to make the images. Printed on Domestic Etch paper with gray Pescia end sheets. Funny Ha Ha is printed on an SP15 Vandercook proof press using hand set type combined with relief printing using P22 Blox, collagraphs, and polymer plates from Boxcar Press to make the images. Printed on white Pescia paper with gray Pescia end sheets. Bound in a modified dos a do binding to hold the sewn text block slice book on one side and the drum leaf text block on the other side. The hard covers are covered with Arrestox book cloth and three vivid colored cotton papers color matched and custom made by Katie MacGregor. The book is 12 inches tall, 10 inches wide, and 1 inch thick. Housed in a clamshell box covered in Japanese linen cloth. Funded in part by a grant from the College Book Arts Association. Made in an edition of 25. Emily Martin has published over 40 artists books through her imprint The Naughty Dog Press. Her work is in collections worldwide. Martin is on the faculty of the University of Iowa Center for the Book. Martin has two adult daughters and lives in Iowa City, IA with her Vandercook SP15. She rides her bicycle as often as she can, sometimes all the way across the state of Iowa. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774033541661-IJDTW6G2J3L3XYFQ8MAS/mcba-prize-2017-emily-martin-funny-ha-ha-funny-peculiar-5.jpg Entries & Jurors - 2017 Entries - Emily Martin Iowa City, Iowa www.emilymartin.com Funny Ha Ha Funny Peculiar 2017 letterpress, graphite rubbing, ink wash edition of 25 34 pages 12 x 20 x 1 12 x 10 x 1 page spread letterpress printed on Pescia paper from P22 blox and polymer plates. Funny Ha Ha Funny Peculiar or Funny Peculiar Funny Ha Ha is the result of my extended study of Shakespeare’s comedies. I find the comedies individually to be enjoyable but there is a sameness to many of the plots that allows me to mix them up in my head. So much mistaken identity, gender confusion and various other contrivances while romping their way to a fifth act wedding or two. Even more problematic are the decidedly unfunny themes that are common in many of these same comedies such as hypocrisy, sexual harassment, intolerance, sexism, misogyny, and anti-Semitism. I struggled for a long time to integrate all these ideas. I finally realized that what I needed to do was to address each aspect separately, thus a dos a do book. Each side has its own focus and treatment. The characters are the same in both books. They are printed using the P22 Blox which are a set of modular shapes that can be interchanged to change the body’s posture and gestures. The P22 Blox allows the presentation of the characters as interchangeable as well. Funny Peculiar is a drum leaf book and presents selected lines from five plays delivered by characters on a stage set. Funny Ha Ha is a slice book allowing the viewer to mix and match the costumes and gender of the characters in a variety of postures. Funny Peculiar is letterpress printed on an SP15 Vandercook proof press using hand set type and P22 Blox combined with rubbings, ink washes, and collagraphs to make the images. Printed on Domestic Etch paper with gray Pescia end sheets. Funny Ha Ha is printed on an SP15 Vandercook proof press using hand set type combined with relief printing using P22 Blox, collagraphs, and polymer plates from Boxcar Press to make the images. Printed on white Pescia paper with gray Pescia end sheets. Bound in a modified dos a do binding to hold the sewn text block slice book on one side and the drum leaf text block on the other side. The hard covers are covered with Arrestox book cloth and three vivid colored cotton papers color matched and custom made by Katie MacGregor. The book is 12 inches tall, 10 inches wide, and 1 inch thick. Housed in a clamshell box covered in Japanese linen cloth. Funded in part by a grant from the College Book Arts Association. Made in an edition of 25. Emily Martin has published over 40 artists books through her imprint The Naughty Dog Press. Her work is in collections worldwide. Martin is on the faculty of the University of Iowa Center for the Book. Martin has two adult daughters and lives in Iowa City, IA with her Vandercook SP15. She rides her bicycle as often as she can, sometimes all the way across the state of Iowa. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774033688893-NMDQD7TAI11SMXWVDN17/mcba-prize-2017-patrizia-meinert-carte-didentite-1.jpg Entries & Jurors - 2017 Entries - Patrizia Meinert Leipzig, Germany www.patriziameinert.com Carte d’identité 2017 Map fold: Body print on Kozo Muji, 40 g/m2, Folder: Silk screen print on Colorplan, 350 g/m2 26 plus 2 EA 47,2 * 34,2 inch 12,6 * 5,8 inch The cover of the folder showing the title: carte d’identité and a selection of five words taken from the list inside (saying: coasts and capes, entirely private, psoriases, desires, tattooed, promontories and folds, variegated.) “The skin is a variety of contingency: in it, through it, with it, the world and my body touch each other, the feeling and the felt, it defines their common edge. Contingency means common tangency: in it the world and the body intersect and caress each other.”* Carte d’identité reveals the intimate topography of the body’s surface. Each copy is a one of a kind body print on Kozo paper — elaborately folded into a map. The body of the book has become a vital subject of my artistic approach. It developed from my research on time in books. While I was working on a set of artist’s books focussing on time and movement (inspired by Henry Bergson’s philosophy of time) I became aware that the body and the physical presence of the book remained a basic and fundamental condition — even though I stubbornly intended to specifically emphasize the temporal aspect. This experience helped me to gain a deeper understanding of the physical dimensions of book structures and the way they influence the reader’s perception. And it was the starting point of this project which eventually led to the idea of using my own body as a print form. When I came across Michel Serres’ The Five Senses: A Philosophy of Mingled Bodies I new it had to be a map. According to Serres our skin is like a landscape which bears the traces of what we experience in our lives. He describes this idea using poetic comparisons and paraphrases. I collected the words that seemed substantial to me and put them in an alphabetical order. After printing the body map I started to connect the different zones of my body with these words by setting up a coordinate system. This intimate and subjective examination as well as the immediacy caused by the direct contact of skin and paper makes the Carte d’identité a very personal work. * Michel Serres: The Five Senses: A Philosophy of Mingled Bodies, 2009 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774033689104-T37B8DWAQDJLKBP4N6KJ/mcba-prize-2017-patrizia-meinert-carte-didentite-2.jpg Entries & Jurors - 2017 Entries - Patrizia Meinert Leipzig, Germany www.patriziameinert.com Carte d’identité 2017 Map fold: Body print on Kozo Muji, 40 g/m2, Folder: Silk screen print on Colorplan, 350 g/m2 26 plus 2 EA 47,2 * 34,2 inch 12,6 * 5,8 inch The folder fully opened: The entire list of words plus coordinates can be seen at a glance. The center of the folder houses the map. “The skin is a variety of contingency: in it, through it, with it, the world and my body touch each other, the feeling and the felt, it defines their common edge. Contingency means common tangency: in it the world and the body intersect and caress each other.”* Carte d’identité reveals the intimate topography of the body’s surface. Each copy is a one of a kind body print on Kozo paper — elaborately folded into a map. The body of the book has become a vital subject of my artistic approach. It developed from my research on time in books. While I was working on a set of artist’s books focussing on time and movement (inspired by Henry Bergson’s philosophy of time) I became aware that the body and the physical presence of the book remained a basic and fundamental condition — even though I stubbornly intended to specifically emphasize the temporal aspect. This experience helped me to gain a deeper understanding of the physical dimensions of book structures and the way they influence the reader’s perception. And it was the starting point of this project which eventually led to the idea of using my own body as a print form. When I came across Michel Serres’ The Five Senses: A Philosophy of Mingled Bodies I new it had to be a map. According to Serres our skin is like a landscape which bears the traces of what we experience in our lives. He describes this idea using poetic comparisons and paraphrases. I collected the words that seemed substantial to me and put them in an alphabetical order. After printing the body map I started to connect the different zones of my body with these words by setting up a coordinate system. This intimate and subjective examination as well as the immediacy caused by the direct contact of skin and paper makes the Carte d’identité a very personal work. * Michel Serres: The Five Senses: A Philosophy of Mingled Bodies, 2009 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774033690580-PP70OSQ6642FAUTS64RC/mcba-prize-2017-patrizia-meinert-carte-didentite-3.jpg Entries & Jurors - 2017 Entries - Patrizia Meinert Leipzig, Germany www.patriziameinert.com Carte d’identité 2017 Map fold: Body print on Kozo Muji, 40 g/m2, Folder: Silk screen print on Colorplan, 350 g/m2 26 plus 2 EA 47,2 * 34,2 inch 12,6 * 5,8 inch The map fully unfolded horizontally (it corresponds to the circumference of the body). The coordinate system shows up completely (The numbers are placed at the bottom, the letters at the left margin). At this point the viewer is invited to start connecting the words with the areas of the map by means of the coordinates. “The skin is a variety of contingency: in it, through it, with it, the world and my body touch each other, the feeling and the felt, it defines their common edge. Contingency means common tangency: in it the world and the body intersect and caress each other.”* Carte d’identité reveals the intimate topography of the body’s surface. Each copy is a one of a kind body print on Kozo paper — elaborately folded into a map. The body of the book has become a vital subject of my artistic approach. It developed from my research on time in books. While I was working on a set of artist’s books focussing on time and movement (inspired by Henry Bergson’s philosophy of time) I became aware that the body and the physical presence of the book remained a basic and fundamental condition — even though I stubbornly intended to specifically emphasize the temporal aspect. This experience helped me to gain a deeper understanding of the physical dimensions of book structures and the way they influence the reader’s perception. And it was the starting point of this project which eventually led to the idea of using my own body as a print form. When I came across Michel Serres’ The Five Senses: A Philosophy of Mingled Bodies I new it had to be a map. According to Serres our skin is like a landscape which bears the traces of what we experience in our lives. He describes this idea using poetic comparisons and paraphrases. I collected the words that seemed substantial to me and put them in an alphabetical order. After printing the body map I started to connect the different zones of my body with these words by setting up a coordinate system. This intimate and subjective examination as well as the immediacy caused by the direct contact of skin and paper makes the Carte d’identité a very personal work. * Michel Serres: The Five Senses: A Philosophy of Mingled Bodies, 2009 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774033690810-9OCGPKVWIU95A14RMU7O/mcba-prize-2017-patrizia-meinert-carte-didentite-4.jpg Entries & Jurors - 2017 Entries - Patrizia Meinert Leipzig, Germany www.patriziameinert.com Carte d’identité 2017 Map fold: Body print on Kozo Muji, 40 g/m2, Folder: Silk screen print on Colorplan, 350 g/m2 26 plus 2 EA 47,2 * 34,2 inch 12,6 * 5,8 inch The structure of the map allows to browse through it’s single sections and to approach the desired areas without unfolding it. “The skin is a variety of contingency: in it, through it, with it, the world and my body touch each other, the feeling and the felt, it defines their common edge. Contingency means common tangency: in it the world and the body intersect and caress each other.”* Carte d’identité reveals the intimate topography of the body’s surface. Each copy is a one of a kind body print on Kozo paper — elaborately folded into a map. The body of the book has become a vital subject of my artistic approach. It developed from my research on time in books. While I was working on a set of artist’s books focussing on time and movement (inspired by Henry Bergson’s philosophy of time) I became aware that the body and the physical presence of the book remained a basic and fundamental condition — even though I stubbornly intended to specifically emphasize the temporal aspect. This experience helped me to gain a deeper understanding of the physical dimensions of book structures and the way they influence the reader’s perception. And it was the starting point of this project which eventually led to the idea of using my own body as a print form. When I came across Michel Serres’ The Five Senses: A Philosophy of Mingled Bodies I new it had to be a map. According to Serres our skin is like a landscape which bears the traces of what we experience in our lives. He describes this idea using poetic comparisons and paraphrases. I collected the words that seemed substantial to me and put them in an alphabetical order. After printing the body map I started to connect the different zones of my body with these words by setting up a coordinate system. This intimate and subjective examination as well as the immediacy caused by the direct contact of skin and paper makes the Carte d’identité a very personal work. * Michel Serres: The Five Senses: A Philosophy of Mingled Bodies, 2009 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774033692020-14TGSMYIX86BWQAQXIFC/mcba-prize-2017-patrizia-meinert-carte-didentite-5.jpg Entries & Jurors - 2017 Entries - Patrizia Meinert Leipzig, Germany www.patriziameinert.com Carte d’identité 2017 Map fold: Body print on Kozo Muji, 40 g/m2, Folder: Silk screen print on Colorplan, 350 g/m2 26 plus 2 EA 47,2 * 34,2 inch 12,6 * 5,8 inch But, of course, the map can also be unfolded entirely to expose the whole body print. “The skin is a variety of contingency: in it, through it, with it, the world and my body touch each other, the feeling and the felt, it defines their common edge. Contingency means common tangency: in it the world and the body intersect and caress each other.”* Carte d’identité reveals the intimate topography of the body’s surface. Each copy is a one of a kind body print on Kozo paper — elaborately folded into a map. The body of the book has become a vital subject of my artistic approach. It developed from my research on time in books. While I was working on a set of artist’s books focussing on time and movement (inspired by Henry Bergson’s philosophy of time) I became aware that the body and the physical presence of the book remained a basic and fundamental condition — even though I stubbornly intended to specifically emphasize the temporal aspect. This experience helped me to gain a deeper understanding of the physical dimensions of book structures and the way they influence the reader’s perception. And it was the starting point of this project which eventually led to the idea of using my own body as a print form. When I came across Michel Serres’ The Five Senses: A Philosophy of Mingled Bodies I new it had to be a map. According to Serres our skin is like a landscape which bears the traces of what we experience in our lives. He describes this idea using poetic comparisons and paraphrases. I collected the words that seemed substantial to me and put them in an alphabetical order. After printing the body map I started to connect the different zones of my body with these words by setting up a coordinate system. This intimate and subjective examination as well as the immediacy caused by the direct contact of skin and paper makes the Carte d’identité a very personal work. * Michel Serres: The Five Senses: A Philosophy of Mingled Bodies, 2009 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774033797523-XLVLTZ4ZKHEP5VXW4B4T/mcba-prize-2017-alexandra-mcclay-a-f-l-o-a-t-1.jpg Entries & Jurors - 2017 Entries - Alexandra McClay Penland, North Carolina www.alexmcclay.com / a f l o a t / 2017 letterpress printed artist’s books Deluxe Edition of 3 NA Each book is 6″ x 13″ x .5″ 6.5″ x 3.5″ x 6.5″ / a f l o a t / is a slipcase library that holds 6 books entitled Some Days, How to be Vulnerable, Erosion, Options, Tell Me, and On Happiness. Excerpt from Options: “It could go one of two ways: love//hate, let go//hold on, gentle//hard, trust//fear, open//closed, solitude//loneliness” Excerpt from On Happiness: “you>honesty>awareness>acceptance>love>others” Excerpt from Some Days: “Some days are harder than others. The days when I spend every.waking.moment. pretending not to care. I feel so un com fort able It creeps into my bones & oozes out of my skin. I’m sure you can smell it (the shame and stale cigarettes).” Artist Statement / a f l o a t / is a library of six letterpress printed artist’s books that explore the intricacies of human relationships. Each of these books gained life on the page of my notebook as I was working to acquire perspective after a difficult period of time in my life. The words would come during brief moments of clarity and writing them down ensured that I would remember those feelings of relief. Months later, I returned to these words and realized that while I was writing them, I felt so isolated in my feelings of grief, but reading them later made me feel more connected to myself, as well as the multitude of people in the world suffering from the strange, beautiful, and unpredictable realities of human relationships. This book presents opportunities for the reader to explore various realms of human connection. From the indecision that comes when you feel one way but know you should feel another, to the vulnerability one feels after rejection, to the nature of giving and taking, the reader participates in a deep investigation of human emotion. The creation of this library is an act of accepting the reality of the human experience in relation to others, and above all, a choice to stay / a f l o a t /. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774033797638-RK6NIVDLVEO6L2SC56S6/mcba-prize-2017-alexandra-mcclay-a-f-l-o-a-t-2.jpg Entries & Jurors - 2017 Entries - Alexandra McClay Penland, North Carolina www.alexmcclay.com / a f l o a t / 2017 letterpress printed artist’s books Deluxe Edition of 3 NA Each book is 6″ x 13″ x .5″ 6.5″ x 3.5″ x 6.5″ The inside of the cases for Tell Me, Some Days, and How to Vulnerable (from top to bottom). Excerpt from Options: “It could go one of two ways: love//hate, let go//hold on, gentle//hard, trust//fear, open//closed, solitude//loneliness” Excerpt from On Happiness: “you>honesty>awareness>acceptance>love>others” Excerpt from Some Days: “Some days are harder than others. The days when I spend every.waking.moment. pretending not to care. I feel so un com fort able It creeps into my bones & oozes out of my skin. I’m sure you can smell it (the shame and stale cigarettes).” Artist Statement / a f l o a t / is a library of six letterpress printed artist’s books that explore the intricacies of human relationships. Each of these books gained life on the page of my notebook as I was working to acquire perspective after a difficult period of time in my life. The words would come during brief moments of clarity and writing them down ensured that I would remember those feelings of relief. Months later, I returned to these words and realized that while I was writing them, I felt so isolated in my feelings of grief, but reading them later made me feel more connected to myself, as well as the multitude of people in the world suffering from the strange, beautiful, and unpredictable realities of human relationships. This book presents opportunities for the reader to explore various realms of human connection. From the indecision that comes when you feel one way but know you should feel another, to the vulnerability one feels after rejection, to the nature of giving and taking, the reader participates in a deep investigation of human emotion. The creation of this library is an act of accepting the reality of the human experience in relation to others, and above all, a choice to stay / a f l o a t /. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774033798624-P44YC5DUHCOMQ24X3F9P/mcba-prize-2017-alexandra-mcclay-a-f-l-o-a-t-3.jpg Entries & Jurors - 2017 Entries - Alexandra McClay Penland, North Carolina www.alexmcclay.com / a f l o a t / 2017 letterpress printed artist’s books Deluxe Edition of 3 NA Each book is 6″ x 13″ x .5″ 6.5″ x 3.5″ x 6.5″ The inside of the cases for On Happiness, Erosion, and Options (from top to bottom). Excerpt from Options: “It could go one of two ways: love//hate, let go//hold on, gentle//hard, trust//fear, open//closed, solitude//loneliness” Excerpt from On Happiness: “you>honesty>awareness>acceptance>love>others” Excerpt from Some Days: “Some days are harder than others. The days when I spend every.waking.moment. pretending not to care. I feel so un com fort able It creeps into my bones & oozes out of my skin. I’m sure you can smell it (the shame and stale cigarettes).” Artist Statement / a f l o a t / is a library of six letterpress printed artist’s books that explore the intricacies of human relationships. Each of these books gained life on the page of my notebook as I was working to acquire perspective after a difficult period of time in my life. The words would come during brief moments of clarity and writing them down ensured that I would remember those feelings of relief. Months later, I returned to these words and realized that while I was writing them, I felt so isolated in my feelings of grief, but reading them later made me feel more connected to myself, as well as the multitude of people in the world suffering from the strange, beautiful, and unpredictable realities of human relationships. This book presents opportunities for the reader to explore various realms of human connection. From the indecision that comes when you feel one way but know you should feel another, to the vulnerability one feels after rejection, to the nature of giving and taking, the reader participates in a deep investigation of human emotion. The creation of this library is an act of accepting the reality of the human experience in relation to others, and above all, a choice to stay / a f l o a t /. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774033798741-V7YIVRMZZOEGNIYCI26H/mcba-prize-2017-alexandra-mcclay-a-f-l-o-a-t-4.jpg Entries & Jurors - 2017 Entries - Alexandra McClay Penland, North Carolina www.alexmcclay.com / a f l o a t / 2017 letterpress printed artist’s books Deluxe Edition of 3 NA Each book is 6″ x 13″ x .5″ 6.5″ x 3.5″ x 6.5″ Erosion (top left) is an accordion book letterpress printed on vellum. Tell Me (bottom left) is a miniature envelope that holds two notes. How to be Vulnerable (right) is a one-page book that is letterpress printed on French Paper. Erosion reads “It’s funny how water washes everything away. It’s how caves are made and the little ridges on mountain sides and the Grand Canyon. The most beautiful things made by taking.” Tell Me reads “Tell me again that I am brave. You know how I like to hear that.” Excerpt from How to be Vulnerable: “I’ll draw a box & put you in that box so I don’t have to look at you or think about you because that is easier than dealing with you. What will happen when I open that box? Maybe something magical will happen & you will not be you & I will not be me.” Excerpt from Options: “It could go one of two ways: love//hate, let go//hold on, gentle//hard, trust//fear, open//closed, solitude//loneliness” Excerpt from On Happiness: “you>honesty>awareness>acceptance>love>others” Excerpt from Some Days: “Some days are harder than others. The days when I spend every.waking.moment. pretending not to care. I feel so un com fort able It creeps into my bones & oozes out of my skin. I’m sure you can smell it (the shame and stale cigarettes).” Artist Statement / a f l o a t / is a library of six letterpress printed artist’s books that explore the intricacies of human relationships. Each of these books gained life on the page of my notebook as I was working to acquire perspective after a difficult period of time in my life. The words would come during brief moments of clarity and writing them down ensured that I would remember those feelings of relief. Months later, I returned to these words and realized that while I was writing them, I felt so isolated in my feelings of grief, but reading them later made me feel more connected to myself, as well as the multitude of people in the world suffering from the strange, beautiful, and unpredictable realities of human relationships. This book presents opportunities for the reader to explore various realms of human connection. From the indecision that comes when you feel one way but know you should feel another, to the vulnerability one feels after rejection, to the nature of giving and taking, the reader participates in a deep investigation of human emotion. The creation of this library is an act of accepting the reality of the human experience in relation to others, and above all, a choice to stay / a f l o a t /. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774033799781-S1V9OX7VLUVFBT7FZ6ZA/mcba-prize-2017-alexandra-mcclay-a-f-l-o-a-t-5.jpg Entries & Jurors - 2017 Entries - Alexandra McClay Penland, North Carolina www.alexmcclay.com / a f l o a t / 2017 letterpress printed artist’s books Deluxe Edition of 3 NA Each book is 6″ x 13″ x .5″ 6.5″ x 3.5″ x 6.5″ Options (top left) is a snake-fold book that is letterpress printed on French paper. On Happiness (bottom middle) is a game. It is letterpress printed on French paper. Some Days (top right) is a dose-doe book, letterpress printed on vellum. Excerpt from Options: “It could go one of two ways: love//hate, let go//hold on, gentle//hard, trust//fear, open//closed, solitude//loneliness” Excerpt from On Happiness: “you>honesty>awareness>acceptance>love>others” Excerpt from Some Days: “Some days are harder than others. The days when I spend every.waking.moment. pretending not to care. I feel so un com fort able It creeps into my bones & oozes out of my skin. I’m sure you can smell it (the shame and stale cigarettes).” Artist Statement / a f l o a t / is a library of six letterpress printed artist’s books that explore the intricacies of human relationships. Each of these books gained life on the page of my notebook as I was working to acquire perspective after a difficult period of time in my life. The words would come during brief moments of clarity and writing them down ensured that I would remember those feelings of relief. Months later, I returned to these words and realized that while I was writing them, I felt so isolated in my feelings of grief, but reading them later made me feel more connected to myself, as well as the multitude of people in the world suffering from the strange, beautiful, and unpredictable realities of human relationships. This book presents opportunities for the reader to explore various realms of human connection. From the indecision that comes when you feel one way but know you should feel another, to the vulnerability one feels after rejection, to the nature of giving and taking, the reader participates in a deep investigation of human emotion. The creation of this library is an act of accepting the reality of the human experience in relation to others, and above all, a choice to stay / a f l o a t /. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034103689-NOON0LUYSCH945CEX3AF/mcba-prize-2017-cathryn-miller-in-winter-1.jpg Entries & Jurors - 2017 Entries - Cathryn Miller 515 Gabriel Road Grasswood, Saskatchewan, Canada byopiapress.com In Winter 2015 (completed April 5) paper, thread; paper cutting, embroidery one-of-a-kind 140 pages 30 x 86 30 x 4.25 Image of In Winter when wall-mounted. In recent years my work has frequently combined cartographic and textile typologies with non-codex book structures. This is a melding of my life-long interests in books, maps, and textiles. All of my works are autobiographical in the sense that they are reflections of personal experience. In Winter is about a sense of place, a sense of belonging. My partner and I have done a number of walking and cycling holidays in Britain. We enjoy the slowness of the process: travelling at foot or cycle speed we meet the country on local terms. We meet individuals and have personal conversations in a way that the tour-booked tourist doesn’t. About ten years ago we went on a walking holiday around the Yorkshire Dales. We stayed twice at The Thwaite Arms in Horsehouse, Coverdale. On the second occasion we had a conversation with the landlord’s wife. She commented that many people found the high moors around the village to be dark and forbidding, especially in winter. She then described her own feelings, and her sentence stayed in my mind for a decade. “I wrap the hills around me like a shawl.” I cannot remember anyone else in my life saying something so wonderful about where they live. The sentence kept itself in the back of my mind until it was ready to be something else: it turned out to be something large and complicated. The piece is a map and a shawl and a book. The design was created by combining the contour lines and water courses of a topographic map of Coverdale and environs with two geometric grid patterns. The grids evoke the local stone-walled fields, stone field barns, and stone houses with their small-paned windows. They also recall, together with the stitching, the types of lace patterns often produced using traditional domestic textile processes. The colour scheme was chosen to represent winter: pale blue for sky and becks (streams); pale fawn for the faded grasses, sedge, and bracken; shades of white for clouds and Dales sheep and snow (with the occasional faint smudge for coal smoke). The individual squares for the piece were hand-cut to create a map and a quotation. Details of river courses and outlines of the blocks containing individual letters were pre-pierced, then hand stitched. The piece was assembled by sewing all the squares together using a double blanket stitch. Pins are used to mount the piece since pins are used both as markers of location on maps and for blocking lace after washing. The work folds into an accordion for transport or storage. There are 140 squares of cut paper in In Winter. I was asked at the Affinity Gallery opening if my work was like snowflakes. It took a moment to understand the question, but the answer is: yes — no two squares are the same. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034104003-6NPNG6MHXUI4OOZVDDY6/mcba-prize-2017-cathryn-miller-in-winter-2.jpg Entries & Jurors - 2017 Entries - Cathryn Miller 515 Gabriel Road Grasswood, Saskatchewan, Canada byopiapress.com In Winter 2015 (completed April 5) paper, thread; paper cutting, embroidery one-of-a-kind 140 pages 30 x 86 30 x 4.25 In recent years my work has frequently combined cartographic and textile typologies with non-codex book structures. This is a melding of my life-long interests in books, maps, and textiles. All of my works are autobiographical in the sense that they are reflections of personal experience. In Winter is about a sense of place, a sense of belonging. My partner and I have done a number of walking and cycling holidays in Britain. We enjoy the slowness of the process: travelling at foot or cycle speed we meet the country on local terms. We meet individuals and have personal conversations in a way that the tour-booked tourist doesn’t. About ten years ago we went on a walking holiday around the Yorkshire Dales. We stayed twice at The Thwaite Arms in Horsehouse, Coverdale. On the second occasion we had a conversation with the landlord’s wife. She commented that many people found the high moors around the village to be dark and forbidding, especially in winter. She then described her own feelings, and her sentence stayed in my mind for a decade. “I wrap the hills around me like a shawl.” I cannot remember anyone else in my life saying something so wonderful about where they live. The sentence kept itself in the back of my mind until it was ready to be something else: it turned out to be something large and complicated. The piece is a map and a shawl and a book. The design was created by combining the contour lines and water courses of a topographic map of Coverdale and environs with two geometric grid patterns. The grids evoke the local stone-walled fields, stone field barns, and stone houses with their small-paned windows. They also recall, together with the stitching, the types of lace patterns often produced using traditional domestic textile processes. The colour scheme was chosen to represent winter: pale blue for sky and becks (streams); pale fawn for the faded grasses, sedge, and bracken; shades of white for clouds and Dales sheep and snow (with the occasional faint smudge for coal smoke). The individual squares for the piece were hand-cut to create a map and a quotation. Details of river courses and outlines of the blocks containing individual letters were pre-pierced, then hand stitched. The piece was assembled by sewing all the squares together using a double blanket stitch. Pins are used to mount the piece since pins are used both as markers of location on maps and for blocking lace after washing. The work folds into an accordion for transport or storage. There are 140 squares of cut paper in In Winter. I was asked at the Affinity Gallery opening if my work was like snowflakes. It took a moment to understand the question, but the answer is: yes — no two squares are the same. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034105223-D30KZOLVIXHSUYMKQXH6/mcba-prize-2017-cathryn-miller-in-winter-3.jpg Entries & Jurors - 2017 Entries - Cathryn Miller 515 Gabriel Road Grasswood, Saskatchewan, Canada byopiapress.com In Winter 2015 (completed April 5) paper, thread; paper cutting, embroidery one-of-a-kind 140 pages 30 x 86 30 x 4.25 Close-up showing stitching. In recent years my work has frequently combined cartographic and textile typologies with non-codex book structures. This is a melding of my life-long interests in books, maps, and textiles. All of my works are autobiographical in the sense that they are reflections of personal experience. In Winter is about a sense of place, a sense of belonging. My partner and I have done a number of walking and cycling holidays in Britain. We enjoy the slowness of the process: travelling at foot or cycle speed we meet the country on local terms. We meet individuals and have personal conversations in a way that the tour-booked tourist doesn’t. About ten years ago we went on a walking holiday around the Yorkshire Dales. We stayed twice at The Thwaite Arms in Horsehouse, Coverdale. On the second occasion we had a conversation with the landlord’s wife. She commented that many people found the high moors around the village to be dark and forbidding, especially in winter. She then described her own feelings, and her sentence stayed in my mind for a decade. “I wrap the hills around me like a shawl.” I cannot remember anyone else in my life saying something so wonderful about where they live. The sentence kept itself in the back of my mind until it was ready to be something else: it turned out to be something large and complicated. The piece is a map and a shawl and a book. The design was created by combining the contour lines and water courses of a topographic map of Coverdale and environs with two geometric grid patterns. The grids evoke the local stone-walled fields, stone field barns, and stone houses with their small-paned windows. They also recall, together with the stitching, the types of lace patterns often produced using traditional domestic textile processes. The colour scheme was chosen to represent winter: pale blue for sky and becks (streams); pale fawn for the faded grasses, sedge, and bracken; shades of white for clouds and Dales sheep and snow (with the occasional faint smudge for coal smoke). The individual squares for the piece were hand-cut to create a map and a quotation. Details of river courses and outlines of the blocks containing individual letters were pre-pierced, then hand stitched. The piece was assembled by sewing all the squares together using a double blanket stitch. Pins are used to mount the piece since pins are used both as markers of location on maps and for blocking lace after washing. The work folds into an accordion for transport or storage. There are 140 squares of cut paper in In Winter. I was asked at the Affinity Gallery opening if my work was like snowflakes. It took a moment to understand the question, but the answer is: yes — no two squares are the same. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034106136-4VHQ4NROSWQ5PB2J3HF5/mcba-prize-2017-cathryn-miller-in-winter-4.jpg Entries & Jurors - 2017 Entries - Cathryn Miller 515 Gabriel Road Grasswood, Saskatchewan, Canada byopiapress.com In Winter 2015 (completed April 5) paper, thread; paper cutting, embroidery one-of-a-kind 140 pages 30 x 86 30 x 4.25 Image of In Winter at gallery opening. In recent years my work has frequently combined cartographic and textile typologies with non-codex book structures. This is a melding of my life-long interests in books, maps, and textiles. All of my works are autobiographical in the sense that they are reflections of personal experience. In Winter is about a sense of place, a sense of belonging. My partner and I have done a number of walking and cycling holidays in Britain. We enjoy the slowness of the process: travelling at foot or cycle speed we meet the country on local terms. We meet individuals and have personal conversations in a way that the tour-booked tourist doesn’t. About ten years ago we went on a walking holiday around the Yorkshire Dales. We stayed twice at The Thwaite Arms in Horsehouse, Coverdale. On the second occasion we had a conversation with the landlord’s wife. She commented that many people found the high moors around the village to be dark and forbidding, especially in winter. She then described her own feelings, and her sentence stayed in my mind for a decade. “I wrap the hills around me like a shawl.” I cannot remember anyone else in my life saying something so wonderful about where they live. The sentence kept itself in the back of my mind until it was ready to be something else: it turned out to be something large and complicated. The piece is a map and a shawl and a book. The design was created by combining the contour lines and water courses of a topographic map of Coverdale and environs with two geometric grid patterns. The grids evoke the local stone-walled fields, stone field barns, and stone houses with their small-paned windows. They also recall, together with the stitching, the types of lace patterns often produced using traditional domestic textile processes. The colour scheme was chosen to represent winter: pale blue for sky and becks (streams); pale fawn for the faded grasses, sedge, and bracken; shades of white for clouds and Dales sheep and snow (with the occasional faint smudge for coal smoke). The individual squares for the piece were hand-cut to create a map and a quotation. Details of river courses and outlines of the blocks containing individual letters were pre-pierced, then hand stitched. The piece was assembled by sewing all the squares together using a double blanket stitch. Pins are used to mount the piece since pins are used both as markers of location on maps and for blocking lace after washing. The work folds into an accordion for transport or storage. There are 140 squares of cut paper in In Winter. I was asked at the Affinity Gallery opening if my work was like snowflakes. It took a moment to understand the question, but the answer is: yes — no two squares are the same. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034243146-862HZ4UNQQ79AZH5ZD4B/mcba-prize-2017-anna-moorse-the-dna-of-harmony-1.jpg Entries & Jurors - 2017 Entries - Anna Moorse Minneapolis, Minnesota The DNA of Harmony 2017 Paper marbling (paper and acrylic paint) Each banner is 11.25 inches wide by 42 inches tall Artist Statement “Each band represents individual voices from departments within this agency. Some voices speak with gusto and passion; some speak with composure and focus. As voices blend, a beautiful harmony ensues and the bigger picture is revealed: A masterpiece unlike any other.” This wall installation composed of five hanging banners was concepted and created for Colle+McVoy, a Minneapolis-based advertising agency. Together these banners make a statement about the Colle+McVoy employees’ unique characteristics and traits. When combined, their differences create and cultivate beautiful ideas, products and actions that impact company culture and the world at large. Each banner was created from a variety of marbled papers trimmed Each banner was created from a variety of marbled papers trimmed and assembled to reflect human DNA bands. A range of patterns represent different voices in a kaleidoscope of swirled colors. Dark and vibrant colored paper paired with solid and pearlescent acrylic paint reinforce change in tone and volume of each “voice,” while simultaneously providing balance to the overall installation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034243311-JCMRP0HX0TLRUK0NLK53/mcba-prize-2017-anna-moorse-the-dna-of-harmony-2.jpg Entries & Jurors - 2017 Entries - Anna Moorse Minneapolis, Minnesota The DNA of Harmony 2017 Paper marbling (paper and acrylic paint) Each banner is 11.25 inches wide by 42 inches tall Artist Statement “Each band represents individual voices from departments within this agency. Some voices speak with gusto and passion; some speak with composure and focus. As voices blend, a beautiful harmony ensues and the bigger picture is revealed: A masterpiece unlike any other.” This wall installation composed of five hanging banners was concepted and created for Colle+McVoy, a Minneapolis-based advertising agency. Together these banners make a statement about the Colle+McVoy employees’ unique characteristics and traits. When combined, their differences create and cultivate beautiful ideas, products and actions that impact company culture and the world at large. Each banner was created from a variety of marbled papers trimmed Each banner was created from a variety of marbled papers trimmed and assembled to reflect human DNA bands. A range of patterns represent different voices in a kaleidoscope of swirled colors. Dark and vibrant colored paper paired with solid and pearlescent acrylic paint reinforce change in tone and volume of each “voice,” while simultaneously providing balance to the overall installation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034244517-R9WOQV83CV67GJGQ41XD/mcba-prize-2017-anna-moorse-the-dna-of-harmony-3.jpg Entries & Jurors - 2017 Entries - Anna Moorse Minneapolis, Minnesota The DNA of Harmony 2017 Paper marbling (paper and acrylic paint) Each banner is 11.25 inches wide by 42 inches tall Artist Statement “Each band represents individual voices from departments within this agency. Some voices speak with gusto and passion; some speak with composure and focus. As voices blend, a beautiful harmony ensues and the bigger picture is revealed: A masterpiece unlike any other.” This wall installation composed of five hanging banners was concepted and created for Colle+McVoy, a Minneapolis-based advertising agency. Together these banners make a statement about the Colle+McVoy employees’ unique characteristics and traits. When combined, their differences create and cultivate beautiful ideas, products and actions that impact company culture and the world at large. Each banner was created from a variety of marbled papers trimmed Each banner was created from a variety of marbled papers trimmed and assembled to reflect human DNA bands. A range of patterns represent different voices in a kaleidoscope of swirled colors. Dark and vibrant colored paper paired with solid and pearlescent acrylic paint reinforce change in tone and volume of each “voice,” while simultaneously providing balance to the overall installation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034244671-C7PM5T6SXI4PCZVKKPNT/mcba-prize-2017-anna-moorse-the-dna-of-harmony-4.jpg Entries & Jurors - 2017 Entries - Anna Moorse Minneapolis, Minnesota The DNA of Harmony 2017 Paper marbling (paper and acrylic paint) Each banner is 11.25 inches wide by 42 inches tall Artist Statement “Each band represents individual voices from departments within this agency. Some voices speak with gusto and passion; some speak with composure and focus. As voices blend, a beautiful harmony ensues and the bigger picture is revealed: A masterpiece unlike any other.” This wall installation composed of five hanging banners was concepted and created for Colle+McVoy, a Minneapolis-based advertising agency. Together these banners make a statement about the Colle+McVoy employees’ unique characteristics and traits. When combined, their differences create and cultivate beautiful ideas, products and actions that impact company culture and the world at large. Each banner was created from a variety of marbled papers trimmed Each banner was created from a variety of marbled papers trimmed and assembled to reflect human DNA bands. A range of patterns represent different voices in a kaleidoscope of swirled colors. Dark and vibrant colored paper paired with solid and pearlescent acrylic paint reinforce change in tone and volume of each “voice,” while simultaneously providing balance to the overall installation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034245794-VDCNRHJ0HI1AYPT3TGS3/mcba-prize-2017-anna-moorse-the-dna-of-harmony-5.jpg Entries & Jurors - 2017 Entries - Anna Moorse Minneapolis, Minnesota The DNA of Harmony 2017 Paper marbling (paper and acrylic paint) Each banner is 11.25 inches wide by 42 inches tall Artist Statement “Each band represents individual voices from departments within this agency. Some voices speak with gusto and passion; some speak with composure and focus. As voices blend, a beautiful harmony ensues and the bigger picture is revealed: A masterpiece unlike any other.” This wall installation composed of five hanging banners was concepted and created for Colle+McVoy, a Minneapolis-based advertising agency. Together these banners make a statement about the Colle+McVoy employees’ unique characteristics and traits. When combined, their differences create and cultivate beautiful ideas, products and actions that impact company culture and the world at large. Each banner was created from a variety of marbled papers trimmed Each banner was created from a variety of marbled papers trimmed and assembled to reflect human DNA bands. A range of patterns represent different voices in a kaleidoscope of swirled colors. Dark and vibrant colored paper paired with solid and pearlescent acrylic paint reinforce change in tone and volume of each “voice,” while simultaneously providing balance to the overall installation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034362482-YYNH6Z20NH1JE4D52M3R/mcba-prize-2017-roslyn-moresh-celebrate-the-sun-5.jpg Entries & Jurors - 2017 Entries - Roslyn Moresh Pepeekeo Hawaii r_moresh@hotmail.com Celebrate the Sun 2017 Bookart, watercolor edition of 2 5 pages 4″ x 4″ x 8″ 4″ circle The artist book entitled Celebrate the Sun is a woven and interlocking structure comprised of circular pages. It answers the question “What does the sun do?” it’s a reminder how vital the sun is to our existence. The images are either drawn and painted on watercolor paper or photographed by myself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034362260-RII87I0SMOR8I0LRDX4I/mcba-prize-2017-roslyn-moresh-celebrate-the-sun-1.jpg Entries & Jurors - 2017 Entries - Roslyn Moresh Pepeekeo Hawaii r_moresh@hotmail.com Celebrate the Sun 2017 Bookart, watercolor edition of 2 5 pages 4″ x 4″ x 8″ 4″ circle The artist book entitled Celebrate the Sun is a woven and interlocking structure comprised of circular pages. It answers the question “What does the sun do?” it’s a reminder how vital the sun is to our existence. The images are either drawn and painted on watercolor paper or photographed by myself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034363429-EDBHJPW8834BQ4SS7ULE/mcba-prize-2017-roslyn-moresh-celebrate-the-sun-2.jpg Entries & Jurors - 2017 Entries - Roslyn Moresh Pepeekeo Hawaii r_moresh@hotmail.com Celebrate the Sun 2017 Bookart, watercolor edition of 2 5 pages 4″ x 4″ x 8″ 4″ circle The artist book entitled Celebrate the Sun is a woven and interlocking structure comprised of circular pages. It answers the question “What does the sun do?” it’s a reminder how vital the sun is to our existence. The images are either drawn and painted on watercolor paper or photographed by myself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034363729-CQXQXMADS1UXR6E5ITAY/mcba-prize-2017-roslyn-moresh-celebrate-the-sun-3.jpg Entries & Jurors - 2017 Entries - Roslyn Moresh Pepeekeo Hawaii r_moresh@hotmail.com Celebrate the Sun 2017 Bookart, watercolor edition of 2 5 pages 4″ x 4″ x 8″ 4″ circle The artist book entitled Celebrate the Sun is a woven and interlocking structure comprised of circular pages. It answers the question “What does the sun do?” it’s a reminder how vital the sun is to our existence. The images are either drawn and painted on watercolor paper or photographed by myself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034364564-MVU8JMPKSJ7TTG5WUWGJ/mcba-prize-2017-roslyn-moresh-celebrate-the-sun-4.jpg Entries & Jurors - 2017 Entries - Roslyn Moresh Pepeekeo Hawaii r_moresh@hotmail.com Celebrate the Sun 2017 Bookart, watercolor edition of 2 5 pages 4″ x 4″ x 8″ 4″ circle The artist book entitled Celebrate the Sun is a woven and interlocking structure comprised of circular pages. It answers the question “What does the sun do?” it’s a reminder how vital the sun is to our existence. The images are either drawn and painted on watercolor paper or photographed by myself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034430420-ANCQM5PF1PETIT9MKVYO/mcba-prize-2017-roslyn-moresh-mapping-a-path-to-redemption-4-1.jpg Entries & Jurors - 2017 Entries - Roslyn Moresh Pepeekeo, Hawaii Mapping a Path to Redemption #4 2017 Artist book with woodblock prints and kakishibu (fermented persimmon) handmade paper cover 7 5″x 18″ x .5″ 5″ X 4″ x .5″ Mapping a Path to Redemption Artist Book closed. The covers are wood block printed kakishibu (fermented persimmon) dyed handmade kozo paper. The way to the ultimate destination has twists and turns. It is convoluted and reminds us that the journey is often challenging when we set out to reach our personal destiny. It is symbolic for following the blueprint of our soul’s purpose. Sometimes the map leads us to where we began and we repeat the effort hoping not to make the same mistakes again. This wood block printed accordion folded artists book represents life’s unexpected paths that lead us to our redemption. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034430424-XNQRAF3KMVR6NHWR8D49/mcba-prize-2017-roslyn-moresh-mapping-a-path-to-redemption-4-2.jpg Entries & Jurors - 2017 Entries - Roslyn Moresh Pepeekeo, Hawaii Mapping a Path to Redemption #4 2017 Artist book with woodblock prints and kakishibu (fermented persimmon) handmade paper cover 7 5″x 18″ x .5″ 5″ X 4″ x .5″ The way to the ultimate destination has twists and turns. It is convoluted and reminds us that the journey is often challenging when we set out to reach our personal destiny. It is symbolic for following the blueprint of our soul’s purpose. Sometimes the map leads us to where we began and we repeat the effort hoping not to make the same mistakes again. This wood block printed accordion folded artists book represents life’s unexpected paths that lead us to our redemption. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034431760-KEWYOPVITI2Q8E7GRNOA/mcba-prize-2017-roslyn-moresh-mapping-a-path-to-redemption-4-3.jpg Entries & Jurors - 2017 Entries - Roslyn Moresh Pepeekeo, Hawaii Mapping a Path to Redemption #4 2017 Artist book with woodblock prints and kakishibu (fermented persimmon) handmade paper cover 7 5″x 18″ x .5″ 5″ X 4″ x .5″ The way to the ultimate destination has twists and turns. It is convoluted and reminds us that the journey is often challenging when we set out to reach our personal destiny. It is symbolic for following the blueprint of our soul’s purpose. Sometimes the map leads us to where we began and we repeat the effort hoping not to make the same mistakes again. This wood block printed accordion folded artists book represents life’s unexpected paths that lead us to our redemption. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034432031-0V6WFSL9ZYZNQBZAAPLM/mcba-prize-2017-roslyn-moresh-mapping-a-path-to-redemption-4-4.jpg Entries & Jurors - 2017 Entries - Roslyn Moresh Pepeekeo, Hawaii Mapping a Path to Redemption #4 2017 Artist book with woodblock prints and kakishibu (fermented persimmon) handmade paper cover 7 5″x 18″ x .5″ 5″ X 4″ x .5″ The way to the ultimate destination has twists and turns. It is convoluted and reminds us that the journey is often challenging when we set out to reach our personal destiny. It is symbolic for following the blueprint of our soul’s purpose. Sometimes the map leads us to where we began and we repeat the effort hoping not to make the same mistakes again. This wood block printed accordion folded artists book represents life’s unexpected paths that lead us to our redemption. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034516487-T4S0FC5W5Y7BV6SYMWWV/mcba-prize-2017-sarah-mottaghinejad-seeing-in-the-dark-1.jpg Entries & Jurors - 2017 Entries - Sarah Mottaghinejad Seattle, Washington inkandawl.com Seeing in the Dark 2017 Paper, mylar, ink, hybrid concertina and sewn boards binding 10 10 6x12x1 6x6x5/8 https://www.youtube.com/watch?v=jlmL1hX3xQ4 I am a storyteller. This story is one I told myself about finding light so that when I found my feet on that path, it would feel familiar. My images are inspired by Elsa Mora, and I strive to require something of the viewer like Julie Chen. In order to understand this story, you have to interact with the book in a way you wouldn’t normally associate with reading: You have to turn off the lights. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034516723-N3L303R7LZYFJ6YM5KCT/mcba-prize-2017-sarah-mottaghinejad-seeing-in-the-dark-2.jpg Entries & Jurors - 2017 Entries - Sarah Mottaghinejad Seattle, Washington inkandawl.com Seeing in the Dark 2017 Paper, mylar, ink, hybrid concertina and sewn boards binding 10 10 6x12x1 6x6x5/8 https://www.youtube.com/watch?v=jlmL1hX3xQ4 I am a storyteller. This story is one I told myself about finding light so that when I found my feet on that path, it would feel familiar. My images are inspired by Elsa Mora, and I strive to require something of the viewer like Julie Chen. In order to understand this story, you have to interact with the book in a way you wouldn’t normally associate with reading: You have to turn off the lights. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034517662-Y2BFW2DXKE31A0CBC8RN/mcba-prize-2017-sarah-mottaghinejad-seeing-in-the-dark-3.jpg Entries & Jurors - 2017 Entries - Sarah Mottaghinejad Seattle, Washington inkandawl.com Seeing in the Dark 2017 Paper, mylar, ink, hybrid concertina and sewn boards binding 10 10 6x12x1 6x6x5/8 https://www.youtube.com/watch?v=jlmL1hX3xQ4 I am a storyteller. This story is one I told myself about finding light so that when I found my feet on that path, it would feel familiar. My images are inspired by Elsa Mora, and I strive to require something of the viewer like Julie Chen. In order to understand this story, you have to interact with the book in a way you wouldn’t normally associate with reading: You have to turn off the lights. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034517827-MQW030REAOA4GTIXAS20/mcba-prize-2017-sarah-mottaghinejad-seeing-in-the-dark-4.jpg Entries & Jurors - 2017 Entries - Sarah Mottaghinejad Seattle, Washington inkandawl.com Seeing in the Dark 2017 Paper, mylar, ink, hybrid concertina and sewn boards binding 10 10 6x12x1 6x6x5/8 https://www.youtube.com/watch?v=jlmL1hX3xQ4 I am a storyteller. This story is one I told myself about finding light so that when I found my feet on that path, it would feel familiar. My images are inspired by Elsa Mora, and I strive to require something of the viewer like Julie Chen. In order to understand this story, you have to interact with the book in a way you wouldn’t normally associate with reading: You have to turn off the lights. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034518597-7QPIBP2FITXOH1V6E7WY/mcba-prize-2017-sarah-mottaghinejad-seeing-in-the-dark-5.jpg Entries & Jurors - 2017 Entries - Sarah Mottaghinejad Seattle, Washington inkandawl.com Seeing in the Dark 2017 Paper, mylar, ink, hybrid concertina and sewn boards binding 10 10 6x12x1 6x6x5/8 https://www.youtube.com/watch?v=jlmL1hX3xQ4 I am a storyteller. This story is one I told myself about finding light so that when I found my feet on that path, it would feel familiar. My images are inspired by Elsa Mora, and I strive to require something of the viewer like Julie Chen. In order to understand this story, you have to interact with the book in a way you wouldn’t normally associate with reading: You have to turn off the lights. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034625573-7T0ZNEU4KRVKZGKFUUZN/mcba-prize-2017-amandine-nabarra-piomelli-tempus-fugit-1.jpg Entries & Jurors - 2017 Entries https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034625327-0QK7Z0U6O372Z5LSHKNH/mcba-prize-2017-amandine-nabarra-piomelli-tempus-fugit-2.jpg Entries & Jurors - 2017 Entries - Amandine Nabarra-Piomelli Los Angeles, California anpfotos.com Tempus Fugit 2017 Vellum, Bristol sheets, Mohab Entrada, brass 2017 Edition 10 and 1 AP (reprint) 24.25” (62 cm) x 3.25” (8,25 cm) x 2” (5 cm) 8” (20cm) in diameter Artist Statement Man is filled with clouds that know him from childhood. – Jean Orizet While watching clouds that were passing over the port of Genoa (Italy) I was inspired to create this artist’s book. In the midst of thoughts about nature’s forces and movements, tragic events in my life led me to take stock of my existence. The movement of the clouds creates an unpredictable and mysterious energy that colors our thoughts. In this atmospheric energy I found the strength to contemplate my past and imagine my future. I even glanced at my horoscope to counter nostalgia, sadness and anxiety about my destiny. These coded messages, sometimes prophetic, often funny, became my travel companions. As clouds and astrological predictions came and went, I found a new equilibrium that enabled me to envision my new life. Structure of the book: Circular Flexagon Bidding An artist’s book creates a space to tell a story. To the question “how to represent clouds?” I constructed a three-dimensional structure that turns and eddies on itself while embodying a visual tale. Like a book, the structure opens to allow a linear reading of the photographs and texts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034626524-Z1MYMFBD5GOYM18I48YP/mcba-prize-2017-amandine-nabarra-piomelli-tempus-fugit-3.jpg Entries & Jurors - 2017 Entries - Amandine Nabarra-Piomelli Los Angeles, California anpfotos.com Tempus Fugit 2017 Vellum, Bristol sheets, Mohab Entrada, brass 2017 Edition 10 and 1 AP (reprint) 24.25” (62 cm) x 3.25” (8,25 cm) x 2” (5 cm) 8” (20cm) in diameter Artist Statement Man is filled with clouds that know him from childhood. – Jean Orizet While watching clouds that were passing over the port of Genoa (Italy) I was inspired to create this artist’s book. In the midst of thoughts about nature’s forces and movements, tragic events in my life led me to take stock of my existence. The movement of the clouds creates an unpredictable and mysterious energy that colors our thoughts. In this atmospheric energy I found the strength to contemplate my past and imagine my future. I even glanced at my horoscope to counter nostalgia, sadness and anxiety about my destiny. These coded messages, sometimes prophetic, often funny, became my travel companions. As clouds and astrological predictions came and went, I found a new equilibrium that enabled me to envision my new life. Structure of the book: Circular Flexagon Bidding An artist’s book creates a space to tell a story. To the question “how to represent clouds?” I constructed a three-dimensional structure that turns and eddies on itself while embodying a visual tale. Like a book, the structure opens to allow a linear reading of the photographs and texts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034626614-NOI3ARZHYA0ADLW0GC57/mcba-prize-2017-amandine-nabarra-piomelli-tempus-fugit-4.jpg Entries & Jurors - 2017 Entries - Amandine Nabarra-Piomelli Los Angeles, California anpfotos.com Tempus Fugit 2017 Vellum, Bristol sheets, Mohab Entrada, brass 2017 Edition 10 and 1 AP (reprint) 24.25” (62 cm) x 3.25” (8,25 cm) x 2” (5 cm) 8” (20cm) in diameter Artist Statement Man is filled with clouds that know him from childhood. – Jean Orizet While watching clouds that were passing over the port of Genoa (Italy) I was inspired to create this artist’s book. In the midst of thoughts about nature’s forces and movements, tragic events in my life led me to take stock of my existence. The movement of the clouds creates an unpredictable and mysterious energy that colors our thoughts. In this atmospheric energy I found the strength to contemplate my past and imagine my future. I even glanced at my horoscope to counter nostalgia, sadness and anxiety about my destiny. These coded messages, sometimes prophetic, often funny, became my travel companions. As clouds and astrological predictions came and went, I found a new equilibrium that enabled me to envision my new life. Structure of the book: Circular Flexagon Bidding An artist’s book creates a space to tell a story. To the question “how to represent clouds?” I constructed a three-dimensional structure that turns and eddies on itself while embodying a visual tale. Like a book, the structure opens to allow a linear reading of the photographs and texts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034627828-CK6F4U73EOKT8N5OXK01/mcba-prize-2017-amandine-nabarra-piomelli-tempus-fugit-5.jpg Entries & Jurors - 2017 Entries - Amandine Nabarra-Piomelli Los Angeles, California anpfotos.com Tempus Fugit 2017 Vellum, Bristol sheets, Mohab Entrada, brass 2017 Edition 10 and 1 AP (reprint) 24.25” (62 cm) x 3.25” (8,25 cm) x 2” (5 cm) 8” (20cm) in diameter Artist Statement Man is filled with clouds that know him from childhood. – Jean Orizet While watching clouds that were passing over the port of Genoa (Italy) I was inspired to create this artist’s book. In the midst of thoughts about nature’s forces and movements, tragic events in my life led me to take stock of my existence. The movement of the clouds creates an unpredictable and mysterious energy that colors our thoughts. In this atmospheric energy I found the strength to contemplate my past and imagine my future. I even glanced at my horoscope to counter nostalgia, sadness and anxiety about my destiny. These coded messages, sometimes prophetic, often funny, became my travel companions. As clouds and astrological predictions came and went, I found a new equilibrium that enabled me to envision my new life. Structure of the book: Circular Flexagon Bidding An artist’s book creates a space to tell a story. To the question “how to represent clouds?” I constructed a three-dimensional structure that turns and eddies on itself while embodying a visual tale. Like a book, the structure opens to allow a linear reading of the photographs and texts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034731511-HM5OD4IV072B1RN3AP5L/mcba-prize-2017-julie-nauman-mikulski-secrets-inside-shadows-1.jpg Entries & Jurors - 2017 Entries - Julie Nauman-Mikulski Homewood, Illinois https://www.jnauman-mikulski.com/ Secrets Inside Shadows 2017 Digitally printed, perfect bound 206 pages 9″ x 12″ x 1/2″ 9″ x 6″ https://www.youtube.com/watch?v=VQ2PDf4JsMQ&feature=youtu.be A spread that includes Ernestina text (green on aqua bands) and a dream narrative. The book, Secrets Inside Shadows, is a collection of braided narratives both visual and textual. Each of the text-based narratives has its own typographic treatment; the visual narrative is made up of drawing, painting, printmaking (including wood type and linotype), photography and collage. In the background of each spread is a mis-matched circle symbolizing the paradox of time: eternally moving while constantly remaining still in the now. Upon opening Secrets, the reader enters a private world: a collection of imagery, thoughts, objects, souvenirs, notes stapled in, stories, and dreams. The combination of elements and story lines creates a layered picture of time, place, and the unpredictable surfacing of memories when least expected. Secrets requires the reader’s active participation in unraveling visual clues that link together narratives. It can be read in multiple ways: front to back, Ernestina text, diarist text, dream text or attached mininarratives on napkins and sticky notes. Secrets balances the permeable line between interior (first person) and exterior (third person), private and public, as well as conscious thought and the deep unconscious truths found in daily observations, visual images, the pursuit of spiritual truths, and dreams. To quote Edgar Allen Poe, the book becomes a kind of portrait of life as a “dream within a dream.” * My artistic practice is one of a perpetual note-taker. I keep diaries and sketchbooks; I write down my dreams; I collect found objects; I take photos. I have an ongoing mixed-media studio practice that includes writing short fiction. In the last decade my work has migrated to collage; in Secrets I have utilized all facets of my work, blending autobiographical and personal with fiction. The book format is deeply ingrained in me. I have loved them as miniature worlds sitting silently on a shelf, waiting. In Secrets I borrow from the medieval concept of books as metaphors for the human body: text and images inscribed on fleshy pages of animal skin like memories inscribed on the human brain. My books have evolved from small zines and hand-crafted pieces to Secrets, a much larger work at 200+ pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034731576-8M01N5FNFEBGCIM1WQRK/mcba-prize-2017-julie-nauman-mikulski-secrets-inside-shadows-2.jpg Entries & Jurors - 2017 Entries - Julie Nauman-Mikulski Homewood, Illinois https://www.jnauman-mikulski.com/ Secrets Inside Shadows 2017 Digitally printed, perfect bound 206 pages 9″ x 12″ x 1/2″ 9″ x 6″ https://www.youtube.com/watch?v=VQ2PDf4JsMQ&feature=youtu.be A spread that includes Ernestina text (green on aqua bands), mixed media drawing. The book, Secrets Inside Shadows, is a collection of braided narratives both visual and textual. Each of the text-based narratives has its own typographic treatment; the visual narrative is made up of drawing, painting, printmaking (including wood type and linotype), photography and collage. In the background of each spread is a mis-matched circle symbolizing the paradox of time: eternally moving while constantly remaining still in the now. Upon opening Secrets, the reader enters a private world: a collection of imagery, thoughts, objects, souvenirs, notes stapled in, stories, and dreams. The combination of elements and story lines creates a layered picture of time, place, and the unpredictable surfacing of memories when least expected. Secrets requires the reader’s active participation in unraveling visual clues that link together narratives. It can be read in multiple ways: front to back, Ernestina text, diarist text, dream text or attached mininarratives on napkins and sticky notes. Secrets balances the permeable line between interior (first person) and exterior (third person), private and public, as well as conscious thought and the deep unconscious truths found in daily observations, visual images, the pursuit of spiritual truths, and dreams. To quote Edgar Allen Poe, the book becomes a kind of portrait of life as a “dream within a dream.” * My artistic practice is one of a perpetual note-taker. I keep diaries and sketchbooks; I write down my dreams; I collect found objects; I take photos. I have an ongoing mixed-media studio practice that includes writing short fiction. In the last decade my work has migrated to collage; in Secrets I have utilized all facets of my work, blending autobiographical and personal with fiction. The book format is deeply ingrained in me. I have loved them as miniature worlds sitting silently on a shelf, waiting. In Secrets I borrow from the medieval concept of books as metaphors for the human body: text and images inscribed on fleshy pages of animal skin like memories inscribed on the human brain. My books have evolved from small zines and hand-crafted pieces to Secrets, a much larger work at 200+ pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034732618-AI3CKOYET1BEKKP4REHC/mcba-prize-2017-julie-nauman-mikulski-secrets-inside-shadows-3.jpg Entries & Jurors - 2017 Entries - Julie Nauman-Mikulski Homewood, Illinois https://www.jnauman-mikulski.com/ Secrets Inside Shadows 2017 Digitally printed, perfect bound 206 pages 9″ x 12″ x 1/2″ 9″ x 6″ https://www.youtube.com/watch?v=VQ2PDf4JsMQ&feature=youtu.be A spread that includes first person diarist text (hand-written on lined paper), drawings of Pre-Columbian gold objects, image from a dream. The book, Secrets Inside Shadows, is a collection of braided narratives both visual and textual. Each of the text-based narratives has its own typographic treatment; the visual narrative is made up of drawing, painting, printmaking (including wood type and linotype), photography and collage. In the background of each spread is a mis-matched circle symbolizing the paradox of time: eternally moving while constantly remaining still in the now. Upon opening Secrets, the reader enters a private world: a collection of imagery, thoughts, objects, souvenirs, notes stapled in, stories, and dreams. The combination of elements and story lines creates a layered picture of time, place, and the unpredictable surfacing of memories when least expected. Secrets requires the reader’s active participation in unraveling visual clues that link together narratives. It can be read in multiple ways: front to back, Ernestina text, diarist text, dream text or attached mininarratives on napkins and sticky notes. Secrets balances the permeable line between interior (first person) and exterior (third person), private and public, as well as conscious thought and the deep unconscious truths found in daily observations, visual images, the pursuit of spiritual truths, and dreams. To quote Edgar Allen Poe, the book becomes a kind of portrait of life as a “dream within a dream.” * My artistic practice is one of a perpetual note-taker. I keep diaries and sketchbooks; I write down my dreams; I collect found objects; I take photos. I have an ongoing mixed-media studio practice that includes writing short fiction. In the last decade my work has migrated to collage; in Secrets I have utilized all facets of my work, blending autobiographical and personal with fiction. The book format is deeply ingrained in me. I have loved them as miniature worlds sitting silently on a shelf, waiting. In Secrets I borrow from the medieval concept of books as metaphors for the human body: text and images inscribed on fleshy pages of animal skin like memories inscribed on the human brain. My books have evolved from small zines and hand-crafted pieces to Secrets, a much larger work at 200+ pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034732958-44T262KUHDVJWAQZQ7P9/mcba-prize-2017-julie-nauman-mikulski-secrets-inside-shadows-4.jpg Entries & Jurors - 2017 Entries - Julie Nauman-Mikulski Homewood, Illinois https://www.jnauman-mikulski.com/ Secrets Inside Shadows 2017 Digitally printed, perfect bound 206 pages 9″ x 12″ x 1/2″ 9″ x 6″ https://www.youtube.com/watch?v=VQ2PDf4JsMQ&feature=youtu.be A spread that includes first person mini-narrative on sticky notes, collage. The book, Secrets Inside Shadows, is a collection of braided narratives both visual and textual. Each of the text-based narratives has its own typographic treatment; the visual narrative is made up of drawing, painting, printmaking (including wood type and linotype), photography and collage. In the background of each spread is a mis-matched circle symbolizing the paradox of time: eternally moving while constantly remaining still in the now. Upon opening Secrets, the reader enters a private world: a collection of imagery, thoughts, objects, souvenirs, notes stapled in, stories, and dreams. The combination of elements and story lines creates a layered picture of time, place, and the unpredictable surfacing of memories when least expected. Secrets requires the reader’s active participation in unraveling visual clues that link together narratives. It can be read in multiple ways: front to back, Ernestina text, diarist text, dream text or attached mininarratives on napkins and sticky notes. Secrets balances the permeable line between interior (first person) and exterior (third person), private and public, as well as conscious thought and the deep unconscious truths found in daily observations, visual images, the pursuit of spiritual truths, and dreams. To quote Edgar Allen Poe, the book becomes a kind of portrait of life as a “dream within a dream.” * My artistic practice is one of a perpetual note-taker. I keep diaries and sketchbooks; I write down my dreams; I collect found objects; I take photos. I have an ongoing mixed-media studio practice that includes writing short fiction. In the last decade my work has migrated to collage; in Secrets I have utilized all facets of my work, blending autobiographical and personal with fiction. The book format is deeply ingrained in me. I have loved them as miniature worlds sitting silently on a shelf, waiting. In Secrets I borrow from the medieval concept of books as metaphors for the human body: text and images inscribed on fleshy pages of animal skin like memories inscribed on the human brain. My books have evolved from small zines and hand-crafted pieces to Secrets, a much larger work at 200+ pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034843275-UQT4J68DH12BQZIF637J/mcba-prize-2017-sarah-nicholls-glasshouse-1.jpg Entries & Jurors - 2017 Entries - Sarah Nicholls Brooklyn, New York www.sarahnicholls.com Glasshouse 2016 Letterpress and multi-color woodcuts on Sakamoto Heavy, waxed Kozo, and Zerkall Ingres. edition size of 35 40 pages 8.25″x 20.5″x .25″ 8.25″ x 10.25″ x .5″ First spread; text is printed on blue Zerkall Ingres, which functions as an overlay to the images. This first page introduces the history of greenhouses as a technology. Images are all printed from multicolor woodblocks. Artist Statement Glasshouse is a limited edition artist book that looks at the history of greenhouses, a technology made to cultivate foreign plants in a controlled environment, originally in service to empire. How did we build structures to contain trees meant to grow elsewhere? What is it like to sail off the edge of what you know? What does economic botany mean? I was originally interested in the subject because I thought building a house in which to grow foreign trees seemed like an odd thing to do. In an effort to understand what greenhouses meant, I read widely both in the history of botany and in the history of colonialism. In an era before the chemical industry, plants were the source of most economic advantage, so the cultivation of new kinds of plants taken from other areas of the world became important to Europeans. Botanical gardens were research facilities, not just collections of pretty flowers. The book has two sections: the first discusses the development of greenhouses as a technology, and the rise of botany as a science. The second looks at specific kinds of plants that became important as global commodities. Images are printed from multi-color woodcuts; they are meant to give the impression of walking through a greenhouse as you page through the book. I used translucency as a technique to mimic the effect you get as you pass through glass rooms full of plants. Longer passages of text are printed on overlays which are like the didactic captions you get in a botanical garden display. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034843381-08LC1QFYGAP7N4JX83FL/mcba-prize-2017-sarah-nicholls-glasshouse-2.jpg Entries & Jurors - 2017 Entries - Sarah Nicholls Brooklyn, New York www.sarahnicholls.com Glasshouse 2016 Letterpress and multi-color woodcuts on Sakamoto Heavy, waxed Kozo, and Zerkall Ingres. edition size of 35 40 pages 8.25″x 20.5″x .25″ 8.25″ x 10.25″ x .5″ Second spread. Left hand page has ferns printed from woodblocks onto kozo, which was then waxed, making it translucent. Artist Statement Glasshouse is a limited edition artist book that looks at the history of greenhouses, a technology made to cultivate foreign plants in a controlled environment, originally in service to empire. How did we build structures to contain trees meant to grow elsewhere? What is it like to sail off the edge of what you know? What does economic botany mean? I was originally interested in the subject because I thought building a house in which to grow foreign trees seemed like an odd thing to do. In an effort to understand what greenhouses meant, I read widely both in the history of botany and in the history of colonialism. In an era before the chemical industry, plants were the source of most economic advantage, so the cultivation of new kinds of plants taken from other areas of the world became important to Europeans. Botanical gardens were research facilities, not just collections of pretty flowers. The book has two sections: the first discusses the development of greenhouses as a technology, and the rise of botany as a science. The second looks at specific kinds of plants that became important as global commodities. Images are printed from multi-color woodcuts; they are meant to give the impression of walking through a greenhouse as you page through the book. I used translucency as a technique to mimic the effect you get as you pass through glass rooms full of plants. Longer passages of text are printed on overlays which are like the didactic captions you get in a botanical garden display. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034844512-U7A4ENIPZZVB581JF4PE/mcba-prize-2017-sarah-nicholls-glasshouse-3.jpg Entries & Jurors - 2017 Entries - Sarah Nicholls Brooklyn, New York www.sarahnicholls.com Glasshouse 2016 Letterpress and multi-color woodcuts on Sakamoto Heavy, waxed Kozo, and Zerkall Ingres. edition size of 35 40 pages 8.25″x 20.5″x .25″ 8.25″ x 10.25″ x .5″ Center spread, part one. Text discusses Linnaeus and taxonomy, and the global trade in plants. Artist Statement Glasshouse is a limited edition artist book that looks at the history of greenhouses, a technology made to cultivate foreign plants in a controlled environment, originally in service to empire. How did we build structures to contain trees meant to grow elsewhere? What is it like to sail off the edge of what you know? What does economic botany mean? I was originally interested in the subject because I thought building a house in which to grow foreign trees seemed like an odd thing to do. In an effort to understand what greenhouses meant, I read widely both in the history of botany and in the history of colonialism. In an era before the chemical industry, plants were the source of most economic advantage, so the cultivation of new kinds of plants taken from other areas of the world became important to Europeans. Botanical gardens were research facilities, not just collections of pretty flowers. The book has two sections: the first discusses the development of greenhouses as a technology, and the rise of botany as a science. The second looks at specific kinds of plants that became important as global commodities. Images are printed from multi-color woodcuts; they are meant to give the impression of walking through a greenhouse as you page through the book. I used translucency as a technique to mimic the effect you get as you pass through glass rooms full of plants. Longer passages of text are printed on overlays which are like the didactic captions you get in a botanical garden display. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034844723-B9795HRPYR7SBN1U9732/mcba-prize-2017-sarah-nicholls-glasshouse-4.jpg Entries & Jurors - 2017 Entries - Sarah Nicholls Brooklyn, New York www.sarahnicholls.com Glasshouse 2016 Letterpress and multi-color woodcuts on Sakamoto Heavy, waxed Kozo, and Zerkall Ingres. edition size of 35 40 pages 8.25″x 20.5″x .25″ 8.25″ x 10.25″ x .5″ Breadfruit, second section. Image on left hand side is a botanical illustration of breadfruit, a crop brought from the South Pacific to the sugar plantations of the Caribbean as food for slaves. Image on right hand side is a botanical illustration of sugar cane. Artist Statement Glasshouse is a limited edition artist book that looks at the history of greenhouses, a technology made to cultivate foreign plants in a controlled environment, originally in service to empire. How did we build structures to contain trees meant to grow elsewhere? What is it like to sail off the edge of what you know? What does economic botany mean? I was originally interested in the subject because I thought building a house in which to grow foreign trees seemed like an odd thing to do. In an effort to understand what greenhouses meant, I read widely both in the history of botany and in the history of colonialism. In an era before the chemical industry, plants were the source of most economic advantage, so the cultivation of new kinds of plants taken from other areas of the world became important to Europeans. Botanical gardens were research facilities, not just collections of pretty flowers. The book has two sections: the first discusses the development of greenhouses as a technology, and the rise of botany as a science. The second looks at specific kinds of plants that became important as global commodities. Images are printed from multi-color woodcuts; they are meant to give the impression of walking through a greenhouse as you page through the book. I used translucency as a technique to mimic the effect you get as you pass through glass rooms full of plants. Longer passages of text are printed on overlays which are like the didactic captions you get in a botanical garden display. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034845563-P14E8TPUF0KUY12P2EXR/mcba-prize-2017-sarah-nicholls-glasshouse-5.jpg Entries & Jurors - 2017 Entries - Sarah Nicholls Brooklyn, New York www.sarahnicholls.com Glasshouse 2016 Letterpress and multi-color woodcuts on Sakamoto Heavy, waxed Kozo, and Zerkall Ingres. edition size of 35 40 pages 8.25″x 20.5″x .25″ 8.25″ x 10.25″ x .5″ Center spread, second section. Cinchona is the natural source of quinine, a treatment for malaria. Seeds were stolen from Peru and cultivated for the British in India, which eased the way for further colonization in tropical areas, like the interior of Africa. Artist Statement Glasshouse is a limited edition artist book that looks at the history of greenhouses, a technology made to cultivate foreign plants in a controlled environment, originally in service to empire. How did we build structures to contain trees meant to grow elsewhere? What is it like to sail off the edge of what you know? What does economic botany mean? I was originally interested in the subject because I thought building a house in which to grow foreign trees seemed like an odd thing to do. In an effort to understand what greenhouses meant, I read widely both in the history of botany and in the history of colonialism. In an era before the chemical industry, plants were the source of most economic advantage, so the cultivation of new kinds of plants taken from other areas of the world became important to Europeans. Botanical gardens were research facilities, not just collections of pretty flowers. The book has two sections: the first discusses the development of greenhouses as a technology, and the rise of botany as a science. The second looks at specific kinds of plants that became important as global commodities. Images are printed from multi-color woodcuts; they are meant to give the impression of walking through a greenhouse as you page through the book. I used translucency as a technique to mimic the effect you get as you pass through glass rooms full of plants. Longer passages of text are printed on overlays which are like the didactic captions you get in a botanical garden display. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034977754-P9NKVE7VA90XIZTYT273/mcba-prize-2017-tara-obrien-luminary-1.jpg Entries & Jurors - 2017 Entries - Tara O’Brien Philadelphia PA inkfishpress.com Luminary 2015 Sun prints using Jacqurd Solarfast light sensitive medium, foil stamp letterpress, drumleaf binding edition size of 10 14 spreads, 28pages 7″x10″x3″ 7″x5″x1″ opening spread text: where do the stars begin Human knowledge is dependent on our curiosity. Questions lead to answers that in turn, lead to more questions. Luminary is the culmination of research beginning with the question; where do the stars begin? The title refers to not only the sun and stars, but also the scholars who have shed light on our understanding of the heavens. Luminary opens to a medieval map of the solar system and a photographic representation of Earth. Earth is in the center, with planets, Sun, then stars, revolving around it. The reader is brought to a specific perspective; they are viewing Earth off-planet, at a distinct time in human history. The narrative proceeds through multiple views of Earth from afar, in different perspectives, distances, and time. In one, we see Earth as the NASA probe Cassini captured it, peaking out beneath the rings of Saturn. In another we are looking at the earth while orbiting the moon. Using rhomb lines to reference navigational maps, which in turn reference exploration, scientific information related to the question printed in gold, creates a dialogue on the page spread. In cyclical fashion we return to the original question, where do the stars begin? And we conclude; our closest star is only visible during the day. Luminary removes the reader from Earth and allows them to view the it from afar and not as a part of it. Ultimately the reader is offered a metaphysical experience of Earth. Luminary is printed by the sun. The images were design digitally, printed onto film, and exposed on Rives BFK to the sun using Jacquard Solarfast light sensitive medium. The diagrams of “the immovable spot” and refraction, are from The Sun in the Church by J.L. Heilbron. The representation of Earth is a digital print viewed through a Plexiglas half sphere. The main text is heat stamped with gold foil. The book is bound as a drumleaf binding, covered with indigo Cave Paper, and is an edition of ten. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034977715-YGSY8V9420M4IYO66NA9/mcba-prize-2017-tara-obrien-luminary-2.jpg Entries & Jurors - 2017 Entries - Tara O’Brien Philadelphia PA inkfishpress.com Luminary 2015 Sun prints using Jacqurd Solarfast light sensitive medium, foil stamp letterpress, drumleaf binding edition size of 10 14 spreads, 28pages 7″x10″x3″ 7″x5″x1″ 4th spread text: to other eyes (text on previous page: how do we shine) Human knowledge is dependent on our curiosity. Questions lead to answers that in turn, lead to more questions. Luminary is the culmination of research beginning with the question; where do the stars begin? The title refers to not only the sun and stars, but also the scholars who have shed light on our understanding of the heavens. Luminary opens to a medieval map of the solar system and a photographic representation of Earth. Earth is in the center, with planets, Sun, then stars, revolving around it. The reader is brought to a specific perspective; they are viewing Earth off-planet, at a distinct time in human history. The narrative proceeds through multiple views of Earth from afar, in different perspectives, distances, and time. In one, we see Earth as the NASA probe Cassini captured it, peaking out beneath the rings of Saturn. In another we are looking at the earth while orbiting the moon. Using rhomb lines to reference navigational maps, which in turn reference exploration, scientific information related to the question printed in gold, creates a dialogue on the page spread. In cyclical fashion we return to the original question, where do the stars begin? And we conclude; our closest star is only visible during the day. Luminary removes the reader from Earth and allows them to view the it from afar and not as a part of it. Ultimately the reader is offered a metaphysical experience of Earth. Luminary is printed by the sun. The images were design digitally, printed onto film, and exposed on Rives BFK to the sun using Jacquard Solarfast light sensitive medium. The diagrams of “the immovable spot” and refraction, are from The Sun in the Church by J.L. Heilbron. The representation of Earth is a digital print viewed through a Plexiglas half sphere. The main text is heat stamped with gold foil. The book is bound as a drumleaf binding, covered with indigo Cave Paper, and is an edition of ten. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034979428-XRPNTLM0DK1ERHY4IKBC/mcba-prize-2017-tara-obrien-luminary-3.jpg Entries & Jurors - 2017 Entries - Tara O’Brien Philadelphia PA inkfishpress.com Luminary 2015 Sun prints using Jacqurd Solarfast light sensitive medium, foil stamp letterpress, drumleaf binding edition size of 10 14 spreads, 28pages 7″x10″x3″ 7″x5″x1″ 7th spread text: in the moon’s sky (text on previous page: how large is the earth) Human knowledge is dependent on our curiosity. Questions lead to answers that in turn, lead to more questions. Luminary is the culmination of research beginning with the question; where do the stars begin? The title refers to not only the sun and stars, but also the scholars who have shed light on our understanding of the heavens. Luminary opens to a medieval map of the solar system and a photographic representation of Earth. Earth is in the center, with planets, Sun, then stars, revolving around it. The reader is brought to a specific perspective; they are viewing Earth off-planet, at a distinct time in human history. The narrative proceeds through multiple views of Earth from afar, in different perspectives, distances, and time. In one, we see Earth as the NASA probe Cassini captured it, peaking out beneath the rings of Saturn. In another we are looking at the earth while orbiting the moon. Using rhomb lines to reference navigational maps, which in turn reference exploration, scientific information related to the question printed in gold, creates a dialogue on the page spread. In cyclical fashion we return to the original question, where do the stars begin? And we conclude; our closest star is only visible during the day. Luminary removes the reader from Earth and allows them to view the it from afar and not as a part of it. Ultimately the reader is offered a metaphysical experience of Earth. Luminary is printed by the sun. The images were design digitally, printed onto film, and exposed on Rives BFK to the sun using Jacquard Solarfast light sensitive medium. The diagrams of “the immovable spot” and refraction, are from The Sun in the Church by J.L. Heilbron. The representation of Earth is a digital print viewed through a Plexiglas half sphere. The main text is heat stamped with gold foil. The book is bound as a drumleaf binding, covered with indigo Cave Paper, and is an edition of ten. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034979797-X1AK2T1VZ2S4V96Z91ST/mcba-prize-2017-tara-obrien-luminary-4.jpg Entries & Jurors - 2017 Entries - Tara O’Brien Philadelphia PA inkfishpress.com Luminary 2015 Sun prints using Jacqurd Solarfast light sensitive medium, foil stamp letterpress, drumleaf binding edition size of 10 14 spreads, 28pages 7″x10″x3″ 7″x5″x1″ 12th spread text: our closest star Human knowledge is dependent on our curiosity. Questions lead to answers that in turn, lead to more questions. Luminary is the culmination of research beginning with the question; where do the stars begin? The title refers to not only the sun and stars, but also the scholars who have shed light on our understanding of the heavens. Luminary opens to a medieval map of the solar system and a photographic representation of Earth. Earth is in the center, with planets, Sun, then stars, revolving around it. The reader is brought to a specific perspective; they are viewing Earth off-planet, at a distinct time in human history. The narrative proceeds through multiple views of Earth from afar, in different perspectives, distances, and time. In one, we see Earth as the NASA probe Cassini captured it, peaking out beneath the rings of Saturn. In another we are looking at the earth while orbiting the moon. Using rhomb lines to reference navigational maps, which in turn reference exploration, scientific information related to the question printed in gold, creates a dialogue on the page spread. In cyclical fashion we return to the original question, where do the stars begin? And we conclude; our closest star is only visible during the day. Luminary removes the reader from Earth and allows them to view the it from afar and not as a part of it. Ultimately the reader is offered a metaphysical experience of Earth. Luminary is printed by the sun. The images were design digitally, printed onto film, and exposed on Rives BFK to the sun using Jacquard Solarfast light sensitive medium. The diagrams of “the immovable spot” and refraction, are from The Sun in the Church by J.L. Heilbron. The representation of Earth is a digital print viewed through a Plexiglas half sphere. The main text is heat stamped with gold foil. The book is bound as a drumleaf binding, covered with indigo Cave Paper, and is an edition of ten. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774034980896-T81VS0P0HJODR4E08AX4/mcba-prize-2017-tara-obrien-luminary-5.jpg Entries & Jurors - 2017 Entries - Tara O’Brien Philadelphia PA inkfishpress.com Luminary 2015 Sun prints using Jacqurd Solarfast light sensitive medium, foil stamp letterpress, drumleaf binding edition size of 10 14 spreads, 28pages 7″x10″x3″ 7″x5″x1″ 13th spread text: only visible during the day Human knowledge is dependent on our curiosity. Questions lead to answers that in turn, lead to more questions. Luminary is the culmination of research beginning with the question; where do the stars begin? The title refers to not only the sun and stars, but also the scholars who have shed light on our understanding of the heavens. Luminary opens to a medieval map of the solar system and a photographic representation of Earth. Earth is in the center, with planets, Sun, then stars, revolving around it. The reader is brought to a specific perspective; they are viewing Earth off-planet, at a distinct time in human history. The narrative proceeds through multiple views of Earth from afar, in different perspectives, distances, and time. In one, we see Earth as the NASA probe Cassini captured it, peaking out beneath the rings of Saturn. In another we are looking at the earth while orbiting the moon. Using rhomb lines to reference navigational maps, which in turn reference exploration, scientific information related to the question printed in gold, creates a dialogue on the page spread. In cyclical fashion we return to the original question, where do the stars begin? And we conclude; our closest star is only visible during the day. Luminary removes the reader from Earth and allows them to view the it from afar and not as a part of it. Ultimately the reader is offered a metaphysical experience of Earth. Luminary is printed by the sun. The images were design digitally, printed onto film, and exposed on Rives BFK to the sun using Jacquard Solarfast light sensitive medium. The diagrams of “the immovable spot” and refraction, are from The Sun in the Church by J.L. Heilbron. The representation of Earth is a digital print viewed through a Plexiglas half sphere. The main text is heat stamped with gold foil. The book is bound as a drumleaf binding, covered with indigo Cave Paper, and is an edition of ten. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035195027-KHSCSMZBE0F37MDVVVX5/mcba-prize-2017-miguel-osorio-martinez-us-1.jpg Entries & Jurors - 2017 Entries - Miguel Osorio Martínez Havana , Cuba US 2017 mixed media Unique 25cm x 15 cm x 2mm 12cm x 15cm x 2cm This book has a condom on its cover. Inside the right part of the inside are many broken condoms, on the left a collage of photos and drawings about diseases of sexual transmission. Cuban society has historically been in constant conflict with the so-called lateral sexualities (homosexuals, bisexuals, lesbians, transsexuals). In recent years changes and openings have been established towards these issues; Nevertheless despite this there are prejudices and negative attitudes in the majority of society towards the insertion and acceptance of the so-called otherness, or simply sexuality another. All these issues are indignant to me as a human being and as creator of the 21st century, in which many of these issues, if not completely resolved, at least have a more viable space of social coexistence than in our context. All these conflicts motivate my creation; Trying to resist a whole series of prejudices and censorship that historically limit human sexuality, from my personal point of view I disagree with these macho, reductionist, and stagnant attitudes that still persist in our society, I do not consider fair classifications, my experience and Attitude, assumes sexual differences as natural and inherent in human diversity. Respect and coexistence that should ideally exist; And to which I aspire utopically converting it into material of my work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035195145-MX977OK16GHLLL6NWMJV/mcba-prize-2017-miguel-osorio-martinez-us-2.jpg Entries & Jurors - 2017 Entries - Miguel Osorio Martínez Havana , Cuba US 2017 mixed media Unique 25cm x 15 cm x 2mm 12cm x 15cm x 2cm This book has stuck a quick HIV test on its cover. Inside the right side of the inside is a male figure behind a mesh, his face covered. On the left are 5 sheets of glass with drops of blood. Cuban society has historically been in constant conflict with the so-called lateral sexualities (homosexuals, bisexuals, lesbians, transsexuals). In recent years changes and openings have been established towards these issues; Nevertheless despite this there are prejudices and negative attitudes in the majority of society towards the insertion and acceptance of the so-called otherness, or simply sexuality another. All these issues are indignant to me as a human being and as creator of the 21st century, in which many of these issues, if not completely resolved, at least have a more viable space of social coexistence than in our context. All these conflicts motivate my creation; Trying to resist a whole series of prejudices and censorship that historically limit human sexuality, from my personal point of view I disagree with these macho, reductionist, and stagnant attitudes that still persist in our society, I do not consider fair classifications, my experience and Attitude, assumes sexual differences as natural and inherent in human diversity. Respect and coexistence that should ideally exist; And to which I aspire utopically converting it into material of my work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035196949-FA60PVZX0LGXNG1XQN3E/mcba-prize-2017-miguel-osorio-martinez-us-3.jpg Entries & Jurors - 2017 Entries - Miguel Osorio Martínez Havana , Cuba US 2017 mixed media Unique 25cm x 15 cm x 2mm 12cm x 15cm x 2cm This book has stuck a broken locket on its cover. Inside in the right part inside is stuck a photo of the artist as a child. She is covered by a piece of cloth from a personal clothing of the artist. At the top a strip of cloth contains a religious prayer from the Mother of Charity. On the left are three pills that are consumed daily by people with HIV. Cuban society has historically been in constant conflict with the so-called lateral sexualities (homosexuals, bisexuals, lesbians, transsexuals). In recent years changes and openings have been established towards these issues; Nevertheless despite this there are prejudices and negative attitudes in the majority of society towards the insertion and acceptance of the so-called otherness, or simply sexuality another. All these issues are indignant to me as a human being and as creator of the 21st century, in which many of these issues, if not completely resolved, at least have a more viable space of social coexistence than in our context. All these conflicts motivate my creation; Trying to resist a whole series of prejudices and censorship that historically limit human sexuality, from my personal point of view I disagree with these macho, reductionist, and stagnant attitudes that still persist in our society, I do not consider fair classifications, my experience and Attitude, assumes sexual differences as natural and inherent in human diversity. Respect and coexistence that should ideally exist; And to which I aspire utopically converting it into material of my work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035197070-Y1ADLA73QHWW1XXEORGV/mcba-prize-2017-miguel-osorio-martinez-us-4.jpg Entries & Jurors - 2017 Entries - Miguel Osorio Martínez Havana , Cuba US 2017 mixed media Unique 25cm x 15 cm x 2mm 12cm x 15cm x 2cm This book has pasted on its cover the dial of a clock that marks the hour of birth of the artist. Inside on the right side is attached a small photo of the artist’s grandfather. In the interior spine you can see fragments of torn sheets of 1 book. On the left are fragments of various wristwatches and lines drawn on paper. Cuban society has historically been in constant conflict with the so-called lateral sexualities (homosexuals, bisexuals, lesbians, transsexuals). In recent years changes and openings have been established towards these issues; Nevertheless despite this there are prejudices and negative attitudes in the majority of society towards the insertion and acceptance of the so-called otherness, or simply sexuality another. All these issues are indignant to me as a human being and as creator of the 21st century, in which many of these issues, if not completely resolved, at least have a more viable space of social coexistence than in our context. All these conflicts motivate my creation; Trying to resist a whole series of prejudices and censorship that historically limit human sexuality, from my personal point of view I disagree with these macho, reductionist, and stagnant attitudes that still persist in our society, I do not consider fair classifications, my experience and Attitude, assumes sexual differences as natural and inherent in human diversity. Respect and coexistence that should ideally exist; And to which I aspire utopically converting it into material of my work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035198705-5LEHBRFRVFAFWE467PGO/mcba-prize-2017-miguel-osorio-martinez-us-5.jpg Entries & Jurors - 2017 Entries - Miguel Osorio Martínez Havana , Cuba US 2017 mixed media Unique 25cm x 15 cm x 2mm 12cm x 15cm x 2cm This book has stuck on its cover a small drawing that the artist dedicated to his boyfriend. Inside in the right part of the interior you can see personal notes. At the center of the book is a metal engraving. On the left are several personal remains of the artist’s boyfriend. Cuban society has historically been in constant conflict with the so-called lateral sexualities (homosexuals, bisexuals, lesbians, transsexuals). In recent years changes and openings have been established towards these issues; Nevertheless despite this there are prejudices and negative attitudes in the majority of society towards the insertion and acceptance of the so-called otherness, or simply sexuality another. All these issues are indignant to me as a human being and as creator of the 21st century, in which many of these issues, if not completely resolved, at least have a more viable space of social coexistence than in our context. All these conflicts motivate my creation; Trying to resist a whole series of prejudices and censorship that historically limit human sexuality, from my personal point of view I disagree with these macho, reductionist, and stagnant attitudes that still persist in our society, I do not consider fair classifications, my experience and Attitude, assumes sexual differences as natural and inherent in human diversity. Respect and coexistence that should ideally exist; And to which I aspire utopically converting it into material of my work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035323345-804H2V9B6HPABUL1HK5W/mcba-prize-2017-yasutomo-ota-frucht-i-1.jpg Entries & Jurors - 2017 Entries - Yasutomo Ota Halle (Saale) Germany www.yasutomoota.com Frucht I 2017 Cardboard, Papers, Hemp / Scanography, Handoffset print edition size of 23 94 pages 120 x 240 x 130 120 x 120 x 130 This book-object has arisen from conversion of a lemon to book-form. The graphics of the lemon-slices which are cut as thick as the single page of this book are placed as content of this book. The empty spaces of the texts on the side of this object are as wide as the lemon-slices from 3 angles. With this thickness and these widths, you can image the form of the lemon. As the text by Yasutomo Ota “If I see that sections are laying on top of each other, it seems to me to be a book.“ in the final phase of this book, the lemon-slice heap reminds you about the object “lemon”, and the slice observation is like that you observe a object finely through computerized tomography. In this way the elements of the lemon are converted with graphics and texts into the object “book”, and through the book form the observe about the lemon has realized. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035323540-G31PDCZUGZHNIMYNV8Y3/mcba-prize-2017-yasutomo-ota-frucht-i-2.jpg Entries & Jurors - 2017 Entries - Yasutomo Ota Halle (Saale) Germany www.yasutomoota.com Frucht I 2017 Cardboard, Papers, Hemp / Scanography, Handoffset print edition size of 23 94 pages 120 x 240 x 130 120 x 120 x 130 This book-object has arisen from conversion of a lemon to book-form. The graphics of the lemon-slices which are cut as thick as the single page of this book are placed as content of this book. The empty spaces of the texts on the side of this object are as wide as the lemon-slices from 3 angles. With this thickness and these widths, you can image the form of the lemon. As the text by Yasutomo Ota “If I see that sections are laying on top of each other, it seems to me to be a book.“ in the final phase of this book, the lemon-slice heap reminds you about the object “lemon”, and the slice observation is like that you observe a object finely through computerized tomography. In this way the elements of the lemon are converted with graphics and texts into the object “book”, and through the book form the observe about the lemon has realized. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035325312-R0OCD065ORA3V43QRCEJ/mcba-prize-2017-yasutomo-ota-frucht-i-3.jpg Entries & Jurors - 2017 Entries - Yasutomo Ota Halle (Saale) Germany www.yasutomoota.com Frucht I 2017 Cardboard, Papers, Hemp / Scanography, Handoffset print edition size of 23 94 pages 120 x 240 x 130 120 x 120 x 130 This book-object has arisen from conversion of a lemon to book-form. The graphics of the lemon-slices which are cut as thick as the single page of this book are placed as content of this book. The empty spaces of the texts on the side of this object are as wide as the lemon-slices from 3 angles. With this thickness and these widths, you can image the form of the lemon. As the text by Yasutomo Ota “If I see that sections are laying on top of each other, it seems to me to be a book.“ in the final phase of this book, the lemon-slice heap reminds you about the object “lemon”, and the slice observation is like that you observe a object finely through computerized tomography. In this way the elements of the lemon are converted with graphics and texts into the object “book”, and through the book form the observe about the lemon has realized. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035325793-UWTQ6I5H5AQU86GU36IT/mcba-prize-2017-yasutomo-ota-frucht-i-4.jpg Entries & Jurors - 2017 Entries - Yasutomo Ota Halle (Saale) Germany www.yasutomoota.com Frucht I 2017 Cardboard, Papers, Hemp / Scanography, Handoffset print edition size of 23 94 pages 120 x 240 x 130 120 x 120 x 130 This book-object has arisen from conversion of a lemon to book-form. The graphics of the lemon-slices which are cut as thick as the single page of this book are placed as content of this book. The empty spaces of the texts on the side of this object are as wide as the lemon-slices from 3 angles. With this thickness and these widths, you can image the form of the lemon. As the text by Yasutomo Ota “If I see that sections are laying on top of each other, it seems to me to be a book.“ in the final phase of this book, the lemon-slice heap reminds you about the object “lemon”, and the slice observation is like that you observe a object finely through computerized tomography. In this way the elements of the lemon are converted with graphics and texts into the object “book”, and through the book form the observe about the lemon has realized. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035326995-5SMZ06ONU4ECYHEA6XLM/mcba-prize-2017-yasutomo-ota-frucht-i-5.jpg Entries & Jurors - 2017 Entries - Yasutomo Ota Halle (Saale) Germany www.yasutomoota.com Frucht I 2017 Cardboard, Papers, Hemp / Scanography, Handoffset print edition size of 23 94 pages 120 x 240 x 130 120 x 120 x 130 This book-object has arisen from conversion of a lemon to book-form. The graphics of the lemon-slices which are cut as thick as the single page of this book are placed as content of this book. The empty spaces of the texts on the side of this object are as wide as the lemon-slices from 3 angles. With this thickness and these widths, you can image the form of the lemon. As the text by Yasutomo Ota “If I see that sections are laying on top of each other, it seems to me to be a book.“ in the final phase of this book, the lemon-slice heap reminds you about the object “lemon”, and the slice observation is like that you observe a object finely through computerized tomography. In this way the elements of the lemon are converted with graphics and texts into the object “book”, and through the book form the observe about the lemon has realized. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035463763-MY1P0HGAO88E92OO85GU/mcba-prize-2017-pd-packard-a-sense-of-place-in-honor-of-kenneth-kerslake-1.jpg Entries & Jurors - 2017 Entries - PD Packard Brooklyn New York www.pdpackard.com A Sense of Place: In Honor of Kenneth Kerslake 2016 Embossing, drypoint etching, collograph Unique 6 inside pages + front & back cover 5.5″ x 9″ x .5″ 5.5″ x 4.5″ x .5 Front Cover (left) and Slip Case (right) for single sheet book, A Sense of Place. Embossing created from computer rendered artwork and laser cut, plexi printing plates. Artist Statement My mother tongue with art and design is color. Made from the construction of a single sheet, this small book was created to be held within the palm of one’s hand. The inspiration for this book came from the artist, Kenneth Kerslake, and his print, A Sense of Place. Kerslake stated, “Printmakers do what all artists do: create images that reflect their world, project their values and interest in the human condition, and imaginatively explore their visions.” The text and images illustrate a dialogue that I have within myself. As contained narrative, my work expresses the principles of unconditional love, not conditional romance. I hope to covey a sense of place, where even within the depths of confusion or loneliness one can find a vastness of unconditional love. The embossed patterns and prose is computer designed and then laser cut out of plexi. The cut plexi is then made into a printing plate that is then passed through an etching press to create the embossed paper. The embossing is printed on 270 gsm BFK Rives and the drypoints and collograph are chine colléd kozo paper onto the BFK Rives. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035463477-4O0ZGLLWEWLCPXBE6C74/mcba-prize-2017-pd-packard-a-sense-of-place-in-honor-of-kenneth-kerslake-2.jpg Entries & Jurors - 2017 Entries - PD Packard Brooklyn New York www.pdpackard.com A Sense of Place: In Honor of Kenneth Kerslake 2016 Embossing, drypoint etching, collograph Unique 6 inside pages + front & back cover 5.5″ x 9″ x .5″ 5.5″ x 4.5″ x .5 Front Cover and Center Fold, pages 3 & 4. Embossing created from computer rendered artwork and laser cut, plexi printing plates, drypoint etching, and collograph on kozo paper & BFK Rives. Artist Statement My mother tongue with art and design is color. Made from the construction of a single sheet, this small book was created to be held within the palm of one’s hand. The inspiration for this book came from the artist, Kenneth Kerslake, and his print, A Sense of Place. Kerslake stated, “Printmakers do what all artists do: create images that reflect their world, project their values and interest in the human condition, and imaginatively explore their visions.” The text and images illustrate a dialogue that I have within myself. As contained narrative, my work expresses the principles of unconditional love, not conditional romance. I hope to covey a sense of place, where even within the depths of confusion or loneliness one can find a vastness of unconditional love. The embossed patterns and prose is computer designed and then laser cut out of plexi. The cut plexi is then made into a printing plate that is then passed through an etching press to create the embossed paper. The embossing is printed on 270 gsm BFK Rives and the drypoints and collograph are chine colléd kozo paper onto the BFK Rives. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035466025-0VV1U9PSBOVM3WYUEG06/mcba-prize-2017-pd-packard-a-sense-of-place-in-honor-of-kenneth-kerslake-3.jpg Entries & Jurors - 2017 Entries - PD Packard Brooklyn New York www.pdpackard.com A Sense of Place: In Honor of Kenneth Kerslake 2016 Embossing, drypoint etching, collograph Unique 6 inside pages + front & back cover 5.5″ x 9″ x .5″ 5.5″ x 4.5″ x .5 Collograph made from dried seaweed printed on kozo paper. Pages 1 & 2. Artist Statement My mother tongue with art and design is color. Made from the construction of a single sheet, this small book was created to be held within the palm of one’s hand. The inspiration for this book came from the artist, Kenneth Kerslake, and his print, A Sense of Place. Kerslake stated, “Printmakers do what all artists do: create images that reflect their world, project their values and interest in the human condition, and imaginatively explore their visions.” The text and images illustrate a dialogue that I have within myself. As contained narrative, my work expresses the principles of unconditional love, not conditional romance. I hope to covey a sense of place, where even within the depths of confusion or loneliness one can find a vastness of unconditional love. The embossed patterns and prose is computer designed and then laser cut out of plexi. The cut plexi is then made into a printing plate that is then passed through an etching press to create the embossed paper. The embossing is printed on 270 gsm BFK Rives and the drypoints and collograph are chine colléd kozo paper onto the BFK Rives. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035466439-P68O23KAR8ZI1XOCQBPV/mcba-prize-2017-pd-packard-a-sense-of-place-in-honor-of-kenneth-kerslake-4.jpg Entries & Jurors - 2017 Entries - PD Packard Brooklyn New York www.pdpackard.com A Sense of Place: In Honor of Kenneth Kerslake 2016 Embossing, drypoint etching, collograph Unique 6 inside pages + front & back cover 5.5″ x 9″ x .5″ 5.5″ x 4.5″ x .5 Drypoint etching and collograph printed on kozo paper. Pages 5 & 6. Artist Statement My mother tongue with art and design is color. Made from the construction of a single sheet, this small book was created to be held within the palm of one’s hand. The inspiration for this book came from the artist, Kenneth Kerslake, and his print, A Sense of Place. Kerslake stated, “Printmakers do what all artists do: create images that reflect their world, project their values and interest in the human condition, and imaginatively explore their visions.” The text and images illustrate a dialogue that I have within myself. As contained narrative, my work expresses the principles of unconditional love, not conditional romance. I hope to covey a sense of place, where even within the depths of confusion or loneliness one can find a vastness of unconditional love. The embossed patterns and prose is computer designed and then laser cut out of plexi. The cut plexi is then made into a printing plate that is then passed through an etching press to create the embossed paper. The embossing is printed on 270 gsm BFK Rives and the drypoints and collograph are chine colléd kozo paper onto the BFK Rives. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035597979-7ME8QW0AYG7AZRVXUQEP/mcba-prize-2017-barbara-page-book-marks-escapades-in-the-library-of-the-mind-1.jpg Entries & Jurors - 2017 Entries - Barbara Page Trumansburg, New York www.barbarapagestudio.com Book Marks: Escapades in the Library of the Mind 2009-2017 Mixed media on paper, file case Edition size of 1 Many 4.5″ x 12.5″ x variable 4.5″ x 12.5″ x 14″ Selections of Book Marks cards may be arranged in various configurations to fit space available. Imagine a library holding all the significant books you have ever read. Imagine the catalog for that library. It lives in your memory much as information accessible through a library catalog system exists in cyberspace. Before card catalogs were digitized, each library book acquired was registered on three 3 x 5 index cards labeled with its author, title, publication date, call number, and a brief synopsis. These cards were filed separately under Author, Title, and Subject in wooden file cabinets for our convenient access to information, knowledge, and entertainment. Book Marks: Escapades in the Library of the Mind is a visual survey of my reading history. To make physically manifest the library in my mind, I convert library charge cards into small works of art representing books that have made an impression on me. I mark them with drawings, rubber-stamping, and collage elements encoding my memories. The images are intentionally eclectic since every manuscript dictates its unique personality through style, content, period, and setting. Hundreds of illustrated cards are filed in my antique two-drawer library case labeled BOOK MARKS. The cards may be removed and displayed in various configurations, such as by subject or author. If the cards are arranged in the approximate order that I read the book each represents, they reflect a pictorial version of my intellectual development in the context of American culture since WWII. I have in the past explored a progression through time in other formats. Rock of Ages, Sands of Time is a museum installation where I depict the history of visible life in discrete intervals of one million years, each million years on one of 543 contiguous panels. Books Marks covers the lifespan of just one individual on 543 library cards. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035598445-ZUPEI0JX9PRIY5UWIY38/mcba-prize-2017-barbara-page-book-marks-escapades-in-the-library-of-the-mind-2.jpg Entries & Jurors - 2017 Entries - Barbara Page Trumansburg, New York www.barbarapagestudio.com Book Marks: Escapades in the Library of the Mind 2009-2017 Mixed media on paper, file case Edition size of 1 Many 4.5″ x 12.5″ x variable 4.5″ x 12.5″ x 14″ Selections of Book Marks cards may be arranged in various configurations to fit space available. Imagine a library holding all the significant books you have ever read. Imagine the catalog for that library. It lives in your memory much as information accessible through a library catalog system exists in cyberspace. Before card catalogs were digitized, each library book acquired was registered on three 3 x 5 index cards labeled with its author, title, publication date, call number, and a brief synopsis. These cards were filed separately under Author, Title, and Subject in wooden file cabinets for our convenient access to information, knowledge, and entertainment. Book Marks: Escapades in the Library of the Mind is a visual survey of my reading history. To make physically manifest the library in my mind, I convert library charge cards into small works of art representing books that have made an impression on me. I mark them with drawings, rubber-stamping, and collage elements encoding my memories. The images are intentionally eclectic since every manuscript dictates its unique personality through style, content, period, and setting. Hundreds of illustrated cards are filed in my antique two-drawer library case labeled BOOK MARKS. The cards may be removed and displayed in various configurations, such as by subject or author. If the cards are arranged in the approximate order that I read the book each represents, they reflect a pictorial version of my intellectual development in the context of American culture since WWII. I have in the past explored a progression through time in other formats. Rock of Ages, Sands of Time is a museum installation where I depict the history of visible life in discrete intervals of one million years, each million years on one of 543 contiguous panels. Books Marks covers the lifespan of just one individual on 543 library cards. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035599448-2RRRZZMHZHRDZ630VX2T/mcba-prize-2017-barbara-page-book-marks-escapades-in-the-library-of-the-mind-3.jpg Entries & Jurors - 2017 Entries - Barbara Page Trumansburg, New York www.barbarapagestudio.com Book Marks: Escapades in the Library of the Mind 2009-2017 Mixed media on paper, file case Edition size of 1 Many 4.5″ x 12.5″ x variable 4.5″ x 12.5″ x 14″ Selections of Book Marks cards may be arranged in various configurations to fit space available. Imagine a library holding all the significant books you have ever read. Imagine the catalog for that library. It lives in your memory much as information accessible through a library catalog system exists in cyberspace. Before card catalogs were digitized, each library book acquired was registered on three 3 x 5 index cards labeled with its author, title, publication date, call number, and a brief synopsis. These cards were filed separately under Author, Title, and Subject in wooden file cabinets for our convenient access to information, knowledge, and entertainment. Book Marks: Escapades in the Library of the Mind is a visual survey of my reading history. To make physically manifest the library in my mind, I convert library charge cards into small works of art representing books that have made an impression on me. I mark them with drawings, rubber-stamping, and collage elements encoding my memories. The images are intentionally eclectic since every manuscript dictates its unique personality through style, content, period, and setting. Hundreds of illustrated cards are filed in my antique two-drawer library case labeled BOOK MARKS. The cards may be removed and displayed in various configurations, such as by subject or author. If the cards are arranged in the approximate order that I read the book each represents, they reflect a pictorial version of my intellectual development in the context of American culture since WWII. I have in the past explored a progression through time in other formats. Rock of Ages, Sands of Time is a museum installation where I depict the history of visible life in discrete intervals of one million years, each million years on one of 543 contiguous panels. Books Marks covers the lifespan of just one individual on 543 library cards. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035600081-VXMPBATWU8OHSN69NBTO/mcba-prize-2017-barbara-page-book-marks-escapades-in-the-library-of-the-mind-4.jpg Entries & Jurors - 2017 Entries - Barbara Page Trumansburg, New York www.barbarapagestudio.com Book Marks: Escapades in the Library of the Mind 2009-2017 Mixed media on paper, file case Edition size of 1 Many 4.5″ x 12.5″ x variable 4.5″ x 12.5″ x 14″ Selections of Book Marks cards may be arranged in various configurations to fit space available. Imagine a library holding all the significant books you have ever read. Imagine the catalog for that library. It lives in your memory much as information accessible through a library catalog system exists in cyberspace. Before card catalogs were digitized, each library book acquired was registered on three 3 x 5 index cards labeled with its author, title, publication date, call number, and a brief synopsis. These cards were filed separately under Author, Title, and Subject in wooden file cabinets for our convenient access to information, knowledge, and entertainment. Book Marks: Escapades in the Library of the Mind is a visual survey of my reading history. To make physically manifest the library in my mind, I convert library charge cards into small works of art representing books that have made an impression on me. I mark them with drawings, rubber-stamping, and collage elements encoding my memories. The images are intentionally eclectic since every manuscript dictates its unique personality through style, content, period, and setting. Hundreds of illustrated cards are filed in my antique two-drawer library case labeled BOOK MARKS. The cards may be removed and displayed in various configurations, such as by subject or author. If the cards are arranged in the approximate order that I read the book each represents, they reflect a pictorial version of my intellectual development in the context of American culture since WWII. I have in the past explored a progression through time in other formats. Rock of Ages, Sands of Time is a museum installation where I depict the history of visible life in discrete intervals of one million years, each million years on one of 543 contiguous panels. Books Marks covers the lifespan of just one individual on 543 library cards. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035601035-XSVRX04TOP8513IPHECQ/mcba-prize-2017-barbara-page-book-marks-escapades-in-the-library-of-the-mind-5.jpg Entries & Jurors - 2017 Entries - Barbara Page Trumansburg, New York www.barbarapagestudio.com Book Marks: Escapades in the Library of the Mind 2009-2017 Mixed media on paper, file case Edition size of 1 Many 4.5″ x 12.5″ x variable 4.5″ x 12.5″ x 14″ Selections of Book Marks cards may be arranged in various configurations to fit space available. Imagine a library holding all the significant books you have ever read. Imagine the catalog for that library. It lives in your memory much as information accessible through a library catalog system exists in cyberspace. Before card catalogs were digitized, each library book acquired was registered on three 3 x 5 index cards labeled with its author, title, publication date, call number, and a brief synopsis. These cards were filed separately under Author, Title, and Subject in wooden file cabinets for our convenient access to information, knowledge, and entertainment. Book Marks: Escapades in the Library of the Mind is a visual survey of my reading history. To make physically manifest the library in my mind, I convert library charge cards into small works of art representing books that have made an impression on me. I mark them with drawings, rubber-stamping, and collage elements encoding my memories. The images are intentionally eclectic since every manuscript dictates its unique personality through style, content, period, and setting. Hundreds of illustrated cards are filed in my antique two-drawer library case labeled BOOK MARKS. The cards may be removed and displayed in various configurations, such as by subject or author. If the cards are arranged in the approximate order that I read the book each represents, they reflect a pictorial version of my intellectual development in the context of American culture since WWII. I have in the past explored a progression through time in other formats. Rock of Ages, Sands of Time is a museum installation where I depict the history of visible life in discrete intervals of one million years, each million years on one of 543 contiguous panels. Books Marks covers the lifespan of just one individual on 543 library cards. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035697033-MENW1DBDA74QV0MC2129/mcba-prize-2017-dawn-peterson-i-dwell-in-possibility-by-emily-dickinson-1.jpg Entries & Jurors - 2017 Entries - Dawn Peterson Tybee Island, Georgia I dwell in Possibility- by Emily Dickinson 2016 Cherry and poplar wood, laser cut, leather/tack binding Display copy One page 12 x 23 x 1 1/8″ 12 x 11 x 1 1/8″ After researching moveable books and mechanics I decided on the iris mechanism for this book. With the movement of the lever layers are exposed and the final layer illustrates a poem by Emily Dickinson. “I dwell in Possibility –”. She is a poet with boundless potentials not confined by the structure of a house. In the poem the doors and windows can open; the house opens to nature revealing the sky with infinite possibilities. The reader/visitor can open and close the iris revealing Emily’s poem. This book is a metaphor about the freedom of movement; moving in and out of the windows and doors into the garden and the sky. The reader can also discover their own interpretation and potential creativity in her poem; the influence of imagination. Creative freedom and breaking from life’s routines can simply be achieved by moving a lever and reading a poem. I love books! Especially making them. Working with various materials and textures interests me whether the books are unique or altered. I especially like to combine traditional techniques/structures/materials with technology such as laser cutting and 3d printing. My work has been published in 500 Handmade Books and various magazines. My projects can be found in various public and private collections such a college and university libraries as well as companies and individuals. I am a professor at the Savannah College of Art and Design where I teach design elements and principles to students using book formats and structures. I am a member of the College Book Arts Association. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035697067-UAYGF5P1F7CQSZBDQG7K/mcba-prize-2017-dawn-peterson-i-dwell-in-possibility-by-emily-dickinson-2.jpg Entries & Jurors - 2017 Entries - Dawn Peterson Tybee Island, Georgia I dwell in Possibility- by Emily Dickinson 2016 Cherry and poplar wood, laser cut, leather/tack binding Display copy One page 12 x 23 x 1 1/8″ 12 x 11 x 1 1/8″ After researching moveable books and mechanics I decided on the iris mechanism for this book. With the movement of the lever layers are exposed and the final layer illustrates a poem by Emily Dickinson. “I dwell in Possibility –”. She is a poet with boundless potentials not confined by the structure of a house. In the poem the doors and windows can open; the house opens to nature revealing the sky with infinite possibilities. The reader/visitor can open and close the iris revealing Emily’s poem. This book is a metaphor about the freedom of movement; moving in and out of the windows and doors into the garden and the sky. The reader can also discover their own interpretation and potential creativity in her poem; the influence of imagination. Creative freedom and breaking from life’s routines can simply be achieved by moving a lever and reading a poem. I love books! Especially making them. Working with various materials and textures interests me whether the books are unique or altered. I especially like to combine traditional techniques/structures/materials with technology such as laser cutting and 3d printing. My work has been published in 500 Handmade Books and various magazines. My projects can be found in various public and private collections such a college and university libraries as well as companies and individuals. I am a professor at the Savannah College of Art and Design where I teach design elements and principles to students using book formats and structures. I am a member of the College Book Arts Association. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035698379-P0TUYQOTKL0Y8DT2IA5J/mcba-prize-2017-dawn-peterson-i-dwell-in-possibility-by-emily-dickinson-3.jpg Entries & Jurors - 2017 Entries - Dawn Peterson Tybee Island, Georgia I dwell in Possibility- by Emily Dickinson 2016 Cherry and poplar wood, laser cut, leather/tack binding Display copy One page 12 x 23 x 1 1/8″ 12 x 11 x 1 1/8″ After researching moveable books and mechanics I decided on the iris mechanism for this book. With the movement of the lever layers are exposed and the final layer illustrates a poem by Emily Dickinson. “I dwell in Possibility –”. She is a poet with boundless potentials not confined by the structure of a house. In the poem the doors and windows can open; the house opens to nature revealing the sky with infinite possibilities. The reader/visitor can open and close the iris revealing Emily’s poem. This book is a metaphor about the freedom of movement; moving in and out of the windows and doors into the garden and the sky. The reader can also discover their own interpretation and potential creativity in her poem; the influence of imagination. Creative freedom and breaking from life’s routines can simply be achieved by moving a lever and reading a poem. I love books! Especially making them. Working with various materials and textures interests me whether the books are unique or altered. I especially like to combine traditional techniques/structures/materials with technology such as laser cutting and 3d printing. My work has been published in 500 Handmade Books and various magazines. My projects can be found in various public and private collections such a college and university libraries as well as companies and individuals. I am a professor at the Savannah College of Art and Design where I teach design elements and principles to students using book formats and structures. I am a member of the College Book Arts Association. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035699033-77UREUJ9M6IVEL3GJPAQ/mcba-prize-2017-dawn-peterson-i-dwell-in-possibility-by-emily-dickinson-4.jpg Entries & Jurors - 2017 Entries - Dawn Peterson Tybee Island, Georgia I dwell in Possibility- by Emily Dickinson 2016 Cherry and poplar wood, laser cut, leather/tack binding Display copy One page 12 x 23 x 1 1/8″ 12 x 11 x 1 1/8″ After researching moveable books and mechanics I decided on the iris mechanism for this book. With the movement of the lever layers are exposed and the final layer illustrates a poem by Emily Dickinson. “I dwell in Possibility –”. She is a poet with boundless potentials not confined by the structure of a house. In the poem the doors and windows can open; the house opens to nature revealing the sky with infinite possibilities. The reader/visitor can open and close the iris revealing Emily’s poem. This book is a metaphor about the freedom of movement; moving in and out of the windows and doors into the garden and the sky. The reader can also discover their own interpretation and potential creativity in her poem; the influence of imagination. Creative freedom and breaking from life’s routines can simply be achieved by moving a lever and reading a poem. I love books! Especially making them. Working with various materials and textures interests me whether the books are unique or altered. I especially like to combine traditional techniques/structures/materials with technology such as laser cutting and 3d printing. My work has been published in 500 Handmade Books and various magazines. My projects can be found in various public and private collections such a college and university libraries as well as companies and individuals. I am a professor at the Savannah College of Art and Design where I teach design elements and principles to students using book formats and structures. I am a member of the College Book Arts Association. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035816392-I6AKEPG0CBN1SF4AMT1G/mcba-prize-2017-sumi-perera-inside-out-outside-in-10-01-the-trilogy-1.jpg Entries & Jurors - 2017 Entries - Sumi Perera Redhill Surrey, UK www.saatchionline.com/sumiperera Inside Out-Outside In [IO-OI]-The Trilogy 2015 etching, aquatint, embossing, debossing, incision & stitch variable edition of 3 each book in the trilogy has 4 french folds each 21x60x1 21x15x3 [stack of 3 books] [Awarded the Incline Press-Dave Godin Award at the Society of Bookbinders’ International Conference & Competition UK 2015 & the Manly Library Acquisition Award NSW Australia 2017] [Opening instructions please slide outer sleeve to reveal the inner sleeve that houses 3 books: I-white, II-white/grey & III-grey] A trilogy of artist books featuring the artist’s site-specific bookart-installations designed for the Stroud International Textile Festival for the exhibition ‘Power of Ten’ held within the Museum in the Park, Stroud. It also incorporates elements form the books designed for ‘Pressing Identities’ held at the West Yorkshire Print Workshop. Etched/aquatinted/embossed prints incorporate the artist’s own house-plans, the Serpentine Gallery Pavilions’ blueprints, the surrounding road-maps which explore how bodies navigate space inside and outside the built environment. French-folds enclose hidden texts. The embossed fonts [Inside Out] protrude outwards from within the front cover, and the debossed fonts [Outside In] intrude from outside to within the cover, and windows in each dust-jacket allow the book to be judged by its cover. The trajectories of text within the six French folds are ramblings derived philosophical writings from the PRODUCTION OF SPACE by Henri Lefebvre1 & A THOUSAND PLATEAUS by Giles Deleuze & Felix Guattarri2. The Production of Space by Henri Lefebvre is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. A Thousand Plateaus: Capitalism and Schizophrenia (French: Mille plateaux) is a 1980 philosophy book by French authors Gilles Deleuze and Félix Guattari, respectively a philosopher and a psychoanalyst. The authors draw upon and discuss the work of a number of authors, including Sigmund Freud, Carl Jung, and Wilhelm Reich. A Thousand Plateaus is written in a non-linear fashion, and the reader is invited to move among plateaux in any order. [Text: extracts of multiple searches on the internet, inspired by other readings including the: The Practice of Everyday Life by Michel de Certeau & The Poetics of Space by Gaston Bachelard] More about the development of the work can be read on the link- http://printmakerscouncil.com/featured-artist-sumi-perera/ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035816932-G9NWJUB5JFFZ446RA6YK/mcba-prize-2017-sumi-perera-inside-out-outside-in-10-01-the-trilogy-2.jpg Entries & Jurors - 2017 Entries - Sumi Perera Redhill Surrey, UK www.saatchionline.com/sumiperera Inside Out-Outside In [IO-OI]-The Trilogy 2015 etching, aquatint, embossing, debossing, incision & stitch variable edition of 3 each book in the trilogy has 4 french folds each 21x60x1 21x15x3 [stack of 3 books] [Awarded the Incline Press-Dave Godin Award at the Society of Bookbinders’ International Conference & Competition UK 2015 & the Manly Library Acquisition Award NSW Australia 2017] [Opening instructions please slide outer sleeve to reveal the inner sleeve that houses 3 books: I-white, II-white/grey & III-grey] A trilogy of artist books featuring the artist’s site-specific bookart-installations designed for the Stroud International Textile Festival for the exhibition ‘Power of Ten’ held within the Museum in the Park, Stroud. It also incorporates elements form the books designed for ‘Pressing Identities’ held at the West Yorkshire Print Workshop. Etched/aquatinted/embossed prints incorporate the artist’s own house-plans, the Serpentine Gallery Pavilions’ blueprints, the surrounding road-maps which explore how bodies navigate space inside and outside the built environment. French-folds enclose hidden texts. The embossed fonts [Inside Out] protrude outwards from within the front cover, and the debossed fonts [Outside In] intrude from outside to within the cover, and windows in each dust-jacket allow the book to be judged by its cover. The trajectories of text within the six French folds are ramblings derived philosophical writings from the PRODUCTION OF SPACE by Henri Lefebvre1 & A THOUSAND PLATEAUS by Giles Deleuze & Felix Guattarri2. The Production of Space by Henri Lefebvre is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. A Thousand Plateaus: Capitalism and Schizophrenia (French: Mille plateaux) is a 1980 philosophy book by French authors Gilles Deleuze and Félix Guattari, respectively a philosopher and a psychoanalyst. The authors draw upon and discuss the work of a number of authors, including Sigmund Freud, Carl Jung, and Wilhelm Reich. A Thousand Plateaus is written in a non-linear fashion, and the reader is invited to move among plateaux in any order. [Text: extracts of multiple searches on the internet, inspired by other readings including the: The Practice of Everyday Life by Michel de Certeau & The Poetics of Space by Gaston Bachelard] More about the development of the work can be read on the link- http://printmakerscouncil.com/featured-artist-sumi-perera/ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035817641-0AIHTJV3O4YTPC7M69D9/mcba-prize-2017-sumi-perera-inside-out-outside-in-10-01-the-trilogy-3.jpg Entries & Jurors - 2017 Entries - Sumi Perera Redhill Surrey, UK www.saatchionline.com/sumiperera Inside Out-Outside In [IO-OI]-The Trilogy 2015 etching, aquatint, embossing, debossing, incision & stitch variable edition of 3 each book in the trilogy has 4 french folds each 21x60x1 21x15x3 [stack of 3 books] [Awarded the Incline Press-Dave Godin Award at the Society of Bookbinders’ International Conference & Competition UK 2015 & the Manly Library Acquisition Award NSW Australia 2017] [Opening instructions please slide outer sleeve to reveal the inner sleeve that houses 3 books: I-white, II-white/grey & III-grey] A trilogy of artist books featuring the artist’s site-specific bookart-installations designed for the Stroud International Textile Festival for the exhibition ‘Power of Ten’ held within the Museum in the Park, Stroud. It also incorporates elements form the books designed for ‘Pressing Identities’ held at the West Yorkshire Print Workshop. Etched/aquatinted/embossed prints incorporate the artist’s own house-plans, the Serpentine Gallery Pavilions’ blueprints, the surrounding road-maps which explore how bodies navigate space inside and outside the built environment. French-folds enclose hidden texts. The embossed fonts [Inside Out] protrude outwards from within the front cover, and the debossed fonts [Outside In] intrude from outside to within the cover, and windows in each dust-jacket allow the book to be judged by its cover. The trajectories of text within the six French folds are ramblings derived philosophical writings from the PRODUCTION OF SPACE by Henri Lefebvre1 & A THOUSAND PLATEAUS by Giles Deleuze & Felix Guattarri2. The Production of Space by Henri Lefebvre is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. A Thousand Plateaus: Capitalism and Schizophrenia (French: Mille plateaux) is a 1980 philosophy book by French authors Gilles Deleuze and Félix Guattari, respectively a philosopher and a psychoanalyst. The authors draw upon and discuss the work of a number of authors, including Sigmund Freud, Carl Jung, and Wilhelm Reich. A Thousand Plateaus is written in a non-linear fashion, and the reader is invited to move among plateaux in any order. [Text: extracts of multiple searches on the internet, inspired by other readings including the: The Practice of Everyday Life by Michel de Certeau & The Poetics of Space by Gaston Bachelard] More about the development of the work can be read on the link- http://printmakerscouncil.com/featured-artist-sumi-perera/ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035818512-6F886TK17KM2FEBBNCAT/mcba-prize-2017-sumi-perera-inside-out-outside-in-10-01-the-trilogy-4.jpg Entries & Jurors - 2017 Entries - Sumi Perera Redhill Surrey, UK www.saatchionline.com/sumiperera Inside Out-Outside In [IO-OI]-The Trilogy 2015 etching, aquatint, embossing, debossing, incision & stitch variable edition of 3 each book in the trilogy has 4 french folds each 21x60x1 21x15x3 [stack of 3 books] [Awarded the Incline Press-Dave Godin Award at the Society of Bookbinders’ International Conference & Competition UK 2015 & the Manly Library Acquisition Award NSW Australia 2017] [Opening instructions please slide outer sleeve to reveal the inner sleeve that houses 3 books: I-white, II-white/grey & III-grey] A trilogy of artist books featuring the artist’s site-specific bookart-installations designed for the Stroud International Textile Festival for the exhibition ‘Power of Ten’ held within the Museum in the Park, Stroud. It also incorporates elements form the books designed for ‘Pressing Identities’ held at the West Yorkshire Print Workshop. Etched/aquatinted/embossed prints incorporate the artist’s own house-plans, the Serpentine Gallery Pavilions’ blueprints, the surrounding road-maps which explore how bodies navigate space inside and outside the built environment. French-folds enclose hidden texts. The embossed fonts [Inside Out] protrude outwards from within the front cover, and the debossed fonts [Outside In] intrude from outside to within the cover, and windows in each dust-jacket allow the book to be judged by its cover. The trajectories of text within the six French folds are ramblings derived philosophical writings from the PRODUCTION OF SPACE by Henri Lefebvre1 & A THOUSAND PLATEAUS by Giles Deleuze & Felix Guattarri2. The Production of Space by Henri Lefebvre is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. A Thousand Plateaus: Capitalism and Schizophrenia (French: Mille plateaux) is a 1980 philosophy book by French authors Gilles Deleuze and Félix Guattari, respectively a philosopher and a psychoanalyst. The authors draw upon and discuss the work of a number of authors, including Sigmund Freud, Carl Jung, and Wilhelm Reich. A Thousand Plateaus is written in a non-linear fashion, and the reader is invited to move among plateaux in any order. [Text: extracts of multiple searches on the internet, inspired by other readings including the: The Practice of Everyday Life by Michel de Certeau & The Poetics of Space by Gaston Bachelard] More about the development of the work can be read on the link- http://printmakerscouncil.com/featured-artist-sumi-perera/ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035819132-VK9OZLIYTZ7FCWOYE76B/mcba-prize-2017-sumi-perera-inside-out-outside-in-10-01-the-trilogy-5.jpg Entries & Jurors - 2017 Entries - Sumi Perera Redhill Surrey, UK www.saatchionline.com/sumiperera Inside Out-Outside In [IO-OI]-The Trilogy 2015 etching, aquatint, embossing, debossing, incision & stitch variable edition of 3 each book in the trilogy has 4 french folds each 21x60x1 21x15x3 [stack of 3 books] [Awarded the Incline Press-Dave Godin Award at the Society of Bookbinders’ International Conference & Competition UK 2015 & the Manly Library Acquisition Award NSW Australia 2017] [Opening instructions please slide outer sleeve to reveal the inner sleeve that houses 3 books: I-white, II-white/grey & III-grey] A trilogy of artist books featuring the artist’s site-specific bookart-installations designed for the Stroud International Textile Festival for the exhibition ‘Power of Ten’ held within the Museum in the Park, Stroud. It also incorporates elements form the books designed for ‘Pressing Identities’ held at the West Yorkshire Print Workshop. Etched/aquatinted/embossed prints incorporate the artist’s own house-plans, the Serpentine Gallery Pavilions’ blueprints, the surrounding road-maps which explore how bodies navigate space inside and outside the built environment. French-folds enclose hidden texts. The embossed fonts [Inside Out] protrude outwards from within the front cover, and the debossed fonts [Outside In] intrude from outside to within the cover, and windows in each dust-jacket allow the book to be judged by its cover. The trajectories of text within the six French folds are ramblings derived philosophical writings from the PRODUCTION OF SPACE by Henri Lefebvre1 & A THOUSAND PLATEAUS by Giles Deleuze & Felix Guattarri2. The Production of Space by Henri Lefebvre is a search for a reconciliation between mental space (the space of the philosophers) and real space (the physical and social spheres in which we all live). In the course of his exploration, Henri Lefebvre moves from metaphysical and ideological considerations of the meaning of space to its experience in the everyday life of home and city. He seeks, in other words, to bridge the gap between the realms of theory and practice, between the mental and the social, and between philosophy and reality. A Thousand Plateaus: Capitalism and Schizophrenia (French: Mille plateaux) is a 1980 philosophy book by French authors Gilles Deleuze and Félix Guattari, respectively a philosopher and a psychoanalyst. The authors draw upon and discuss the work of a number of authors, including Sigmund Freud, Carl Jung, and Wilhelm Reich. A Thousand Plateaus is written in a non-linear fashion, and the reader is invited to move among plateaux in any order. [Text: extracts of multiple searches on the internet, inspired by other readings including the: The Practice of Everyday Life by Michel de Certeau & The Poetics of Space by Gaston Bachelard] More about the development of the work can be read on the link- http://printmakerscouncil.com/featured-artist-sumi-perera/ https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035976268-09E7LXPPASDSJMZDBKZV/mcba-prize-2017-hanoi-perez-cordero-sin-fin-1.jpg Entries & Jurors - 2017 Entries - Hanoi &nbsp;Perez Cordero Havana, Cuba Sin Fin ARTIST´S STATEMENT My work is of self-referential nature. A birth malformation I possess -denominated Winged Scapula, plus a series of unfortunate accidents and events which have occurred to me throughout my lifetime, have been the focus of a personal investigation, which over time has resulted in a product that responds entirely to a symbolic interpretation. In my work I have explored with different media, moving from painting and printmaking as primary elements within my academic training, to less conventional or traditional media such as installation, performance, and video art, in response to new personal experiences and creative needs. The examination of my research subject from different angles has allowed me to find new meanings in my work. Thus I have been able to carry out a type of work where the self-reference is present to a greater or lesser extent. This book, which is much more than just a work of art, represents the process of the realization of a work of art. It is a series of engravings made using the photopolymer technique and is illuminated with colored pencil. The cover of the book is composed of the matrices and tarlatan (material used to remove excess ink); inside are the prints and some stencils that I use in my work. The design of the book is based on the concept of the infinite, because I believe the creative process of an artist never ends. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035976123-MUTRUH95PNWXQSB7YRGB/mcba-prize-2017-hanoi-perez-cordero-sin-fin-2.jpg Entries & Jurors - 2017 Entries - Hanoi &nbsp;Perez Cordero Havana, Cuba Sin Fin ARTIST´S STATEMENT My work is of self-referential nature. A birth malformation I possess -denominated Winged Scapula, plus a series of unfortunate accidents and events which have occurred to me throughout my lifetime, have been the focus of a personal investigation, which over time has resulted in a product that responds entirely to a symbolic interpretation. In my work I have explored with different media, moving from painting and printmaking as primary elements within my academic training, to less conventional or traditional media such as installation, performance, and video art, in response to new personal experiences and creative needs. The examination of my research subject from different angles has allowed me to find new meanings in my work. Thus I have been able to carry out a type of work where the self-reference is present to a greater or lesser extent. This book, which is much more than just a work of art, represents the process of the realization of a work of art. It is a series of engravings made using the photopolymer technique and is illuminated with colored pencil. The cover of the book is composed of the matrices and tarlatan (material used to remove excess ink); inside are the prints and some stencils that I use in my work. The design of the book is based on the concept of the infinite, because I believe the creative process of an artist never ends. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035978395-07DRWMNDR068OPWT2YOL/mcba-prize-2017-hanoi-perez-cordero-sin-fin-3.jpg Entries & Jurors - 2017 Entries - Hanoi &nbsp;Perez Cordero Havana, Cuba Sin Fin ARTIST´S STATEMENT My work is of self-referential nature. A birth malformation I possess -denominated Winged Scapula, plus a series of unfortunate accidents and events which have occurred to me throughout my lifetime, have been the focus of a personal investigation, which over time has resulted in a product that responds entirely to a symbolic interpretation. In my work I have explored with different media, moving from painting and printmaking as primary elements within my academic training, to less conventional or traditional media such as installation, performance, and video art, in response to new personal experiences and creative needs. The examination of my research subject from different angles has allowed me to find new meanings in my work. Thus I have been able to carry out a type of work where the self-reference is present to a greater or lesser extent. This book, which is much more than just a work of art, represents the process of the realization of a work of art. It is a series of engravings made using the photopolymer technique and is illuminated with colored pencil. The cover of the book is composed of the matrices and tarlatan (material used to remove excess ink); inside are the prints and some stencils that I use in my work. The design of the book is based on the concept of the infinite, because I believe the creative process of an artist never ends. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035978571-BNO7FTAF2TW5WBZBKHRB/mcba-prize-2017-hanoi-perez-cordero-sin-fin-4.jpg Entries & Jurors - 2017 Entries - Hanoi &nbsp;Perez Cordero Havana, Cuba Sin Fin ARTIST´S STATEMENT My work is of self-referential nature. A birth malformation I possess -denominated Winged Scapula, plus a series of unfortunate accidents and events which have occurred to me throughout my lifetime, have been the focus of a personal investigation, which over time has resulted in a product that responds entirely to a symbolic interpretation. In my work I have explored with different media, moving from painting and printmaking as primary elements within my academic training, to less conventional or traditional media such as installation, performance, and video art, in response to new personal experiences and creative needs. The examination of my research subject from different angles has allowed me to find new meanings in my work. Thus I have been able to carry out a type of work where the self-reference is present to a greater or lesser extent. This book, which is much more than just a work of art, represents the process of the realization of a work of art. It is a series of engravings made using the photopolymer technique and is illuminated with colored pencil. The cover of the book is composed of the matrices and tarlatan (material used to remove excess ink); inside are the prints and some stencils that I use in my work. The design of the book is based on the concept of the infinite, because I believe the creative process of an artist never ends. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774035979798-3TFYL8F67WGN37YJ0MEV/mcba-prize-2017-hanoi-perez-cordero-sin-fin-5.jpg Entries & Jurors - 2017 Entries - Hanoi &nbsp;Perez Cordero Havana, Cuba Sin Fin ARTIST´S STATEMENT My work is of self-referential nature. A birth malformation I possess -denominated Winged Scapula, plus a series of unfortunate accidents and events which have occurred to me throughout my lifetime, have been the focus of a personal investigation, which over time has resulted in a product that responds entirely to a symbolic interpretation. In my work I have explored with different media, moving from painting and printmaking as primary elements within my academic training, to less conventional or traditional media such as installation, performance, and video art, in response to new personal experiences and creative needs. The examination of my research subject from different angles has allowed me to find new meanings in my work. Thus I have been able to carry out a type of work where the self-reference is present to a greater or lesser extent. This book, which is much more than just a work of art, represents the process of the realization of a work of art. It is a series of engravings made using the photopolymer technique and is illuminated with colored pencil. The cover of the book is composed of the matrices and tarlatan (material used to remove excess ink); inside are the prints and some stencils that I use in my work. The design of the book is based on the concept of the infinite, because I believe the creative process of an artist never ends. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036172342-9G2KIHVYXOF7L3HLGM16/mcba-prize-2017-chris-perry-154-ripples-icicle-1.jpg Entries & Jurors - 2017 Entries - Chris Perry Ridgefield, Connecticut http://www.csperry.net 154 Ripples: icicle 2015 Altered books unique 40″ x 122″ x 11″ Artist’s Statement 154 Ripples: icicle was made to fill a particular space and fill it in an extremely short period of time. While I had used existing books before to make my sculptural pieces, I had not used so many in a single work. Most of the time I make my own books from virgin paper, cutting blanks and then cutting shapes into the pages before collating the pages and binding them into volumes that are then joined together into a sculpture. In this case, I wanted the speed of manufacture, a randomness of size and coloration of paper, and a low-cost way to make a piece within a tight budget. Since the making of this piece I have used altered volumes frequently, often combining altered books with newly made books. The old volumes have little interior cutting while the new ones can have very detailed interior work. All of the pieces in this Ripples series address water and it’s forms, it’s effects on other things, and man-made structures that deal with water. The number of volumes used in a piece, how they relate to each other, what, if any, projections are included in the volumes, and what interior manifestations are visible all go into describing what particular water reference is being made. When using altered books, I first strip off the existing covers and make new ones so that the coloration is under my control and I have the ability to add projecting paper shapes into the spine of front and back covers. It also allows me to make engineering decisions so that the way the parts attach either to each other or to a wall bracket can be made invisible. Very few of the newest pieces can be opened, there isn’t anything inside to be seen anyway. When I do have interior activity, it consists of many thousands of small cuts creating tiny spines, loops, frames that are filled with gel acetates, mirror covered bottoms so that some light reaches into the small recesses inside, or areas where other small shapes can be floated on threads. The pieces frequently do open, but only a little and usually just the cover. 154 Ripples: icicle has created another turning point in my work. Having to make a piece to fill a particular space made me re-think how I create and structure a block of books. It has led me envision much larger works, works that can take up an entire room or ceiling, an entire gallery or even the largest space I can find. Without having had to make this particular piece I would have felt limited to a tabletop size for much longer. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036172360-YDJCOW3HOINZ6X9NWLV6/mcba-prize-2017-chris-perry-154-ripples-icicle-2.jpg Entries & Jurors - 2017 Entries - Chris Perry Ridgefield, Connecticut http://www.csperry.net 154 Ripples: icicle 2015 Altered books unique 40″ x 122″ x 11″ Artist’s Statement 154 Ripples: icicle was made to fill a particular space and fill it in an extremely short period of time. While I had used existing books before to make my sculptural pieces, I had not used so many in a single work. Most of the time I make my own books from virgin paper, cutting blanks and then cutting shapes into the pages before collating the pages and binding them into volumes that are then joined together into a sculpture. In this case, I wanted the speed of manufacture, a randomness of size and coloration of paper, and a low-cost way to make a piece within a tight budget. Since the making of this piece I have used altered volumes frequently, often combining altered books with newly made books. The old volumes have little interior cutting while the new ones can have very detailed interior work. All of the pieces in this Ripples series address water and it’s forms, it’s effects on other things, and man-made structures that deal with water. The number of volumes used in a piece, how they relate to each other, what, if any, projections are included in the volumes, and what interior manifestations are visible all go into describing what particular water reference is being made. When using altered books, I first strip off the existing covers and make new ones so that the coloration is under my control and I have the ability to add projecting paper shapes into the spine of front and back covers. It also allows me to make engineering decisions so that the way the parts attach either to each other or to a wall bracket can be made invisible. Very few of the newest pieces can be opened, there isn’t anything inside to be seen anyway. When I do have interior activity, it consists of many thousands of small cuts creating tiny spines, loops, frames that are filled with gel acetates, mirror covered bottoms so that some light reaches into the small recesses inside, or areas where other small shapes can be floated on threads. The pieces frequently do open, but only a little and usually just the cover. 154 Ripples: icicle has created another turning point in my work. Having to make a piece to fill a particular space made me re-think how I create and structure a block of books. It has led me envision much larger works, works that can take up an entire room or ceiling, an entire gallery or even the largest space I can find. Without having had to make this particular piece I would have felt limited to a tabletop size for much longer. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036174469-GG8SNPFHKLMU1RVY82MQ/mcba-prize-2017-chris-perry-154-ripples-icicle-3.jpg Entries & Jurors - 2017 Entries - Chris Perry Ridgefield, Connecticut http://www.csperry.net 154 Ripples: icicle 2015 Altered books unique 40″ x 122″ x 11″ Artist’s Statement 154 Ripples: icicle was made to fill a particular space and fill it in an extremely short period of time. While I had used existing books before to make my sculptural pieces, I had not used so many in a single work. Most of the time I make my own books from virgin paper, cutting blanks and then cutting shapes into the pages before collating the pages and binding them into volumes that are then joined together into a sculpture. In this case, I wanted the speed of manufacture, a randomness of size and coloration of paper, and a low-cost way to make a piece within a tight budget. Since the making of this piece I have used altered volumes frequently, often combining altered books with newly made books. The old volumes have little interior cutting while the new ones can have very detailed interior work. All of the pieces in this Ripples series address water and it’s forms, it’s effects on other things, and man-made structures that deal with water. The number of volumes used in a piece, how they relate to each other, what, if any, projections are included in the volumes, and what interior manifestations are visible all go into describing what particular water reference is being made. When using altered books, I first strip off the existing covers and make new ones so that the coloration is under my control and I have the ability to add projecting paper shapes into the spine of front and back covers. It also allows me to make engineering decisions so that the way the parts attach either to each other or to a wall bracket can be made invisible. Very few of the newest pieces can be opened, there isn’t anything inside to be seen anyway. When I do have interior activity, it consists of many thousands of small cuts creating tiny spines, loops, frames that are filled with gel acetates, mirror covered bottoms so that some light reaches into the small recesses inside, or areas where other small shapes can be floated on threads. The pieces frequently do open, but only a little and usually just the cover. 154 Ripples: icicle has created another turning point in my work. Having to make a piece to fill a particular space made me re-think how I create and structure a block of books. It has led me envision much larger works, works that can take up an entire room or ceiling, an entire gallery or even the largest space I can find. Without having had to make this particular piece I would have felt limited to a tabletop size for much longer. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036174716-1CLCULFMUN5ZP2IE5N6R/mcba-prize-2017-chris-perry-154-ripples-icicle-4.jpg Entries & Jurors - 2017 Entries - Chris Perry Ridgefield, Connecticut http://www.csperry.net 154 Ripples: icicle 2015 Altered books unique 40″ x 122″ x 11″ Artist’s Statement 154 Ripples: icicle was made to fill a particular space and fill it in an extremely short period of time. While I had used existing books before to make my sculptural pieces, I had not used so many in a single work. Most of the time I make my own books from virgin paper, cutting blanks and then cutting shapes into the pages before collating the pages and binding them into volumes that are then joined together into a sculpture. In this case, I wanted the speed of manufacture, a randomness of size and coloration of paper, and a low-cost way to make a piece within a tight budget. Since the making of this piece I have used altered volumes frequently, often combining altered books with newly made books. The old volumes have little interior cutting while the new ones can have very detailed interior work. All of the pieces in this Ripples series address water and it’s forms, it’s effects on other things, and man-made structures that deal with water. The number of volumes used in a piece, how they relate to each other, what, if any, projections are included in the volumes, and what interior manifestations are visible all go into describing what particular water reference is being made. When using altered books, I first strip off the existing covers and make new ones so that the coloration is under my control and I have the ability to add projecting paper shapes into the spine of front and back covers. It also allows me to make engineering decisions so that the way the parts attach either to each other or to a wall bracket can be made invisible. Very few of the newest pieces can be opened, there isn’t anything inside to be seen anyway. When I do have interior activity, it consists of many thousands of small cuts creating tiny spines, loops, frames that are filled with gel acetates, mirror covered bottoms so that some light reaches into the small recesses inside, or areas where other small shapes can be floated on threads. The pieces frequently do open, but only a little and usually just the cover. 154 Ripples: icicle has created another turning point in my work. Having to make a piece to fill a particular space made me re-think how I create and structure a block of books. It has led me envision much larger works, works that can take up an entire room or ceiling, an entire gallery or even the largest space I can find. Without having had to make this particular piece I would have felt limited to a tabletop size for much longer. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036252273-9P1EY4L7RRHVO1K4UQBY/mcba-prize-2017-thomas-parker-williams-big-small-1.jpg Entries & Jurors - 2017 Entries - Thomas Parker Williams Philadelphia, Pennsylvania wwww.thomasparkerwilliams.com BIG small 2016 Etching and letterpress over 2 color flood coat, printed on tear proof paper edition size of 20 10 illustrations plus title page and colophon 10 x 7 2.25 x 2.25 x 1 http://www.thomasparkerwilliams.com/luminice_big_small_vid.htm BIG small, a book about our place in the Universe, is printed on Neenah Paper Tyger tear proof paper that holds ink well and does not crack or tear. Thomas Parker Williams lives and works in Philadelphia, PA, USA. His work includes hand-made artist book editions, unique book works, printmaking, and painting. Some of his artist book editions contain an audio element – music or sound work – composed, performed, and recorded by the artist. Tom’s artist books are in numerous private and public collections. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036252256-2U272447OS8U37QX97WH/mcba-prize-2017-thomas-parker-williams-big-small-2.jpg Entries & Jurors - 2017 Entries - Thomas Parker Williams Philadelphia, Pennsylvania wwww.thomasparkerwilliams.com BIG small 2016 Etching and letterpress over 2 color flood coat, printed on tear proof paper edition size of 20 10 illustrations plus title page and colophon 10 x 7 2.25 x 2.25 x 1 http://www.thomasparkerwilliams.com/luminice_big_small_vid.htm BIG small, a book about our place in the Universe, is printed on Neenah Paper Tyger tear proof paper that holds ink well and does not crack or tear. Thomas Parker Williams lives and works in Philadelphia, PA, USA. His work includes hand-made artist book editions, unique book works, printmaking, and painting. Some of his artist book editions contain an audio element – music or sound work – composed, performed, and recorded by the artist. Tom’s artist books are in numerous private and public collections. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036253290-GOK1NLNGAHP6JCCVPIKJ/mcba-prize-2017-thomas-parker-williams-big-small-3.jpg Entries & Jurors - 2017 Entries - Thomas Parker Williams Philadelphia, Pennsylvania wwww.thomasparkerwilliams.com BIG small 2016 Etching and letterpress over 2 color flood coat, printed on tear proof paper edition size of 20 10 illustrations plus title page and colophon 10 x 7 2.25 x 2.25 x 1 http://www.thomasparkerwilliams.com/luminice_big_small_vid.htm BIG small, a book about our place in the Universe, is printed on Neenah Paper Tyger tear proof paper that holds ink well and does not crack or tear. Thomas Parker Williams lives and works in Philadelphia, PA, USA. His work includes hand-made artist book editions, unique book works, printmaking, and painting. Some of his artist book editions contain an audio element – music or sound work – composed, performed, and recorded by the artist. Tom’s artist books are in numerous private and public collections. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036253350-H7H56E9OBDZ5F11X1RDP/mcba-prize-2017-thomas-parker-williams-big-small-4.jpg Entries & Jurors - 2017 Entries - Thomas Parker Williams Philadelphia, Pennsylvania wwww.thomasparkerwilliams.com BIG small 2016 Etching and letterpress over 2 color flood coat, printed on tear proof paper edition size of 20 10 illustrations plus title page and colophon 10 x 7 2.25 x 2.25 x 1 http://www.thomasparkerwilliams.com/luminice_big_small_vid.htm BIG small, a book about our place in the Universe, is printed on Neenah Paper Tyger tear proof paper that holds ink well and does not crack or tear. Thomas Parker Williams lives and works in Philadelphia, PA, USA. His work includes hand-made artist book editions, unique book works, printmaking, and painting. Some of his artist book editions contain an audio element – music or sound work – composed, performed, and recorded by the artist. Tom’s artist books are in numerous private and public collections. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036254295-CRXDWFKZ6S5K70294QQW/mcba-prize-2017-thomas-parker-williams-big-small-5.jpg Entries & Jurors - 2017 Entries - Thomas Parker Williams Philadelphia, Pennsylvania wwww.thomasparkerwilliams.com BIG small 2016 Etching and letterpress over 2 color flood coat, printed on tear proof paper edition size of 20 10 illustrations plus title page and colophon 10 x 7 2.25 x 2.25 x 1 http://www.thomasparkerwilliams.com/luminice_big_small_vid.htm BIG small, a book about our place in the Universe, is printed on Neenah Paper Tyger tear proof paper that holds ink well and does not crack or tear. Thomas Parker Williams lives and works in Philadelphia, PA, USA. His work includes hand-made artist book editions, unique book works, printmaking, and painting. Some of his artist book editions contain an audio element – music or sound work – composed, performed, and recorded by the artist. Tom’s artist books are in numerous private and public collections. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036373506-770MVT13XNGBRS71XDS5/mcba-prize-2017-nicole-pietrantoni-havened-1.jpg Entries & Jurors - 2017 Entries - Nicole Pietrantoni Walla Walla, Washington Havened 2015 Inkjet on Awagami Inbe Thick, spraypaint, folded and bound into 9 accordion books that expand to create a panoramic image. edition size of 2 5″ x 84″ x 84″ (installation) 6″ x 6″ x 1/4″ (each book) boxed set of 9 accordion books. Havened is simultaneously a series of 9 accordion books and an installation that expands to create a panoramic image. Here, the books are presented in a forest green slipcase box. The forage of each book is a compression of the inkjet halftone dots. The spine is a glowing neon orange. My research and artistic work explores the complex relationship between human beings and nature through installations, prints, and artists’ books. With a specific interest in photography’s historic relationship to representation, my artworks draw attention to our active role in constructing and idealizing landscape. I am interested in interrogating the tradition of landscape photography and the tension between beautiful, picturesque images of nature and the near-constant threat of environmental change. By referencing the encyclopedic book form, the 19th-century panorama, as well as the Romantic painting tradition, these book works and large-scale installations invoke older modes of image-based representation in order to highlight the inaptness of these tropes to the complexity of climate change. Havened is a collection of 9 hand-bound accordion books that expand to create a panoramic image of a forest. As books, the overlaid poems by Devon Wootten are highlighted and wrestle with how to represent beauty through text and image. As an installation, the books expand to create a fragmented image that is dismantled through cuts, folds, and halftone dots. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036373764-PO1W7P7SW104UBYM2MEN/mcba-prize-2017-nicole-pietrantoni-havened-2.jpg Entries & Jurors - 2017 Entries - Nicole Pietrantoni Walla Walla, Washington Havened 2015 Inkjet on Awagami Inbe Thick, spraypaint, folded and bound into 9 accordion books that expand to create a panoramic image. edition size of 2 5″ x 84″ x 84″ (installation) 6″ x 6″ x 1/4″ (each book) page spread of book No. 3 Each individual book contains poems by Devon Wootten. These poems wrestle with the problematic representation of beauty, which is an ongoing theme in my artistic work. In the book format, the imagery is abstracted and lost, breaking down into snippets of landscape and a series of halftone dots. The text is privileged and the book object is intended to be held and paged through by a viewer. My research and artistic work explores the complex relationship between human beings and nature through installations, prints, and artists’ books. With a specific interest in photography’s historic relationship to representation, my artworks draw attention to our active role in constructing and idealizing landscape. I am interested in interrogating the tradition of landscape photography and the tension between beautiful, picturesque images of nature and the near-constant threat of environmental change. By referencing the encyclopedic book form, the 19th-century panorama, as well as the Romantic painting tradition, these book works and large-scale installations invoke older modes of image-based representation in order to highlight the inaptness of these tropes to the complexity of climate change. Havened is a collection of 9 hand-bound accordion books that expand to create a panoramic image of a forest. As books, the overlaid poems by Devon Wootten are highlighted and wrestle with how to represent beauty through text and image. As an installation, the books expand to create a fragmented image that is dismantled through cuts, folds, and halftone dots. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036374665-BBPVNU710BR5SCOI43SK/mcba-prize-2017-nicole-pietrantoni-havened-3.jpg Entries & Jurors - 2017 Entries - Nicole Pietrantoni Walla Walla, Washington Havened 2015 Inkjet on Awagami Inbe Thick, spraypaint, folded and bound into 9 accordion books that expand to create a panoramic image. edition size of 2 5″ x 84″ x 84″ (installation) 6″ x 6″ x 1/4″ (each book) installation format of all 9 accordion books, front view. The 9 accordion books then expand to become a fragmented image of a forest. Havened fractures the image across the accordion books, which are displayed like tents. Each image column moves in and out of focus at different distances in the forest. I was interested in making a series of books that quite literally contained a world – and not just an imaginative space brought about through reading the text, but an actual world that came to life when the books are opened. The accordion is an ideal structure for this work, as it quite literally references a compression and then expansion of time and space. My research and artistic work explores the complex relationship between human beings and nature through installations, prints, and artists’ books. With a specific interest in photography’s historic relationship to representation, my artworks draw attention to our active role in constructing and idealizing landscape. I am interested in interrogating the tradition of landscape photography and the tension between beautiful, picturesque images of nature and the near-constant threat of environmental change. By referencing the encyclopedic book form, the 19th-century panorama, as well as the Romantic painting tradition, these book works and large-scale installations invoke older modes of image-based representation in order to highlight the inaptness of these tropes to the complexity of climate change. Havened is a collection of 9 hand-bound accordion books that expand to create a panoramic image of a forest. As books, the overlaid poems by Devon Wootten are highlighted and wrestle with how to represent beauty through text and image. As an installation, the books expand to create a fragmented image that is dismantled through cuts, folds, and halftone dots. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036375003-JIL5CLOH408ZAJCGQJJI/mcba-prize-2017-nicole-pietrantoni-havened-4.jpg Entries & Jurors - 2017 Entries - Nicole Pietrantoni Walla Walla, Washington Havened 2015 Inkjet on Awagami Inbe Thick, spraypaint, folded and bound into 9 accordion books that expand to create a panoramic image. edition size of 2 5″ x 84″ x 84″ (installation) 6″ x 6″ x 1/4″ (each book) installation format of all 9 accordion books, side view. The image shifts and transforms depending on the viewer’s relationship to the work. As a viewer moves around the installation, the imagery is fragmented, then reconstituted again as they pull back in front of the work. My research and artistic work explores the complex relationship between human beings and nature through installations, prints, and artists’ books. With a specific interest in photography’s historic relationship to representation, my artworks draw attention to our active role in constructing and idealizing landscape. I am interested in interrogating the tradition of landscape photography and the tension between beautiful, picturesque images of nature and the near-constant threat of environmental change. By referencing the encyclopedic book form, the 19th-century panorama, as well as the Romantic painting tradition, these book works and large-scale installations invoke older modes of image-based representation in order to highlight the inaptness of these tropes to the complexity of climate change. Havened is a collection of 9 hand-bound accordion books that expand to create a panoramic image of a forest. As books, the overlaid poems by Devon Wootten are highlighted and wrestle with how to represent beauty through text and image. As an installation, the books expand to create a fragmented image that is dismantled through cuts, folds, and halftone dots. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036375971-QNG4UDUUTJN9FEYHZNZ8/mcba-prize-2017-nicole-pietrantoni-havened-5.jpg Entries & Jurors - 2017 Entries - Nicole Pietrantoni Walla Walla, Washington Havened 2015 Inkjet on Awagami Inbe Thick, spraypaint, folded and bound into 9 accordion books that expand to create a panoramic image. edition size of 2 5″ x 84″ x 84″ (installation) 6″ x 6″ x 1/4″ (each book) detail of installed accordion books. The underside of each book is a fiery neon orange, which reflects and glows on the white pedestal. My research and artistic work explores the complex relationship between human beings and nature through installations, prints, and artists’ books. With a specific interest in photography’s historic relationship to representation, my artworks draw attention to our active role in constructing and idealizing landscape. I am interested in interrogating the tradition of landscape photography and the tension between beautiful, picturesque images of nature and the near-constant threat of environmental change. By referencing the encyclopedic book form, the 19th-century panorama, as well as the Romantic painting tradition, these book works and large-scale installations invoke older modes of image-based representation in order to highlight the inaptness of these tropes to the complexity of climate change. Havened is a collection of 9 hand-bound accordion books that expand to create a panoramic image of a forest. As books, the overlaid poems by Devon Wootten are highlighted and wrestle with how to represent beauty through text and image. As an installation, the books expand to create a fragmented image that is dismantled through cuts, folds, and halftone dots. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036519075-US0R2P3ANOXN3EM7U9N3/mcba-prize-2017-maria-g-pisano-caudex-folium-1.jpg Entries & Jurors - 2017 Entries - Maria G. Pisano Plainsboro, New Jersey mariagpisano.com Caudex Folium 2016 relief prints from wood block and collagraph plates on Rives BFK, mulberry paper – two pages with pop-ups, fabriano tiziano -hand cut pages and end sheets, Moriki paper for concertina interior structure where the book pages are sewn in. The spine relief print is coptic bound on wooden covers. edition size of 10 13” x 28.5” x 1.5” open 13” x 10” x 1.5” closed callery pear tree spring flower folio and pop – up page Artist Statement Spring is a time of nature’s renewal, bringing with it new life and beauty to share. Using the Callery pear Survivor Tree as my inspiration, the book celebrates the return of the tree to the 9/11 Memorial Plaza, after it was nourished back to health and in 2010 replanted in between the two memorial pools. The National September Memorial Plaza has hundreds of oak trees and one callery pear tree – The Survivor Tree. This callery pear tree was originally part of the WTC and planted in the plaza east side between No. 4 and No. 5 WTC buildings. Then came The 9-11 attack that killed over 3000 people and destroyed the 14-acre complex. During clean up and recovery the badly burned remnant of the tree was found which continued to sprout leaves. The workers and officials from NYC diverse departments, organized to move the tree to Arthur Ross Nursery in Van Cortland Park in the Bronx to see if it could be saved. Originally when the tree arrived at the nursery it was 8 feet high, and by 2007 it had grown to 30 feet, was blooming and showing its new branches and saplings alongside the scarred rough bark it bore from the fiery attack. At this point because of its importance as a symbol of survival, resilience and strength, the process began for its return to the 9/11Memorial Plaza. Everyone was concerned that moving the callery pear would shock the root system and because it has grown unevenly, there was further concern of damage to it. While plans were being made to move it in March 2010, New York was hit with a Nor-easter that dumped a lot of rain with wind gusts of up to 75 mph. The tree had its roots exposed and fell into the adjacent fence, which helped it to not be completely uprooted. Again, concerns arose that the tree would not recover, but the Tree had made it and continued to exhibit it amazing inspiring qualities of renewal and recovery, and could now be moved to the World Trade Center. In December 2010 the tree was moved to the National September 11 Memorial site and planted as a symbol of endurance and perseverance. In August 2011, just before the 10th anniversary of the 9/11 attack, Hurricane Irene hit NYC, with high winds and heavy rainfall, damaging and uprooting many trees. The Survivor Tree again proved its fortitude and was not damaged. The 9/11 Memorial opened to the public on September 12, 2011, a day after the families of the 9/11 victims had their ceremony, marking ten years since visitors had been allowed at the site. Blue ribbons were attached to the tree branches with hand written notes and mementos by both families and visitors. The tree has become a living symbol of renewal and strength that can be shared by everyone, while continuing to offer support and acknowledgement of global events. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036518944-3MC8571EG5OIYI0ZSANS/mcba-prize-2017-maria-g-pisano-caudex-folium-2.jpg Entries & Jurors - 2017 Entries - Maria G. Pisano Plainsboro, New Jersey mariagpisano.com Caudex Folium 2016 relief prints from wood block and collagraph plates on Rives BFK, mulberry paper – two pages with pop-ups, fabriano tiziano -hand cut pages and end sheets, Moriki paper for concertina interior structure where the book pages are sewn in. The spine relief print is coptic bound on wooden covers. edition size of 10 13” x 28.5” x 1.5” open 13” x 10” x 1.5” closed pop-up two poems folio – authored by artist, on green leaf design base Artist Statement Spring is a time of nature’s renewal, bringing with it new life and beauty to share. Using the Callery pear Survivor Tree as my inspiration, the book celebrates the return of the tree to the 9/11 Memorial Plaza, after it was nourished back to health and in 2010 replanted in between the two memorial pools. The National September Memorial Plaza has hundreds of oak trees and one callery pear tree – The Survivor Tree. This callery pear tree was originally part of the WTC and planted in the plaza east side between No. 4 and No. 5 WTC buildings. Then came The 9-11 attack that killed over 3000 people and destroyed the 14-acre complex. During clean up and recovery the badly burned remnant of the tree was found which continued to sprout leaves. The workers and officials from NYC diverse departments, organized to move the tree to Arthur Ross Nursery in Van Cortland Park in the Bronx to see if it could be saved. Originally when the tree arrived at the nursery it was 8 feet high, and by 2007 it had grown to 30 feet, was blooming and showing its new branches and saplings alongside the scarred rough bark it bore from the fiery attack. At this point because of its importance as a symbol of survival, resilience and strength, the process began for its return to the 9/11Memorial Plaza. Everyone was concerned that moving the callery pear would shock the root system and because it has grown unevenly, there was further concern of damage to it. While plans were being made to move it in March 2010, New York was hit with a Nor-easter that dumped a lot of rain with wind gusts of up to 75 mph. The tree had its roots exposed and fell into the adjacent fence, which helped it to not be completely uprooted. Again, concerns arose that the tree would not recover, but the Tree had made it and continued to exhibit it amazing inspiring qualities of renewal and recovery, and could now be moved to the World Trade Center. In December 2010 the tree was moved to the National September 11 Memorial site and planted as a symbol of endurance and perseverance. In August 2011, just before the 10th anniversary of the 9/11 attack, Hurricane Irene hit NYC, with high winds and heavy rainfall, damaging and uprooting many trees. The Survivor Tree again proved its fortitude and was not damaged. The 9/11 Memorial opened to the public on September 12, 2011, a day after the families of the 9/11 victims had their ceremony, marking ten years since visitors had been allowed at the site. Blue ribbons were attached to the tree branches with hand written notes and mementos by both families and visitors. The tree has become a living symbol of renewal and strength that can be shared by everyone, while continuing to offer support and acknowledgement of global events. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036520233-SPSW1R9Y7ZXBKF4DXEAO/mcba-prize-2017-maria-g-pisano-caudex-folium-3.jpg Entries & Jurors - 2017 Entries - Maria G. Pisano Plainsboro, New Jersey mariagpisano.com Caudex Folium 2016 relief prints from wood block and collagraph plates on Rives BFK, mulberry paper – two pages with pop-ups, fabriano tiziano -hand cut pages and end sheets, Moriki paper for concertina interior structure where the book pages are sewn in. The spine relief print is coptic bound on wooden covers. edition size of 10 13” x 28.5” x 1.5” open 13” x 10” x 1.5” closed 9/11 Survivor tree story folio with overlapping hand cut leaves and branches folio. Artist Statement Spring is a time of nature’s renewal, bringing with it new life and beauty to share. Using the Callery pear Survivor Tree as my inspiration, the book celebrates the return of the tree to the 9/11 Memorial Plaza, after it was nourished back to health and in 2010 replanted in between the two memorial pools. The National September Memorial Plaza has hundreds of oak trees and one callery pear tree – The Survivor Tree. This callery pear tree was originally part of the WTC and planted in the plaza east side between No. 4 and No. 5 WTC buildings. Then came The 9-11 attack that killed over 3000 people and destroyed the 14-acre complex. During clean up and recovery the badly burned remnant of the tree was found which continued to sprout leaves. The workers and officials from NYC diverse departments, organized to move the tree to Arthur Ross Nursery in Van Cortland Park in the Bronx to see if it could be saved. Originally when the tree arrived at the nursery it was 8 feet high, and by 2007 it had grown to 30 feet, was blooming and showing its new branches and saplings alongside the scarred rough bark it bore from the fiery attack. At this point because of its importance as a symbol of survival, resilience and strength, the process began for its return to the 9/11Memorial Plaza. Everyone was concerned that moving the callery pear would shock the root system and because it has grown unevenly, there was further concern of damage to it. While plans were being made to move it in March 2010, New York was hit with a Nor-easter that dumped a lot of rain with wind gusts of up to 75 mph. The tree had its roots exposed and fell into the adjacent fence, which helped it to not be completely uprooted. Again, concerns arose that the tree would not recover, but the Tree had made it and continued to exhibit it amazing inspiring qualities of renewal and recovery, and could now be moved to the World Trade Center. In December 2010 the tree was moved to the National September 11 Memorial site and planted as a symbol of endurance and perseverance. In August 2011, just before the 10th anniversary of the 9/11 attack, Hurricane Irene hit NYC, with high winds and heavy rainfall, damaging and uprooting many trees. The Survivor Tree again proved its fortitude and was not damaged. The 9/11 Memorial opened to the public on September 12, 2011, a day after the families of the 9/11 victims had their ceremony, marking ten years since visitors had been allowed at the site. Blue ribbons were attached to the tree branches with hand written notes and mementos by both families and visitors. The tree has become a living symbol of renewal and strength that can be shared by everyone, while continuing to offer support and acknowledgement of global events. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036520794-NNPFTAK6G1Z5N4DEVNNJ/mcba-prize-2017-maria-g-pisano-caudex-folium-4.jpg Entries & Jurors - 2017 Entries - Maria G. Pisano Plainsboro, New Jersey mariagpisano.com Caudex Folium 2016 relief prints from wood block and collagraph plates on Rives BFK, mulberry paper – two pages with pop-ups, fabriano tiziano -hand cut pages and end sheets, Moriki paper for concertina interior structure where the book pages are sewn in. The spine relief print is coptic bound on wooden covers. edition size of 10 13” x 28.5” x 1.5” open 13” x 10” x 1.5” closed 13” x 20” multicolor relief print of callery pear tree on 9/11 Memorial Plaza, NYC – before binding Artist Statement Spring is a time of nature’s renewal, bringing with it new life and beauty to share. Using the Callery pear Survivor Tree as my inspiration, the book celebrates the return of the tree to the 9/11 Memorial Plaza, after it was nourished back to health and in 2010 replanted in between the two memorial pools. The National September Memorial Plaza has hundreds of oak trees and one callery pear tree – The Survivor Tree. This callery pear tree was originally part of the WTC and planted in the plaza east side between No. 4 and No. 5 WTC buildings. Then came The 9-11 attack that killed over 3000 people and destroyed the 14-acre complex. During clean up and recovery the badly burned remnant of the tree was found which continued to sprout leaves. The workers and officials from NYC diverse departments, organized to move the tree to Arthur Ross Nursery in Van Cortland Park in the Bronx to see if it could be saved. Originally when the tree arrived at the nursery it was 8 feet high, and by 2007 it had grown to 30 feet, was blooming and showing its new branches and saplings alongside the scarred rough bark it bore from the fiery attack. At this point because of its importance as a symbol of survival, resilience and strength, the process began for its return to the 9/11Memorial Plaza. Everyone was concerned that moving the callery pear would shock the root system and because it has grown unevenly, there was further concern of damage to it. While plans were being made to move it in March 2010, New York was hit with a Nor-easter that dumped a lot of rain with wind gusts of up to 75 mph. The tree had its roots exposed and fell into the adjacent fence, which helped it to not be completely uprooted. Again, concerns arose that the tree would not recover, but the Tree had made it and continued to exhibit it amazing inspiring qualities of renewal and recovery, and could now be moved to the World Trade Center. In December 2010 the tree was moved to the National September 11 Memorial site and planted as a symbol of endurance and perseverance. In August 2011, just before the 10th anniversary of the 9/11 attack, Hurricane Irene hit NYC, with high winds and heavy rainfall, damaging and uprooting many trees. The Survivor Tree again proved its fortitude and was not damaged. The 9/11 Memorial opened to the public on September 12, 2011, a day after the families of the 9/11 victims had their ceremony, marking ten years since visitors had been allowed at the site. Blue ribbons were attached to the tree branches with hand written notes and mementos by both families and visitors. The tree has become a living symbol of renewal and strength that can be shared by everyone, while continuing to offer support and acknowledgement of global events. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036521678-VQBU7708NV3FQZ8RTD66/mcba-prize-2017-maria-g-pisano-caudex-folium-5.jpg Entries & Jurors - 2017 Entries - Maria G. Pisano Plainsboro, New Jersey mariagpisano.com Caudex Folium 2016 relief prints from wood block and collagraph plates on Rives BFK, mulberry paper – two pages with pop-ups, fabriano tiziano -hand cut pages and end sheets, Moriki paper for concertina interior structure where the book pages are sewn in. The spine relief print is coptic bound on wooden covers. edition size of 10 13” x 28.5” x 1.5” open 13” x 10” x 1.5” closed Spine of book with relief print of symbolic tree and roots image, coptic bound to wooden covers. Artist Statement Spring is a time of nature’s renewal, bringing with it new life and beauty to share. Using the Callery pear Survivor Tree as my inspiration, the book celebrates the return of the tree to the 9/11 Memorial Plaza, after it was nourished back to health and in 2010 replanted in between the two memorial pools. The National September Memorial Plaza has hundreds of oak trees and one callery pear tree – The Survivor Tree. This callery pear tree was originally part of the WTC and planted in the plaza east side between No. 4 and No. 5 WTC buildings. Then came The 9-11 attack that killed over 3000 people and destroyed the 14-acre complex. During clean up and recovery the badly burned remnant of the tree was found which continued to sprout leaves. The workers and officials from NYC diverse departments, organized to move the tree to Arthur Ross Nursery in Van Cortland Park in the Bronx to see if it could be saved. Originally when the tree arrived at the nursery it was 8 feet high, and by 2007 it had grown to 30 feet, was blooming and showing its new branches and saplings alongside the scarred rough bark it bore from the fiery attack. At this point because of its importance as a symbol of survival, resilience and strength, the process began for its return to the 9/11Memorial Plaza. Everyone was concerned that moving the callery pear would shock the root system and because it has grown unevenly, there was further concern of damage to it. While plans were being made to move it in March 2010, New York was hit with a Nor-easter that dumped a lot of rain with wind gusts of up to 75 mph. The tree had its roots exposed and fell into the adjacent fence, which helped it to not be completely uprooted. Again, concerns arose that the tree would not recover, but the Tree had made it and continued to exhibit it amazing inspiring qualities of renewal and recovery, and could now be moved to the World Trade Center. In December 2010 the tree was moved to the National September 11 Memorial site and planted as a symbol of endurance and perseverance. In August 2011, just before the 10th anniversary of the 9/11 attack, Hurricane Irene hit NYC, with high winds and heavy rainfall, damaging and uprooting many trees. The Survivor Tree again proved its fortitude and was not damaged. The 9/11 Memorial opened to the public on September 12, 2011, a day after the families of the 9/11 victims had their ceremony, marking ten years since visitors had been allowed at the site. Blue ribbons were attached to the tree branches with hand written notes and mementos by both families and visitors. The tree has become a living symbol of renewal and strength that can be shared by everyone, while continuing to offer support and acknowledgement of global events. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036656795-G6AXYAUM7ZAP1MVIZVE3/mcba-prize-2017-sylvia-ramos-alotta-taharah-the-last-act-of-kindness-1.jpg Entries & Jurors - 2017 Entries - Sylvia Ramos Alotta Berwyn, Illinois www.studioalotta.com Taharah – The Last Act of Kindness 2016 Modified drummed leaf binding, hand-lettering, ink washes and illustrations. Installation: Gesso tinted linen hanging, hypertufa Jersusalem stone and cedar One-of-a-kind 32 pages 5.125 x 23 x 1.375 Installation 42 x 42 x 12 Book closed 5.125 x 11.5 x 1.375 The artist book wrapped in a piece of white burial cloth (sovev)is stored in a protective pine box and a “stone of remembrance” is affixed to the lid. The title of the book etch on copper, a material that is symbolic of judgment in Judaism. ARTIST STATEMENT Taharah – The Last Act of Kindness is a reflection of the ritual preparation for burial practiced by the Jewish people and performed by a society called Chevra Kadisha for many centuries. The inspiration began from the combination of having had performed taharah (ritual cleansing) as a member and the recent passing of my grandmother. Lifting the thick pine cover from right to left, the ritual is wrapped within a white sovev (burial cloth). It is untied to reveal three phases: Yetziat Neshamah (departure of soul), Taharah (ritual washing) and Hashvah (final dressing) through a narrative of illustrations, Hebrew calligraphy and selected prayers. The initial pages of dense gray cover board transform into the final layer of translucent white tissue and the completion of the ritual is punctuated with an ellipsis bored through the wooden back cover marking a divide of the transition from death on to life. The aron (casket) shaped binding is a part of a deconstructed environment filled with hidden symbolism of physicality and spirituality. A soft, blue, multi-layered linen veil casts a hovering shadow of the neshamah (soul) over a slab of Jerusalem stone that supports the book. At the foot of the stone is a small drain symbolic of where final impurities are washed away and at the head of the stone is a small recess filled with water, the symbol of life that reflects the light and the source from where it originates. This one-of-a- kind piece was showcased at the 2016 exhibit Voices of Wisdom for the inaugural cohort of the Midwest Jewish Artist Lab at the Spertus Institute of Jewish Learning and Leadership and which was sponsored by the Covenant Foundation. Sylvia Ramos Alotta, an industrial designer and hand bookbinder, holds a BFA in Industrial Design from the Cleveland Institute of Art, and MFA in Book Arts and Paper from Columbia College Chicago. From concept to production, her body of work reflects a diversity of achievements as a former Automotive Designer for the General Motors Corporation in Detroit and as proprietor of DesignAlotta. The book has become her artistic form of expression since 1995, after receiving a U.S. Design Patent for UNDERAPS, a unique journal system. The author of The Exquisite Notes, An Artist’s Sketchbook on Bookbinding, her work can be found in publications, and private and public collections. She has served on the Executive Board for the Guild of BookWorkers, exhibited internationally, and taught at Columbia College Chicago, Morgan Conservatory, Paper Book Intensive and Southwest School of Arts and Crafts. Sylvia resides in Berwyn, Illinois where she works and teaches from her home studio. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036656795-IPM5445H5YKJMQFPLM65/mcba-prize-2017-sylvia-ramos-alotta-taharah-the-last-act-of-kindness-2.jpg Entries & Jurors - 2017 Entries - Sylvia Ramos Alotta Berwyn, Illinois www.studioalotta.com Taharah – The Last Act of Kindness 2016 Modified drummed leaf binding, hand-lettering, ink washes and illustrations. Installation: Gesso tinted linen hanging, hypertufa Jersusalem stone and cedar One-of-a-kind 32 pages 5.125 x 23 x 1.375 Installation 42 x 42 x 12 Book closed 5.125 x 11.5 x 1.375 Overall view of structure which opens from right to left. Lifting the thick wooden cover from right to left, the ritual is wrapped in between a white sovev (burial cloth). It is untied to reveal three phases: Yetziat Neshamah (departure of soul), Taharah (ritual washing) and Hashvah (final dressing) through a narrative of illustrations, Hebrew calligraphy and selected prayers. The initial pages of dense gray cover board transform into the final layer of translucent white tissue and the completion of the ritual is punctuated with an ellipsis bored through the wooden back cover marking a divide of the transition from death on to life. ARTIST STATEMENT Taharah – The Last Act of Kindness is a reflection of the ritual preparation for burial practiced by the Jewish people and performed by a society called Chevra Kadisha for many centuries. The inspiration began from the combination of having had performed taharah (ritual cleansing) as a member and the recent passing of my grandmother. Lifting the thick pine cover from right to left, the ritual is wrapped within a white sovev (burial cloth). It is untied to reveal three phases: Yetziat Neshamah (departure of soul), Taharah (ritual washing) and Hashvah (final dressing) through a narrative of illustrations, Hebrew calligraphy and selected prayers. The initial pages of dense gray cover board transform into the final layer of translucent white tissue and the completion of the ritual is punctuated with an ellipsis bored through the wooden back cover marking a divide of the transition from death on to life. The aron (casket) shaped binding is a part of a deconstructed environment filled with hidden symbolism of physicality and spirituality. A soft, blue, multi-layered linen veil casts a hovering shadow of the neshamah (soul) over a slab of Jerusalem stone that supports the book. At the foot of the stone is a small drain symbolic of where final impurities are washed away and at the head of the stone is a small recess filled with water, the symbol of life that reflects the light and the source from where it originates. This one-of-a- kind piece was showcased at the 2016 exhibit Voices of Wisdom for the inaugural cohort of the Midwest Jewish Artist Lab at the Spertus Institute of Jewish Learning and Leadership and which was sponsored by the Covenant Foundation. Sylvia Ramos Alotta, an industrial designer and hand bookbinder, holds a BFA in Industrial Design from the Cleveland Institute of Art, and MFA in Book Arts and Paper from Columbia College Chicago. From concept to production, her body of work reflects a diversity of achievements as a former Automotive Designer for the General Motors Corporation in Detroit and as proprietor of DesignAlotta. The book has become her artistic form of expression since 1995, after receiving a U.S. Design Patent for UNDERAPS, a unique journal system. The author of The Exquisite Notes, An Artist’s Sketchbook on Bookbinding, her work can be found in publications, and private and public collections. She has served on the Executive Board for the Guild of BookWorkers, exhibited internationally, and taught at Columbia College Chicago, Morgan Conservatory, Paper Book Intensive and Southwest School of Arts and Crafts. Sylvia resides in Berwyn, Illinois where she works and teaches from her home studio. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036658207-T7SISGXJHWQ3JHUYJLMH/mcba-prize-2017-sylvia-ramos-alotta-taharah-the-last-act-of-kindness-3.jpg Entries & Jurors - 2017 Entries - Sylvia Ramos Alotta Berwyn, Illinois www.studioalotta.com Taharah – The Last Act of Kindness 2016 Modified drummed leaf binding, hand-lettering, ink washes and illustrations. Installation: Gesso tinted linen hanging, hypertufa Jersusalem stone and cedar One-of-a-kind 32 pages 5.125 x 23 x 1.375 Installation 42 x 42 x 12 Book closed 5.125 x 11.5 x 1.375 Detail of first spread in the first section Yetziat Neshamah (departure of soul). The end sheet and the tie are portions of the actual tachrichim (burial shrouds). The Hebrew text, that reads from right to left is the final prayer of confession before departure – Viduy. “Our God and God of our fathers, may our prayers come before You and do not turn away from our supplications, for we are not so impudent and obdurate as to declare before You, Lord our God of our fathers, that we are righteous and have not sinned, we and our fathers have sinned.” ARTIST STATEMENT Taharah – The Last Act of Kindness is a reflection of the ritual preparation for burial practiced by the Jewish people and performed by a society called Chevra Kadisha for many centuries. The inspiration began from the combination of having had performed taharah (ritual cleansing) as a member and the recent passing of my grandmother. Lifting the thick pine cover from right to left, the ritual is wrapped within a white sovev (burial cloth). It is untied to reveal three phases: Yetziat Neshamah (departure of soul), Taharah (ritual washing) and Hashvah (final dressing) through a narrative of illustrations, Hebrew calligraphy and selected prayers. The initial pages of dense gray cover board transform into the final layer of translucent white tissue and the completion of the ritual is punctuated with an ellipsis bored through the wooden back cover marking a divide of the transition from death on to life. The aron (casket) shaped binding is a part of a deconstructed environment filled with hidden symbolism of physicality and spirituality. A soft, blue, multi-layered linen veil casts a hovering shadow of the neshamah (soul) over a slab of Jerusalem stone that supports the book. At the foot of the stone is a small drain symbolic of where final impurities are washed away and at the head of the stone is a small recess filled with water, the symbol of life that reflects the light and the source from where it originates. This one-of-a- kind piece was showcased at the 2016 exhibit Voices of Wisdom for the inaugural cohort of the Midwest Jewish Artist Lab at the Spertus Institute of Jewish Learning and Leadership and which was sponsored by the Covenant Foundation. Sylvia Ramos Alotta, an industrial designer and hand bookbinder, holds a BFA in Industrial Design from the Cleveland Institute of Art, and MFA in Book Arts and Paper from Columbia College Chicago. From concept to production, her body of work reflects a diversity of achievements as a former Automotive Designer for the General Motors Corporation in Detroit and as proprietor of DesignAlotta. The book has become her artistic form of expression since 1995, after receiving a U.S. Design Patent for UNDERAPS, a unique journal system. The author of The Exquisite Notes, An Artist’s Sketchbook on Bookbinding, her work can be found in publications, and private and public collections. She has served on the Executive Board for the Guild of BookWorkers, exhibited internationally, and taught at Columbia College Chicago, Morgan Conservatory, Paper Book Intensive and Southwest School of Arts and Crafts. Sylvia resides in Berwyn, Illinois where she works and teaches from her home studio. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036658475-6HEYI1NXE59GZIRZ9PS1/mcba-prize-2017-sylvia-ramos-alotta-taharah-the-last-act-of-kindness-4.jpg Entries & Jurors - 2017 Entries - Sylvia Ramos Alotta Berwyn, Illinois www.studioalotta.com Taharah – The Last Act of Kindness 2016 Modified drummed leaf binding, hand-lettering, ink washes and illustrations. Installation: Gesso tinted linen hanging, hypertufa Jersusalem stone and cedar One-of-a-kind 32 pages 5.125 x 23 x 1.375 Installation 42 x 42 x 12 Book closed 5.125 x 11.5 x 1.375 Detail of eighth spread of the book found in the second section Taharah (ritual washing). The illustration is a blue ink wash on Canson Mi-Teintes depicting the members of Chevra Kadisha who are dressed in gowns and wear gloves, to not contaminate the body, prepare the meitah (body of a female)for the final washing. Taharah is normally performed in the late hours of the day. The text is a portion of Anah Hashem recited by each member of the group. “May it be your will, Lord our God, to strengthen us to do our work in cleansing the dead. Guard us from all injury and harm so that we not fail in our endeavor.” ARTIST STATEMENT Taharah – The Last Act of Kindness is a reflection of the ritual preparation for burial practiced by the Jewish people and performed by a society called Chevra Kadisha for many centuries. The inspiration began from the combination of having had performed taharah (ritual cleansing) as a member and the recent passing of my grandmother. Lifting the thick pine cover from right to left, the ritual is wrapped within a white sovev (burial cloth). It is untied to reveal three phases: Yetziat Neshamah (departure of soul), Taharah (ritual washing) and Hashvah (final dressing) through a narrative of illustrations, Hebrew calligraphy and selected prayers. The initial pages of dense gray cover board transform into the final layer of translucent white tissue and the completion of the ritual is punctuated with an ellipsis bored through the wooden back cover marking a divide of the transition from death on to life. The aron (casket) shaped binding is a part of a deconstructed environment filled with hidden symbolism of physicality and spirituality. A soft, blue, multi-layered linen veil casts a hovering shadow of the neshamah (soul) over a slab of Jerusalem stone that supports the book. At the foot of the stone is a small drain symbolic of where final impurities are washed away and at the head of the stone is a small recess filled with water, the symbol of life that reflects the light and the source from where it originates. This one-of-a- kind piece was showcased at the 2016 exhibit Voices of Wisdom for the inaugural cohort of the Midwest Jewish Artist Lab at the Spertus Institute of Jewish Learning and Leadership and which was sponsored by the Covenant Foundation. Sylvia Ramos Alotta, an industrial designer and hand bookbinder, holds a BFA in Industrial Design from the Cleveland Institute of Art, and MFA in Book Arts and Paper from Columbia College Chicago. From concept to production, her body of work reflects a diversity of achievements as a former Automotive Designer for the General Motors Corporation in Detroit and as proprietor of DesignAlotta. The book has become her artistic form of expression since 1995, after receiving a U.S. Design Patent for UNDERAPS, a unique journal system. The author of The Exquisite Notes, An Artist’s Sketchbook on Bookbinding, her work can be found in publications, and private and public collections. She has served on the Executive Board for the Guild of BookWorkers, exhibited internationally, and taught at Columbia College Chicago, Morgan Conservatory, Paper Book Intensive and Southwest School of Arts and Crafts. Sylvia resides in Berwyn, Illinois where she works and teaches from her home studio. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774036659815-YNDZ5JFM7L40WMT10HAR/mcba-prize-2017-sylvia-ramos-alotta-taharah-the-last-act-of-kindness-5.jpg Entries & Jurors - 2017 Entries - Sylvia Ramos Alotta Berwyn, Illinois www.studioalotta.com Taharah – The Last Act of Kindness 2016 Modified drummed leaf binding, hand-lettering, ink washes and illustrations. Installation: Gesso tinted linen hanging, hypertufa Jersusalem stone and cedar One-of-a-kind 32 pages 5.125 x 23 x 1.375 Installation 42 x 42 x 12 Book closed 5.125 x 11.5 x 1.375 Installation. The aron (casket) shaped binding is a part of a deconstructed environment filled with hidden symbolism of physicality and spirituality. A soft, blue, multi-layered linen veil casts a hovering shadow of the neshamah (soul) over a slab of Jerusalem stone supports the book. At the foot of the stone is a small drain symbolic of where final impurities are washed away and at the head of the stone is a small recess filled with water, the symbol of life that reflects the light and the source from where it originates. ARTIST STATEMENT Taharah – The Last Act of Kindness is a reflection of the ritual preparation for burial practiced by the Jewish people and performed by a society called Chevra Kadisha for many centuries. The inspiration began from the combination of having had performed taharah (ritual cleansing) as a member and the recent passing of my grandmother. Lifting the thick pine cover from right to left, the ritual is wrapped within a white sovev (burial cloth). It is untied to reveal three phases: Yetziat Neshamah (departure of soul), Taharah (ritual washing) and Hashvah (final dressing) through a narrative of illustrations, Hebrew calligraphy and selected prayers. The initial pages of dense gray cover board transform into the final layer of translucent white tissue and the completion of the ritual is punctuated with an ellipsis bored through the wooden back cover marking a divide of the transition from death on to life. The aron (casket) shaped binding is a part of a deconstructed environment filled with hidden symbolism of physicality and spirituality. A soft, blue, multi-layered linen veil casts a hovering shadow of the neshamah (soul) over a slab of Jerusalem stone that supports the book. At the foot of the stone is a small drain symbolic of where final impurities are washed away and at the head of the stone is a small recess filled with water, the symbol of life that reflects the light and the source from where it originates. This one-of-a- kind piece was showcased at the 2016 exhibit Voices of Wisdom for the inaugural cohort of the Midwest Jewish Artist Lab at the Spertus Institute of Jewish Learning and Leadership and which was sponsored by the Covenant Foundation. Sylvia Ramos Alotta, an industrial designer and hand bookbinder, holds a BFA in Industrial Design from the Cleveland Institute of Art, and MFA in Book Arts and Paper from Columbia College Chicago. From concept to production, her body of work reflects a diversity of achievements as a former Automotive Designer for the General Motors Corporation in Detroit and as proprietor of DesignAlotta. The book has become her artistic form of expression since 1995, after receiving a U.S. Design Patent for UNDERAPS, a unique journal system. The author of The Exquisite Notes, An Artist’s Sketchbook on Bookbinding, her work can be found in publications, and private and public collections. She has served on the Executive Board for the Guild of BookWorkers, exhibited internationally, and taught at Columbia College Chicago, Morgan Conservatory, Paper Book Intensive and Southwest School of Arts and Crafts. Sylvia resides in Berwyn, Illinois where she works and teaches from her home studio. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774292999890-P6RA2VR4TU0SVIBTFSMQ/mcba-prize-2017-kaija-rantakari-vastness-suddenly-1.jpg Entries & Jurors - 2017 Entries - Kaija Rantakari Jyväskylä, Finland http://www.paperiaarre.com vastness suddenly 2017 mixed media 10 4,5×3,5 cm / 1.8″x1.4″ http://pushpinpoetry.tumblr.com/post/157768858502/kaija-rantakari-vastness-suddenly-volume-25 Artist Statement Vastness suddenly was born in response to a challenge to create an artists’ book for the publication series Pushpin & Poetry that publishes small quantities of great poetry. I was given ten tiny cylindrical acrylic screw-top pots to create my artists’ books in. My starting point for Vastness suddenly was to reproduce the round shape of the pots in my own work – it was simply too delicious a challenge to pass by. To question what shape a book can take, and what qualities an object must have in order to still be a book, is something that brings me great joy. Vastness suddenly is something I haven’t seen before, and it’s a delightful thing to realize. While Vastness suddenly is fully visible in its acrylic casing, the act of screwing off the pot lid and handling the cylinder itself is a tactile experience that the viewer should embrace. This piece doesn’t have pages in the traditional sense, but viewing the piece from different angles is just as important as is turning the pages of a book. The outside of the cylinder is covered with hand dyed turquoise paper and it has typewritten text which reads ”sudden vastness suddenly less vast”. To read the whole text the viewer has to rotate the piece in their hands. On the inside of the cylinder there are mica rounds set at the center and at both ends of the cylinder, with one word each creating as a whole the text: ”water less restless”. The text inside can be read by peering through the cylinder and the words appear as if they are floating in a slightly muddy water. Movement and the angle the cylinder is viewed from change how the text looks, creating a special kind of sense of space within such a tiny object. As a bookbinder and mixed media artist I pay a great attention to the details of any physical object I create. As a poet I pick my words with intention. In Vastness suddenly the repeating sounds in the text create a parallel to the round shape, and the sibilant sounds mimic the sounds of water – the vast ocean suddenly less vast and less restless. Vastness suddenly is a very personal piece: it was created just as I realized I was emerging from a depression that had lasted for the majority of my life. It’s a snapshot of that moment when I understood things truly were better, even though the waters might still be a bit muddy. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774292999608-MYJH1QNQ460KACD4L0RA/mcba-prize-2017-kaija-rantakari-vastness-suddenly-2.jpg Entries & Jurors - 2017 Entries - Kaija Rantakari Jyväskylä, Finland http://www.paperiaarre.com vastness suddenly 2017 mixed media 10 4,5×3,5 cm / 1.8″x1.4″ http://pushpinpoetry.tumblr.com/post/157768858502/kaija-rantakari-vastness-suddenly-volume-25 Artist Statement Vastness suddenly was born in response to a challenge to create an artists’ book for the publication series Pushpin & Poetry that publishes small quantities of great poetry. I was given ten tiny cylindrical acrylic screw-top pots to create my artists’ books in. My starting point for Vastness suddenly was to reproduce the round shape of the pots in my own work – it was simply too delicious a challenge to pass by. To question what shape a book can take, and what qualities an object must have in order to still be a book, is something that brings me great joy. Vastness suddenly is something I haven’t seen before, and it’s a delightful thing to realize. While Vastness suddenly is fully visible in its acrylic casing, the act of screwing off the pot lid and handling the cylinder itself is a tactile experience that the viewer should embrace. This piece doesn’t have pages in the traditional sense, but viewing the piece from different angles is just as important as is turning the pages of a book. The outside of the cylinder is covered with hand dyed turquoise paper and it has typewritten text which reads ”sudden vastness suddenly less vast”. To read the whole text the viewer has to rotate the piece in their hands. On the inside of the cylinder there are mica rounds set at the center and at both ends of the cylinder, with one word each creating as a whole the text: ”water less restless”. The text inside can be read by peering through the cylinder and the words appear as if they are floating in a slightly muddy water. Movement and the angle the cylinder is viewed from change how the text looks, creating a special kind of sense of space within such a tiny object. As a bookbinder and mixed media artist I pay a great attention to the details of any physical object I create. As a poet I pick my words with intention. In Vastness suddenly the repeating sounds in the text create a parallel to the round shape, and the sibilant sounds mimic the sounds of water – the vast ocean suddenly less vast and less restless. Vastness suddenly is a very personal piece: it was created just as I realized I was emerging from a depression that had lasted for the majority of my life. It’s a snapshot of that moment when I understood things truly were better, even though the waters might still be a bit muddy. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293001089-3A4IHMTHO3K1BJY5UMM2/mcba-prize-2017-kaija-rantakari-vastness-suddenly-3.jpg Entries & Jurors - 2017 Entries - Kaija Rantakari Jyväskylä, Finland http://www.paperiaarre.com vastness suddenly 2017 mixed media 10 4,5×3,5 cm / 1.8″x1.4″ http://pushpinpoetry.tumblr.com/post/157768858502/kaija-rantakari-vastness-suddenly-volume-25 Artist Statement Vastness suddenly was born in response to a challenge to create an artists’ book for the publication series Pushpin & Poetry that publishes small quantities of great poetry. I was given ten tiny cylindrical acrylic screw-top pots to create my artists’ books in. My starting point for Vastness suddenly was to reproduce the round shape of the pots in my own work – it was simply too delicious a challenge to pass by. To question what shape a book can take, and what qualities an object must have in order to still be a book, is something that brings me great joy. Vastness suddenly is something I haven’t seen before, and it’s a delightful thing to realize. While Vastness suddenly is fully visible in its acrylic casing, the act of screwing off the pot lid and handling the cylinder itself is a tactile experience that the viewer should embrace. This piece doesn’t have pages in the traditional sense, but viewing the piece from different angles is just as important as is turning the pages of a book. The outside of the cylinder is covered with hand dyed turquoise paper and it has typewritten text which reads ”sudden vastness suddenly less vast”. To read the whole text the viewer has to rotate the piece in their hands. On the inside of the cylinder there are mica rounds set at the center and at both ends of the cylinder, with one word each creating as a whole the text: ”water less restless”. The text inside can be read by peering through the cylinder and the words appear as if they are floating in a slightly muddy water. Movement and the angle the cylinder is viewed from change how the text looks, creating a special kind of sense of space within such a tiny object. As a bookbinder and mixed media artist I pay a great attention to the details of any physical object I create. As a poet I pick my words with intention. In Vastness suddenly the repeating sounds in the text create a parallel to the round shape, and the sibilant sounds mimic the sounds of water – the vast ocean suddenly less vast and less restless. Vastness suddenly is a very personal piece: it was created just as I realized I was emerging from a depression that had lasted for the majority of my life. It’s a snapshot of that moment when I understood things truly were better, even though the waters might still be a bit muddy. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293001591-OVME0W6QPC1E0D9F3ZLY/mcba-prize-2017-kaija-rantakari-vastness-suddenly-4.jpg Entries & Jurors - 2017 Entries - Kaija Rantakari Jyväskylä, Finland http://www.paperiaarre.com vastness suddenly 2017 mixed media 10 4,5×3,5 cm / 1.8″x1.4″ http://pushpinpoetry.tumblr.com/post/157768858502/kaija-rantakari-vastness-suddenly-volume-25 Artist Statement Vastness suddenly was born in response to a challenge to create an artists’ book for the publication series Pushpin & Poetry that publishes small quantities of great poetry. I was given ten tiny cylindrical acrylic screw-top pots to create my artists’ books in. My starting point for Vastness suddenly was to reproduce the round shape of the pots in my own work – it was simply too delicious a challenge to pass by. To question what shape a book can take, and what qualities an object must have in order to still be a book, is something that brings me great joy. Vastness suddenly is something I haven’t seen before, and it’s a delightful thing to realize. While Vastness suddenly is fully visible in its acrylic casing, the act of screwing off the pot lid and handling the cylinder itself is a tactile experience that the viewer should embrace. This piece doesn’t have pages in the traditional sense, but viewing the piece from different angles is just as important as is turning the pages of a book. The outside of the cylinder is covered with hand dyed turquoise paper and it has typewritten text which reads ”sudden vastness suddenly less vast”. To read the whole text the viewer has to rotate the piece in their hands. On the inside of the cylinder there are mica rounds set at the center and at both ends of the cylinder, with one word each creating as a whole the text: ”water less restless”. The text inside can be read by peering through the cylinder and the words appear as if they are floating in a slightly muddy water. Movement and the angle the cylinder is viewed from change how the text looks, creating a special kind of sense of space within such a tiny object. As a bookbinder and mixed media artist I pay a great attention to the details of any physical object I create. As a poet I pick my words with intention. In Vastness suddenly the repeating sounds in the text create a parallel to the round shape, and the sibilant sounds mimic the sounds of water – the vast ocean suddenly less vast and less restless. Vastness suddenly is a very personal piece: it was created just as I realized I was emerging from a depression that had lasted for the majority of my life. It’s a snapshot of that moment when I understood things truly were better, even though the waters might still be a bit muddy. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293147351-3WGBQ0ICF2W5SQC07N7Y/mcba-prize-2017-simon-redington-charge-1.jpg Entries & Jurors - 2017 Entries - Simon Redington London, UK CHARGE! 2016 Woodcut/Letterpress edition of 30 20 pages 370mm – 300mm – 10mm 370mm – 600mm – 10mm IT WAS A DREAM THAT CENTURY AFTER CENTURY HAD SEIZED ON MEN’S IMAGINATIONS AND SET THEIR BLOOD ON FIRE. TRUMPETS, PLUMES, CHARGERS, THE POMP OF WAR, THE EXCITEMENT OF COMBAT, THE EXULTATION OF VICTORY – THE MIXTURE WAS INTOXICATING INDEED. TO COMMAND GREAT ARMIES, TO PERFORM DEEDS OF VALOUR, TO RIDE VICTORIOUS T H R O U G H F L OWE R – S T R EWN STREETS, TO BE MAGNIFICENT, FAMOUS – SUCH WERE THE VISIONS THAT DANCED BEFORE MEN’S EYES AS THEY TURNED EAGERLY TO WAR. IT WAS NOT A DREAM FOR THE COMMOM MAN. WAR WAS AN A R I S TOC R A T I C T R A D E , AND MILITARY GLORY RESERVED FOR NOBLES AND PRINCES. IT WAS A DREAM THAT DIED HARD. CENTURY FOLLOWED CENTURY AND GL ITTERING VISIONS FADED BEFORE THE SOMBRE REALITIES OF HISTORY. GREAT ARMIES IN THEIR PRIDE AND SPLENDOUR WERE D E F E A T E D B Y S T A R V A T ION, PESTILENCE AND FILTH, VALOUR WAS SACRIFICED TO STUPIDITY, GALLANTRY TO CORRUPTION. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293147284-0YNU929Z13JMETGEJBNJ/mcba-prize-2017-simon-redington-charge-2.jpg Entries & Jurors - 2017 Entries - Simon Redington London, UK CHARGE! 2016 Woodcut/Letterpress edition of 30 20 pages 370mm – 300mm – 10mm 370mm – 600mm – 10mm IT WAS A DREAM THAT CENTURY AFTER CENTURY HAD SEIZED ON MEN’S IMAGINATIONS AND SET THEIR BLOOD ON FIRE. TRUMPETS, PLUMES, CHARGERS, THE POMP OF WAR, THE EXCITEMENT OF COMBAT, THE EXULTATION OF VICTORY – THE MIXTURE WAS INTOXICATING INDEED. TO COMMAND GREAT ARMIES, TO PERFORM DEEDS OF VALOUR, TO RIDE VICTORIOUS T H R O U G H F L OWE R – S T R EWN STREETS, TO BE MAGNIFICENT, FAMOUS – SUCH WERE THE VISIONS THAT DANCED BEFORE MEN’S EYES AS THEY TURNED EAGERLY TO WAR. IT WAS NOT A DREAM FOR THE COMMOM MAN. WAR WAS AN A R I S TOC R A T I C T R A D E , AND MILITARY GLORY RESERVED FOR NOBLES AND PRINCES. IT WAS A DREAM THAT DIED HARD. CENTURY FOLLOWED CENTURY AND GL ITTERING VISIONS FADED BEFORE THE SOMBRE REALITIES OF HISTORY. GREAT ARMIES IN THEIR PRIDE AND SPLENDOUR WERE D E F E A T E D B Y S T A R V A T ION, PESTILENCE AND FILTH, VALOUR WAS SACRIFICED TO STUPIDITY, GALLANTRY TO CORRUPTION. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293149985-5JNFYW0DF3EW4N1AUSKP/mcba-prize-2017-simon-redington-charge-3.jpg Entries & Jurors - 2017 Entries - Simon Redington London, UK CHARGE! 2016 Woodcut/Letterpress edition of 30 20 pages 370mm – 300mm – 10mm 370mm – 600mm – 10mm IT WAS A DREAM THAT CENTURY AFTER CENTURY HAD SEIZED ON MEN’S IMAGINATIONS AND SET THEIR BLOOD ON FIRE. TRUMPETS, PLUMES, CHARGERS, THE POMP OF WAR, THE EXCITEMENT OF COMBAT, THE EXULTATION OF VICTORY – THE MIXTURE WAS INTOXICATING INDEED. TO COMMAND GREAT ARMIES, TO PERFORM DEEDS OF VALOUR, TO RIDE VICTORIOUS T H R O U G H F L OWE R – S T R EWN STREETS, TO BE MAGNIFICENT, FAMOUS – SUCH WERE THE VISIONS THAT DANCED BEFORE MEN’S EYES AS THEY TURNED EAGERLY TO WAR. IT WAS NOT A DREAM FOR THE COMMOM MAN. WAR WAS AN A R I S TOC R A T I C T R A D E , AND MILITARY GLORY RESERVED FOR NOBLES AND PRINCES. IT WAS A DREAM THAT DIED HARD. CENTURY FOLLOWED CENTURY AND GL ITTERING VISIONS FADED BEFORE THE SOMBRE REALITIES OF HISTORY. GREAT ARMIES IN THEIR PRIDE AND SPLENDOUR WERE D E F E A T E D B Y S T A R V A T ION, PESTILENCE AND FILTH, VALOUR WAS SACRIFICED TO STUPIDITY, GALLANTRY TO CORRUPTION. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293151079-9UZZ2MN005G32T18QJ6X/mcba-prize-2017-simon-redington-charge-4.jpg Entries & Jurors - 2017 Entries - Simon Redington London, UK CHARGE! 2016 Woodcut/Letterpress edition of 30 20 pages 370mm – 300mm – 10mm 370mm – 600mm – 10mm IT WAS A DREAM THAT CENTURY AFTER CENTURY HAD SEIZED ON MEN’S IMAGINATIONS AND SET THEIR BLOOD ON FIRE. TRUMPETS, PLUMES, CHARGERS, THE POMP OF WAR, THE EXCITEMENT OF COMBAT, THE EXULTATION OF VICTORY – THE MIXTURE WAS INTOXICATING INDEED. TO COMMAND GREAT ARMIES, TO PERFORM DEEDS OF VALOUR, TO RIDE VICTORIOUS T H R O U G H F L OWE R – S T R EWN STREETS, TO BE MAGNIFICENT, FAMOUS – SUCH WERE THE VISIONS THAT DANCED BEFORE MEN’S EYES AS THEY TURNED EAGERLY TO WAR. IT WAS NOT A DREAM FOR THE COMMOM MAN. WAR WAS AN A R I S TOC R A T I C T R A D E , AND MILITARY GLORY RESERVED FOR NOBLES AND PRINCES. IT WAS A DREAM THAT DIED HARD. CENTURY FOLLOWED CENTURY AND GL ITTERING VISIONS FADED BEFORE THE SOMBRE REALITIES OF HISTORY. GREAT ARMIES IN THEIR PRIDE AND SPLENDOUR WERE D E F E A T E D B Y S T A R V A T ION, PESTILENCE AND FILTH, VALOUR WAS SACRIFICED TO STUPIDITY, GALLANTRY TO CORRUPTION. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293152117-KN7IPAT2YKGY87GACP7O/mcba-prize-2017-simon-redington-charge-5.jpg Entries & Jurors - 2017 Entries - Simon Redington London, UK CHARGE! 2016 Woodcut/Letterpress edition of 30 20 pages 370mm – 300mm – 10mm 370mm – 600mm – 10mm IT WAS A DREAM THAT CENTURY AFTER CENTURY HAD SEIZED ON MEN’S IMAGINATIONS AND SET THEIR BLOOD ON FIRE. TRUMPETS, PLUMES, CHARGERS, THE POMP OF WAR, THE EXCITEMENT OF COMBAT, THE EXULTATION OF VICTORY – THE MIXTURE WAS INTOXICATING INDEED. TO COMMAND GREAT ARMIES, TO PERFORM DEEDS OF VALOUR, TO RIDE VICTORIOUS T H R O U G H F L OWE R – S T R EWN STREETS, TO BE MAGNIFICENT, FAMOUS – SUCH WERE THE VISIONS THAT DANCED BEFORE MEN’S EYES AS THEY TURNED EAGERLY TO WAR. IT WAS NOT A DREAM FOR THE COMMOM MAN. WAR WAS AN A R I S TOC R A T I C T R A D E , AND MILITARY GLORY RESERVED FOR NOBLES AND PRINCES. IT WAS A DREAM THAT DIED HARD. CENTURY FOLLOWED CENTURY AND GL ITTERING VISIONS FADED BEFORE THE SOMBRE REALITIES OF HISTORY. GREAT ARMIES IN THEIR PRIDE AND SPLENDOUR WERE D E F E A T E D B Y S T A R V A T ION, PESTILENCE AND FILTH, VALOUR WAS SACRIFICED TO STUPIDITY, GALLANTRY TO CORRUPTION. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293256907-HS6SAC815RI4AMCWAHOO/mcba-prize-2017-katya-robin-message-in-a-bottle-1.jpg Entries & Jurors - 2017 Entries - Katya Robin Sheffield, Yorkshire UK www.KatyaRobinStudio.co.uk Message in a Bottle 2017 installation of leaflets, 2 stones, bottle of water 300 leaflets tri-fold leaflet leaflet (open) 21x30cm, stones (x 2) 10x11x30cm approx, bottle 30x8x8cm Artist Statement I work with common motifs and materials, reading the everyday. As part of my projects I install objects in places and document this interaction. This leads to publications and portmanteau artworks. MESSAGE in a BOTTLE The installation/interaction opens up ways of delivering a message, transience, and layering of heritage. This work combines different elements and media: a leaflet, two local stones, a bottle of freshly drawn water, and action. The stones are laid out as pages of an open book. At appropriate intervals a gallery assistant will draw some water from the bottle and cast it across the stones. The leaflet is like a free promotional flyer. Some of the leaflets will be gifted to gallery visitors. The content combines different types of communication: info-text, poetry, text-as-image, maps, labels, waterdrawing. The stones are sandstone, found in my yard, probably from a local mine. This type of stonework is typical of the area. Sandstone is formed over time by elements deposited by water. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293255919-3X629TOMAQRNXIQC7A6P/mcba-prize-2017-katya-robin-message-in-a-bottle-2.jpg Entries & Jurors - 2017 Entries - Katya Robin Sheffield, Yorkshire UK www.KatyaRobinStudio.co.uk Message in a Bottle 2017 installation of leaflets, 2 stones, bottle of water 300 leaflets tri-fold leaflet leaflet (open) 21x30cm, stones (x 2) 10x11x30cm approx, bottle 30x8x8cm Artist Statement I work with common motifs and materials, reading the everyday. As part of my projects I install objects in places and document this interaction. This leads to publications and portmanteau artworks. MESSAGE in a BOTTLE The installation/interaction opens up ways of delivering a message, transience, and layering of heritage. This work combines different elements and media: a leaflet, two local stones, a bottle of freshly drawn water, and action. The stones are laid out as pages of an open book. At appropriate intervals a gallery assistant will draw some water from the bottle and cast it across the stones. The leaflet is like a free promotional flyer. Some of the leaflets will be gifted to gallery visitors. The content combines different types of communication: info-text, poetry, text-as-image, maps, labels, waterdrawing. The stones are sandstone, found in my yard, probably from a local mine. This type of stonework is typical of the area. Sandstone is formed over time by elements deposited by water. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293257858-7JQF82DNKB8MVLLCAV7Q/mcba-prize-2017-katya-robin-message-in-a-bottle-3.jpg Entries & Jurors - 2017 Entries - Katya Robin Sheffield, Yorkshire UK www.KatyaRobinStudio.co.uk Message in a Bottle 2017 installation of leaflets, 2 stones, bottle of water 300 leaflets tri-fold leaflet leaflet (open) 21x30cm, stones (x 2) 10x11x30cm approx, bottle 30x8x8cm Artist Statement I work with common motifs and materials, reading the everyday. As part of my projects I install objects in places and document this interaction. This leads to publications and portmanteau artworks. MESSAGE in a BOTTLE The installation/interaction opens up ways of delivering a message, transience, and layering of heritage. This work combines different elements and media: a leaflet, two local stones, a bottle of freshly drawn water, and action. The stones are laid out as pages of an open book. At appropriate intervals a gallery assistant will draw some water from the bottle and cast it across the stones. The leaflet is like a free promotional flyer. Some of the leaflets will be gifted to gallery visitors. The content combines different types of communication: info-text, poetry, text-as-image, maps, labels, waterdrawing. The stones are sandstone, found in my yard, probably from a local mine. This type of stonework is typical of the area. Sandstone is formed over time by elements deposited by water. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293259284-DQ08F5FQ0OOA20FR96D7/mcba-prize-2017-katya-robin-message-in-a-bottle-4.jpg Entries & Jurors - 2017 Entries - Katya Robin Sheffield, Yorkshire UK www.KatyaRobinStudio.co.uk Message in a Bottle 2017 installation of leaflets, 2 stones, bottle of water 300 leaflets tri-fold leaflet leaflet (open) 21x30cm, stones (x 2) 10x11x30cm approx, bottle 30x8x8cm Artist Statement I work with common motifs and materials, reading the everyday. As part of my projects I install objects in places and document this interaction. This leads to publications and portmanteau artworks. MESSAGE in a BOTTLE The installation/interaction opens up ways of delivering a message, transience, and layering of heritage. This work combines different elements and media: a leaflet, two local stones, a bottle of freshly drawn water, and action. The stones are laid out as pages of an open book. At appropriate intervals a gallery assistant will draw some water from the bottle and cast it across the stones. The leaflet is like a free promotional flyer. Some of the leaflets will be gifted to gallery visitors. The content combines different types of communication: info-text, poetry, text-as-image, maps, labels, waterdrawing. The stones are sandstone, found in my yard, probably from a local mine. This type of stonework is typical of the area. Sandstone is formed over time by elements deposited by water. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293328343-SB80VATEQ75QJ97JKQMF/mcba-prize-2017-matt-runkle-catholics-1.jpg Entries & Jurors - 2017 Entries - Matt Runkle Berkeley, California Catholics 2015 Letterpress and laser printed content in a flat-spine, full-cloth case edition of 25 90 pages 9 x 12 x 1/4 9 x 6 x 1/2 In Catholics, the sacred and profane, the humorous and tragic, the zine and literary fine press all end up as strange bedfellows in desperate need of confession. Artist Statement Catholics is an artist book, a limited-edition memoir that makes use of illustration, collage, and letterpress printed typography to explore the psychic cathedral built by my Catholic traditionalist upbringing. Beginning with an anti-clerical quip by Tallulah Bankhead, the book takes on a range of subjects including Catholic-Masonic tensions, the fervency of converts, the legacy of the Legion of Decency, and the spiritual significance of revelatory shrouds. In Catholics, the sacred and profane, the humorous and tragic, the zine and literary fine press all end up as strange bedfellows in desperate need of confession. The book’s eight prose sections are both anecdotal and informational. Their design is a nod to twentieth-century trade publications—books, but also periodicals. In these sections, magazines and newspapers recur as central objects, and the tell-all nature of the book’s subject matter often feels worthy of the scandal sheets. Because of this, I’ve drawn inspiration from the designers, compositors, and printers who once worked to produce mass-market ephemera. The prose sections are letterpress printed from The Times New Roman type, cast and set by M & H Type. Also included at intervals, always on the recto, is a series of seven communion wafers/solar crosses. Printed with heavy impression from photopolymer plates, these images are surrounded by Bruce Rogers–inspired frames printed from metal typographic ornaments that alchemically shift throughout the course of the book. The wafers/solar crosses animate their own narrative, a transmuting framework that comments on the book’s other threads. The book’s three illustrated saints—portrayed by Joan Crawford and Tallulah Bankhead—are directly referenced in the prose sections, as are the objects surrounding them. Their layout is inspired by the quincunx, a sacred formation where one central image is surrounded by four smaller objects at each corner. In Renaissance art, these four objects often represent aspects of the fourfold world: humors, elements, seasons, gospels, or some other system of correspondences. The book also features four illustrated page spreads. Three eulogiae—portfolios in the spirit of acheiropoieta (icons generated miraculously rather than by human hand)—rely heavily on collage. Sixth-century pilgrims to sacred sites in Europe carried away tiny clay or glass ampullae that contained traces of dirt, oil, or water found at the visited shrine. Diagrammatic images of the location were also rendered on the exteriors of these souvenirs, called eulogiae. Each eulogia in Catholics attempts to conjure remembered space in a similar way: handwritten text and collaged images function as both architecture and performance. Catholics is a project that is animist. During its creation I tried to tap into the energetic potential of material objects, whether magazine scraps or metal ornaments collecting dust in inherited type cases. Catholicism is ornately melodramatic, but it didn’t build that baroque on its own: the pagan cultures suppressed by the Church were also mined for their sacred objects and images, which were then repurposed to maintain the Roman hierarchy’s power. And while Catholic traditions such as transubstantiation and acheiropoietia are concerned with an alchemical materiality, dogma has deadened any hope of real transcendence. Catholics is an attempt at subverting that co-optive past. While I’m inspired by the fine press printing tradition, I come from a zine-making background, which makes me privilege the staticky effect of the photocopier and the chimerical results of collage. I’ve attempted to explore the tension between these modes, as well as those of commercial book and periodical design, and to ultimately integrate them in this work. The result, I hope, relies on a scaffold of traditional design adorned with material detritus that provoke memory. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293328410-HJ384ZGNU0KP0ZLNTX65/mcba-prize-2017-matt-runkle-catholics-2.jpg Entries & Jurors - 2017 Entries - Matt Runkle Berkeley, California Catholics 2015 Letterpress and laser printed content in a flat-spine, full-cloth case edition of 25 90 pages 9 x 12 x 1/4 9 x 6 x 1/2 The book’s prose sections draw inspiration from the designers, compositors, and printers who once worked to produce mass-market ephemera. Artist Statement Catholics is an artist book, a limited-edition memoir that makes use of illustration, collage, and letterpress printed typography to explore the psychic cathedral built by my Catholic traditionalist upbringing. Beginning with an anti-clerical quip by Tallulah Bankhead, the book takes on a range of subjects including Catholic-Masonic tensions, the fervency of converts, the legacy of the Legion of Decency, and the spiritual significance of revelatory shrouds. In Catholics, the sacred and profane, the humorous and tragic, the zine and literary fine press all end up as strange bedfellows in desperate need of confession. The book’s eight prose sections are both anecdotal and informational. Their design is a nod to twentieth-century trade publications—books, but also periodicals. In these sections, magazines and newspapers recur as central objects, and the tell-all nature of the book’s subject matter often feels worthy of the scandal sheets. Because of this, I’ve drawn inspiration from the designers, compositors, and printers who once worked to produce mass-market ephemera. The prose sections are letterpress printed from The Times New Roman type, cast and set by M & H Type. Also included at intervals, always on the recto, is a series of seven communion wafers/solar crosses. Printed with heavy impression from photopolymer plates, these images are surrounded by Bruce Rogers–inspired frames printed from metal typographic ornaments that alchemically shift throughout the course of the book. The wafers/solar crosses animate their own narrative, a transmuting framework that comments on the book’s other threads. The book’s three illustrated saints—portrayed by Joan Crawford and Tallulah Bankhead—are directly referenced in the prose sections, as are the objects surrounding them. Their layout is inspired by the quincunx, a sacred formation where one central image is surrounded by four smaller objects at each corner. In Renaissance art, these four objects often represent aspects of the fourfold world: humors, elements, seasons, gospels, or some other system of correspondences. The book also features four illustrated page spreads. Three eulogiae—portfolios in the spirit of acheiropoieta (icons generated miraculously rather than by human hand)—rely heavily on collage. Sixth-century pilgrims to sacred sites in Europe carried away tiny clay or glass ampullae that contained traces of dirt, oil, or water found at the visited shrine. Diagrammatic images of the location were also rendered on the exteriors of these souvenirs, called eulogiae. Each eulogia in Catholics attempts to conjure remembered space in a similar way: handwritten text and collaged images function as both architecture and performance. Catholics is a project that is animist. During its creation I tried to tap into the energetic potential of material objects, whether magazine scraps or metal ornaments collecting dust in inherited type cases. Catholicism is ornately melodramatic, but it didn’t build that baroque on its own: the pagan cultures suppressed by the Church were also mined for their sacred objects and images, which were then repurposed to maintain the Roman hierarchy’s power. And while Catholic traditions such as transubstantiation and acheiropoietia are concerned with an alchemical materiality, dogma has deadened any hope of real transcendence. Catholics is an attempt at subverting that co-optive past. While I’m inspired by the fine press printing tradition, I come from a zine-making background, which makes me privilege the staticky effect of the photocopier and the chimerical results of collage. I’ve attempted to explore the tension between these modes, as well as those of commercial book and periodical design, and to ultimately integrate them in this work. The result, I hope, relies on a scaffold of traditional design adorned with material detritus that provoke memory. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293329361-OU2W5T4MLNGUS4TC8NQB/mcba-prize-2017-matt-runkle-catholics-3.jpg Entries & Jurors - 2017 Entries - Matt Runkle Berkeley, California Catholics 2015 Letterpress and laser printed content in a flat-spine, full-cloth case edition of 25 90 pages 9 x 12 x 1/4 9 x 6 x 1/2 A series of seven communion wafers/solar crosses are surrounded by Bruce Rogers–inspired frames printed from metal typographic ornaments that alchemically shift throughout the course of the book. Artist Statement Catholics is an artist book, a limited-edition memoir that makes use of illustration, collage, and letterpress printed typography to explore the psychic cathedral built by my Catholic traditionalist upbringing. Beginning with an anti-clerical quip by Tallulah Bankhead, the book takes on a range of subjects including Catholic-Masonic tensions, the fervency of converts, the legacy of the Legion of Decency, and the spiritual significance of revelatory shrouds. In Catholics, the sacred and profane, the humorous and tragic, the zine and literary fine press all end up as strange bedfellows in desperate need of confession. The book’s eight prose sections are both anecdotal and informational. Their design is a nod to twentieth-century trade publications—books, but also periodicals. In these sections, magazines and newspapers recur as central objects, and the tell-all nature of the book’s subject matter often feels worthy of the scandal sheets. Because of this, I’ve drawn inspiration from the designers, compositors, and printers who once worked to produce mass-market ephemera. The prose sections are letterpress printed from The Times New Roman type, cast and set by M & H Type. Also included at intervals, always on the recto, is a series of seven communion wafers/solar crosses. Printed with heavy impression from photopolymer plates, these images are surrounded by Bruce Rogers–inspired frames printed from metal typographic ornaments that alchemically shift throughout the course of the book. The wafers/solar crosses animate their own narrative, a transmuting framework that comments on the book’s other threads. The book’s three illustrated saints—portrayed by Joan Crawford and Tallulah Bankhead—are directly referenced in the prose sections, as are the objects surrounding them. Their layout is inspired by the quincunx, a sacred formation where one central image is surrounded by four smaller objects at each corner. In Renaissance art, these four objects often represent aspects of the fourfold world: humors, elements, seasons, gospels, or some other system of correspondences. The book also features four illustrated page spreads. Three eulogiae—portfolios in the spirit of acheiropoieta (icons generated miraculously rather than by human hand)—rely heavily on collage. Sixth-century pilgrims to sacred sites in Europe carried away tiny clay or glass ampullae that contained traces of dirt, oil, or water found at the visited shrine. Diagrammatic images of the location were also rendered on the exteriors of these souvenirs, called eulogiae. Each eulogia in Catholics attempts to conjure remembered space in a similar way: handwritten text and collaged images function as both architecture and performance. Catholics is a project that is animist. During its creation I tried to tap into the energetic potential of material objects, whether magazine scraps or metal ornaments collecting dust in inherited type cases. Catholicism is ornately melodramatic, but it didn’t build that baroque on its own: the pagan cultures suppressed by the Church were also mined for their sacred objects and images, which were then repurposed to maintain the Roman hierarchy’s power. And while Catholic traditions such as transubstantiation and acheiropoietia are concerned with an alchemical materiality, dogma has deadened any hope of real transcendence. Catholics is an attempt at subverting that co-optive past. While I’m inspired by the fine press printing tradition, I come from a zine-making background, which makes me privilege the staticky effect of the photocopier and the chimerical results of collage. I’ve attempted to explore the tension between these modes, as well as those of commercial book and periodical design, and to ultimately integrate them in this work. The result, I hope, relies on a scaffold of traditional design adorned with material detritus that provoke memory. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293330389-D8AZBVT3U1N4CVWNKSAB/mcba-prize-2017-matt-runkle-catholics-4.jpg Entries & Jurors - 2017 Entries - Matt Runkle Berkeley, California Catholics 2015 Letterpress and laser printed content in a flat-spine, full-cloth case edition of 25 90 pages 9 x 12 x 1/4 9 x 6 x 1/2 Inspired by sixth-century pilgrimage souvenirs, the eulogiae in Catholics attempt to conjure remembered space through handwritten text and collaged images. Artist Statement Catholics is an artist book, a limited-edition memoir that makes use of illustration, collage, and letterpress printed typography to explore the psychic cathedral built by my Catholic traditionalist upbringing. Beginning with an anti-clerical quip by Tallulah Bankhead, the book takes on a range of subjects including Catholic-Masonic tensions, the fervency of converts, the legacy of the Legion of Decency, and the spiritual significance of revelatory shrouds. In Catholics, the sacred and profane, the humorous and tragic, the zine and literary fine press all end up as strange bedfellows in desperate need of confession. The book’s eight prose sections are both anecdotal and informational. Their design is a nod to twentieth-century trade publications—books, but also periodicals. In these sections, magazines and newspapers recur as central objects, and the tell-all nature of the book’s subject matter often feels worthy of the scandal sheets. Because of this, I’ve drawn inspiration from the designers, compositors, and printers who once worked to produce mass-market ephemera. The prose sections are letterpress printed from The Times New Roman type, cast and set by M & H Type. Also included at intervals, always on the recto, is a series of seven communion wafers/solar crosses. Printed with heavy impression from photopolymer plates, these images are surrounded by Bruce Rogers–inspired frames printed from metal typographic ornaments that alchemically shift throughout the course of the book. The wafers/solar crosses animate their own narrative, a transmuting framework that comments on the book’s other threads. The book’s three illustrated saints—portrayed by Joan Crawford and Tallulah Bankhead—are directly referenced in the prose sections, as are the objects surrounding them. Their layout is inspired by the quincunx, a sacred formation where one central image is surrounded by four smaller objects at each corner. In Renaissance art, these four objects often represent aspects of the fourfold world: humors, elements, seasons, gospels, or some other system of correspondences. The book also features four illustrated page spreads. Three eulogiae—portfolios in the spirit of acheiropoieta (icons generated miraculously rather than by human hand)—rely heavily on collage. Sixth-century pilgrims to sacred sites in Europe carried away tiny clay or glass ampullae that contained traces of dirt, oil, or water found at the visited shrine. Diagrammatic images of the location were also rendered on the exteriors of these souvenirs, called eulogiae. Each eulogia in Catholics attempts to conjure remembered space in a similar way: handwritten text and collaged images function as both architecture and performance. Catholics is a project that is animist. During its creation I tried to tap into the energetic potential of material objects, whether magazine scraps or metal ornaments collecting dust in inherited type cases. Catholicism is ornately melodramatic, but it didn’t build that baroque on its own: the pagan cultures suppressed by the Church were also mined for their sacred objects and images, which were then repurposed to maintain the Roman hierarchy’s power. And while Catholic traditions such as transubstantiation and acheiropoietia are concerned with an alchemical materiality, dogma has deadened any hope of real transcendence. Catholics is an attempt at subverting that co-optive past. While I’m inspired by the fine press printing tradition, I come from a zine-making background, which makes me privilege the staticky effect of the photocopier and the chimerical results of collage. I’ve attempted to explore the tension between these modes, as well as those of commercial book and periodical design, and to ultimately integrate them in this work. The result, I hope, relies on a scaffold of traditional design adorned with material detritus that provoke memory. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293330883-W65N2USRWKXE6HTEBMSU/mcba-prize-2017-matt-runkle-catholics-5.jpg Entries & Jurors - 2017 Entries - Matt Runkle Berkeley, California Catholics 2015 Letterpress and laser printed content in a flat-spine, full-cloth case edition of 25 90 pages 9 x 12 x 1/4 9 x 6 x 1/2 Beginning with an anti-clerical quip by Tallulah Bankhead, Catholics takes on a range of subjects including Catholic-Masonic tensions, the fervency of converts, the legacy of the Legion of Decency, and the spiritual significance of revelatory shrouds. Artist Statement Catholics is an artist book, a limited-edition memoir that makes use of illustration, collage, and letterpress printed typography to explore the psychic cathedral built by my Catholic traditionalist upbringing. Beginning with an anti-clerical quip by Tallulah Bankhead, the book takes on a range of subjects including Catholic-Masonic tensions, the fervency of converts, the legacy of the Legion of Decency, and the spiritual significance of revelatory shrouds. In Catholics, the sacred and profane, the humorous and tragic, the zine and literary fine press all end up as strange bedfellows in desperate need of confession. The book’s eight prose sections are both anecdotal and informational. Their design is a nod to twentieth-century trade publications—books, but also periodicals. In these sections, magazines and newspapers recur as central objects, and the tell-all nature of the book’s subject matter often feels worthy of the scandal sheets. Because of this, I’ve drawn inspiration from the designers, compositors, and printers who once worked to produce mass-market ephemera. The prose sections are letterpress printed from The Times New Roman type, cast and set by M & H Type. Also included at intervals, always on the recto, is a series of seven communion wafers/solar crosses. Printed with heavy impression from photopolymer plates, these images are surrounded by Bruce Rogers–inspired frames printed from metal typographic ornaments that alchemically shift throughout the course of the book. The wafers/solar crosses animate their own narrative, a transmuting framework that comments on the book’s other threads. The book’s three illustrated saints—portrayed by Joan Crawford and Tallulah Bankhead—are directly referenced in the prose sections, as are the objects surrounding them. Their layout is inspired by the quincunx, a sacred formation where one central image is surrounded by four smaller objects at each corner. In Renaissance art, these four objects often represent aspects of the fourfold world: humors, elements, seasons, gospels, or some other system of correspondences. The book also features four illustrated page spreads. Three eulogiae—portfolios in the spirit of acheiropoieta (icons generated miraculously rather than by human hand)—rely heavily on collage. Sixth-century pilgrims to sacred sites in Europe carried away tiny clay or glass ampullae that contained traces of dirt, oil, or water found at the visited shrine. Diagrammatic images of the location were also rendered on the exteriors of these souvenirs, called eulogiae. Each eulogia in Catholics attempts to conjure remembered space in a similar way: handwritten text and collaged images function as both architecture and performance. Catholics is a project that is animist. During its creation I tried to tap into the energetic potential of material objects, whether magazine scraps or metal ornaments collecting dust in inherited type cases. Catholicism is ornately melodramatic, but it didn’t build that baroque on its own: the pagan cultures suppressed by the Church were also mined for their sacred objects and images, which were then repurposed to maintain the Roman hierarchy’s power. And while Catholic traditions such as transubstantiation and acheiropoietia are concerned with an alchemical materiality, dogma has deadened any hope of real transcendence. Catholics is an attempt at subverting that co-optive past. While I’m inspired by the fine press printing tradition, I come from a zine-making background, which makes me privilege the staticky effect of the photocopier and the chimerical results of collage. I’ve attempted to explore the tension between these modes, as well as those of commercial book and periodical design, and to ultimately integrate them in this work. The result, I hope, relies on a scaffold of traditional design adorned with material detritus that provoke memory. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293458689-UOPIXN8BN8P2B2JTMYVU/mcba-prize-2017-veronika-schaepers-aokigahara-1.jpg Entries & Jurors - 2017 Entries - Veronika Schaepers Karlsruhe, Germany www.veronikaschaepers.net Aokigahara 2016 UVC-light-printing* on blue-Z-tracing-card, coptic binding of 17 irregular gate-folds with 0.148mm acrylic thread. Cover made of laser-cut transparent cardboard, covered with half-transparent NT-pairu-foil and arinda clear foil. Acrylic box with title and colophon silkscreened with half-transparent ink. * The text is not printed in a classical way but a visible color change within the paper following the exposure to extreme UV rays. To achieve this, I cut stencils with the poem out of cardboard that were fixed with small magnets on top of each single sheet. Tracing-paper and stencil were placed in a box with two very strong UVC-lamps for 24 hours. 15 + 3 copies 34 pages 45cm x 64cm x 1cm // 17,7’ x 25,2’ X 0,4’ 45cm x 32cm x 1cm // 17,7’ x 12,6’ X 0,4’ Stephan Reich: Aokigahara Aokigahara, also known as the Suicide Forest or Sea of Trees (Jukai) is a forest on the northwestern flank of Japan’s Mount Fuji thriving on 12 square miles of hardened lava. Parts of Aokigahara are very dense, and the porous lava absorbs sound, helping to provide visitors with a sense of solitude. The forest has a historical reputation as a home to Yurei or ghosts of the dead in Japanese mythology. In recent years, Aokigahara has become internationally known as one of Japan’s most popular destinations for suicide. The site’s popularity has been attributed to Seicho Matsumoto’s 1961 novel Nami no To (Tower of waves) which started a trend for love-vexed couples, and then jobless people, to commit suicide in the Aokigahara Jukai. To understand the high figures of people committing suicide it is important to know that throughout Japanese history, suicide has never been prohibited on religious or moral grounds. It is rather quite permissible in Japanese society, something honorable that is even glorified. Stephan Reich’s poem shows the beauty of the forest opposed by the image of dead bodies as well as quotations from signs erected to hold off the desperate to commit suicide. The contrast between the beauty of nature and the traces of desperate throughout the forest is visualized by the technique I used to »print« the book: by exposing the tracingpaper to extreme UVC-light it changes its color from blue-white to an almost fluorescent light yellow. The subtle color of the yellowed paper evokes the image of someone fading away in the deep forest, at the same time it stands for the decaying process of the paper after it was exposed to UV-rays. The white color stands in Japanese culture for the color of death, for this reason I limited the book to just this one tone. Since there is no adding of printing ink within the book, the cover shouldn’t be printed as well. I chose to laser-cut the whole poem out of transparent tracingboard, the single letters connected by thin bars. Covered by half transparent foil the lasercut piece evokes the image of a dense misty forest. The book is kept in a clear acrylic box with a small half-transparent silkscreened title, allowing the reader to get a glimpse of the poem even when the box is closed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293458978-G10JVK3U5PTRIXSL4OZI/mcba-prize-2017-veronika-schaepers-aokigahara-2.jpg Entries & Jurors - 2017 Entries - Veronika Schaepers Karlsruhe, Germany www.veronikaschaepers.net Aokigahara 2016 UVC-light-printing* on blue-Z-tracing-card, coptic binding of 17 irregular gate-folds with 0.148mm acrylic thread. Cover made of laser-cut transparent cardboard, covered with half-transparent NT-pairu-foil and arinda clear foil. Acrylic box with title and colophon silkscreened with half-transparent ink. * The text is not printed in a classical way but a visible color change within the paper following the exposure to extreme UV rays. To achieve this, I cut stencils with the poem out of cardboard that were fixed with small magnets on top of each single sheet. Tracing-paper and stencil were placed in a box with two very strong UVC-lamps for 24 hours. 15 + 3 copies 34 pages 45cm x 64cm x 1cm // 17,7’ x 25,2’ X 0,4’ 45cm x 32cm x 1cm // 17,7’ x 12,6’ X 0,4’ Stephan Reich: Aokigahara Aokigahara, also known as the Suicide Forest or Sea of Trees (Jukai) is a forest on the northwestern flank of Japan’s Mount Fuji thriving on 12 square miles of hardened lava. Parts of Aokigahara are very dense, and the porous lava absorbs sound, helping to provide visitors with a sense of solitude. The forest has a historical reputation as a home to Yurei or ghosts of the dead in Japanese mythology. In recent years, Aokigahara has become internationally known as one of Japan’s most popular destinations for suicide. The site’s popularity has been attributed to Seicho Matsumoto’s 1961 novel Nami no To (Tower of waves) which started a trend for love-vexed couples, and then jobless people, to commit suicide in the Aokigahara Jukai. To understand the high figures of people committing suicide it is important to know that throughout Japanese history, suicide has never been prohibited on religious or moral grounds. It is rather quite permissible in Japanese society, something honorable that is even glorified. Stephan Reich’s poem shows the beauty of the forest opposed by the image of dead bodies as well as quotations from signs erected to hold off the desperate to commit suicide. The contrast between the beauty of nature and the traces of desperate throughout the forest is visualized by the technique I used to »print« the book: by exposing the tracingpaper to extreme UVC-light it changes its color from blue-white to an almost fluorescent light yellow. The subtle color of the yellowed paper evokes the image of someone fading away in the deep forest, at the same time it stands for the decaying process of the paper after it was exposed to UV-rays. The white color stands in Japanese culture for the color of death, for this reason I limited the book to just this one tone. Since there is no adding of printing ink within the book, the cover shouldn’t be printed as well. I chose to laser-cut the whole poem out of transparent tracingboard, the single letters connected by thin bars. Covered by half transparent foil the lasercut piece evokes the image of a dense misty forest. The book is kept in a clear acrylic box with a small half-transparent silkscreened title, allowing the reader to get a glimpse of the poem even when the box is closed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293460516-QVQ79JCJ9P7E1AQSOC9S/mcba-prize-2017-veronika-schaepers-aokigahara-3.jpg Entries & Jurors - 2017 Entries - Veronika Schaepers Karlsruhe, Germany www.veronikaschaepers.net Aokigahara 2016 UVC-light-printing* on blue-Z-tracing-card, coptic binding of 17 irregular gate-folds with 0.148mm acrylic thread. Cover made of laser-cut transparent cardboard, covered with half-transparent NT-pairu-foil and arinda clear foil. Acrylic box with title and colophon silkscreened with half-transparent ink. * The text is not printed in a classical way but a visible color change within the paper following the exposure to extreme UV rays. To achieve this, I cut stencils with the poem out of cardboard that were fixed with small magnets on top of each single sheet. Tracing-paper and stencil were placed in a box with two very strong UVC-lamps for 24 hours. 15 + 3 copies 34 pages 45cm x 64cm x 1cm // 17,7’ x 25,2’ X 0,4’ 45cm x 32cm x 1cm // 17,7’ x 12,6’ X 0,4’ Stephan Reich: Aokigahara Aokigahara, also known as the Suicide Forest or Sea of Trees (Jukai) is a forest on the northwestern flank of Japan’s Mount Fuji thriving on 12 square miles of hardened lava. Parts of Aokigahara are very dense, and the porous lava absorbs sound, helping to provide visitors with a sense of solitude. The forest has a historical reputation as a home to Yurei or ghosts of the dead in Japanese mythology. In recent years, Aokigahara has become internationally known as one of Japan’s most popular destinations for suicide. The site’s popularity has been attributed to Seicho Matsumoto’s 1961 novel Nami no To (Tower of waves) which started a trend for love-vexed couples, and then jobless people, to commit suicide in the Aokigahara Jukai. To understand the high figures of people committing suicide it is important to know that throughout Japanese history, suicide has never been prohibited on religious or moral grounds. It is rather quite permissible in Japanese society, something honorable that is even glorified. Stephan Reich’s poem shows the beauty of the forest opposed by the image of dead bodies as well as quotations from signs erected to hold off the desperate to commit suicide. The contrast between the beauty of nature and the traces of desperate throughout the forest is visualized by the technique I used to »print« the book: by exposing the tracingpaper to extreme UVC-light it changes its color from blue-white to an almost fluorescent light yellow. The subtle color of the yellowed paper evokes the image of someone fading away in the deep forest, at the same time it stands for the decaying process of the paper after it was exposed to UV-rays. The white color stands in Japanese culture for the color of death, for this reason I limited the book to just this one tone. Since there is no adding of printing ink within the book, the cover shouldn’t be printed as well. I chose to laser-cut the whole poem out of transparent tracingboard, the single letters connected by thin bars. Covered by half transparent foil the lasercut piece evokes the image of a dense misty forest. The book is kept in a clear acrylic box with a small half-transparent silkscreened title, allowing the reader to get a glimpse of the poem even when the box is closed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293461930-JPL3DFM8F75OT5A0OW24/mcba-prize-2017-veronika-schaepers-aokigahara-4.jpg Entries & Jurors - 2017 Entries - Veronika Schaepers Karlsruhe, Germany www.veronikaschaepers.net Aokigahara 2016 UVC-light-printing* on blue-Z-tracing-card, coptic binding of 17 irregular gate-folds with 0.148mm acrylic thread. Cover made of laser-cut transparent cardboard, covered with half-transparent NT-pairu-foil and arinda clear foil. Acrylic box with title and colophon silkscreened with half-transparent ink. * The text is not printed in a classical way but a visible color change within the paper following the exposure to extreme UV rays. To achieve this, I cut stencils with the poem out of cardboard that were fixed with small magnets on top of each single sheet. Tracing-paper and stencil were placed in a box with two very strong UVC-lamps for 24 hours. 15 + 3 copies 34 pages 45cm x 64cm x 1cm // 17,7’ x 25,2’ X 0,4’ 45cm x 32cm x 1cm // 17,7’ x 12,6’ X 0,4’ Stephan Reich: Aokigahara Aokigahara, also known as the Suicide Forest or Sea of Trees (Jukai) is a forest on the northwestern flank of Japan’s Mount Fuji thriving on 12 square miles of hardened lava. Parts of Aokigahara are very dense, and the porous lava absorbs sound, helping to provide visitors with a sense of solitude. The forest has a historical reputation as a home to Yurei or ghosts of the dead in Japanese mythology. In recent years, Aokigahara has become internationally known as one of Japan’s most popular destinations for suicide. The site’s popularity has been attributed to Seicho Matsumoto’s 1961 novel Nami no To (Tower of waves) which started a trend for love-vexed couples, and then jobless people, to commit suicide in the Aokigahara Jukai. To understand the high figures of people committing suicide it is important to know that throughout Japanese history, suicide has never been prohibited on religious or moral grounds. It is rather quite permissible in Japanese society, something honorable that is even glorified. Stephan Reich’s poem shows the beauty of the forest opposed by the image of dead bodies as well as quotations from signs erected to hold off the desperate to commit suicide. The contrast between the beauty of nature and the traces of desperate throughout the forest is visualized by the technique I used to »print« the book: by exposing the tracingpaper to extreme UVC-light it changes its color from blue-white to an almost fluorescent light yellow. The subtle color of the yellowed paper evokes the image of someone fading away in the deep forest, at the same time it stands for the decaying process of the paper after it was exposed to UV-rays. The white color stands in Japanese culture for the color of death, for this reason I limited the book to just this one tone. Since there is no adding of printing ink within the book, the cover shouldn’t be printed as well. I chose to laser-cut the whole poem out of transparent tracingboard, the single letters connected by thin bars. Covered by half transparent foil the lasercut piece evokes the image of a dense misty forest. The book is kept in a clear acrylic box with a small half-transparent silkscreened title, allowing the reader to get a glimpse of the poem even when the box is closed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293462985-P6LWVAIX2S4L4EX3Y560/mcba-prize-2017-veronika-schaepers-aokigahara-5.jpg Entries & Jurors - 2017 Entries - Veronika Schaepers Karlsruhe, Germany www.veronikaschaepers.net Aokigahara 2016 UVC-light-printing* on blue-Z-tracing-card, coptic binding of 17 irregular gate-folds with 0.148mm acrylic thread. Cover made of laser-cut transparent cardboard, covered with half-transparent NT-pairu-foil and arinda clear foil. Acrylic box with title and colophon silkscreened with half-transparent ink. * The text is not printed in a classical way but a visible color change within the paper following the exposure to extreme UV rays. To achieve this, I cut stencils with the poem out of cardboard that were fixed with small magnets on top of each single sheet. Tracing-paper and stencil were placed in a box with two very strong UVC-lamps for 24 hours. 15 + 3 copies 34 pages 45cm x 64cm x 1cm // 17,7’ x 25,2’ X 0,4’ 45cm x 32cm x 1cm // 17,7’ x 12,6’ X 0,4’ Stephan Reich: Aokigahara Aokigahara, also known as the Suicide Forest or Sea of Trees (Jukai) is a forest on the northwestern flank of Japan’s Mount Fuji thriving on 12 square miles of hardened lava. Parts of Aokigahara are very dense, and the porous lava absorbs sound, helping to provide visitors with a sense of solitude. The forest has a historical reputation as a home to Yurei or ghosts of the dead in Japanese mythology. In recent years, Aokigahara has become internationally known as one of Japan’s most popular destinations for suicide. The site’s popularity has been attributed to Seicho Matsumoto’s 1961 novel Nami no To (Tower of waves) which started a trend for love-vexed couples, and then jobless people, to commit suicide in the Aokigahara Jukai. To understand the high figures of people committing suicide it is important to know that throughout Japanese history, suicide has never been prohibited on religious or moral grounds. It is rather quite permissible in Japanese society, something honorable that is even glorified. Stephan Reich’s poem shows the beauty of the forest opposed by the image of dead bodies as well as quotations from signs erected to hold off the desperate to commit suicide. The contrast between the beauty of nature and the traces of desperate throughout the forest is visualized by the technique I used to »print« the book: by exposing the tracingpaper to extreme UVC-light it changes its color from blue-white to an almost fluorescent light yellow. The subtle color of the yellowed paper evokes the image of someone fading away in the deep forest, at the same time it stands for the decaying process of the paper after it was exposed to UV-rays. The white color stands in Japanese culture for the color of death, for this reason I limited the book to just this one tone. Since there is no adding of printing ink within the book, the cover shouldn’t be printed as well. I chose to laser-cut the whole poem out of transparent tracingboard, the single letters connected by thin bars. Covered by half transparent foil the lasercut piece evokes the image of a dense misty forest. The book is kept in a clear acrylic box with a small half-transparent silkscreened title, allowing the reader to get a glimpse of the poem even when the box is closed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293594974-PXOPXBRC9DSBIGY9QWEB/mcba-prize-2017-dana-sedeowsky-monotony-repitition-practice-1.jpg Entries & Jurors - 2017 Entries - Dana Sedeowsky Malmö, Skåne www.danasederowsky.com monotony repetition practice 2016 Artist´s book/ sculpture edition size of 500 32 pages plus leporello 10,8 meter 18cm x 10,8m x 2cm 18cm x 24 cm x 2cm Artist Statement monotony repetition practice by Dana Sederowsky is a hand-bound artist’s book. In addition to the edition of 500, the artist has produced an exclusive edition of 10 (+ 2 AP), numbered and signed, for the Kerber Verlag’s Collector’s Edition, each one a handwritten original. The book contains a handwritten text measuring 10.8 meters that has been scanned on a scale of 1:1 and folded into a leporello, which means that you can fold it out to its full length. It consists of the repetition of three phrases: monotony is a virtue, repetition is a strength, practice makes progress. Dana Sederowsky was born in 1975 in Helsingborg, Sweden. The internationally acclaimed artist is based in Malmö. She is currently preparing a major solo exhibition to be held at the Dunkers Kulturhus in Helsingborg, Sweden, opening February 18, 2017. For more information, go to www.danasederowsky.com https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293595053-KK42TDNN9OPE3N80423X/mcba-prize-2017-dana-sedeowsky-monotony-repitition-practice-2.jpg Entries & Jurors - 2017 Entries - Dana Sedeowsky Malmö, Skåne www.danasederowsky.com monotony repetition practice 2016 Artist´s book/ sculpture edition size of 500 32 pages plus leporello 10,8 meter 18cm x 10,8m x 2cm 18cm x 24 cm x 2cm Artist Statement monotony repetition practice by Dana Sederowsky is a hand-bound artist’s book. In addition to the edition of 500, the artist has produced an exclusive edition of 10 (+ 2 AP), numbered and signed, for the Kerber Verlag’s Collector’s Edition, each one a handwritten original. The book contains a handwritten text measuring 10.8 meters that has been scanned on a scale of 1:1 and folded into a leporello, which means that you can fold it out to its full length. It consists of the repetition of three phrases: monotony is a virtue, repetition is a strength, practice makes progress. Dana Sederowsky was born in 1975 in Helsingborg, Sweden. The internationally acclaimed artist is based in Malmö. She is currently preparing a major solo exhibition to be held at the Dunkers Kulturhus in Helsingborg, Sweden, opening February 18, 2017. For more information, go to www.danasederowsky.com https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293596254-RDT4YD5W8ZMKAF250MO9/mcba-prize-2017-dana-sedeowsky-monotony-repitition-practice-3.jpg Entries & Jurors - 2017 Entries - Dana Sedeowsky Malmö, Skåne www.danasederowsky.com monotony repetition practice 2016 Artist´s book/ sculpture edition size of 500 32 pages plus leporello 10,8 meter 18cm x 10,8m x 2cm 18cm x 24 cm x 2cm Artist Statement monotony repetition practice by Dana Sederowsky is a hand-bound artist’s book. In addition to the edition of 500, the artist has produced an exclusive edition of 10 (+ 2 AP), numbered and signed, for the Kerber Verlag’s Collector’s Edition, each one a handwritten original. The book contains a handwritten text measuring 10.8 meters that has been scanned on a scale of 1:1 and folded into a leporello, which means that you can fold it out to its full length. It consists of the repetition of three phrases: monotony is a virtue, repetition is a strength, practice makes progress. Dana Sederowsky was born in 1975 in Helsingborg, Sweden. The internationally acclaimed artist is based in Malmö. She is currently preparing a major solo exhibition to be held at the Dunkers Kulturhus in Helsingborg, Sweden, opening February 18, 2017. For more information, go to www.danasederowsky.com https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293596646-ZSLSEIPE61QWMXOCDU0Z/mcba-prize-2017-dana-sedeowsky-monotony-repitition-practice-4.jpg Entries & Jurors - 2017 Entries - Dana Sedeowsky Malmö, Skåne www.danasederowsky.com monotony repetition practice 2016 Artist´s book/ sculpture edition size of 500 32 pages plus leporello 10,8 meter 18cm x 10,8m x 2cm 18cm x 24 cm x 2cm Artist Statement monotony repetition practice by Dana Sederowsky is a hand-bound artist’s book. In addition to the edition of 500, the artist has produced an exclusive edition of 10 (+ 2 AP), numbered and signed, for the Kerber Verlag’s Collector’s Edition, each one a handwritten original. The book contains a handwritten text measuring 10.8 meters that has been scanned on a scale of 1:1 and folded into a leporello, which means that you can fold it out to its full length. It consists of the repetition of three phrases: monotony is a virtue, repetition is a strength, practice makes progress. Dana Sederowsky was born in 1975 in Helsingborg, Sweden. The internationally acclaimed artist is based in Malmö. She is currently preparing a major solo exhibition to be held at the Dunkers Kulturhus in Helsingborg, Sweden, opening February 18, 2017. For more information, go to www.danasederowsky.com https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293597565-UQG8KLUZI9KLA2DKO3YD/mcba-prize-2017-dana-sedeowsky-monotony-repitition-practice-5.jpg Entries & Jurors - 2017 Entries - Dana Sedeowsky Malmö, Skåne www.danasederowsky.com monotony repetition practice 2016 Artist´s book/ sculpture edition size of 500 32 pages plus leporello 10,8 meter 18cm x 10,8m x 2cm 18cm x 24 cm x 2cm Artist Statement monotony repetition practice by Dana Sederowsky is a hand-bound artist’s book. In addition to the edition of 500, the artist has produced an exclusive edition of 10 (+ 2 AP), numbered and signed, for the Kerber Verlag’s Collector’s Edition, each one a handwritten original. The book contains a handwritten text measuring 10.8 meters that has been scanned on a scale of 1:1 and folded into a leporello, which means that you can fold it out to its full length. It consists of the repetition of three phrases: monotony is a virtue, repetition is a strength, practice makes progress. Dana Sederowsky was born in 1975 in Helsingborg, Sweden. The internationally acclaimed artist is based in Malmö. She is currently preparing a major solo exhibition to be held at the Dunkers Kulturhus in Helsingborg, Sweden, opening February 18, 2017. For more information, go to www.danasederowsky.com https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293733766-RX3RG09VAABO823WV5SB/mcba-prize-2017-michael-sharp-lake-bonneville-remnants-1.jpg Entries & Jurors - 2017 Entries - Michael Sharp Springville, Utah Lake Bonneville Remnants 2016 Kallitype, Letterpress, Hand made ink 1 5.280 x aprox 15 in diameter 5.280 x 4.0625 x 0.375 in. Set of all 6 volumes with Long Divide fanned. Artist Statement I enjoy exploring the concepts of memory and identity within the context of place and time. I have been looking at the way place influences life experience and the remnant memories that define our relationships with those experiences. These memories ultimately come to define much of our human sense of identity. A triangular equivalent or circular unity between these three elements of place, memory, and identity occurs consistently throughout my work. My body of work represents a personal attempt to understand and define these aspects of the human experience. Lake Bonneville Remnants addresses these themes through exploration of Great Salt Lake. Great Salt Lake has been shrinking and reached record low levels this winter. The Salt Lake valley was once filled with a prehistoric lake, Lake Bonneville, that shrank over millennia leaving the geologic remnants and marks that define the land in north and western Utah, where I grew up. My exploration of these geologic features act as a metaphoric internal search for understanding my own presence and mark on the land. The six volumes in this work present panoramic photographs taken from sites related to significant cutting off points as Lake Bonneville and Great Salt Lake have receded. The photographs are Kallitypes contact printed from 4×5 inch large format silver gelatin negatives. I wanted to use the panorama as a reference to the lake form with an encircling shoreline. The prominent shorelines of the Lakes are printed letterpress on the pages. I made my own ink to bring the elements of iron and earth from the lake bed of Great Salt Lake into the work, not merely as color references but as physical presences https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293733622-JZUCNMAJWGCJ3JKX1FSO/mcba-prize-2017-michael-sharp-lake-bonneville-remnants-2.jpg Entries & Jurors - 2017 Entries - Michael Sharp Springville, Utah Lake Bonneville Remnants 2016 Kallitype, Letterpress, Hand made ink 1 5.280 x aprox 15 in diameter 5.280 x 4.0625 x 0.375 in. Set of all 6 volumes shown with Lake Bonneville shorelines spread shown. Artist Statement I enjoy exploring the concepts of memory and identity within the context of place and time. I have been looking at the way place influences life experience and the remnant memories that define our relationships with those experiences. These memories ultimately come to define much of our human sense of identity. A triangular equivalent or circular unity between these three elements of place, memory, and identity occurs consistently throughout my work. My body of work represents a personal attempt to understand and define these aspects of the human experience. Lake Bonneville Remnants addresses these themes through exploration of Great Salt Lake. Great Salt Lake has been shrinking and reached record low levels this winter. The Salt Lake valley was once filled with a prehistoric lake, Lake Bonneville, that shrank over millennia leaving the geologic remnants and marks that define the land in north and western Utah, where I grew up. My exploration of these geologic features act as a metaphoric internal search for understanding my own presence and mark on the land. The six volumes in this work present panoramic photographs taken from sites related to significant cutting off points as Lake Bonneville and Great Salt Lake have receded. The photographs are Kallitypes contact printed from 4×5 inch large format silver gelatin negatives. I wanted to use the panorama as a reference to the lake form with an encircling shoreline. The prominent shorelines of the Lakes are printed letterpress on the pages. I made my own ink to bring the elements of iron and earth from the lake bed of Great Salt Lake into the work, not merely as color references but as physical presences https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293736351-8TZP1NL3R0MRAX4WLXFJ/mcba-prize-2017-michael-sharp-lake-bonneville-remnants-3.jpg Entries & Jurors - 2017 Entries - Michael Sharp Springville, Utah Lake Bonneville Remnants 2016 Kallitype, Letterpress, Hand made ink 1 5.280 x aprox 15 in diameter 5.280 x 4.0625 x 0.375 in. Steep Mountain volume shown open and on display in gallery. Both interior and exterior visible. Artist Statement I enjoy exploring the concepts of memory and identity within the context of place and time. I have been looking at the way place influences life experience and the remnant memories that define our relationships with those experiences. These memories ultimately come to define much of our human sense of identity. A triangular equivalent or circular unity between these three elements of place, memory, and identity occurs consistently throughout my work. My body of work represents a personal attempt to understand and define these aspects of the human experience. Lake Bonneville Remnants addresses these themes through exploration of Great Salt Lake. Great Salt Lake has been shrinking and reached record low levels this winter. The Salt Lake valley was once filled with a prehistoric lake, Lake Bonneville, that shrank over millennia leaving the geologic remnants and marks that define the land in north and western Utah, where I grew up. My exploration of these geologic features act as a metaphoric internal search for understanding my own presence and mark on the land. The six volumes in this work present panoramic photographs taken from sites related to significant cutting off points as Lake Bonneville and Great Salt Lake have receded. The photographs are Kallitypes contact printed from 4×5 inch large format silver gelatin negatives. I wanted to use the panorama as a reference to the lake form with an encircling shoreline. The prominent shorelines of the Lakes are printed letterpress on the pages. I made my own ink to bring the elements of iron and earth from the lake bed of Great Salt Lake into the work, not merely as color references but as physical presences https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293736649-1CKAHQRZRDQH16JN3V6D/mcba-prize-2017-michael-sharp-lake-bonneville-remnants-4.jpg Entries & Jurors - 2017 Entries - Michael Sharp Springville, Utah Lake Bonneville Remnants 2016 Kallitype, Letterpress, Hand made ink 1 5.280 x aprox 15 in diameter 5.280 x 4.0625 x 0.375 in. Old River Bed volume shown open with cover and interior/exterior shown on display in gallery. Artist Statement I enjoy exploring the concepts of memory and identity within the context of place and time. I have been looking at the way place influences life experience and the remnant memories that define our relationships with those experiences. These memories ultimately come to define much of our human sense of identity. A triangular equivalent or circular unity between these three elements of place, memory, and identity occurs consistently throughout my work. My body of work represents a personal attempt to understand and define these aspects of the human experience. Lake Bonneville Remnants addresses these themes through exploration of Great Salt Lake. Great Salt Lake has been shrinking and reached record low levels this winter. The Salt Lake valley was once filled with a prehistoric lake, Lake Bonneville, that shrank over millennia leaving the geologic remnants and marks that define the land in north and western Utah, where I grew up. My exploration of these geologic features act as a metaphoric internal search for understanding my own presence and mark on the land. The six volumes in this work present panoramic photographs taken from sites related to significant cutting off points as Lake Bonneville and Great Salt Lake have receded. The photographs are Kallitypes contact printed from 4×5 inch large format silver gelatin negatives. I wanted to use the panorama as a reference to the lake form with an encircling shoreline. The prominent shorelines of the Lakes are printed letterpress on the pages. I made my own ink to bring the elements of iron and earth from the lake bed of Great Salt Lake into the work, not merely as color references but as physical presences https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293738797-T3B8CBFIF2J63YFRCHZE/mcba-prize-2017-michael-sharp-lake-bonneville-remnants-5.jpg Entries & Jurors - 2017 Entries - Michael Sharp Springville, Utah Lake Bonneville Remnants 2016 Kallitype, Letterpress, Hand made ink 1 5.280 x aprox 15 in diameter 5.280 x 4.0625 x 0.375 in. Set of 6 volumes standing together closed. Artist Statement I enjoy exploring the concepts of memory and identity within the context of place and time. I have been looking at the way place influences life experience and the remnant memories that define our relationships with those experiences. These memories ultimately come to define much of our human sense of identity. A triangular equivalent or circular unity between these three elements of place, memory, and identity occurs consistently throughout my work. My body of work represents a personal attempt to understand and define these aspects of the human experience. Lake Bonneville Remnants addresses these themes through exploration of Great Salt Lake. Great Salt Lake has been shrinking and reached record low levels this winter. The Salt Lake valley was once filled with a prehistoric lake, Lake Bonneville, that shrank over millennia leaving the geologic remnants and marks that define the land in north and western Utah, where I grew up. My exploration of these geologic features act as a metaphoric internal search for understanding my own presence and mark on the land. The six volumes in this work present panoramic photographs taken from sites related to significant cutting off points as Lake Bonneville and Great Salt Lake have receded. The photographs are Kallitypes contact printed from 4×5 inch large format silver gelatin negatives. I wanted to use the panorama as a reference to the lake form with an encircling shoreline. The prominent shorelines of the Lakes are printed letterpress on the pages. I made my own ink to bring the elements of iron and earth from the lake bed of Great Salt Lake into the work, not merely as color references but as physical presences https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293863273-LBGOV9GQ2QPZ9ANO79AM/mcba-prize-2017-carolyn-shattuck-excess-in-moderation-1.jpg Entries & Jurors - 2017 Entries - Carolyn Shattuck Rutland, Vermont Excess in Moderation 2016 Carousel with 6 panels -origami edition of 10 6 pages h-8.75″ W-11″ D-11″ Origami Peacock- origami paper, background Art Nouveau pattern Artist Statement Excess in Moderation is an expression of living life to the fullest and also being aware of its risks. These words hung on a storefront in the Florida Keys. My choices are based not on Fear but pushing my ideas to another place. This is my philosophy. I love patterning and design so I explored combining two different art forms: Art Nouveau and Japanese Origami. This approach exploded in my work as an origami carousel book. Inside the carousel , slightly hidden, are famous statements on this subject. Excess in Moderation was created in 2016, printed on Red River paper. Japanese origami papers Vellum, Washi papers and ribbon were also employed. The case was made from 2 ply board and lama Li paper. “As an example to others, and not that I care for moderation myself, it has always been my rule never to smoke when asleep, and never to refrain from smoking when awake” – Mark Twain https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293863513-FTRQV0OPWEY0Z6WLCESJ/mcba-prize-2017-carolyn-shattuck-excess-in-moderation-2.jpg Entries & Jurors - 2017 Entries - Carolyn Shattuck Rutland, Vermont Excess in Moderation 2016 Carousel with 6 panels -origami edition of 10 6 pages h-8.75″ W-11″ D-11″ 2 Origami Butterflies – made from origami paper, background Art Nouveau design Artist Statement Excess in Moderation is an expression of living life to the fullest and also being aware of its risks. These words hung on a storefront in the Florida Keys. My choices are based not on Fear but pushing my ideas to another place. This is my philosophy. I love patterning and design so I explored combining two different art forms: Art Nouveau and Japanese Origami. This approach exploded in my work as an origami carousel book. Inside the carousel , slightly hidden, are famous statements on this subject. Excess in Moderation was created in 2016, printed on Red River paper. Japanese origami papers Vellum, Washi papers and ribbon were also employed. The case was made from 2 ply board and lama Li paper. “As an example to others, and not that I care for moderation myself, it has always been my rule never to smoke when asleep, and never to refrain from smoking when awake” – Mark Twain https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293866845-1J24VQ2POOPN382G6SUJ/mcba-prize-2017-carolyn-shattuck-excess-in-moderation-3.jpg Entries & Jurors - 2017 Entries - Carolyn Shattuck Rutland, Vermont Excess in Moderation 2016 Carousel with 6 panels -origami edition of 10 6 pages h-8.75″ W-11″ D-11″ 2 panels of Origami Koi fish and turtles- background art Nouveau design Artist Statement Excess in Moderation is an expression of living life to the fullest and also being aware of its risks. These words hung on a storefront in the Florida Keys. My choices are based not on Fear but pushing my ideas to another place. This is my philosophy. I love patterning and design so I explored combining two different art forms: Art Nouveau and Japanese Origami. This approach exploded in my work as an origami carousel book. Inside the carousel , slightly hidden, are famous statements on this subject. Excess in Moderation was created in 2016, printed on Red River paper. Japanese origami papers Vellum, Washi papers and ribbon were also employed. The case was made from 2 ply board and lama Li paper. “As an example to others, and not that I care for moderation myself, it has always been my rule never to smoke when asleep, and never to refrain from smoking when awake” – Mark Twain https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293867230-MTRVK1E1RCFSGYTJK0D1/mcba-prize-2017-carolyn-shattuck-excess-in-moderation-4.jpg Entries & Jurors - 2017 Entries - Carolyn Shattuck Rutland, Vermont Excess in Moderation 2016 Carousel with 6 panels -origami edition of 10 6 pages h-8.75″ W-11″ D-11″ hidden interior with quotes from Mark Twain, Somerset Maugham, Oscar Wilde, Anne Sexton, Victoria Crain and others. Artist Statement Excess in Moderation is an expression of living life to the fullest and also being aware of its risks. These words hung on a storefront in the Florida Keys. My choices are based not on Fear but pushing my ideas to another place. This is my philosophy. I love patterning and design so I explored combining two different art forms: Art Nouveau and Japanese Origami. This approach exploded in my work as an origami carousel book. Inside the carousel , slightly hidden, are famous statements on this subject. Excess in Moderation was created in 2016, printed on Red River paper. Japanese origami papers Vellum, Washi papers and ribbon were also employed. The case was made from 2 ply board and lama Li paper. “As an example to others, and not that I care for moderation myself, it has always been my rule never to smoke when asleep, and never to refrain from smoking when awake” – Mark Twain https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774293869064-SW3WAL6Y3I8ILWCJC5X2/mcba-prize-2017-carolyn-shattuck-excess-in-moderation-5.jpg Entries & Jurors - 2017 Entries - Carolyn Shattuck Rutland, Vermont Excess in Moderation 2016 Carousel with 6 panels -origami edition of 10 6 pages h-8.75″ W-11″ D-11″ case made from 2 ply mat board and Lama Li paper Artist Statement Excess in Moderation is an expression of living life to the fullest and also being aware of its risks. These words hung on a storefront in the Florida Keys. My choices are based not on Fear but pushing my ideas to another place. This is my philosophy. I love patterning and design so I explored combining two different art forms: Art Nouveau and Japanese Origami. This approach exploded in my work as an origami carousel book. Inside the carousel , slightly hidden, are famous statements on this subject. Excess in Moderation was created in 2016, printed on Red River paper. Japanese origami papers Vellum, Washi papers and ribbon were also employed. The case was made from 2 ply board and lama Li paper. “As an example to others, and not that I care for moderation myself, it has always been my rule never to smoke when asleep, and never to refrain from smoking when awake” – Mark Twain https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774294102215-MFTRKB1LWKCFEDFNTCZT/mcba-prize-2017-carolyn-shattuck-resilience-1.jpg Entries & Jurors - 2017 Entries - Carolyn Shattuck Rutland, Vermont Resilience 2015 accordion book , explosion pop-ups, origami fish edition of 3 18 panels H11″x W 7″x D 20″ open 7″x11″x1.25″ closed Resilience with origami Koi Fish, drawn and printed on Canson Miteinte and Washi Japanese paper Artist Statement Resilience was created as a result of many hurdles that were put in my path. I had a choice to examine new ways of dealing with adversity. Besides meditation and talk therapy, I sought out exercise, Yoga, and art-making. I chose to examine the Koi fish as an origami structure because they signify perseverance. In Japan, the Koi represent strength by swimming upstream and surviving difficult living conditions. The Koi fish are housed in a pocket sleeve in this book and travel or swim around the book. The explosion pop-ups house phrases or significant words by people who have dedicated their lives to health. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774294102042-PEZVC10MY02OF7EZ8W8Q/mcba-prize-2017-carolyn-shattuck-resilience-2.jpg Entries & Jurors - 2017 Entries - Carolyn Shattuck Rutland, Vermont Resilience 2015 accordion book , explosion pop-ups, origami fish edition of 3 18 panels H11″x W 7″x D 20″ open 7″x11″x1.25″ closed Resilience depicting the end cover – drawn images of yoga postures Artist Statement Resilience was created as a result of many hurdles that were put in my path. I had a choice to examine new ways of dealing with adversity. Besides meditation and talk therapy, I sought out exercise, Yoga, and art-making. I chose to examine the Koi fish as an origami structure because they signify perseverance. In Japan, the Koi represent strength by swimming upstream and surviving difficult living conditions. The Koi fish are housed in a pocket sleeve in this book and travel or swim around the book. The explosion pop-ups house phrases or significant words by people who have dedicated their lives to health. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774294104396-4RF5N9Y8K7HD936A6DUP/mcba-prize-2017-carolyn-shattuck-resilience-3.jpg Entries & Jurors - 2017 Entries - Carolyn Shattuck Rutland, Vermont Resilience 2015 accordion book , explosion pop-ups, origami fish edition of 3 18 panels H11″x W 7″x D 20″ open 7″x11″x1.25″ closed Resilience with slipcase made from lama Li and mat board Artist Statement Resilience was created as a result of many hurdles that were put in my path. I had a choice to examine new ways of dealing with adversity. Besides meditation and talk therapy, I sought out exercise, Yoga, and art-making. I chose to examine the Koi fish as an origami structure because they signify perseverance. In Japan, the Koi represent strength by swimming upstream and surviving difficult living conditions. The Koi fish are housed in a pocket sleeve in this book and travel or swim around the book. The explosion pop-ups house phrases or significant words by people who have dedicated their lives to health. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774294104967-68GBHIXSM8FGSWHFAYGF/mcba-prize-2017-carolyn-shattuck-resilience-4.jpg Entries & Jurors - 2017 Entries - Carolyn Shattuck Rutland, Vermont Resilience 2015 accordion book , explosion pop-ups, origami fish edition of 3 18 panels H11″x W 7″x D 20″ open 7″x11″x1.25″ closed close view of the explosion pop-up, paper- Ingres and Bugra pastel Artist Statement Resilience was created as a result of many hurdles that were put in my path. I had a choice to examine new ways of dealing with adversity. Besides meditation and talk therapy, I sought out exercise, Yoga, and art-making. I chose to examine the Koi fish as an origami structure because they signify perseverance. In Japan, the Koi represent strength by swimming upstream and surviving difficult living conditions. The Koi fish are housed in a pocket sleeve in this book and travel or swim around the book. The explosion pop-ups house phrases or significant words by people who have dedicated their lives to health. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774294106430-WJ7VXY0VBHEH91KYABZU/mcba-prize-2017-carolyn-shattuck-resilience-5.jpg Entries & Jurors - 2017 Entries - Carolyn Shattuck Rutland, Vermont Resilience 2015 accordion book , explosion pop-ups, origami fish edition of 3 18 panels H11″x W 7″x D 20″ open 7″x11″x1.25″ closed inner view of Resilience with the Koi fish swimming upstream in the center Artist Statement Resilience was created as a result of many hurdles that were put in my path. I had a choice to examine new ways of dealing with adversity. Besides meditation and talk therapy, I sought out exercise, Yoga, and art-making. I chose to examine the Koi fish as an origami structure because they signify perseverance. In Japan, the Koi represent strength by swimming upstream and surviving difficult living conditions. The Koi fish are housed in a pocket sleeve in this book and travel or swim around the book. The explosion pop-ups house phrases or significant words by people who have dedicated their lives to health. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774294316619-KV5CCJG9J1ZFZP33ARX6/mcba-prize-2017-shawn-sheehy-fresh-cut-xmas-a-well-trimmed-survery-of-holiday-plants-1.jpg Entries & Jurors - 2017 Entries - Shawn Sheehy Chicago, Illinois shawnsheehy.com Fresh Cut Xmas: A Well-Trimmed Survey of Holiday Plants 2017 Pop-up engineering, letterpress edition of 50 16 spreads 6″h (app) x 9″w x 6.25″d open 1.625″h x 4.625″w x 6.25″d closed Full book turn-through, showing mechanisms in motion https://youtu.be/IiufJqYOEvA Cranberry spread. Featured text: Cranberries act as | preservatives. Perfect, for | two-month holidays. Fresh Cut Xmas: A Well-Trimmed Survey of Holiday Plants celebrates the flora that has played a role in winter holidays for centuries. In contrast with the excess of contemporary seasonal traditions, the style of this pop-up book is distinctly minimal; the palette is spare, the baubles are few, and the text on each page is composed using the haiku’s 17 stark syllables. Here’s a sample from the frankincense spread: The frankincense tree | bleeds the fragrance of kings; but | commoners choose AX. As with the first two books in this botanical series (A Pop-Up Field Guide to North American Wildflowers and A Pop-Up Culinary Herbal), Fresh Cut Xmas looks at ancient plant folklore through a contemporary lens with dual purpose: understanding and appreciating each plant more fully, and highlighting oddities of 21st century cultural practice. Shawn Sheehy concepted, engineered, designed and assembled this book. Eileen Madden at ChiPress printed the text from polymer plates. The type was set digitally in Italian Electric. All stock is commercial cover from various manufacturers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774294316567-OJOMXEBA9PNZADHYQSU1/mcba-prize-2017-shawn-sheehy-fresh-cut-xmas-a-well-trimmed-survery-of-holiday-plants-2.jpg Entries & Jurors - 2017 Entries - Shawn Sheehy Chicago, Illinois shawnsheehy.com Fresh Cut Xmas: A Well-Trimmed Survey of Holiday Plants 2017 Pop-up engineering, letterpress edition of 50 16 spreads 6″h (app) x 9″w x 6.25″d open 1.625″h x 4.625″w x 6.25″d closed Full book turn-through, showing mechanisms in motion https://youtu.be/IiufJqYOEvA Evergreens spread. Featured text: Trimmed, bound Evergreens | Wreaths, boughs… entire trees, even. | Then, soon, Everbrowns. Fresh Cut Xmas: A Well-Trimmed Survey of Holiday Plants celebrates the flora that has played a role in winter holidays for centuries. In contrast with the excess of contemporary seasonal traditions, the style of this pop-up book is distinctly minimal; the palette is spare, the baubles are few, and the text on each page is composed using the haiku’s 17 stark syllables. Here’s a sample from the frankincense spread: The frankincense tree | bleeds the fragrance of kings; but | commoners choose AX. As with the first two books in this botanical series (A Pop-Up Field Guide to North American Wildflowers and A Pop-Up Culinary Herbal), Fresh Cut Xmas looks at ancient plant folklore through a contemporary lens with dual purpose: understanding and appreciating each plant more fully, and highlighting oddities of 21st century cultural practice. Shawn Sheehy concepted, engineered, designed and assembled this book. Eileen Madden at ChiPress printed the text from polymer plates. The type was set digitally in Italian Electric. All stock is commercial cover from various manufacturers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774294317690-X1G3HJOPQTVBAFKNP399/mcba-prize-2017-shawn-sheehy-fresh-cut-xmas-a-well-trimmed-survery-of-holiday-plants-3.jpg Entries & Jurors - 2017 Entries - Shawn Sheehy Chicago, Illinois shawnsheehy.com Fresh Cut Xmas: A Well-Trimmed Survey of Holiday Plants 2017 Pop-up engineering, letterpress edition of 50 16 spreads 6″h (app) x 9″w x 6.25″d open 1.625″h x 4.625″w x 6.25″d closed Full book turn-through, showing mechanisms in motion https://youtu.be/IiufJqYOEvA Poinsettia spread. Featured text: Wild Poinsettias | are rangy; disease makes them | stubby and lovely. Fresh Cut Xmas: A Well-Trimmed Survey of Holiday Plants celebrates the flora that has played a role in winter holidays for centuries. In contrast with the excess of contemporary seasonal traditions, the style of this pop-up book is distinctly minimal; the palette is spare, the baubles are few, and the text on each page is composed using the haiku’s 17 stark syllables. Here’s a sample from the frankincense spread: The frankincense tree | bleeds the fragrance of kings; but | commoners choose AX. As with the first two books in this botanical series (A Pop-Up Field Guide to North American Wildflowers and A Pop-Up Culinary Herbal), Fresh Cut Xmas looks at ancient plant folklore through a contemporary lens with dual purpose: understanding and appreciating each plant more fully, and highlighting oddities of 21st century cultural practice. Shawn Sheehy concepted, engineered, designed and assembled this book. Eileen Madden at ChiPress printed the text from polymer plates. The type was set digitally in Italian Electric. All stock is commercial cover from various manufacturers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774294317859-QE34X6X70LH71YHN1SRY/mcba-prize-2017-shawn-sheehy-fresh-cut-xmas-a-well-trimmed-survery-of-holiday-plants-4.jpg Entries & Jurors - 2017 Entries - Shawn Sheehy Chicago, Illinois shawnsheehy.com Fresh Cut Xmas: A Well-Trimmed Survey of Holiday Plants 2017 Pop-up engineering, letterpress edition of 50 16 spreads 6″h (app) x 9″w x 6.25″d open 1.625″h x 4.625″w x 6.25″d closed Full book turn-through, showing mechanisms in motion https://youtu.be/IiufJqYOEvA Christmas Bells spread. Featured text: Aussie natives call | them Gadigalbudyari. | Write that carol, Irv. Fresh Cut Xmas: A Well-Trimmed Survey of Holiday Plants celebrates the flora that has played a role in winter holidays for centuries. In contrast with the excess of contemporary seasonal traditions, the style of this pop-up book is distinctly minimal; the palette is spare, the baubles are few, and the text on each page is composed using the haiku’s 17 stark syllables. Here’s a sample from the frankincense spread: The frankincense tree | bleeds the fragrance of kings; but | commoners choose AX. As with the first two books in this botanical series (A Pop-Up Field Guide to North American Wildflowers and A Pop-Up Culinary Herbal), Fresh Cut Xmas looks at ancient plant folklore through a contemporary lens with dual purpose: understanding and appreciating each plant more fully, and highlighting oddities of 21st century cultural practice. Shawn Sheehy concepted, engineered, designed and assembled this book. Eileen Madden at ChiPress printed the text from polymer plates. The type was set digitally in Italian Electric. All stock is commercial cover from various manufacturers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774295480676-ZMTHWMNFB5LD0NIJP6Y4/mcba-prize-2017-cb-sherlock-horizontal-grandeur-1.jpg Entries & Jurors - 2017 Entries - CB Sherlock Minneapolis, MN Horizontal Grandeur 2011 letterpress printed text, handpainted with rubber rollers on single sheet of paper, folded into accordion Edition Size: 6 Perfect / 5 nearly perfect 8 pages Dimensions Open: 15 (H) x 55 (W) inches Dimensions Closed: 15 (H) x 7 (W) inches, box 16 x 10 inches Artist Statement My work is about the threads that connect us: connections to the land, to our past, and to each other. In divided times these are fibers that link us together. As we struggle with why our neighbor voted this way, why someone we love is hated, we remember that we all want the same outcome; prosperity, happiness, success, longevity. Not just for individuals but our communities, our county, our world. I am a printmaker and book artist. I create small edition books and one of a ­kind works of art, combining text, imagery, and nontraditional housing. Everything is comfortable to the hand, a pleasure to the eye and a sense of heart for the soul. In making artist books, I am able to use the intimacy, flexibility, the movement thru time, and inter-activeness of the book structure. Multiple techniques are used in the imagery; hand-painted images, painterly printed scenes, or collaged layers of paper, the books themselves are sculptures. Once the pages are printed, painted or collaged, text letterpress printed, they are bound nontraditionally and housed in a container that adds to the whole. All is done with precision, craftsmanship and an understanding of the bigger picture. Some books depart from the traditional feel of a book, others contain familiar format, whatever fits with the concept. All are interactive, to be held, touched, viewed and read. A book held in one’s hands creates an intimate bond with the viewer. It allows the content to be integrated with their past and their present, creating that “Ah, hah!” moment, leading to a new understanding, new perception, new experience — creating something that will add to the perception of being connected to those around them. Looking at the world through different eyes, each of us views it in similar ways. Horizontal Grandeur, essay written by Bill Holm, describes the seeing through “prairie eyes”. It is the perfect words relating the feeling of intoxication of the large expanses of the landscape with all the details available. Using the text as part of the imagery, this book encompasses the abounding, organic beauty of the prairie; the wide paper, the tall grasses, and the joyous colors. The text runs horizontally across the 50 inches of the paper, making the viewer move the length of the paper and experience the largeness of the prairie. Connections: to the land, to our past, to each other. In this divided time, being able to find a bond with whomever and whatever is around us is not only desired but needed. My work is a tender not harsh. It is a look at what brings us together. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774295480845-YD49D0YDA2WK85M0XIUC/mcba-prize-2017-cb-sherlock-horizontal-grandeur-2.jpg Entries & Jurors - 2017 Entries - CB Sherlock Minneapolis, MN Horizontal Grandeur 2011 letterpress printed text, handpainted with rubber rollers on single sheet of paper, folded into accordion Edition Size: 6 Perfect / 5 nearly perfect 8 pages Dimensions Open: 15 (H) x 55 (W) inches Dimensions Closed: 15 (H) x 7 (W) inches, box 16 x 10 inches Artist Statement My work is about the threads that connect us: connections to the land, to our past, and to each other. In divided times these are fibers that link us together. As we struggle with why our neighbor voted this way, why someone we love is hated, we remember that we all want the same outcome; prosperity, happiness, success, longevity. Not just for individuals but our communities, our county, our world. I am a printmaker and book artist. I create small edition books and one of a ­kind works of art, combining text, imagery, and nontraditional housing. Everything is comfortable to the hand, a pleasure to the eye and a sense of heart for the soul. In making artist books, I am able to use the intimacy, flexibility, the movement thru time, and inter-activeness of the book structure. Multiple techniques are used in the imagery; hand-painted images, painterly printed scenes, or collaged layers of paper, the books themselves are sculptures. Once the pages are printed, painted or collaged, text letterpress printed, they are bound nontraditionally and housed in a container that adds to the whole. All is done with precision, craftsmanship and an understanding of the bigger picture. Some books depart from the traditional feel of a book, others contain familiar format, whatever fits with the concept. All are interactive, to be held, touched, viewed and read. A book held in one’s hands creates an intimate bond with the viewer. It allows the content to be integrated with their past and their present, creating that “Ah, hah!” moment, leading to a new understanding, new perception, new experience — creating something that will add to the perception of being connected to those around them. Looking at the world through different eyes, each of us views it in similar ways. Horizontal Grandeur, essay written by Bill Holm, describes the seeing through “prairie eyes”. It is the perfect words relating the feeling of intoxication of the large expanses of the landscape with all the details available. Using the text as part of the imagery, this book encompasses the abounding, organic beauty of the prairie; the wide paper, the tall grasses, and the joyous colors. The text runs horizontally across the 50 inches of the paper, making the viewer move the length of the paper and experience the largeness of the prairie. Connections: to the land, to our past, to each other. In this divided time, being able to find a bond with whomever and whatever is around us is not only desired but needed. My work is a tender not harsh. It is a look at what brings us together. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774295481999-OGZL4SLYU7WGRIL5J91E/mcba-prize-2017-cb-sherlock-horizontal-grandeur-3.jpg Entries & Jurors - 2017 Entries - CB Sherlock Minneapolis, MN Horizontal Grandeur 2011 letterpress printed text, handpainted with rubber rollers on single sheet of paper, folded into accordion Edition Size: 6 Perfect / 5 nearly perfect 8 pages Dimensions Open: 15 (H) x 55 (W) inches Dimensions Closed: 15 (H) x 7 (W) inches, box 16 x 10 inches Artist Statement My work is about the threads that connect us: connections to the land, to our past, and to each other. In divided times these are fibers that link us together. As we struggle with why our neighbor voted this way, why someone we love is hated, we remember that we all want the same outcome; prosperity, happiness, success, longevity. Not just for individuals but our communities, our county, our world. I am a printmaker and book artist. I create small edition books and one of a ­kind works of art, combining text, imagery, and nontraditional housing. Everything is comfortable to the hand, a pleasure to the eye and a sense of heart for the soul. In making artist books, I am able to use the intimacy, flexibility, the movement thru time, and inter-activeness of the book structure. Multiple techniques are used in the imagery; hand-painted images, painterly printed scenes, or collaged layers of paper, the books themselves are sculptures. Once the pages are printed, painted or collaged, text letterpress printed, they are bound nontraditionally and housed in a container that adds to the whole. All is done with precision, craftsmanship and an understanding of the bigger picture. Some books depart from the traditional feel of a book, others contain familiar format, whatever fits with the concept. All are interactive, to be held, touched, viewed and read. A book held in one’s hands creates an intimate bond with the viewer. It allows the content to be integrated with their past and their present, creating that “Ah, hah!” moment, leading to a new understanding, new perception, new experience — creating something that will add to the perception of being connected to those around them. Looking at the world through different eyes, each of us views it in similar ways. Horizontal Grandeur, essay written by Bill Holm, describes the seeing through “prairie eyes”. It is the perfect words relating the feeling of intoxication of the large expanses of the landscape with all the details available. Using the text as part of the imagery, this book encompasses the abounding, organic beauty of the prairie; the wide paper, the tall grasses, and the joyous colors. The text runs horizontally across the 50 inches of the paper, making the viewer move the length of the paper and experience the largeness of the prairie. Connections: to the land, to our past, to each other. In this divided time, being able to find a bond with whomever and whatever is around us is not only desired but needed. My work is a tender not harsh. It is a look at what brings us together. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774295553007-PRM4LL7KYPO174VHVRU9/mcba-prize-2017-leslie-smith-a-view-of-affect-1.jpg Entries & Jurors - 2017 Entries - Leslie Smith Winston-Salem, North Carolina leslie-a-smith.com A View of Affect 2015 Letterpress. handmade paper, paper case binding edition of 25 66 pages 8.5″ x 12.5″ x 5/8″ open 8.5″ x 6.25″ x 5/8″ closed Image of the book’s cover. The book is bound in a paper case. Bio Leslie Smith makes drawings, prints, and books based on her interest in early modern science and translation. She holds an MFA in Book Arts from the University of Iowa Center for the Book, and a master’s degree in Library Science. She currently lives in North Carolina where she teaches at the Sawtooth School for Visual Art and is developing a project, exploring renaissance ideas on wonder and curiosity. Artist’s Statement Letterpress, papermaking, and bookbinding are processes essential to my work. They enable the mixing of materials with text and image. I use my tools including; writing, drawing, printing, and papermaking to ask and answer questions. For me, writing leads to imagery and imagery leads to writing. Making and materials feed this productive cycle. For the last four years, I have been interested in the body and the mind. Curiosity has pushed me toward speculative questions. For example, what if emotions had a physical form? What would they look like? What if melancholy had a size, a shape, a color? These questions entice me to answer. I think melancholy would be harmless looking. It would be a pale blue seed that appears in the mind and then drifts softly down into the body. I create a response with text, drawings and diagrams. Currently, I am asking questions about the mind. Where are my memories? What is the pathway to a new thought? Responding to these questions is beyond tempting. By imagining an answer, I make new ways to think about and explain the human experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774295552908-ANK5JJ0DIUW9TYP8KLZS/mcba-prize-2017-leslie-smith-a-view-of-affect-2.jpg Entries & Jurors - 2017 Entries - Leslie Smith Winston-Salem, North Carolina leslie-a-smith.com A View of Affect 2015 Letterpress. handmade paper, paper case binding edition of 25 66 pages 8.5″ x 12.5″ x 5/8″ open 8.5″ x 6.25″ x 5/8″ closed Title page. The window layout is a nod to title page on Robert Burton’s Anatomy of Melancholy. Bio Leslie Smith makes drawings, prints, and books based on her interest in early modern science and translation. She holds an MFA in Book Arts from the University of Iowa Center for the Book, and a master’s degree in Library Science. She currently lives in North Carolina where she teaches at the Sawtooth School for Visual Art and is developing a project, exploring renaissance ideas on wonder and curiosity. Artist’s Statement Letterpress, papermaking, and bookbinding are processes essential to my work. They enable the mixing of materials with text and image. I use my tools including; writing, drawing, printing, and papermaking to ask and answer questions. For me, writing leads to imagery and imagery leads to writing. Making and materials feed this productive cycle. For the last four years, I have been interested in the body and the mind. Curiosity has pushed me toward speculative questions. For example, what if emotions had a physical form? What would they look like? What if melancholy had a size, a shape, a color? These questions entice me to answer. I think melancholy would be harmless looking. It would be a pale blue seed that appears in the mind and then drifts softly down into the body. I create a response with text, drawings and diagrams. Currently, I am asking questions about the mind. Where are my memories? What is the pathway to a new thought? Responding to these questions is beyond tempting. By imagining an answer, I make new ways to think about and explain the human experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774295554046-F04UVVBBTJPTA3PS10EZ/mcba-prize-2017-leslie-smith-a-view-of-affect-3.jpg Entries & Jurors - 2017 Entries - Leslie Smith Winston-Salem, North Carolina leslie-a-smith.com A View of Affect 2015 Letterpress. handmade paper, paper case binding edition of 25 66 pages 8.5″ x 12.5″ x 5/8″ open 8.5″ x 6.25″ x 5/8″ closed An explanatory text and diagram about the heart. The heart keeps record of emotional life. The records are woven into its fiber. Bio Leslie Smith makes drawings, prints, and books based on her interest in early modern science and translation. She holds an MFA in Book Arts from the University of Iowa Center for the Book, and a master’s degree in Library Science. She currently lives in North Carolina where she teaches at the Sawtooth School for Visual Art and is developing a project, exploring renaissance ideas on wonder and curiosity. Artist’s Statement Letterpress, papermaking, and bookbinding are processes essential to my work. They enable the mixing of materials with text and image. I use my tools including; writing, drawing, printing, and papermaking to ask and answer questions. For me, writing leads to imagery and imagery leads to writing. Making and materials feed this productive cycle. For the last four years, I have been interested in the body and the mind. Curiosity has pushed me toward speculative questions. For example, what if emotions had a physical form? What would they look like? What if melancholy had a size, a shape, a color? These questions entice me to answer. I think melancholy would be harmless looking. It would be a pale blue seed that appears in the mind and then drifts softly down into the body. I create a response with text, drawings and diagrams. Currently, I am asking questions about the mind. Where are my memories? What is the pathway to a new thought? Responding to these questions is beyond tempting. By imagining an answer, I make new ways to think about and explain the human experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774295554226-T35ZLRMD41GS7OH9I49T/mcba-prize-2017-leslie-smith-a-view-of-affect-4.jpg Entries & Jurors - 2017 Entries - Leslie Smith Winston-Salem, North Carolina leslie-a-smith.com A View of Affect 2015 Letterpress. handmade paper, paper case binding edition of 25 66 pages 8.5″ x 12.5″ x 5/8″ open 8.5″ x 6.25″ x 5/8″ closed One of five folios explaining a biomythology about emotional life. In this case melancholy is a seed cast out by the mind that falls down into the body and weighs down the heart. Folio includes text, enlarged image of melancholy seeds and diagram of the range of feeling possible when melancholy. Bio Leslie Smith makes drawings, prints, and books based on her interest in early modern science and translation. She holds an MFA in Book Arts from the University of Iowa Center for the Book, and a master’s degree in Library Science. She currently lives in North Carolina where she teaches at the Sawtooth School for Visual Art and is developing a project, exploring renaissance ideas on wonder and curiosity. Artist’s Statement Letterpress, papermaking, and bookbinding are processes essential to my work. They enable the mixing of materials with text and image. I use my tools including; writing, drawing, printing, and papermaking to ask and answer questions. For me, writing leads to imagery and imagery leads to writing. Making and materials feed this productive cycle. For the last four years, I have been interested in the body and the mind. Curiosity has pushed me toward speculative questions. For example, what if emotions had a physical form? What would they look like? What if melancholy had a size, a shape, a color? These questions entice me to answer. I think melancholy would be harmless looking. It would be a pale blue seed that appears in the mind and then drifts softly down into the body. I create a response with text, drawings and diagrams. Currently, I am asking questions about the mind. Where are my memories? What is the pathway to a new thought? Responding to these questions is beyond tempting. By imagining an answer, I make new ways to think about and explain the human experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774295555053-6Y70QR78YCRHI111EPMH/mcba-prize-2017-leslie-smith-a-view-of-affect-5.jpg Entries & Jurors - 2017 Entries - Leslie Smith Winston-Salem, North Carolina leslie-a-smith.com A View of Affect 2015 Letterpress. handmade paper, paper case binding edition of 25 66 pages 8.5″ x 12.5″ x 5/8″ open 8.5″ x 6.25″ x 5/8″ closed The folio opens out into a fourfold showing the melancholy seeds in a life size body. It is an anatomical chart. Bio Leslie Smith makes drawings, prints, and books based on her interest in early modern science and translation. She holds an MFA in Book Arts from the University of Iowa Center for the Book, and a master’s degree in Library Science. She currently lives in North Carolina where she teaches at the Sawtooth School for Visual Art and is developing a project, exploring renaissance ideas on wonder and curiosity. Artist’s Statement Letterpress, papermaking, and bookbinding are processes essential to my work. They enable the mixing of materials with text and image. I use my tools including; writing, drawing, printing, and papermaking to ask and answer questions. For me, writing leads to imagery and imagery leads to writing. Making and materials feed this productive cycle. For the last four years, I have been interested in the body and the mind. Curiosity has pushed me toward speculative questions. For example, what if emotions had a physical form? What would they look like? What if melancholy had a size, a shape, a color? These questions entice me to answer. I think melancholy would be harmless looking. It would be a pale blue seed that appears in the mind and then drifts softly down into the body. I create a response with text, drawings and diagrams. Currently, I am asking questions about the mind. Where are my memories? What is the pathway to a new thought? Responding to these questions is beyond tempting. By imagining an answer, I make new ways to think about and explain the human experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774295658958-BCDQ0OCBZTXJN3HHZG37/mcba-prize-2017-maro-vandorou-persephones-chamber-1.jpg Entries & Jurors - 2017 Entries - Maro Vandorou Dublin, California www.marovandorou.com Persephone’s Chamber 2017 Palladium printing on Shikibu Gampi paper, palladium pigment calligraphy, letterpress printing from polymer plates, handmade papers , limp vellum binding 9 + 2 artists’ proofs 28– 13 foios, 9 of which contain palladium prints 17″ x 21.5″ 17″ x 10.75″ x .75″ https://vimeo.com/215273992 The book on its “sarcophagus” book enclosure of sandblasted Plexiglas. The binding is a limp vellum structure. The covers are of manuscript-quality calf vellum 1/10th of an mm thin, soft and pliable. Even though it is 17” x 10.75” the book weighs only 180 grams (6.35 ounces) Artist Statement liminal is the space . whispers . fleeting movement . in the shadows . a cup of light. to her lips Persephone’s Chamber explores the aftermath of a process of transformation. Persephone comes to consciousness, exhausted and disoriented in an unfamiliar environment. During the long, poisonous sleep, visions of her ancestors appear; they hold offerings the meaning of which she cannot -as yet- decipher. The echo of three words εξιλέωσις.εξαγνισμός .εξαΰλωσις (atonement, purification, dematerialization) is haunting. Persephone intuits that the focus is on maintaining purity of intent. “Persephone’s Chamber” explores transition, an in-between-space and state. From the underground chambers of Hades, she is now in a space closed and contained where the light is diffuse with gradual transition between shadows and illumination, between external and internal spaces. This place of white marble, devoid of human presence, is a place full of fleeting movements in the shadows and whispers. The design of the book In this book, more than in any other previous work, I felt the need for a very close congruence among abstract concepts, content (images and writings) and materials. Atonement, purification, dematerialization are underlying threads in Persephone’s journey, as well as fragility, vulnerability, and a gradual unveiling of the story. Minimalism, white space, and translucency of materials were key design principles that guided the selection of all the materials. Most were custom made for the edition. The covers of the book are white, manuscript-quality calf vellum, thinned at my request to 1/10th of mm. by Cowley’s in the United Kingdom. The title is rendered in Greek with ground palladium pigment, mixed with a small quantity of gum Arabic on graphite lettering. The folio of the title, like the end sheets and other intentionally inserted empty folios are of the thinnest abaca. The palladium prints are on handmade Japanese Shikibu Gampi, 18 gm/m2. Each print is nestled within a folio made of two kinds of abaca. The front of the folio is “wild” abaca, heavily textured, with irregular deckles that conceals the images, and once lifted, reveals a print attached with silk threads on abaca that is semi-translucent and smooth. Once we turn the folio, there is a “second reading” a ghost image of the back of the print, alongside the next image, partially concealed. In between sections of images, extremely thin abaca folios slow the viewing. The text, letterpress printed, is minimal, sequentially laid over two folios. Persephone’s Chamber is housed in a custom enclosure made of 3/8th thick Plexiglas sandblasted on the outside. In contrast to the fragile book, the enclosure is rigid and solid, linked to a sarcophagus of frosted glass that once closed hints to the content it protects. “Persephone’s Chamber” presented at Codex 2017 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774295658908-2K4C0MA241B3IPDOMGVW/mcba-prize-2017-maro-vandorou-persephones-chamber-2.jpg Entries & Jurors - 2017 Entries - Maro Vandorou Dublin, California www.marovandorou.com Persephone’s Chamber 2017 Palladium printing on Shikibu Gampi paper, palladium pigment calligraphy, letterpress printing from polymer plates, handmade papers , limp vellum binding 9 + 2 artists’ proofs 28– 13 foios, 9 of which contain palladium prints 17″ x 21.5″ 17″ x 10.75″ x .75″ https://vimeo.com/215273992 Palladium pigment calligraphy on graphite Greek lettering; the paper is tissue – thin abaca Artist Statement liminal is the space . whispers . fleeting movement . in the shadows . a cup of light. to her lips Persephone’s Chamber explores the aftermath of a process of transformation. Persephone comes to consciousness, exhausted and disoriented in an unfamiliar environment. During the long, poisonous sleep, visions of her ancestors appear; they hold offerings the meaning of which she cannot -as yet- decipher. The echo of three words εξιλέωσις.εξαγνισμός .εξαΰλωσις (atonement, purification, dematerialization) is haunting. Persephone intuits that the focus is on maintaining purity of intent. “Persephone’s Chamber” explores transition, an in-between-space and state. From the underground chambers of Hades, she is now in a space closed and contained where the light is diffuse with gradual transition between shadows and illumination, between external and internal spaces. This place of white marble, devoid of human presence, is a place full of fleeting movements in the shadows and whispers. The design of the book In this book, more than in any other previous work, I felt the need for a very close congruence among abstract concepts, content (images and writings) and materials. Atonement, purification, dematerialization are underlying threads in Persephone’s journey, as well as fragility, vulnerability, and a gradual unveiling of the story. Minimalism, white space, and translucency of materials were key design principles that guided the selection of all the materials. Most were custom made for the edition. The covers of the book are white, manuscript-quality calf vellum, thinned at my request to 1/10th of mm. by Cowley’s in the United Kingdom. The title is rendered in Greek with ground palladium pigment, mixed with a small quantity of gum Arabic on graphite lettering. The folio of the title, like the end sheets and other intentionally inserted empty folios are of the thinnest abaca. The palladium prints are on handmade Japanese Shikibu Gampi, 18 gm/m2. Each print is nestled within a folio made of two kinds of abaca. The front of the folio is “wild” abaca, heavily textured, with irregular deckles that conceals the images, and once lifted, reveals a print attached with silk threads on abaca that is semi-translucent and smooth. Once we turn the folio, there is a “second reading” a ghost image of the back of the print, alongside the next image, partially concealed. In between sections of images, extremely thin abaca folios slow the viewing. The text, letterpress printed, is minimal, sequentially laid over two folios. Persephone’s Chamber is housed in a custom enclosure made of 3/8th thick Plexiglas sandblasted on the outside. In contrast to the fragile book, the enclosure is rigid and solid, linked to a sarcophagus of frosted glass that once closed hints to the content it protects. “Persephone’s Chamber” presented at Codex 2017 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774295659827-3EWDWJ8VKQ8W3PH9LMKM/mcba-prize-2017-maro-vandorou-persephones-chamber-3.jpg Entries & Jurors - 2017 Entries - Maro Vandorou Dublin, California www.marovandorou.com Persephone’s Chamber 2017 Palladium printing on Shikibu Gampi paper, palladium pigment calligraphy, letterpress printing from polymer plates, handmade papers , limp vellum binding 9 + 2 artists’ proofs 28– 13 foios, 9 of which contain palladium prints 17″ x 21.5″ 17″ x 10.75″ x .75″ https://vimeo.com/215273992 Open folio with one of the 9 palladium prints; photo taken with a medium format film camera, negative scanned and digital negative made to the size of final print. Shikibu Gampi paper hand coated with palladium metals to render it photosensitive; contact printed and exposed to an ultraviolet source of light. Palladium printing is a historic 19th century photographic process with a long tonal scale and archival value. Artist Statement liminal is the space . whispers . fleeting movement . in the shadows . a cup of light. to her lips Persephone’s Chamber explores the aftermath of a process of transformation. Persephone comes to consciousness, exhausted and disoriented in an unfamiliar environment. During the long, poisonous sleep, visions of her ancestors appear; they hold offerings the meaning of which she cannot -as yet- decipher. The echo of three words εξιλέωσις.εξαγνισμός .εξαΰλωσις (atonement, purification, dematerialization) is haunting. Persephone intuits that the focus is on maintaining purity of intent. “Persephone’s Chamber” explores transition, an in-between-space and state. From the underground chambers of Hades, she is now in a space closed and contained where the light is diffuse with gradual transition between shadows and illumination, between external and internal spaces. This place of white marble, devoid of human presence, is a place full of fleeting movements in the shadows and whispers. The design of the book In this book, more than in any other previous work, I felt the need for a very close congruence among abstract concepts, content (images and writings) and materials. Atonement, purification, dematerialization are underlying threads in Persephone’s journey, as well as fragility, vulnerability, and a gradual unveiling of the story. Minimalism, white space, and translucency of materials were key design principles that guided the selection of all the materials. Most were custom made for the edition. The covers of the book are white, manuscript-quality calf vellum, thinned at my request to 1/10th of mm. by Cowley’s in the United Kingdom. The title is rendered in Greek with ground palladium pigment, mixed with a small quantity of gum Arabic on graphite lettering. The folio of the title, like the end sheets and other intentionally inserted empty folios are of the thinnest abaca. The palladium prints are on handmade Japanese Shikibu Gampi, 18 gm/m2. Each print is nestled within a folio made of two kinds of abaca. The front of the folio is “wild” abaca, heavily textured, with irregular deckles that conceals the images, and once lifted, reveals a print attached with silk threads on abaca that is semi-translucent and smooth. Once we turn the folio, there is a “second reading” a ghost image of the back of the print, alongside the next image, partially concealed. In between sections of images, extremely thin abaca folios slow the viewing. The text, letterpress printed, is minimal, sequentially laid over two folios. Persephone’s Chamber is housed in a custom enclosure made of 3/8th thick Plexiglas sandblasted on the outside. In contrast to the fragile book, the enclosure is rigid and solid, linked to a sarcophagus of frosted glass that once closed hints to the content it protects. “Persephone’s Chamber” presented at Codex 2017 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774295659981-8G5MEB08NS2LUO51BQCH/mcba-prize-2017-maro-vandorou-persephones-chamber-4.jpg Entries & Jurors - 2017 Entries - Maro Vandorou Dublin, California www.marovandorou.com Persephone’s Chamber 2017 Palladium printing on Shikibu Gampi paper, palladium pigment calligraphy, letterpress printing from polymer plates, handmade papers , limp vellum binding 9 + 2 artists’ proofs 28– 13 foios, 9 of which contain palladium prints 17″ x 21.5″ 17″ x 10.75″ x .75″ https://vimeo.com/215273992 Another palladium print nestled within an abaca folio. It is attached with silk threads to the abaca. The translucent quality of the handmade abaca, allows for a “second reading” of the print within the preceding folio, as we turn the pages. Artist Statement liminal is the space . whispers . fleeting movement . in the shadows . a cup of light. to her lips Persephone’s Chamber explores the aftermath of a process of transformation. Persephone comes to consciousness, exhausted and disoriented in an unfamiliar environment. During the long, poisonous sleep, visions of her ancestors appear; they hold offerings the meaning of which she cannot -as yet- decipher. The echo of three words εξιλέωσις.εξαγνισμός .εξαΰλωσις (atonement, purification, dematerialization) is haunting. Persephone intuits that the focus is on maintaining purity of intent. “Persephone’s Chamber” explores transition, an in-between-space and state. From the underground chambers of Hades, she is now in a space closed and contained where the light is diffuse with gradual transition between shadows and illumination, between external and internal spaces. This place of white marble, devoid of human presence, is a place full of fleeting movements in the shadows and whispers. The design of the book In this book, more than in any other previous work, I felt the need for a very close congruence among abstract concepts, content (images and writings) and materials. Atonement, purification, dematerialization are underlying threads in Persephone’s journey, as well as fragility, vulnerability, and a gradual unveiling of the story. Minimalism, white space, and translucency of materials were key design principles that guided the selection of all the materials. Most were custom made for the edition. The covers of the book are white, manuscript-quality calf vellum, thinned at my request to 1/10th of mm. by Cowley’s in the United Kingdom. The title is rendered in Greek with ground palladium pigment, mixed with a small quantity of gum Arabic on graphite lettering. The folio of the title, like the end sheets and other intentionally inserted empty folios are of the thinnest abaca. The palladium prints are on handmade Japanese Shikibu Gampi, 18 gm/m2. Each print is nestled within a folio made of two kinds of abaca. The front of the folio is “wild” abaca, heavily textured, with irregular deckles that conceals the images, and once lifted, reveals a print attached with silk threads on abaca that is semi-translucent and smooth. Once we turn the folio, there is a “second reading” a ghost image of the back of the print, alongside the next image, partially concealed. In between sections of images, extremely thin abaca folios slow the viewing. The text, letterpress printed, is minimal, sequentially laid over two folios. Persephone’s Chamber is housed in a custom enclosure made of 3/8th thick Plexiglas sandblasted on the outside. In contrast to the fragile book, the enclosure is rigid and solid, linked to a sarcophagus of frosted glass that once closed hints to the content it protects. “Persephone’s Chamber” presented at Codex 2017 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774295804449-XKJPO4LKW53MTJBASSPK/mcba-prize-2017-dorothy-a-yule-hediday-a-portable-holiday-celebrating-the-work-of-hedi-kyle-1.jpg Entries & Jurors - 2017 Entries - Dorothy A. Yule Oakland, California www.leftcoastpress.com Hediday: A Portable Holiday Celebrating the Work of Hedi Kyle 2015 Structures: Gift Box,Toys and Gift Box, Nature: wunderkabinett (3-dimensional magic wallet with mylar insert); Celebratory show (Abbrev.): Accordion with swiveling ovals; Song for Hediday: Blizzard book without final folds; Cake of Applause: Miura fold with flags. Media and materials: Ink jet printing, Mylar, velour, toys, trinkets and seashells, Mohawk Superfine and various decorative papers including vintage tea chest gold paper, silk “headbands”. Edition of Six Five connectible slipcases with books/book objects; difficult to paginate Longest accordion opens to about 60 inches; varies by book each book in slipcase is 3 inches high x 2.25 inches wide x 0.75 inches deep The five volumes of Hediday are shown in their slipcases, adapted from a conservation structure by Hedi Kyle. ARTIST STATEMENT Forty years ago I was living in New York city, a few blocks down the street from the Bleecker Street storefront that was the Center for the Book’s first home. One night I saw people working inside this cluttered storefront and soon I had signed up for a bookbinding class with Hedi Kyle, who at that time was teaching traditional bookbinding. This book in five volumes is intended as an homage to Hedi and her work. Her influence has been so enormous in the field of book arts for the past decades and I wanted to channel the gratitude that we all must feel for her pioneering structures and bindings. I wanted the book to embody both the spirit of Hedi’s structures and the celebratory energy in which it is made. I conceived of this as a portable holiday, an instant fête, an offering of one grateful book artist to a great master: two gift boxes (the Wunderkabinett), a song, a celebratory show (abbreviated) of Hedi’s inventions, and a cake of applause. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774295804544-VESN6ZC3MR0BJHILFS9M/mcba-prize-2017-dorothy-a-yule-hediday-a-portable-holiday-celebrating-the-work-of-hedi-kyle-2.jpg Entries & Jurors - 2017 Entries - Dorothy A. Yule Oakland, California www.leftcoastpress.com Hediday: A Portable Holiday Celebrating the Work of Hedi Kyle 2015 Structures: Gift Box,Toys and Gift Box, Nature: wunderkabinett (3-dimensional magic wallet with mylar insert); Celebratory show (Abbrev.): Accordion with swiveling ovals; Song for Hediday: Blizzard book without final folds; Cake of Applause: Miura fold with flags. Media and materials: Ink jet printing, Mylar, velour, toys, trinkets and seashells, Mohawk Superfine and various decorative papers including vintage tea chest gold paper, silk “headbands”. Edition of Six Five connectible slipcases with books/book objects; difficult to paginate Longest accordion opens to about 60 inches; varies by book each book in slipcase is 3 inches high x 2.25 inches wide x 0.75 inches deep The Cake of Applause, a flag book built on a Miura fold, is shown in a partly open position. ARTIST STATEMENT Forty years ago I was living in New York city, a few blocks down the street from the Bleecker Street storefront that was the Center for the Book’s first home. One night I saw people working inside this cluttered storefront and soon I had signed up for a bookbinding class with Hedi Kyle, who at that time was teaching traditional bookbinding. This book in five volumes is intended as an homage to Hedi and her work. Her influence has been so enormous in the field of book arts for the past decades and I wanted to channel the gratitude that we all must feel for her pioneering structures and bindings. I wanted the book to embody both the spirit of Hedi’s structures and the celebratory energy in which it is made. I conceived of this as a portable holiday, an instant fête, an offering of one grateful book artist to a great master: two gift boxes (the Wunderkabinett), a song, a celebratory show (abbreviated) of Hedi’s inventions, and a cake of applause. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774295806984-HNVOYNROWYW649ZRAL7I/mcba-prize-2017-dorothy-a-yule-hediday-a-portable-holiday-celebrating-the-work-of-hedi-kyle-3.jpg Entries & Jurors - 2017 Entries - Dorothy A. Yule Oakland, California www.leftcoastpress.com Hediday: A Portable Holiday Celebrating the Work of Hedi Kyle 2015 Structures: Gift Box,Toys and Gift Box, Nature: wunderkabinett (3-dimensional magic wallet with mylar insert); Celebratory show (Abbrev.): Accordion with swiveling ovals; Song for Hediday: Blizzard book without final folds; Cake of Applause: Miura fold with flags. Media and materials: Ink jet printing, Mylar, velour, toys, trinkets and seashells, Mohawk Superfine and various decorative papers including vintage tea chest gold paper, silk “headbands”. Edition of Six Five connectible slipcases with books/book objects; difficult to paginate Longest accordion opens to about 60 inches; varies by book each book in slipcase is 3 inches high x 2.25 inches wide x 0.75 inches deep Gift Box, Nature contains objects that reference Hedi’s lifelong habit of collecting things. ARTIST STATEMENT Forty years ago I was living in New York city, a few blocks down the street from the Bleecker Street storefront that was the Center for the Book’s first home. One night I saw people working inside this cluttered storefront and soon I had signed up for a bookbinding class with Hedi Kyle, who at that time was teaching traditional bookbinding. This book in five volumes is intended as an homage to Hedi and her work. Her influence has been so enormous in the field of book arts for the past decades and I wanted to channel the gratitude that we all must feel for her pioneering structures and bindings. I wanted the book to embody both the spirit of Hedi’s structures and the celebratory energy in which it is made. I conceived of this as a portable holiday, an instant fête, an offering of one grateful book artist to a great master: two gift boxes (the Wunderkabinett), a song, a celebratory show (abbreviated) of Hedi’s inventions, and a cake of applause. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774295807257-V74RBIGI0V6DAU7E4Z3E/mcba-prize-2017-dorothy-a-yule-hediday-a-portable-holiday-celebrating-the-work-of-hedi-kyle-4.jpg Entries & Jurors - 2017 Entries - Dorothy A. Yule Oakland, California www.leftcoastpress.com Hediday: A Portable Holiday Celebrating the Work of Hedi Kyle 2015 Structures: Gift Box,Toys and Gift Box, Nature: wunderkabinett (3-dimensional magic wallet with mylar insert); Celebratory show (Abbrev.): Accordion with swiveling ovals; Song for Hediday: Blizzard book without final folds; Cake of Applause: Miura fold with flags. Media and materials: Ink jet printing, Mylar, velour, toys, trinkets and seashells, Mohawk Superfine and various decorative papers including vintage tea chest gold paper, silk “headbands”. Edition of Six Five connectible slipcases with books/book objects; difficult to paginate Longest accordion opens to about 60 inches; varies by book each book in slipcase is 3 inches high x 2.25 inches wide x 0.75 inches deep Celebratory Show (Abbrev.) shows five of Hedi’s innovative book structures with a poem on the back folds of the understructure skirts. ARTIST STATEMENT Forty years ago I was living in New York city, a few blocks down the street from the Bleecker Street storefront that was the Center for the Book’s first home. One night I saw people working inside this cluttered storefront and soon I had signed up for a bookbinding class with Hedi Kyle, who at that time was teaching traditional bookbinding. This book in five volumes is intended as an homage to Hedi and her work. Her influence has been so enormous in the field of book arts for the past decades and I wanted to channel the gratitude that we all must feel for her pioneering structures and bindings. I wanted the book to embody both the spirit of Hedi’s structures and the celebratory energy in which it is made. I conceived of this as a portable holiday, an instant fête, an offering of one grateful book artist to a great master: two gift boxes (the Wunderkabinett), a song, a celebratory show (abbreviated) of Hedi’s inventions, and a cake of applause. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774295808654-8EI4VVTMJPETIG675QC9/mcba-prize-2017-dorothy-a-yule-hediday-a-portable-holiday-celebrating-the-work-of-hedi-kyle-5.jpg Entries & Jurors - 2017 Entries - Dorothy A. Yule Oakland, California www.leftcoastpress.com Hediday: A Portable Holiday Celebrating the Work of Hedi Kyle 2015 Structures: Gift Box,Toys and Gift Box, Nature: wunderkabinett (3-dimensional magic wallet with mylar insert); Celebratory show (Abbrev.): Accordion with swiveling ovals; Song for Hediday: Blizzard book without final folds; Cake of Applause: Miura fold with flags. Media and materials: Ink jet printing, Mylar, velour, toys, trinkets and seashells, Mohawk Superfine and various decorative papers including vintage tea chest gold paper, silk “headbands”. Edition of Six Five connectible slipcases with books/book objects; difficult to paginate Longest accordion opens to about 60 inches; varies by book each book in slipcase is 3 inches high x 2.25 inches wide x 0.75 inches deep All five pieces of Hediday open out into a portable holiday. ARTIST STATEMENT Forty years ago I was living in New York city, a few blocks down the street from the Bleecker Street storefront that was the Center for the Book’s first home. One night I saw people working inside this cluttered storefront and soon I had signed up for a bookbinding class with Hedi Kyle, who at that time was teaching traditional bookbinding. This book in five volumes is intended as an homage to Hedi and her work. Her influence has been so enormous in the field of book arts for the past decades and I wanted to channel the gratitude that we all must feel for her pioneering structures and bindings. I wanted the book to embody both the spirit of Hedi’s structures and the celebratory energy in which it is made. I conceived of this as a portable holiday, an instant fête, an offering of one grateful book artist to a great master: two gift boxes (the Wunderkabinett), a song, a celebratory show (abbreviated) of Hedi’s inventions, and a cake of applause. https://www.mcbaprize.org/mcba-prize/sue-huggins-leopard-this-past-winter monthly 0.5 2026-04-03 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773328247675-ZYH1EHINNELXJNDWX4IX/mcba-prize-2017-sue-leopard-this-past-winter-1.jpg Entries & Jurors - Sue Huggins Leopard, “This Past Winter” fully opened to 25 feet https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773328247567-4O5NQOUREYIVKS9N65HH/mcba-prize-2017-sue-leopard-this-past-winter-2.jpg Entries & Jurors - Sue Huggins Leopard, “This Past Winter” box open, front cover of book https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773328248594-T7QD3YRXFY3CBKV92DIQ/mcba-prize-2017-sue-leopard-this-past-winter-3.jpg Entries & Jurors - Sue Huggins Leopard, “This Past Winter” open book, detail https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773328248789-YWFUA729ZX7ZK0U792JC/mcba-prize-2017-sue-leopard-this-past-winter-4.jpg Entries & Jurors - Sue Huggins Leopard, “This Past Winter” open book detail https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773328249594-GH5IVIABOGT71BFDU9J9/mcba-prize-2017-sue-leopard-this-past-winter-5.jpg Entries & Jurors - Sue Huggins Leopard, “This Past Winter” open book showing accordion structure https://www.mcbaprize.org/mcba-prize/christine-mccauley-mist monthly 0.5 2026-04-03 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773327601475-SV195VP0DU6T9YZ38ZJ2/mcba-prize-2017-christine-mccauley-mist-1.jpg Entries & Jurors - Christine McCauley, “Mist” Front, spine & back cover. Open spine, sewn onto tapes. Cover laminated to two depths. Covered in silvered buckram. Type foil blocked. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773327601481-7PF9USQ00X94PJRVY2YD/mcba-prize-2017-christine-mccauley-mist-2.jpg Entries & Jurors - Christine McCauley, “Mist” Left hand page: ‘Collage’ of tickets, four colours, linocut and polymer plate. Right hand page: Programme from a boxing Tournament, Shillong 1944. Printed inkjet onto tracing paper, Over- laying Plaque at Ward Lake, Shillong. Four colour linocut. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773327603526-O49G2ZN07N4YR032CLOC/mcba-prize-2017-christine-mccauley-mist-5.jpg Entries & Jurors - Christine McCauley, “Mist” Left hand page: Khasi woman carrying a khoa, Nangsawlia. Four colour lino cut. Right hand page: Photo of J McCauley, comrades & ‘a couple of Khasi girls’, Shillong 1944. Printed inkjet onto tracing paper. Over-laying, House on the Shillong Road, three colour linocut. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773327602491-WPKLLR8WSV06OBRJT3SF/mcba-prize-2017-christine-mccauley-mist-3.jpg Entries & Jurors - Christine McCauley, “Mist” The Restaurant at Mawsmai Cave. Five colours, linocut & polymer plate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773327602578-1YK142XWKBM6KG27H20E/mcba-prize-2017-christine-mccauley-mist-4.jpg Entries & Jurors - Christine McCauley, “Mist” Double page spread. Panorama of Nohkalikai Falls, Cherrapungi. Four colour linocut. https://www.mcbaprize.org/mcba-prize/ann-kalmbach-tatana-kellner-the-golden-rule monthly 0.5 2026-03-12 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1771422870630-REZCV2FYEB4T0SS0110P/mcba-prize-2017-special-merit-honoree-Ann-Kalmbach-Tatana-Kellner-The-Golden-Rule-4.jpg Entries & Jurors - Ann Kalmbach &amp; Tatana Kellner, “The Golden Rule” Cover, gold stamped title https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1771422871468-U46LN83XA5AZ3O28ZIU7/mcba-prize-2017-special-merit-honoree-Ann-Kalmbach-Tatana-Kellner-The-Golden-Rule-5.jpg Entries & Jurors - Ann Kalmbach &amp; Tatana Kellner, “The Golden Rule” Left side – blind embossing of Hinduism tenet in it Hindi, right side – partially erased text on translucent paper https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1771422869522-RL7FR5DEREP0VC5WI5QX/mcba-prize-2017-special-merit-honoree-Ann-Kalmbach-Tatana-Kellner-The-Golden-Rule-1.jpg Entries & Jurors - Ann Kalmbach &amp; Tatana Kellner, “The Golden Rule” Slightly more readable erased text on translucent paper https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1771422869546-BS121DUORZDA85FKG1KR/mcba-prize-2017-special-merit-honoree-Ann-Kalmbach-Tatana-Kellner-The-Golden-Rule-2.jpg Entries & Jurors - Ann Kalmbach &amp; Tatana Kellner, “The Golden Rule” The golden rule for Hinduism translated into English https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1771422870532-2LTTH9XYAQI9JFZET2RX/mcba-prize-2017-special-merit-honoree-Ann-Kalmbach-Tatana-Kellner-The-Golden-Rule-3.jpg Entries & Jurors - Ann Kalmbach &amp; Tatana Kellner, “The Golden Rule” Left side – petty crime and punishment, right side back of Hebrew golden rule embossing https://www.mcbaprize.org/mcba-prize/2015-mcba-prize-jurors monthly 0.5 2026-03-19 https://www.mcbaprize.org/mcba-prize/2015-prize-winner-announcement monthly 0.5 2026-03-27 https://www.mcbaprize.org/mcba-prize/gabriella-solti-the-book-of-hours monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341780255-05Q8L6QE20XYUIUQSJGS/mcba-prize-2017-gabriella-solti-the-book-of-hours-1.jpg Entries & Jurors - Gabriella Solti, “The Book of Hours” Spread from the book; left page is hand coloured frosted mylar that let the previous page’s image faintly be seen through; right page is hand sanded silicon carbide microfinsihing film, the erasures on the microfinishing film let the underlying page’s red-orange colour shine through. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341780211-GSY9JHMFAP9XM7VM4AOK/mcba-prize-2017-gabriella-solti-the-book-of-hours-2.jpg Entries & Jurors - Gabriella Solti, “The Book of Hours” Spread from the book; left page is hand sanded chromium oxide microfinishing film; right page is hand sanded silicon carbide microfinishing film. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341781692-5QXNVOGZYA1T2GDS8L7N/mcba-prize-2017-gabriella-solti-the-book-of-hours-3.jpg Entries & Jurors - Gabriella Solti, “The Book of Hours” Close up of a page, made of hand sanded silicon carbide microfinsihing film that let the underlying page’s light yellow colour shine through the erasures. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341781869-ISKJGUBU71HB42VCSJHM/mcba-prize-2017-gabriella-solti-the-book-of-hours-4.jpg Entries & Jurors - Gabriella Solti, “The Book of Hours” Installation shot of the book in exhibition setting; the book is meant to be handled by the visitors. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341783254-CJRP410F0SMS95UZ7VXK/mcba-prize-2017-gabriella-solti-the-book-of-hours-5.jpg Entries & Jurors - Gabriella Solti, “The Book of Hours” Installation shot showing the book on the hand made book stand that is an integral part of the work. Bookstand: 12″ x 12″ clear plexiglass, laid on handmade, hand-polished steel columns made of rough discarded construction steel hand sanded and hand polished for seven hours to achieve its polished look. Bookstand is self supporting, the weight of the book keeps it steady. https://www.mcbaprize.org/mcba-prize/candace-hicks-string-theory-volume-iii monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341536170-4FH9VOXBPOZIETX3T83Q/mcba-prize-2017-candace-hicks-string-theory-volume-3-1.jpg Entries & Jurors - Candace Hicks, “String Theory: Volume III” The final volume of a three volume series about coincidence and chance, String Theory III is a pseudo-scientific parody. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341535462-P0XP1276OLKOS3RAQWZ1/mcba-prize-2017-candace-hicks-string-theory-volume-3-2.jpg Entries & Jurors - Candace Hicks, “String Theory: Volume III” The simulated notebook is entirely stitched by hand. The “strings” used to make it afford the pun of the title. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341536831-R4WOGWBIZNTU9PFYM4W8/mcba-prize-2017-candace-hicks-string-theory-volume-3-3.jpg Entries & Jurors - Candace Hicks, “String Theory: Volume III” String Theory is a gentle criticism of the facility with which we assign meaning to random events and spiritualize the mundane. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341537312-HVVP0QLQ5WU7Q9LLCSOA/mcba-prize-2017-candace-hicks-string-theory-volume-3-4.jpg Entries & Jurors - Candace Hicks, “String Theory: Volume III” The narrative is contained on one side of the page spread, and the back of each page spread consists of a “drawing” utilizing the parallel blue lines of notebook paper. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341538100-HDDVSMGOK292PTCZJU2G/mcba-prize-2017-candace-hicks-string-theory-volume-3-5.jpg Entries & Jurors - Candace Hicks, “String Theory: Volume III” Science and religion allow access to other planes. This wormhole page and zippered page also conceal a hidden dimension. https://www.mcbaprize.org/mcba-prize/rhiannon-alpers-remnants monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341109459-UR55585YZJIAU9HNDFJE/mcba-prize-2015-rhiannon-alpers-remnants-1.jpg Entries & Jurors - Rhiannon Alpers, “Remnants” Book and custom box with inset glass specimen panel https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341109477-PQS7AYGVE2O8IF9O17JP/mcba-prize-2015-rhiannon-alpers-remnants-3.jpg Entries & Jurors - Rhiannon Alpers, “Remnants” Book spread, macro photography, digital images and letterpress text https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341110843-0R0INHGZDPL0NFH9R71M/mcba-prize-2015-rhiannon-alpers-remnants-2.jpg Entries & Jurors - Rhiannon Alpers, “Remnants” Book spread, macro photography, digital images and letterpress text https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341111460-PEEQSZA6DF2DZ89G40QY/mcba-prize-2015-rhiannon-alpers-remnants-4.jpg Entries & Jurors - Rhiannon Alpers, “Remnants” Book house in box and custom inset glass specimen panel containing Madagascan moon moth cocoon, Madagascan ammonite, Australian bottle tree pod, 3 lichen and moss test tube samples https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773341112289-5BO4R6QL58CJ25HNH0GD/mcba-prize-2015-rhiannon-alpers-remnants-5.jpg Entries & Jurors - Rhiannon Alpers, “Remnants” Closed box with flap https://www.mcbaprize.org/mcba-prize/2015-entries monthly 0.5 2026-04-03 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380085498-2D1IQQEHA2UC61XMMS3R/mcba-prize-2015-rebecca-chamlee-where-stucco-meets-chaparral-1.jpg Entries & Jurors - 2015 Entries - Rebecca Chamlee Rebecca Chamlee (Simi Valley, CA) pieintheskypress.com Where Stucco Meets Chaparral 2014 letterpress, handbound book Edition of 70 104 pages 9.125 x 17 x .75 open 9.125 x 6.25 x .75 closed Like the self-taught naturalists of the Victorian era, my recent work examines the intersection of my artistic and scientific interests by collecting and cataloging the natural world. I am inspired to record, interpret and celebrate nature. Where Stucco meets Chaparral explores the trails though the sandstone formations, chaparral and oak woodlands that surround my home in an arid inland valley in Southern California. It is a printed herbarium of local California native plants with stories of local and natural history and personal observation gathered during many years of daily walks. Detailed images of seven indigenous plants are letterpress printed in multiple colors in tight registration through their seasonal life cycles that contrast hand-carved representations of the environmental context where they prevail. The book is entirely letterpress printed using handset California Old Style and Kennerly and wood types, hand carved Gomuban relief plates and photopolymer plates. Each signature consists of a folio of lightweight colored abaca wrapped around a Somerset text wove folio with a quarto-folded sheet of kozo forming the center spread. The handmade abaca has a distinctive rattle similar to the sound of walking on dry fallen leaves in colors that recall the landscape. The cotton sheet provides a contrast in texture and the excellent printing capability required for the detailed images of the specimens. On the quarto-folded center folio, mountain background images are printed verso and the foreground recto on translucent kozo to attain dimension and depth in the landscape images. The binding is long-stitch sewn with waxed hand-dyed linen thread through a cover of heavy, rough Twinrocker abaca. The heavy abaca emulates the hard, uneven surface and color of the local sandstone. The spine is reinforced with a folded piece of green goat vellum. A bone button and braid of linen thread form the closure. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380085514-FQTEK9D5WMAUOV9DLTYH/mcba-prize-2015-rebecca-chamlee-where-stucco-meets-chaparral-2.jpg Entries & Jurors - 2015 Entries - Rebecca Chamlee Rebecca Chamlee (Simi Valley, CA) pieintheskypress.com Where Stucco Meets Chaparral 2014 letterpress, handbound book Edition of 70 104 pages 9.125 x 17 x .75 open 9.125 x 6.25 x .75 closed Like the self-taught naturalists of the Victorian era, my recent work examines the intersection of my artistic and scientific interests by collecting and cataloging the natural world. I am inspired to record, interpret and celebrate nature. Where Stucco meets Chaparral explores the trails though the sandstone formations, chaparral and oak woodlands that surround my home in an arid inland valley in Southern California. It is a printed herbarium of local California native plants with stories of local and natural history and personal observation gathered during many years of daily walks. Detailed images of seven indigenous plants are letterpress printed in multiple colors in tight registration through their seasonal life cycles that contrast hand-carved representations of the environmental context where they prevail. The book is entirely letterpress printed using handset California Old Style and Kennerly and wood types, hand carved Gomuban relief plates and photopolymer plates. Each signature consists of a folio of lightweight colored abaca wrapped around a Somerset text wove folio with a quarto-folded sheet of kozo forming the center spread. The handmade abaca has a distinctive rattle similar to the sound of walking on dry fallen leaves in colors that recall the landscape. The cotton sheet provides a contrast in texture and the excellent printing capability required for the detailed images of the specimens. On the quarto-folded center folio, mountain background images are printed verso and the foreground recto on translucent kozo to attain dimension and depth in the landscape images. The binding is long-stitch sewn with waxed hand-dyed linen thread through a cover of heavy, rough Twinrocker abaca. The heavy abaca emulates the hard, uneven surface and color of the local sandstone. The spine is reinforced with a folded piece of green goat vellum. A bone button and braid of linen thread form the closure. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380086716-UH77HI1N4QUMUNSKBTHN/mcba-prize-2015-rebecca-chamlee-where-stucco-meets-chaparral-3.jpg Entries & Jurors - 2015 Entries - Rebecca Chamlee Rebecca Chamlee (Simi Valley, CA) pieintheskypress.com Where Stucco Meets Chaparral 2014 letterpress, handbound book Edition of 70 104 pages 9.125 x 17 x .75 open 9.125 x 6.25 x .75 closed Like the self-taught naturalists of the Victorian era, my recent work examines the intersection of my artistic and scientific interests by collecting and cataloging the natural world. I am inspired to record, interpret and celebrate nature. Where Stucco meets Chaparral explores the trails though the sandstone formations, chaparral and oak woodlands that surround my home in an arid inland valley in Southern California. It is a printed herbarium of local California native plants with stories of local and natural history and personal observation gathered during many years of daily walks. Detailed images of seven indigenous plants are letterpress printed in multiple colors in tight registration through their seasonal life cycles that contrast hand-carved representations of the environmental context where they prevail. The book is entirely letterpress printed using handset California Old Style and Kennerly and wood types, hand carved Gomuban relief plates and photopolymer plates. Each signature consists of a folio of lightweight colored abaca wrapped around a Somerset text wove folio with a quarto-folded sheet of kozo forming the center spread. The handmade abaca has a distinctive rattle similar to the sound of walking on dry fallen leaves in colors that recall the landscape. The cotton sheet provides a contrast in texture and the excellent printing capability required for the detailed images of the specimens. On the quarto-folded center folio, mountain background images are printed verso and the foreground recto on translucent kozo to attain dimension and depth in the landscape images. The binding is long-stitch sewn with waxed hand-dyed linen thread through a cover of heavy, rough Twinrocker abaca. The heavy abaca emulates the hard, uneven surface and color of the local sandstone. The spine is reinforced with a folded piece of green goat vellum. A bone button and braid of linen thread form the closure. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380086976-OPU99VKEK6W68MEW407O/mcba-prize-2015-rebecca-chamlee-where-stucco-meets-chaparral-4.jpg Entries & Jurors - 2015 Entries - Rebecca Chamlee Rebecca Chamlee (Simi Valley, CA) pieintheskypress.com Where Stucco Meets Chaparral 2014 letterpress, handbound book Edition of 70 104 pages 9.125 x 17 x .75 open 9.125 x 6.25 x .75 closed Like the self-taught naturalists of the Victorian era, my recent work examines the intersection of my artistic and scientific interests by collecting and cataloging the natural world. I am inspired to record, interpret and celebrate nature. Where Stucco meets Chaparral explores the trails though the sandstone formations, chaparral and oak woodlands that surround my home in an arid inland valley in Southern California. It is a printed herbarium of local California native plants with stories of local and natural history and personal observation gathered during many years of daily walks. Detailed images of seven indigenous plants are letterpress printed in multiple colors in tight registration through their seasonal life cycles that contrast hand-carved representations of the environmental context where they prevail. The book is entirely letterpress printed using handset California Old Style and Kennerly and wood types, hand carved Gomuban relief plates and photopolymer plates. Each signature consists of a folio of lightweight colored abaca wrapped around a Somerset text wove folio with a quarto-folded sheet of kozo forming the center spread. The handmade abaca has a distinctive rattle similar to the sound of walking on dry fallen leaves in colors that recall the landscape. The cotton sheet provides a contrast in texture and the excellent printing capability required for the detailed images of the specimens. On the quarto-folded center folio, mountain background images are printed verso and the foreground recto on translucent kozo to attain dimension and depth in the landscape images. The binding is long-stitch sewn with waxed hand-dyed linen thread through a cover of heavy, rough Twinrocker abaca. The heavy abaca emulates the hard, uneven surface and color of the local sandstone. The spine is reinforced with a folded piece of green goat vellum. A bone button and braid of linen thread form the closure. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380087824-2S6UXKMGA5OQDR2TOCUM/mcba-prize-2015-rebecca-chamlee-where-stucco-meets-chaparral-5.jpg Entries & Jurors - 2015 Entries - Rebecca Chamlee Rebecca Chamlee (Simi Valley, CA) pieintheskypress.com Where Stucco Meets Chaparral 2014 letterpress, handbound book Edition of 70 104 pages 9.125 x 17 x .75 open 9.125 x 6.25 x .75 closed Like the self-taught naturalists of the Victorian era, my recent work examines the intersection of my artistic and scientific interests by collecting and cataloging the natural world. I am inspired to record, interpret and celebrate nature. Where Stucco meets Chaparral explores the trails though the sandstone formations, chaparral and oak woodlands that surround my home in an arid inland valley in Southern California. It is a printed herbarium of local California native plants with stories of local and natural history and personal observation gathered during many years of daily walks. Detailed images of seven indigenous plants are letterpress printed in multiple colors in tight registration through their seasonal life cycles that contrast hand-carved representations of the environmental context where they prevail. The book is entirely letterpress printed using handset California Old Style and Kennerly and wood types, hand carved Gomuban relief plates and photopolymer plates. Each signature consists of a folio of lightweight colored abaca wrapped around a Somerset text wove folio with a quarto-folded sheet of kozo forming the center spread. The handmade abaca has a distinctive rattle similar to the sound of walking on dry fallen leaves in colors that recall the landscape. The cotton sheet provides a contrast in texture and the excellent printing capability required for the detailed images of the specimens. On the quarto-folded center folio, mountain background images are printed verso and the foreground recto on translucent kozo to attain dimension and depth in the landscape images. The binding is long-stitch sewn with waxed hand-dyed linen thread through a cover of heavy, rough Twinrocker abaca. The heavy abaca emulates the hard, uneven surface and color of the local sandstone. The spine is reinforced with a folded piece of green goat vellum. A bone button and braid of linen thread form the closure. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380446966-T6OF4HGO8R3HRGPBJ5ZP/mcba-prize-2015-julie-chen-chrysalis1.jpg Entries & Jurors - 2015 Entries - Julie Chen Julie Chen (Berkeley, CA) flyingfishpress.com Chrysalis 2014 Letterpress from photopolymer plates Edition of 50 Book object: 11.5″ x 18″ X 3″ Box size: 6 3/4″ x 11 3/4″ x 6 5/8″ My approach to artists’ books combines personal narratives with book forms of various kinds. My work presents the reader/viewer with intricate three-­dimensional objects that offer intimate reading experiences. The idea of giving order to personal experience through the use of mapping, charting, and numbering continues to be an important underlying theme that runs through much of my work. Enclosures such as boxes, along with the corresponding concept of creating a world within a world, also play a major role in my work. I use the crafts of letterpress printing and hand bookbinding, combined with more modern technologies such as photopolymer plates and laser cutting, to create work that is designed digitally but produced with an intense attention to the materiality of the resulting piece. For me, the physical object itself is of equal importance to the visual and textual ideas expressed within the pages in conveying meaning and presenting the reader/viewer with a compelling experience. This experience begins with the reader’s/viewer’s initial perception of the container for a piece, and then continues on through both the eye, through the process of reading/viewing, and the hand, through the manipulation of the piece’s structure and materials. I have become increasingly interested in exploring the time-­based aspects inherent in the book form. The fact that the full content of a piece can only be revealed over time with the turning of the page, or an equivalent action, on the part of the reader/viewer, is an enduring fascination for me, and is, I believe, one of the book form’s most singular features. Chrysalis is an interpretation of the complex and transformative nature of the process of grief. Text and image within the piece refer to changes in the brain that result from a traumatic experience of loss and how these changes affect a person’s perception of the world around them. The piece consists of a sculptural book object housed in a box. The book object is held together by a series of magnets and can be opened by the viewer until all the panels lie in a flat plane. Opening the book object reveals an inner book with circular pages that can be held in the hand and read. The shape of the book object is based on an oloid, a geometric shape that was discovered by sculptor and mathematician Paul Schatz in 1929. An oloid is defined by the space created by two linked circles that intersect on perpendicular planes. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380446864-39KM5BVOXLNJL71TFEQ6/mcba-prize-2015-julie-chen-chrysalis2.jpg Entries & Jurors - 2015 Entries - Julie Chen Julie Chen (Berkeley, CA) flyingfishpress.com Chrysalis 2014 Letterpress from photopolymer plates Edition of 50 Book object: 11.5″ x 18″ X 3″ Box size: 6 3/4″ x 11 3/4″ x 6 5/8″ My approach to artists’ books combines personal narratives with book forms of various kinds. My work presents the reader/viewer with intricate three-­dimensional objects that offer intimate reading experiences. The idea of giving order to personal experience through the use of mapping, charting, and numbering continues to be an important underlying theme that runs through much of my work. Enclosures such as boxes, along with the corresponding concept of creating a world within a world, also play a major role in my work. I use the crafts of letterpress printing and hand bookbinding, combined with more modern technologies such as photopolymer plates and laser cutting, to create work that is designed digitally but produced with an intense attention to the materiality of the resulting piece. For me, the physical object itself is of equal importance to the visual and textual ideas expressed within the pages in conveying meaning and presenting the reader/viewer with a compelling experience. This experience begins with the reader’s/viewer’s initial perception of the container for a piece, and then continues on through both the eye, through the process of reading/viewing, and the hand, through the manipulation of the piece’s structure and materials. I have become increasingly interested in exploring the time-­based aspects inherent in the book form. The fact that the full content of a piece can only be revealed over time with the turning of the page, or an equivalent action, on the part of the reader/viewer, is an enduring fascination for me, and is, I believe, one of the book form’s most singular features. Chrysalis is an interpretation of the complex and transformative nature of the process of grief. Text and image within the piece refer to changes in the brain that result from a traumatic experience of loss and how these changes affect a person’s perception of the world around them. The piece consists of a sculptural book object housed in a box. The book object is held together by a series of magnets and can be opened by the viewer until all the panels lie in a flat plane. Opening the book object reveals an inner book with circular pages that can be held in the hand and read. The shape of the book object is based on an oloid, a geometric shape that was discovered by sculptor and mathematician Paul Schatz in 1929. An oloid is defined by the space created by two linked circles that intersect on perpendicular planes. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380447849-0JLNMZ82NS2RXEGPJ0A5/mcba-prize-2015-julie-chen-chrysalis3.jpg Entries & Jurors - 2015 Entries - Julie Chen Julie Chen (Berkeley, CA) flyingfishpress.com Chrysalis 2014 Letterpress from photopolymer plates Edition of 50 Book object: 11.5″ x 18″ X 3″ Box size: 6 3/4″ x 11 3/4″ x 6 5/8″ My approach to artists’ books combines personal narratives with book forms of various kinds. My work presents the reader/viewer with intricate three-­dimensional objects that offer intimate reading experiences. The idea of giving order to personal experience through the use of mapping, charting, and numbering continues to be an important underlying theme that runs through much of my work. Enclosures such as boxes, along with the corresponding concept of creating a world within a world, also play a major role in my work. I use the crafts of letterpress printing and hand bookbinding, combined with more modern technologies such as photopolymer plates and laser cutting, to create work that is designed digitally but produced with an intense attention to the materiality of the resulting piece. For me, the physical object itself is of equal importance to the visual and textual ideas expressed within the pages in conveying meaning and presenting the reader/viewer with a compelling experience. This experience begins with the reader’s/viewer’s initial perception of the container for a piece, and then continues on through both the eye, through the process of reading/viewing, and the hand, through the manipulation of the piece’s structure and materials. I have become increasingly interested in exploring the time-­based aspects inherent in the book form. The fact that the full content of a piece can only be revealed over time with the turning of the page, or an equivalent action, on the part of the reader/viewer, is an enduring fascination for me, and is, I believe, one of the book form’s most singular features. Chrysalis is an interpretation of the complex and transformative nature of the process of grief. Text and image within the piece refer to changes in the brain that result from a traumatic experience of loss and how these changes affect a person’s perception of the world around them. The piece consists of a sculptural book object housed in a box. The book object is held together by a series of magnets and can be opened by the viewer until all the panels lie in a flat plane. Opening the book object reveals an inner book with circular pages that can be held in the hand and read. The shape of the book object is based on an oloid, a geometric shape that was discovered by sculptor and mathematician Paul Schatz in 1929. An oloid is defined by the space created by two linked circles that intersect on perpendicular planes. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380448126-CEOBW93XSB3UPE0ONZZC/mcba-prize-2015-julie-chen-chrysalis4.jpg Entries & Jurors - 2015 Entries - Julie Chen Julie Chen (Berkeley, CA) flyingfishpress.com Chrysalis 2014 Letterpress from photopolymer plates Edition of 50 Book object: 11.5″ x 18″ X 3″ Box size: 6 3/4″ x 11 3/4″ x 6 5/8″ My approach to artists’ books combines personal narratives with book forms of various kinds. My work presents the reader/viewer with intricate three-­dimensional objects that offer intimate reading experiences. The idea of giving order to personal experience through the use of mapping, charting, and numbering continues to be an important underlying theme that runs through much of my work. Enclosures such as boxes, along with the corresponding concept of creating a world within a world, also play a major role in my work. I use the crafts of letterpress printing and hand bookbinding, combined with more modern technologies such as photopolymer plates and laser cutting, to create work that is designed digitally but produced with an intense attention to the materiality of the resulting piece. For me, the physical object itself is of equal importance to the visual and textual ideas expressed within the pages in conveying meaning and presenting the reader/viewer with a compelling experience. This experience begins with the reader’s/viewer’s initial perception of the container for a piece, and then continues on through both the eye, through the process of reading/viewing, and the hand, through the manipulation of the piece’s structure and materials. I have become increasingly interested in exploring the time-­based aspects inherent in the book form. The fact that the full content of a piece can only be revealed over time with the turning of the page, or an equivalent action, on the part of the reader/viewer, is an enduring fascination for me, and is, I believe, one of the book form’s most singular features. Chrysalis is an interpretation of the complex and transformative nature of the process of grief. Text and image within the piece refer to changes in the brain that result from a traumatic experience of loss and how these changes affect a person’s perception of the world around them. The piece consists of a sculptural book object housed in a box. The book object is held together by a series of magnets and can be opened by the viewer until all the panels lie in a flat plane. Opening the book object reveals an inner book with circular pages that can be held in the hand and read. The shape of the book object is based on an oloid, a geometric shape that was discovered by sculptor and mathematician Paul Schatz in 1929. An oloid is defined by the space created by two linked circles that intersect on perpendicular planes. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380449049-QN4G59X1F2522T1LZ96E/mcba-prize-2015-julie-chen-chrysalis5.jpg Entries & Jurors - 2015 Entries - Julie Chen Julie Chen (Berkeley, CA) flyingfishpress.com Chrysalis 2014 Letterpress from photopolymer plates Edition of 50 Book object: 11.5″ x 18″ X 3″ Box size: 6 3/4″ x 11 3/4″ x 6 5/8″ My approach to artists’ books combines personal narratives with book forms of various kinds. My work presents the reader/viewer with intricate three-­dimensional objects that offer intimate reading experiences. The idea of giving order to personal experience through the use of mapping, charting, and numbering continues to be an important underlying theme that runs through much of my work. Enclosures such as boxes, along with the corresponding concept of creating a world within a world, also play a major role in my work. I use the crafts of letterpress printing and hand bookbinding, combined with more modern technologies such as photopolymer plates and laser cutting, to create work that is designed digitally but produced with an intense attention to the materiality of the resulting piece. For me, the physical object itself is of equal importance to the visual and textual ideas expressed within the pages in conveying meaning and presenting the reader/viewer with a compelling experience. This experience begins with the reader’s/viewer’s initial perception of the container for a piece, and then continues on through both the eye, through the process of reading/viewing, and the hand, through the manipulation of the piece’s structure and materials. I have become increasingly interested in exploring the time-­based aspects inherent in the book form. The fact that the full content of a piece can only be revealed over time with the turning of the page, or an equivalent action, on the part of the reader/viewer, is an enduring fascination for me, and is, I believe, one of the book form’s most singular features. Chrysalis is an interpretation of the complex and transformative nature of the process of grief. Text and image within the piece refer to changes in the brain that result from a traumatic experience of loss and how these changes affect a person’s perception of the world around them. The piece consists of a sculptural book object housed in a box. The book object is held together by a series of magnets and can be opened by the viewer until all the panels lie in a flat plane. Opening the book object reveals an inner book with circular pages that can be held in the hand and read. The shape of the book object is based on an oloid, a geometric shape that was discovered by sculptor and mathematician Paul Schatz in 1929. An oloid is defined by the space created by two linked circles that intersect on perpendicular planes. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380631029-VZDDUPXKZEKKKIQZ5750/mcba-prize-2015-gabrielle-cooksey-monsters-and-beasts1.jpg Entries & Jurors - 2015 Entries - Gabrielle Cooksey Gabrielle Cooksey (Tacoma, WA) boundbycooksey.com Monsters and Beasts 2014 silkscreen printed, letterpress printed, hand painted with acrylic Edition of 22 10 pages Dimensions, open: 13 5/8 x 19 3/8 x 3/4″ Dimensions, closed: 13 5/8 x 9 7/8 x 1/4″ While working with Don Glaister, Suzanne Moore, and Jessica Spring in the summer of 2014, they encouraged me to make a “complete” book under their guidance, help and nudging. This was new territory for me, as I had previously only worked on the binding of books. The project challenged me to see if I could make the whole of a book — from the text, image, layout, color, cover, to the binding — a major learning curve because I had to think of the actual page content and how the work will flow on it. I did not know where the book was going when I first thought of it, but I think it grew up over the 8 month process, because I had grown up too. I letterpress printed, silk-screened, and hand-painted the pages. The cave paper cover includes a gold foil design detail of one of the five animal images. I strive to have my work feel magical in a reader’s hands and want it to look like it is from a treasure chest or long forgotten library, and I feel this book is more than I could have hoped for. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380631144-B7G97DYKLQSP6SDHBYGD/mcba-prize-2015-gabrielle-cooksey-monsters-and-beasts2.jpg Entries & Jurors - 2015 Entries - Gabrielle Cooksey Gabrielle Cooksey (Tacoma, WA) boundbycooksey.com Monsters and Beasts 2014 silkscreen printed, letterpress printed, hand painted with acrylic Edition of 22 10 pages Dimensions, open: 13 5/8 x 19 3/8 x 3/4″ Dimensions, closed: 13 5/8 x 9 7/8 x 1/4″ While working with Don Glaister, Suzanne Moore, and Jessica Spring in the summer of 2014, they encouraged me to make a “complete” book under their guidance, help and nudging. This was new territory for me, as I had previously only worked on the binding of books. The project challenged me to see if I could make the whole of a book — from the text, image, layout, color, cover, to the binding — a major learning curve because I had to think of the actual page content and how the work will flow on it. I did not know where the book was going when I first thought of it, but I think it grew up over the 8 month process, because I had grown up too. I letterpress printed, silk-screened, and hand-painted the pages. The cave paper cover includes a gold foil design detail of one of the five animal images. I strive to have my work feel magical in a reader’s hands and want it to look like it is from a treasure chest or long forgotten library, and I feel this book is more than I could have hoped for. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380632376-7XFOB74H8SNH5SN3J3PD/mcba-prize-2015-gabrielle-cooksey-monsters-and-beasts3.jpg Entries & Jurors - 2015 Entries - Gabrielle Cooksey Gabrielle Cooksey (Tacoma, WA) boundbycooksey.com Monsters and Beasts 2014 silkscreen printed, letterpress printed, hand painted with acrylic Edition of 22 10 pages Dimensions, open: 13 5/8 x 19 3/8 x 3/4″ Dimensions, closed: 13 5/8 x 9 7/8 x 1/4″ While working with Don Glaister, Suzanne Moore, and Jessica Spring in the summer of 2014, they encouraged me to make a “complete” book under their guidance, help and nudging. This was new territory for me, as I had previously only worked on the binding of books. The project challenged me to see if I could make the whole of a book — from the text, image, layout, color, cover, to the binding — a major learning curve because I had to think of the actual page content and how the work will flow on it. I did not know where the book was going when I first thought of it, but I think it grew up over the 8 month process, because I had grown up too. I letterpress printed, silk-screened, and hand-painted the pages. The cave paper cover includes a gold foil design detail of one of the five animal images. I strive to have my work feel magical in a reader’s hands and want it to look like it is from a treasure chest or long forgotten library, and I feel this book is more than I could have hoped for. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380632575-HFDP0D1F14T3KBV404UK/mcba-prize-2015-gabrielle-cooksey-monsters-and-beasts4.jpg Entries & Jurors - 2015 Entries - Gabrielle Cooksey Gabrielle Cooksey (Tacoma, WA) boundbycooksey.com Monsters and Beasts 2014 silkscreen printed, letterpress printed, hand painted with acrylic Edition of 22 10 pages Dimensions, open: 13 5/8 x 19 3/8 x 3/4″ Dimensions, closed: 13 5/8 x 9 7/8 x 1/4″ While working with Don Glaister, Suzanne Moore, and Jessica Spring in the summer of 2014, they encouraged me to make a “complete” book under their guidance, help and nudging. This was new territory for me, as I had previously only worked on the binding of books. The project challenged me to see if I could make the whole of a book — from the text, image, layout, color, cover, to the binding — a major learning curve because I had to think of the actual page content and how the work will flow on it. I did not know where the book was going when I first thought of it, but I think it grew up over the 8 month process, because I had grown up too. I letterpress printed, silk-screened, and hand-painted the pages. The cave paper cover includes a gold foil design detail of one of the five animal images. I strive to have my work feel magical in a reader’s hands and want it to look like it is from a treasure chest or long forgotten library, and I feel this book is more than I could have hoped for. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380633602-M42668P8AE0MFWTPQGUL/mcba-prize-2015-gabrielle-cooksey-monsters-and-beasts5.jpg Entries & Jurors - 2015 Entries - Gabrielle Cooksey Gabrielle Cooksey (Tacoma, WA) boundbycooksey.com Monsters and Beasts 2014 silkscreen printed, letterpress printed, hand painted with acrylic Edition of 22 10 pages Dimensions, open: 13 5/8 x 19 3/8 x 3/4″ Dimensions, closed: 13 5/8 x 9 7/8 x 1/4″ While working with Don Glaister, Suzanne Moore, and Jessica Spring in the summer of 2014, they encouraged me to make a “complete” book under their guidance, help and nudging. This was new territory for me, as I had previously only worked on the binding of books. The project challenged me to see if I could make the whole of a book — from the text, image, layout, color, cover, to the binding — a major learning curve because I had to think of the actual page content and how the work will flow on it. I did not know where the book was going when I first thought of it, but I think it grew up over the 8 month process, because I had grown up too. I letterpress printed, silk-screened, and hand-painted the pages. The cave paper cover includes a gold foil design detail of one of the five animal images. I strive to have my work feel magical in a reader’s hands and want it to look like it is from a treasure chest or long forgotten library, and I feel this book is more than I could have hoped for. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380798950-6AGI7RQA5000JIQ5REVN/mcba-prize-2015-ana-paula-cordeiro1.jpg Entries & Jurors - 2015 Entries - Ana Paula Cordeiro Ana Paula Cordeiro (New York, NY) apcordeiro.wordpress.com Lightweight 2015 Letterpress printed from hand-set type; woodcuts; photo-polymer plates; and linocuts, with 3 tipped-in RC photographs. Magnani paper, sculpted from head-to-tail. Modified limp-vellum binding (3-part construction) on purple parchment. Edition of 21 (with one AP) 44 pages 7 3/4″ x 16″ x 5/8″ open 7 3/4″ x 8″ x 5/8″ closed This book has started in Florence, 1966, as the waters rose and receded. At the same time it has also started in New York City, 2002, during a class called Historical Structures. Its pages moved back and forth for years until they literally acquired a shape, something like a hump that runs slant from head to tail. Time being a theme, when the proof was ready to be laced-in before an approaching deadline its binder wrung her hands crying out loud – this endsheet, what to do! – and looked around herself. The scene was a present-day communal workshop. No medieval bookbinders anywhere near. There were many dear friends, contemporary artists, some letterpress printers. But that endsheet had been dealt with just before Guttenberg. What to do. Trial, and error, and time. According to Chris Clarkson, limp-vellum bindings reached their technical zenith towards the end of the period when books were produced from beginning to end by the same person. Painstakingly harmonizing individual components was a standard broken to pieces with the assembly lines, but back then usual even for objects crafted for purely utilitarian purposes. Such standards had the opportunity to be recreated after the flood of Florence, along with the realization that their retention value had taken into account not what they were but what they lacked: limp-vellums were unadorned. Goldless, gemless, rather limp really, plain and perfect things of life. A tribute to human skill, capable of surviving catastrophes elegantly but what could have been lost to our perception of value and, most importantly, the judgment across time that has been reserved for what is perceived as lacking value. As a response, this book named Lightweight intends to incorporate its worth by bearing a sculptural element formed from its own folios, made possible by its own genius. It has a hump, or maybe we should call it a beam. The contents, yes letterpressed, yes from hand-set type, run from and across and around its shape, presenting humorous observations of quantifiers for the assessment of aesthetics, of relationships, and of some such human fancies. May it be called a keep. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380798900-AS5O00UBE82XRVSNVWE3/mcba-prize-2015-ana-paula-cordeiro2.jpg Entries & Jurors - 2015 Entries - Ana Paula Cordeiro Ana Paula Cordeiro (New York, NY) apcordeiro.wordpress.com Lightweight 2015 Letterpress printed from hand-set type; woodcuts; photo-polymer plates; and linocuts, with 3 tipped-in RC photographs. Magnani paper, sculpted from head-to-tail. Modified limp-vellum binding (3-part construction) on purple parchment. Edition of 21 (with one AP) 44 pages 7 3/4″ x 16″ x 5/8″ open 7 3/4″ x 8″ x 5/8″ closed This book has started in Florence, 1966, as the waters rose and receded. At the same time it has also started in New York City, 2002, during a class called Historical Structures. Its pages moved back and forth for years until they literally acquired a shape, something like a hump that runs slant from head to tail. Time being a theme, when the proof was ready to be laced-in before an approaching deadline its binder wrung her hands crying out loud – this endsheet, what to do! – and looked around herself. The scene was a present-day communal workshop. No medieval bookbinders anywhere near. There were many dear friends, contemporary artists, some letterpress printers. But that endsheet had been dealt with just before Guttenberg. What to do. Trial, and error, and time. According to Chris Clarkson, limp-vellum bindings reached their technical zenith towards the end of the period when books were produced from beginning to end by the same person. Painstakingly harmonizing individual components was a standard broken to pieces with the assembly lines, but back then usual even for objects crafted for purely utilitarian purposes. Such standards had the opportunity to be recreated after the flood of Florence, along with the realization that their retention value had taken into account not what they were but what they lacked: limp-vellums were unadorned. Goldless, gemless, rather limp really, plain and perfect things of life. A tribute to human skill, capable of surviving catastrophes elegantly but what could have been lost to our perception of value and, most importantly, the judgment across time that has been reserved for what is perceived as lacking value. As a response, this book named Lightweight intends to incorporate its worth by bearing a sculptural element formed from its own folios, made possible by its own genius. It has a hump, or maybe we should call it a beam. The contents, yes letterpressed, yes from hand-set type, run from and across and around its shape, presenting humorous observations of quantifiers for the assessment of aesthetics, of relationships, and of some such human fancies. May it be called a keep. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380799914-QQ241WLF96KTQR03CCWD/mcba-prize-2015-ana-paula-cordeiro3.jpg Entries & Jurors - 2015 Entries - Ana Paula Cordeiro Ana Paula Cordeiro (New York, NY) apcordeiro.wordpress.com Lightweight 2015 Letterpress printed from hand-set type; woodcuts; photo-polymer plates; and linocuts, with 3 tipped-in RC photographs. Magnani paper, sculpted from head-to-tail. Modified limp-vellum binding (3-part construction) on purple parchment. Edition of 21 (with one AP) 44 pages 7 3/4″ x 16″ x 5/8″ open 7 3/4″ x 8″ x 5/8″ closed This book has started in Florence, 1966, as the waters rose and receded. At the same time it has also started in New York City, 2002, during a class called Historical Structures. Its pages moved back and forth for years until they literally acquired a shape, something like a hump that runs slant from head to tail. Time being a theme, when the proof was ready to be laced-in before an approaching deadline its binder wrung her hands crying out loud – this endsheet, what to do! – and looked around herself. The scene was a present-day communal workshop. No medieval bookbinders anywhere near. There were many dear friends, contemporary artists, some letterpress printers. But that endsheet had been dealt with just before Guttenberg. What to do. Trial, and error, and time. According to Chris Clarkson, limp-vellum bindings reached their technical zenith towards the end of the period when books were produced from beginning to end by the same person. Painstakingly harmonizing individual components was a standard broken to pieces with the assembly lines, but back then usual even for objects crafted for purely utilitarian purposes. Such standards had the opportunity to be recreated after the flood of Florence, along with the realization that their retention value had taken into account not what they were but what they lacked: limp-vellums were unadorned. Goldless, gemless, rather limp really, plain and perfect things of life. A tribute to human skill, capable of surviving catastrophes elegantly but what could have been lost to our perception of value and, most importantly, the judgment across time that has been reserved for what is perceived as lacking value. As a response, this book named Lightweight intends to incorporate its worth by bearing a sculptural element formed from its own folios, made possible by its own genius. It has a hump, or maybe we should call it a beam. The contents, yes letterpressed, yes from hand-set type, run from and across and around its shape, presenting humorous observations of quantifiers for the assessment of aesthetics, of relationships, and of some such human fancies. May it be called a keep. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380800076-P8XQPZDUNQP55LD8F5U3/mcba-prize-2015-ana-paula-cordeiro4.jpg Entries & Jurors - 2015 Entries - Ana Paula Cordeiro Ana Paula Cordeiro (New York, NY) apcordeiro.wordpress.com Lightweight 2015 Letterpress printed from hand-set type; woodcuts; photo-polymer plates; and linocuts, with 3 tipped-in RC photographs. Magnani paper, sculpted from head-to-tail. Modified limp-vellum binding (3-part construction) on purple parchment. Edition of 21 (with one AP) 44 pages 7 3/4″ x 16″ x 5/8″ open 7 3/4″ x 8″ x 5/8″ closed This book has started in Florence, 1966, as the waters rose and receded. At the same time it has also started in New York City, 2002, during a class called Historical Structures. Its pages moved back and forth for years until they literally acquired a shape, something like a hump that runs slant from head to tail. Time being a theme, when the proof was ready to be laced-in before an approaching deadline its binder wrung her hands crying out loud – this endsheet, what to do! – and looked around herself. The scene was a present-day communal workshop. No medieval bookbinders anywhere near. There were many dear friends, contemporary artists, some letterpress printers. But that endsheet had been dealt with just before Guttenberg. What to do. Trial, and error, and time. According to Chris Clarkson, limp-vellum bindings reached their technical zenith towards the end of the period when books were produced from beginning to end by the same person. Painstakingly harmonizing individual components was a standard broken to pieces with the assembly lines, but back then usual even for objects crafted for purely utilitarian purposes. Such standards had the opportunity to be recreated after the flood of Florence, along with the realization that their retention value had taken into account not what they were but what they lacked: limp-vellums were unadorned. Goldless, gemless, rather limp really, plain and perfect things of life. A tribute to human skill, capable of surviving catastrophes elegantly but what could have been lost to our perception of value and, most importantly, the judgment across time that has been reserved for what is perceived as lacking value. As a response, this book named Lightweight intends to incorporate its worth by bearing a sculptural element formed from its own folios, made possible by its own genius. It has a hump, or maybe we should call it a beam. The contents, yes letterpressed, yes from hand-set type, run from and across and around its shape, presenting humorous observations of quantifiers for the assessment of aesthetics, of relationships, and of some such human fancies. May it be called a keep. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380801003-1QHX0VA0VXYL9MUMZDXY/mcba-prize-2015-ana-paula-cordeiro5.jpg Entries & Jurors - 2015 Entries - Ana Paula Cordeiro Ana Paula Cordeiro (New York, NY) apcordeiro.wordpress.com Lightweight 2015 Letterpress printed from hand-set type; woodcuts; photo-polymer plates; and linocuts, with 3 tipped-in RC photographs. Magnani paper, sculpted from head-to-tail. Modified limp-vellum binding (3-part construction) on purple parchment. Edition of 21 (with one AP) 44 pages 7 3/4″ x 16″ x 5/8″ open 7 3/4″ x 8″ x 5/8″ closed This book has started in Florence, 1966, as the waters rose and receded. At the same time it has also started in New York City, 2002, during a class called Historical Structures. Its pages moved back and forth for years until they literally acquired a shape, something like a hump that runs slant from head to tail. Time being a theme, when the proof was ready to be laced-in before an approaching deadline its binder wrung her hands crying out loud – this endsheet, what to do! – and looked around herself. The scene was a present-day communal workshop. No medieval bookbinders anywhere near. There were many dear friends, contemporary artists, some letterpress printers. But that endsheet had been dealt with just before Guttenberg. What to do. Trial, and error, and time. According to Chris Clarkson, limp-vellum bindings reached their technical zenith towards the end of the period when books were produced from beginning to end by the same person. Painstakingly harmonizing individual components was a standard broken to pieces with the assembly lines, but back then usual even for objects crafted for purely utilitarian purposes. Such standards had the opportunity to be recreated after the flood of Florence, along with the realization that their retention value had taken into account not what they were but what they lacked: limp-vellums were unadorned. Goldless, gemless, rather limp really, plain and perfect things of life. A tribute to human skill, capable of surviving catastrophes elegantly but what could have been lost to our perception of value and, most importantly, the judgment across time that has been reserved for what is perceived as lacking value. As a response, this book named Lightweight intends to incorporate its worth by bearing a sculptural element formed from its own folios, made possible by its own genius. It has a hump, or maybe we should call it a beam. The contents, yes letterpressed, yes from hand-set type, run from and across and around its shape, presenting humorous observations of quantifiers for the assessment of aesthetics, of relationships, and of some such human fancies. May it be called a keep. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380939141-6RMMXWEGZO1ZFDNLAQWH/mcba-prize-2015-guylaine-couture-awake-in-the-waste1.jpg Entries & Jurors - 2015 Entries - Guylaine Couture Guylaine Couture (Montreal, Quebec) gycouture.com Awake in the waste 2015 Mixed media Unique work 15″ x 8″ x 1″ The soil is a material that seems to us impossible to use until it’s disappearance. My book underlines the composition of the ground which degrades by the human being. I wrote some contrasting expressions on the importance of the dirt. These shorts sentences are placed in glass tubes to isolate them, since his study is a scientific subject that we analyze, measure, sterilize, etc. I use a 1921 scientific book for young public that serves as my soil.The book is damaged, such as the land, which has lost its balance. Concerning waste, the earth transforms well the fiber of the natural materials as paper. But the human has added many material called “inert” as plastic, metal, glass, etc. We may have an overview of the work, but it is by looking closely that appear the toxic materials here and there, as almost everywhere on the ground. The book is also a clock without hour, but with a pendulum because time is short. Guylaine Couture lives in Montreal, She has this obsession with creativity and paper for a long time. The re-use of printed documents, pieces of photos, and chosen words is a perpetual game for her. Each book attempts to create a fusion between the contents and the container while questioning the manipulation of the object by the reader. It’s like a conversation with her and her concerns. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380939129-WK0FHHN2RSAXUS9OJCDN/mcba-prize-2015-guylaine-couture-awake-in-the-waste2.jpg Entries & Jurors - 2015 Entries - Guylaine Couture Guylaine Couture (Montreal, Quebec) gycouture.com Awake in the waste 2015 Mixed media Unique work 15″ x 8″ x 1″ The soil is a material that seems to us impossible to use until it’s disappearance. My book underlines the composition of the ground which degrades by the human being. I wrote some contrasting expressions on the importance of the dirt. These shorts sentences are placed in glass tubes to isolate them, since his study is a scientific subject that we analyze, measure, sterilize, etc. I use a 1921 scientific book for young public that serves as my soil.The book is damaged, such as the land, which has lost its balance. Concerning waste, the earth transforms well the fiber of the natural materials as paper. But the human has added many material called “inert” as plastic, metal, glass, etc. We may have an overview of the work, but it is by looking closely that appear the toxic materials here and there, as almost everywhere on the ground. The book is also a clock without hour, but with a pendulum because time is short. Guylaine Couture lives in Montreal, She has this obsession with creativity and paper for a long time. The re-use of printed documents, pieces of photos, and chosen words is a perpetual game for her. Each book attempts to create a fusion between the contents and the container while questioning the manipulation of the object by the reader. It’s like a conversation with her and her concerns. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380940660-7IAH184MPEFJ424FVCKC/mcba-prize-2015-guylaine-couture-awake-in-the-waste3.jpg Entries & Jurors - 2015 Entries - Guylaine Couture Guylaine Couture (Montreal, Quebec) gycouture.com Awake in the waste 2015 Mixed media Unique work 15″ x 8″ x 1″ The soil is a material that seems to us impossible to use until it’s disappearance. My book underlines the composition of the ground which degrades by the human being. I wrote some contrasting expressions on the importance of the dirt. These shorts sentences are placed in glass tubes to isolate them, since his study is a scientific subject that we analyze, measure, sterilize, etc. I use a 1921 scientific book for young public that serves as my soil.The book is damaged, such as the land, which has lost its balance. Concerning waste, the earth transforms well the fiber of the natural materials as paper. But the human has added many material called “inert” as plastic, metal, glass, etc. We may have an overview of the work, but it is by looking closely that appear the toxic materials here and there, as almost everywhere on the ground. The book is also a clock without hour, but with a pendulum because time is short. Guylaine Couture lives in Montreal, She has this obsession with creativity and paper for a long time. The re-use of printed documents, pieces of photos, and chosen words is a perpetual game for her. Each book attempts to create a fusion between the contents and the container while questioning the manipulation of the object by the reader. It’s like a conversation with her and her concerns. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380940937-D35CCHMV6BMRB4EB92LP/mcba-prize-2015-guylaine-couture-awake-in-the-waste4.jpg Entries & Jurors - 2015 Entries - Guylaine Couture Guylaine Couture (Montreal, Quebec) gycouture.com Awake in the waste 2015 Mixed media Unique work 15″ x 8″ x 1″ The soil is a material that seems to us impossible to use until it’s disappearance. My book underlines the composition of the ground which degrades by the human being. I wrote some contrasting expressions on the importance of the dirt. These shorts sentences are placed in glass tubes to isolate them, since his study is a scientific subject that we analyze, measure, sterilize, etc. I use a 1921 scientific book for young public that serves as my soil.The book is damaged, such as the land, which has lost its balance. Concerning waste, the earth transforms well the fiber of the natural materials as paper. But the human has added many material called “inert” as plastic, metal, glass, etc. We may have an overview of the work, but it is by looking closely that appear the toxic materials here and there, as almost everywhere on the ground. The book is also a clock without hour, but with a pendulum because time is short. Guylaine Couture lives in Montreal, She has this obsession with creativity and paper for a long time. The re-use of printed documents, pieces of photos, and chosen words is a perpetual game for her. Each book attempts to create a fusion between the contents and the container while questioning the manipulation of the object by the reader. It’s like a conversation with her and her concerns. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774380941847-6C5RQ0FM480VMI44A8YJ/mcba-prize-2015-guylaine-couture-awake-in-the-waste5.jpg Entries & Jurors - 2015 Entries - Guylaine Couture Guylaine Couture (Montreal, Quebec) gycouture.com Awake in the waste 2015 Mixed media Unique work 15″ x 8″ x 1″ The soil is a material that seems to us impossible to use until it’s disappearance. My book underlines the composition of the ground which degrades by the human being. I wrote some contrasting expressions on the importance of the dirt. These shorts sentences are placed in glass tubes to isolate them, since his study is a scientific subject that we analyze, measure, sterilize, etc. I use a 1921 scientific book for young public that serves as my soil.The book is damaged, such as the land, which has lost its balance. Concerning waste, the earth transforms well the fiber of the natural materials as paper. But the human has added many material called “inert” as plastic, metal, glass, etc. We may have an overview of the work, but it is by looking closely that appear the toxic materials here and there, as almost everywhere on the ground. The book is also a clock without hour, but with a pendulum because time is short. Guylaine Couture lives in Montreal, She has this obsession with creativity and paper for a long time. The re-use of printed documents, pieces of photos, and chosen words is a perpetual game for her. Each book attempts to create a fusion between the contents and the container while questioning the manipulation of the object by the reader. It’s like a conversation with her and her concerns. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381059804-3OBPT2M4J86IRAJCKVFD/mcba-prize-2015-maureen-cummins-antrhoapology1.jpg Entries & Jurors - 2015 Entries - Maureen Cummins Maureen Cummins (High Falls, NY) maureencummins.com Anthro(A)pology 2014 silkscreen and letterpress Edition of 25 60 pages 9″ x 24″ open 9″ x 12″ closed Anthro(A)pology examines the way in which pseudo-scientific images, charts, diagrams, and other supposedly factual representations have been used for over five centuries to “teach racism.” The book pairs images from official texts with the artist’s own imagined apologies, which are written not only in the literary style of the time, but also in the appropriate handwriting. The images, which reflect a wide array of attitudes—naïve, condescending, paternalistic, prurient, voyeuristic, anthropomorphic, xenophobic, and outright hateful—are counter-balanced by responses that are equally varied in style, attitude, and sincerity. Throughout the book, color is used as a symbol—to mirror the myriad, deceptive, and often visually-pleasing guise in which racism is presented. The artist uses her “apologia” as both scathing commentary and as a context for interpreting the images (which range from the seemingly innocuous to the incomprehensibly scientific). While Anthro(A)pology examines the role images play in the social construction of racism, it simultaneously celebrates the value of Special Collections: by keeping and protecting books and other cultural artifacts, archives keep alive the process of critical thinking, reflecting and questioning. The images, which are drawn from scientific books and other official texts, were gathered from over a dozen Special Collection research archives across the country. Anthro(A)pology was produced in 2014 in an edition of 25 copies. All texts and images were printed letterpress onto snow-white sheets of Czech Prague handmade by Velke Losiny. Color fields underlying each image are water-based ink washes hand-applied by the artist. The book is three-quarter bound in the style of 19th century photo albums, with cover sheets handmade by Cave Paper. Each copy of the edition is housed in a handsome slipcase that contains an image from 1802, “Head of a Parricide,” printed in metallic gold. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381059177-BFCMGQZTW3YA2B2LK9KC/mcba-prize-2015-maureen-cummins-antrhoapology2.jpg Entries & Jurors - 2015 Entries - Maureen Cummins Maureen Cummins (High Falls, NY) maureencummins.com Anthro(A)pology 2014 silkscreen and letterpress Edition of 25 60 pages 9″ x 24″ open 9″ x 12″ closed Anthro(A)pology examines the way in which pseudo-scientific images, charts, diagrams, and other supposedly factual representations have been used for over five centuries to “teach racism.” The book pairs images from official texts with the artist’s own imagined apologies, which are written not only in the literary style of the time, but also in the appropriate handwriting. The images, which reflect a wide array of attitudes—naïve, condescending, paternalistic, prurient, voyeuristic, anthropomorphic, xenophobic, and outright hateful—are counter-balanced by responses that are equally varied in style, attitude, and sincerity. Throughout the book, color is used as a symbol—to mirror the myriad, deceptive, and often visually-pleasing guise in which racism is presented. The artist uses her “apologia” as both scathing commentary and as a context for interpreting the images (which range from the seemingly innocuous to the incomprehensibly scientific). While Anthro(A)pology examines the role images play in the social construction of racism, it simultaneously celebrates the value of Special Collections: by keeping and protecting books and other cultural artifacts, archives keep alive the process of critical thinking, reflecting and questioning. The images, which are drawn from scientific books and other official texts, were gathered from over a dozen Special Collection research archives across the country. Anthro(A)pology was produced in 2014 in an edition of 25 copies. All texts and images were printed letterpress onto snow-white sheets of Czech Prague handmade by Velke Losiny. Color fields underlying each image are water-based ink washes hand-applied by the artist. The book is three-quarter bound in the style of 19th century photo albums, with cover sheets handmade by Cave Paper. Each copy of the edition is housed in a handsome slipcase that contains an image from 1802, “Head of a Parricide,” printed in metallic gold. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381060235-QPRJ8VYU1P3F93GKB5KN/mcba-prize-2015-maureen-cummins-antrhoapology3.jpg Entries & Jurors - 2015 Entries - Maureen Cummins Maureen Cummins (High Falls, NY) maureencummins.com Anthro(A)pology 2014 silkscreen and letterpress Edition of 25 60 pages 9″ x 24″ open 9″ x 12″ closed Anthro(A)pology examines the way in which pseudo-scientific images, charts, diagrams, and other supposedly factual representations have been used for over five centuries to “teach racism.” The book pairs images from official texts with the artist’s own imagined apologies, which are written not only in the literary style of the time, but also in the appropriate handwriting. The images, which reflect a wide array of attitudes—naïve, condescending, paternalistic, prurient, voyeuristic, anthropomorphic, xenophobic, and outright hateful—are counter-balanced by responses that are equally varied in style, attitude, and sincerity. Throughout the book, color is used as a symbol—to mirror the myriad, deceptive, and often visually-pleasing guise in which racism is presented. The artist uses her “apologia” as both scathing commentary and as a context for interpreting the images (which range from the seemingly innocuous to the incomprehensibly scientific). While Anthro(A)pology examines the role images play in the social construction of racism, it simultaneously celebrates the value of Special Collections: by keeping and protecting books and other cultural artifacts, archives keep alive the process of critical thinking, reflecting and questioning. The images, which are drawn from scientific books and other official texts, were gathered from over a dozen Special Collection research archives across the country. Anthro(A)pology was produced in 2014 in an edition of 25 copies. All texts and images were printed letterpress onto snow-white sheets of Czech Prague handmade by Velke Losiny. Color fields underlying each image are water-based ink washes hand-applied by the artist. The book is three-quarter bound in the style of 19th century photo albums, with cover sheets handmade by Cave Paper. Each copy of the edition is housed in a handsome slipcase that contains an image from 1802, “Head of a Parricide,” printed in metallic gold. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381060772-OKIC4X6466CPY6MZKG09/mcba-prize-2015-maureen-cummins-antrhoapology4.jpg Entries & Jurors - 2015 Entries - Maureen Cummins Maureen Cummins (High Falls, NY) maureencummins.com Anthro(A)pology 2014 silkscreen and letterpress Edition of 25 60 pages 9″ x 24″ open 9″ x 12″ closed Anthro(A)pology examines the way in which pseudo-scientific images, charts, diagrams, and other supposedly factual representations have been used for over five centuries to “teach racism.” The book pairs images from official texts with the artist’s own imagined apologies, which are written not only in the literary style of the time, but also in the appropriate handwriting. The images, which reflect a wide array of attitudes—naïve, condescending, paternalistic, prurient, voyeuristic, anthropomorphic, xenophobic, and outright hateful—are counter-balanced by responses that are equally varied in style, attitude, and sincerity. Throughout the book, color is used as a symbol—to mirror the myriad, deceptive, and often visually-pleasing guise in which racism is presented. The artist uses her “apologia” as both scathing commentary and as a context for interpreting the images (which range from the seemingly innocuous to the incomprehensibly scientific). While Anthro(A)pology examines the role images play in the social construction of racism, it simultaneously celebrates the value of Special Collections: by keeping and protecting books and other cultural artifacts, archives keep alive the process of critical thinking, reflecting and questioning. The images, which are drawn from scientific books and other official texts, were gathered from over a dozen Special Collection research archives across the country. Anthro(A)pology was produced in 2014 in an edition of 25 copies. All texts and images were printed letterpress onto snow-white sheets of Czech Prague handmade by Velke Losiny. Color fields underlying each image are water-based ink washes hand-applied by the artist. The book is three-quarter bound in the style of 19th century photo albums, with cover sheets handmade by Cave Paper. Each copy of the edition is housed in a handsome slipcase that contains an image from 1802, “Head of a Parricide,” printed in metallic gold. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381061251-R69CN2EAR135R1NI9MZD/mcba-prize-2015-maureen-cummins-antrhoapology5.jpg Entries & Jurors - 2015 Entries - Maureen Cummins Maureen Cummins (High Falls, NY) maureencummins.com Anthro(A)pology 2014 silkscreen and letterpress Edition of 25 60 pages 9″ x 24″ open 9″ x 12″ closed Anthro(A)pology examines the way in which pseudo-scientific images, charts, diagrams, and other supposedly factual representations have been used for over five centuries to “teach racism.” The book pairs images from official texts with the artist’s own imagined apologies, which are written not only in the literary style of the time, but also in the appropriate handwriting. The images, which reflect a wide array of attitudes—naïve, condescending, paternalistic, prurient, voyeuristic, anthropomorphic, xenophobic, and outright hateful—are counter-balanced by responses that are equally varied in style, attitude, and sincerity. Throughout the book, color is used as a symbol—to mirror the myriad, deceptive, and often visually-pleasing guise in which racism is presented. The artist uses her “apologia” as both scathing commentary and as a context for interpreting the images (which range from the seemingly innocuous to the incomprehensibly scientific). While Anthro(A)pology examines the role images play in the social construction of racism, it simultaneously celebrates the value of Special Collections: by keeping and protecting books and other cultural artifacts, archives keep alive the process of critical thinking, reflecting and questioning. The images, which are drawn from scientific books and other official texts, were gathered from over a dozen Special Collection research archives across the country. Anthro(A)pology was produced in 2014 in an edition of 25 copies. All texts and images were printed letterpress onto snow-white sheets of Czech Prague handmade by Velke Losiny. Color fields underlying each image are water-based ink washes hand-applied by the artist. The book is three-quarter bound in the style of 19th century photo albums, with cover sheets handmade by Cave Paper. Each copy of the edition is housed in a handsome slipcase that contains an image from 1802, “Head of a Parricide,” printed in metallic gold. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381163603-Z0KBTNBL419YBZI7TJ3O/mcba-prize-2015-adria-davis-arbitrary-boundaries.jpg Entries & Jurors - 2015 Entries - Adria Davis Adria Davis (Paradise, CA) adriadavis.com Arbitrary Boundaries 2015 Installation: digital photography, handmade accordion books Unique work 5’5″ x 6′ x 8″ In 1989, my parents built a home in Fresno, California. As they planned their home, it was common for us to drive around on weekends exploring different architectural styles. My art practice is influenced by my childhood experiences looking out the backseat window as my parents discussed different stucco choices, paint colors and decorative details. These photographs and books are direct responses to my current environment. I am fascinated by the interplay of where public space meets private space and the borders that link them. At these points, places become portraits of the people who inhabit them. This installation, Arbitrary Boundaries, comments on the spaces we occupy. Each person deals with their space differently and the viewer can make various assumptions regarding the place and its occupants. What an individual finds important and others find unimportant interests me. These photographs document how an individual’s personality can be expressed in their constructed environment. What our environment says about us, our interaction with nature and the various choices we make, speaks to who we are as a culture. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381251769-TZYPZUMATL6TL2YVVU1L/mcba-prize-2015-cathy-deforest-dream-of-the-dance-and-dance-of-the-dream2.jpg Entries & Jurors - 2015 Entries - Cathy DeForest Cathy DeForest (Ashland, OR) cathydeforest.com Dream of the Dance & Dance of the Dream 2015 Original photographs taken with Olympus 1 camera in Tuscany. Design work done in Adobe InDesign and Photoshop. Etching plates made by John Sullivan of Logos Graphics and Katzuko Watanabe at Kala Printmaking. Studio Photo etchings printed à la poupée on Somerset Velvet Paper with Conrad and American French Tool etching presses. Title of book letterpress printed on silk with a Universal I printing press. Clamshell portfolio box and leather stands created by Sabina Nies. Weighted leather stands are painted with acrylic paints Roses made with French silk ribbon. Arches were digitally created with a combination of Lewis Anderson’s arch photograph and Cathy DeForest’s painted tyvek and monotypes. Arches printed by Harmonic Design and assembled by Sabina Nies. Repetto ballet point shoe handmade in France. Edition size: 4 Text is printed on one silk scarf and on five photo etchings Dimensions open: 11.5 x 17 x 15 inches Dimensions closed: 11.5 x 17 x 3.5 inches I created The Dream of the Dance & the Dance of the Dream as an intimate invitation into beauty and discovery. The top of the silk draped portfolio box features a twirling ballerina printed on silk. As the viewer opens the portfolio box, the title of the artist book, The Dream of the Dance & the Dance of the Dream appears on the interior lid, letterpress printed on silk. Next, a rose draped invitation awaits: “Dance is a threshold to enchantment Twirl the dancer in your hands, move with her grace Enter her realm Allow yourself to be captivated.” Beginning with a silk scarf, the viewer is enticed to unfold a set of three arches, hold a ballet shoe, and place five hand inked etchings of an Italian ballerina on leather stands draped in silk roses. From then on, the viewer is encouraged to choreograph any dance they choose to create. When I first photographed Valentina Romi, a ballerina from Siena, I was enchanted. Many years passed before I felt I had a book design that would convey the beauty of the ballerina’s movements and the elegance of dance. I wanted every aspect of this book to be an interactive experience of exquisite beauty and enchantment. With this intention, I turned my photographs into etchings and hand inked each plate à la poupée to bring out the radiance of the dancer. A performance by the San Francisco Ballet gave me the idea of inviting the viewer to twirl the dancer in front of an arched stage. I chose text that conveyed enchantment. The text is from Lorin Roche’s book, The Radiance Sutras, his translation of the Vijnana Bhairava Tantra. I printed the words of the sutra on a silk scarf so that the scarf could be draped in front of the ballerinas. I also hand inked a line from the sutra on the back of each intaglio etching so that when the ballerina is twirled, text is part of the viewer’s experience. In keeping with my intention to create this book as a series of discoveries, the bottom of portfolio box contains a silk wrapped holder for five leather wrapped and hand painted stands, a tray for displaying the photo etchings, and a ballet point shoe handmade in France by Repetto containing this quote from Martha Graham, “Wherever a ballerina stand is holy ground”. I am grateful for my delightful collaboration with Sabina Nies who created the beautiful clamshell box and the interior objects. My hope is that each person will experience The Dream of the Dance & the Dance of the Dream as an intimate offering of beauty and an invitation to discovery. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381251720-E6MQ7SC44E12L0JNUVN7/mcba-prize-2015-cathy-deforest-dream-of-the-dance-and-dance-of-the-dream1.jpg Entries & Jurors - 2015 Entries - Cathy DeForest Cathy DeForest (Ashland, OR) cathydeforest.com Dream of the Dance & Dance of the Dream 2015 Original photographs taken with Olympus 1 camera in Tuscany. Design work done in Adobe InDesign and Photoshop. Etching plates made by John Sullivan of Logos Graphics and Katzuko Watanabe at Kala Printmaking. Studio Photo etchings printed à la poupée on Somerset Velvet Paper with Conrad and American French Tool etching presses. Title of book letterpress printed on silk with a Universal I printing press. Clamshell portfolio box and leather stands created by Sabina Nies. Weighted leather stands are painted with acrylic paints Roses made with French silk ribbon. Arches were digitally created with a combination of Lewis Anderson’s arch photograph and Cathy DeForest’s painted tyvek and monotypes. Arches printed by Harmonic Design and assembled by Sabina Nies. Repetto ballet point shoe handmade in France. Edition size: 4 Text is printed on one silk scarf and on five photo etchings Dimensions open: 11.5 x 17 x 15 inches Dimensions closed: 11.5 x 17 x 3.5 inches I created The Dream of the Dance & the Dance of the Dream as an intimate invitation into beauty and discovery. The top of the silk draped portfolio box features a twirling ballerina printed on silk. As the viewer opens the portfolio box, the title of the artist book, The Dream of the Dance & the Dance of the Dream appears on the interior lid, letterpress printed on silk. Next, a rose draped invitation awaits: “Dance is a threshold to enchantment Twirl the dancer in your hands, move with her grace Enter her realm Allow yourself to be captivated.” Beginning with a silk scarf, the viewer is enticed to unfold a set of three arches, hold a ballet shoe, and place five hand inked etchings of an Italian ballerina on leather stands draped in silk roses. From then on, the viewer is encouraged to choreograph any dance they choose to create. When I first photographed Valentina Romi, a ballerina from Siena, I was enchanted. Many years passed before I felt I had a book design that would convey the beauty of the ballerina’s movements and the elegance of dance. I wanted every aspect of this book to be an interactive experience of exquisite beauty and enchantment. With this intention, I turned my photographs into etchings and hand inked each plate à la poupée to bring out the radiance of the dancer. A performance by the San Francisco Ballet gave me the idea of inviting the viewer to twirl the dancer in front of an arched stage. I chose text that conveyed enchantment. The text is from Lorin Roche’s book, The Radiance Sutras, his translation of the Vijnana Bhairava Tantra. I printed the words of the sutra on a silk scarf so that the scarf could be draped in front of the ballerinas. I also hand inked a line from the sutra on the back of each intaglio etching so that when the ballerina is twirled, text is part of the viewer’s experience. In keeping with my intention to create this book as a series of discoveries, the bottom of portfolio box contains a silk wrapped holder for five leather wrapped and hand painted stands, a tray for displaying the photo etchings, and a ballet point shoe handmade in France by Repetto containing this quote from Martha Graham, “Wherever a ballerina stand is holy ground”. I am grateful for my delightful collaboration with Sabina Nies who created the beautiful clamshell box and the interior objects. My hope is that each person will experience The Dream of the Dance & the Dance of the Dream as an intimate offering of beauty and an invitation to discovery. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381254454-A81HKN8WOBZMDV7XAJ24/mcba-prize-2015-cathy-deforest-dream-of-the-dance-and-dance-of-the-dream3.jpg Entries & Jurors - 2015 Entries - Cathy DeForest Cathy DeForest (Ashland, OR) cathydeforest.com Dream of the Dance & Dance of the Dream 2015 Original photographs taken with Olympus 1 camera in Tuscany. Design work done in Adobe InDesign and Photoshop. Etching plates made by John Sullivan of Logos Graphics and Katzuko Watanabe at Kala Printmaking. Studio Photo etchings printed à la poupée on Somerset Velvet Paper with Conrad and American French Tool etching presses. Title of book letterpress printed on silk with a Universal I printing press. Clamshell portfolio box and leather stands created by Sabina Nies. Weighted leather stands are painted with acrylic paints Roses made with French silk ribbon. Arches were digitally created with a combination of Lewis Anderson’s arch photograph and Cathy DeForest’s painted tyvek and monotypes. Arches printed by Harmonic Design and assembled by Sabina Nies. Repetto ballet point shoe handmade in France. Edition size: 4 Text is printed on one silk scarf and on five photo etchings Dimensions open: 11.5 x 17 x 15 inches Dimensions closed: 11.5 x 17 x 3.5 inches I created The Dream of the Dance & the Dance of the Dream as an intimate invitation into beauty and discovery. The top of the silk draped portfolio box features a twirling ballerina printed on silk. As the viewer opens the portfolio box, the title of the artist book, The Dream of the Dance & the Dance of the Dream appears on the interior lid, letterpress printed on silk. Next, a rose draped invitation awaits: “Dance is a threshold to enchantment Twirl the dancer in your hands, move with her grace Enter her realm Allow yourself to be captivated.” Beginning with a silk scarf, the viewer is enticed to unfold a set of three arches, hold a ballet shoe, and place five hand inked etchings of an Italian ballerina on leather stands draped in silk roses. From then on, the viewer is encouraged to choreograph any dance they choose to create. When I first photographed Valentina Romi, a ballerina from Siena, I was enchanted. Many years passed before I felt I had a book design that would convey the beauty of the ballerina’s movements and the elegance of dance. I wanted every aspect of this book to be an interactive experience of exquisite beauty and enchantment. With this intention, I turned my photographs into etchings and hand inked each plate à la poupée to bring out the radiance of the dancer. A performance by the San Francisco Ballet gave me the idea of inviting the viewer to twirl the dancer in front of an arched stage. I chose text that conveyed enchantment. The text is from Lorin Roche’s book, The Radiance Sutras, his translation of the Vijnana Bhairava Tantra. I printed the words of the sutra on a silk scarf so that the scarf could be draped in front of the ballerinas. I also hand inked a line from the sutra on the back of each intaglio etching so that when the ballerina is twirled, text is part of the viewer’s experience. In keeping with my intention to create this book as a series of discoveries, the bottom of portfolio box contains a silk wrapped holder for five leather wrapped and hand painted stands, a tray for displaying the photo etchings, and a ballet point shoe handmade in France by Repetto containing this quote from Martha Graham, “Wherever a ballerina stand is holy ground”. I am grateful for my delightful collaboration with Sabina Nies who created the beautiful clamshell box and the interior objects. My hope is that each person will experience The Dream of the Dance & the Dance of the Dream as an intimate offering of beauty and an invitation to discovery. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381253311-M026HCIHLUHG478EH7TT/mcba-prize-2015-cathy-deforest-dream-of-the-dance-and-dance-of-the-dream4.jpg Entries & Jurors - 2015 Entries - Cathy DeForest Cathy DeForest (Ashland, OR) cathydeforest.com Dream of the Dance & Dance of the Dream 2015 Original photographs taken with Olympus 1 camera in Tuscany. Design work done in Adobe InDesign and Photoshop. Etching plates made by John Sullivan of Logos Graphics and Katzuko Watanabe at Kala Printmaking. Studio Photo etchings printed à la poupée on Somerset Velvet Paper with Conrad and American French Tool etching presses. Title of book letterpress printed on silk with a Universal I printing press. Clamshell portfolio box and leather stands created by Sabina Nies. Weighted leather stands are painted with acrylic paints Roses made with French silk ribbon. Arches were digitally created with a combination of Lewis Anderson’s arch photograph and Cathy DeForest’s painted tyvek and monotypes. Arches printed by Harmonic Design and assembled by Sabina Nies. Repetto ballet point shoe handmade in France. Edition size: 4 Text is printed on one silk scarf and on five photo etchings Dimensions open: 11.5 x 17 x 15 inches Dimensions closed: 11.5 x 17 x 3.5 inches I created The Dream of the Dance & the Dance of the Dream as an intimate invitation into beauty and discovery. The top of the silk draped portfolio box features a twirling ballerina printed on silk. As the viewer opens the portfolio box, the title of the artist book, The Dream of the Dance & the Dance of the Dream appears on the interior lid, letterpress printed on silk. Next, a rose draped invitation awaits: “Dance is a threshold to enchantment Twirl the dancer in your hands, move with her grace Enter her realm Allow yourself to be captivated.” Beginning with a silk scarf, the viewer is enticed to unfold a set of three arches, hold a ballet shoe, and place five hand inked etchings of an Italian ballerina on leather stands draped in silk roses. From then on, the viewer is encouraged to choreograph any dance they choose to create. When I first photographed Valentina Romi, a ballerina from Siena, I was enchanted. Many years passed before I felt I had a book design that would convey the beauty of the ballerina’s movements and the elegance of dance. I wanted every aspect of this book to be an interactive experience of exquisite beauty and enchantment. With this intention, I turned my photographs into etchings and hand inked each plate à la poupée to bring out the radiance of the dancer. A performance by the San Francisco Ballet gave me the idea of inviting the viewer to twirl the dancer in front of an arched stage. I chose text that conveyed enchantment. The text is from Lorin Roche’s book, The Radiance Sutras, his translation of the Vijnana Bhairava Tantra. I printed the words of the sutra on a silk scarf so that the scarf could be draped in front of the ballerinas. I also hand inked a line from the sutra on the back of each intaglio etching so that when the ballerina is twirled, text is part of the viewer’s experience. In keeping with my intention to create this book as a series of discoveries, the bottom of portfolio box contains a silk wrapped holder for five leather wrapped and hand painted stands, a tray for displaying the photo etchings, and a ballet point shoe handmade in France by Repetto containing this quote from Martha Graham, “Wherever a ballerina stand is holy ground”. I am grateful for my delightful collaboration with Sabina Nies who created the beautiful clamshell box and the interior objects. My hope is that each person will experience The Dream of the Dance & the Dance of the Dream as an intimate offering of beauty and an invitation to discovery. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381254687-CZEC40XDMCFW0JG57OYY/mcba-prize-2015-cathy-deforest-dream-of-the-dance-and-dance-of-the-dream5.jpg Entries & Jurors - 2015 Entries - Cathy DeForest Cathy DeForest (Ashland, OR) cathydeforest.com Dream of the Dance & Dance of the Dream 2015 Original photographs taken with Olympus 1 camera in Tuscany. Design work done in Adobe InDesign and Photoshop. Etching plates made by John Sullivan of Logos Graphics and Katzuko Watanabe at Kala Printmaking. Studio Photo etchings printed à la poupée on Somerset Velvet Paper with Conrad and American French Tool etching presses. Title of book letterpress printed on silk with a Universal I printing press. Clamshell portfolio box and leather stands created by Sabina Nies. Weighted leather stands are painted with acrylic paints Roses made with French silk ribbon. Arches were digitally created with a combination of Lewis Anderson’s arch photograph and Cathy DeForest’s painted tyvek and monotypes. Arches printed by Harmonic Design and assembled by Sabina Nies. Repetto ballet point shoe handmade in France. Edition size: 4 Text is printed on one silk scarf and on five photo etchings Dimensions open: 11.5 x 17 x 15 inches Dimensions closed: 11.5 x 17 x 3.5 inches I created The Dream of the Dance & the Dance of the Dream as an intimate invitation into beauty and discovery. The top of the silk draped portfolio box features a twirling ballerina printed on silk. As the viewer opens the portfolio box, the title of the artist book, The Dream of the Dance & the Dance of the Dream appears on the interior lid, letterpress printed on silk. Next, a rose draped invitation awaits: “Dance is a threshold to enchantment Twirl the dancer in your hands, move with her grace Enter her realm Allow yourself to be captivated.” Beginning with a silk scarf, the viewer is enticed to unfold a set of three arches, hold a ballet shoe, and place five hand inked etchings of an Italian ballerina on leather stands draped in silk roses. From then on, the viewer is encouraged to choreograph any dance they choose to create. When I first photographed Valentina Romi, a ballerina from Siena, I was enchanted. Many years passed before I felt I had a book design that would convey the beauty of the ballerina’s movements and the elegance of dance. I wanted every aspect of this book to be an interactive experience of exquisite beauty and enchantment. With this intention, I turned my photographs into etchings and hand inked each plate à la poupée to bring out the radiance of the dancer. A performance by the San Francisco Ballet gave me the idea of inviting the viewer to twirl the dancer in front of an arched stage. I chose text that conveyed enchantment. The text is from Lorin Roche’s book, The Radiance Sutras, his translation of the Vijnana Bhairava Tantra. I printed the words of the sutra on a silk scarf so that the scarf could be draped in front of the ballerinas. I also hand inked a line from the sutra on the back of each intaglio etching so that when the ballerina is twirled, text is part of the viewer’s experience. In keeping with my intention to create this book as a series of discoveries, the bottom of portfolio box contains a silk wrapped holder for five leather wrapped and hand painted stands, a tray for displaying the photo etchings, and a ballet point shoe handmade in France by Repetto containing this quote from Martha Graham, “Wherever a ballerina stand is holy ground”. I am grateful for my delightful collaboration with Sabina Nies who created the beautiful clamshell box and the interior objects. My hope is that each person will experience The Dream of the Dance & the Dance of the Dream as an intimate offering of beauty and an invitation to discovery. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381373284-7YQIFG4LP7YTAZIQF42S/mcba-prize-2015-cathy-deforest-girls-an-alphabet-book-inspired-by-daughters1.jpg Entries & Jurors - 2015 Entries - Cathy DeForest Cathy DeForest (Ashland, OR) cathydeforest.com GIRLS: An Alphabet Book Inspired By Daughters 2015 Edition of 50 32 pages 5 x 30 x 1 inch open 5 x 5 x 1 inch closed Design for accordion book was laid out in Adobe InDesign and Photoshop. Each letter and image is hand painted with a combination of watercolor paints, pastels and mixed media. The background of each page is digitally printed from a composite of painted tyvek and photography. The illustrations and background were scanned and placed in Photoshop. Printing was done on a 9880 Epson Pro printer with archival Ultra Chrome K3 inks. Each accordion book has a unique front cover and back cover made from clothing little girls once wore. A one-of-a-kind doll made from repurposed clothing comes with each book and fits into the pocket of the cover of GIRLS. The doll’s arms and legs are moveable. The doll is made from yarn, dyed wool, piper cleaners and a variety of silk, cotton and polyester fabric. A box, which houses each book, is made from corduroy fabric. The top of the box lid and the inside of the box bottom contain a page from the GIRLS book. I created GIRLS: An Alphabet Book Inspired by Daughters to portray the unique essence of girls. When I watch girls playing make-believe, swinging on swings, or telling tales to furry friends, I see the special ways girls express themselves. To convey that individuality, I bound each book with a unique cover distinct from the other books in the edition, made from clothing little girls once wore. A one-of-a-kind doll accompanies each book and fits into the pocket featured on the cover. For my illustrations and text, I chose to feature activities that are available to girls regardless of economics, cultural backgrounds or access to technology. I wanted to elevate imagination and play as rich keys to childhood. Cathy Dorris took my ideas for each letter of the alphabet and brought them into reality with her charming illustrations. Together, we hand painted each letter, ponytail and skirt. Sabina Nies cut and folded each book. Meg Conrard shaped and sewed each of my doll designs and added her special flare to each lock of hair. GIRLS: An Alphabet Book Inspired By Daughters is intended for children of all ages. GIRLS functions as a work of art, an accordion sculpture that can adorn a child’s bedroom or a family room shelf. I invite everyone to romp through the colorful alphabet letters, images and text and to delight in the joy and creativity of girls: “A-Adorning alphabets, with awesome alliterations, B-Bashful booklovers, bubbling beauty, C-Capably choreographing cartwheels” GIRLS: An Alphabet Book Inspired By Daughters is a companion to my previously published book, BOYS: An Alphabet Book Inspired By Sons. Both books reflect and express the joys of childhood and are intended to delight generations for years to come. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381373191-IHA1NO1R9ABA8YDKXV8A/mcba-prize-2015-cathy-deforest-girls-an-alphabet-book-inspired-by-daughters2.jpg Entries & Jurors - 2015 Entries - Cathy DeForest Cathy DeForest (Ashland, OR) cathydeforest.com GIRLS: An Alphabet Book Inspired By Daughters 2015 Edition of 50 32 pages 5 x 30 x 1 inch open 5 x 5 x 1 inch closed Design for accordion book was laid out in Adobe InDesign and Photoshop. Each letter and image is hand painted with a combination of watercolor paints, pastels and mixed media. The background of each page is digitally printed from a composite of painted tyvek and photography. The illustrations and background were scanned and placed in Photoshop. Printing was done on a 9880 Epson Pro printer with archival Ultra Chrome K3 inks. Each accordion book has a unique front cover and back cover made from clothing little girls once wore. A one-of-a-kind doll made from repurposed clothing comes with each book and fits into the pocket of the cover of GIRLS. The doll’s arms and legs are moveable. The doll is made from yarn, dyed wool, piper cleaners and a variety of silk, cotton and polyester fabric. A box, which houses each book, is made from corduroy fabric. The top of the box lid and the inside of the box bottom contain a page from the GIRLS book. I created GIRLS: An Alphabet Book Inspired by Daughters to portray the unique essence of girls. When I watch girls playing make-believe, swinging on swings, or telling tales to furry friends, I see the special ways girls express themselves. To convey that individuality, I bound each book with a unique cover distinct from the other books in the edition, made from clothing little girls once wore. A one-of-a-kind doll accompanies each book and fits into the pocket featured on the cover. For my illustrations and text, I chose to feature activities that are available to girls regardless of economics, cultural backgrounds or access to technology. I wanted to elevate imagination and play as rich keys to childhood. Cathy Dorris took my ideas for each letter of the alphabet and brought them into reality with her charming illustrations. Together, we hand painted each letter, ponytail and skirt. Sabina Nies cut and folded each book. Meg Conrard shaped and sewed each of my doll designs and added her special flare to each lock of hair. GIRLS: An Alphabet Book Inspired By Daughters is intended for children of all ages. GIRLS functions as a work of art, an accordion sculpture that can adorn a child’s bedroom or a family room shelf. I invite everyone to romp through the colorful alphabet letters, images and text and to delight in the joy and creativity of girls: “A-Adorning alphabets, with awesome alliterations, B-Bashful booklovers, bubbling beauty, C-Capably choreographing cartwheels” GIRLS: An Alphabet Book Inspired By Daughters is a companion to my previously published book, BOYS: An Alphabet Book Inspired By Sons. Both books reflect and express the joys of childhood and are intended to delight generations for years to come. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381374376-V2X57NX8I51A0KVHNASF/mcba-prize-2015-cathy-deforest-girls-an-alphabet-book-inspired-by-daughters3.jpg Entries & Jurors - 2015 Entries - Cathy DeForest Cathy DeForest (Ashland, OR) cathydeforest.com GIRLS: An Alphabet Book Inspired By Daughters 2015 Edition of 50 32 pages 5 x 30 x 1 inch open 5 x 5 x 1 inch closed Design for accordion book was laid out in Adobe InDesign and Photoshop. Each letter and image is hand painted with a combination of watercolor paints, pastels and mixed media. The background of each page is digitally printed from a composite of painted tyvek and photography. The illustrations and background were scanned and placed in Photoshop. Printing was done on a 9880 Epson Pro printer with archival Ultra Chrome K3 inks. Each accordion book has a unique front cover and back cover made from clothing little girls once wore. A one-of-a-kind doll made from repurposed clothing comes with each book and fits into the pocket of the cover of GIRLS. The doll’s arms and legs are moveable. The doll is made from yarn, dyed wool, piper cleaners and a variety of silk, cotton and polyester fabric. A box, which houses each book, is made from corduroy fabric. The top of the box lid and the inside of the box bottom contain a page from the GIRLS book. I created GIRLS: An Alphabet Book Inspired by Daughters to portray the unique essence of girls. When I watch girls playing make-believe, swinging on swings, or telling tales to furry friends, I see the special ways girls express themselves. To convey that individuality, I bound each book with a unique cover distinct from the other books in the edition, made from clothing little girls once wore. A one-of-a-kind doll accompanies each book and fits into the pocket featured on the cover. For my illustrations and text, I chose to feature activities that are available to girls regardless of economics, cultural backgrounds or access to technology. I wanted to elevate imagination and play as rich keys to childhood. Cathy Dorris took my ideas for each letter of the alphabet and brought them into reality with her charming illustrations. Together, we hand painted each letter, ponytail and skirt. Sabina Nies cut and folded each book. Meg Conrard shaped and sewed each of my doll designs and added her special flare to each lock of hair. GIRLS: An Alphabet Book Inspired By Daughters is intended for children of all ages. GIRLS functions as a work of art, an accordion sculpture that can adorn a child’s bedroom or a family room shelf. I invite everyone to romp through the colorful alphabet letters, images and text and to delight in the joy and creativity of girls: “A-Adorning alphabets, with awesome alliterations, B-Bashful booklovers, bubbling beauty, C-Capably choreographing cartwheels” GIRLS: An Alphabet Book Inspired By Daughters is a companion to my previously published book, BOYS: An Alphabet Book Inspired By Sons. Both books reflect and express the joys of childhood and are intended to delight generations for years to come. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381374484-N8OW4GS5RWTZJ8WDDX4N/mcba-prize-2015-cathy-deforest-girls-an-alphabet-book-inspired-by-daughters4.jpg Entries & Jurors - 2015 Entries - Cathy DeForest Cathy DeForest (Ashland, OR) cathydeforest.com GIRLS: An Alphabet Book Inspired By Daughters 2015 Edition of 50 32 pages 5 x 30 x 1 inch open 5 x 5 x 1 inch closed Design for accordion book was laid out in Adobe InDesign and Photoshop. Each letter and image is hand painted with a combination of watercolor paints, pastels and mixed media. The background of each page is digitally printed from a composite of painted tyvek and photography. The illustrations and background were scanned and placed in Photoshop. Printing was done on a 9880 Epson Pro printer with archival Ultra Chrome K3 inks. Each accordion book has a unique front cover and back cover made from clothing little girls once wore. A one-of-a-kind doll made from repurposed clothing comes with each book and fits into the pocket of the cover of GIRLS. The doll’s arms and legs are moveable. The doll is made from yarn, dyed wool, piper cleaners and a variety of silk, cotton and polyester fabric. A box, which houses each book, is made from corduroy fabric. The top of the box lid and the inside of the box bottom contain a page from the GIRLS book. I created GIRLS: An Alphabet Book Inspired by Daughters to portray the unique essence of girls. When I watch girls playing make-believe, swinging on swings, or telling tales to furry friends, I see the special ways girls express themselves. To convey that individuality, I bound each book with a unique cover distinct from the other books in the edition, made from clothing little girls once wore. A one-of-a-kind doll accompanies each book and fits into the pocket featured on the cover. For my illustrations and text, I chose to feature activities that are available to girls regardless of economics, cultural backgrounds or access to technology. I wanted to elevate imagination and play as rich keys to childhood. Cathy Dorris took my ideas for each letter of the alphabet and brought them into reality with her charming illustrations. Together, we hand painted each letter, ponytail and skirt. Sabina Nies cut and folded each book. Meg Conrard shaped and sewed each of my doll designs and added her special flare to each lock of hair. GIRLS: An Alphabet Book Inspired By Daughters is intended for children of all ages. GIRLS functions as a work of art, an accordion sculpture that can adorn a child’s bedroom or a family room shelf. I invite everyone to romp through the colorful alphabet letters, images and text and to delight in the joy and creativity of girls: “A-Adorning alphabets, with awesome alliterations, B-Bashful booklovers, bubbling beauty, C-Capably choreographing cartwheels” GIRLS: An Alphabet Book Inspired By Daughters is a companion to my previously published book, BOYS: An Alphabet Book Inspired By Sons. Both books reflect and express the joys of childhood and are intended to delight generations for years to come. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381375654-P0KO88M86OXX4QF3LJM9/mcba-prize-2015-cathy-deforest-girls-an-alphabet-book-inspired-by-daughters5.jpg Entries & Jurors - 2015 Entries - Cathy DeForest Cathy DeForest (Ashland, OR) cathydeforest.com GIRLS: An Alphabet Book Inspired By Daughters 2015 Edition of 50 32 pages 5 x 30 x 1 inch open 5 x 5 x 1 inch closed Design for accordion book was laid out in Adobe InDesign and Photoshop. Each letter and image is hand painted with a combination of watercolor paints, pastels and mixed media. The background of each page is digitally printed from a composite of painted tyvek and photography. The illustrations and background were scanned and placed in Photoshop. Printing was done on a 9880 Epson Pro printer with archival Ultra Chrome K3 inks. Each accordion book has a unique front cover and back cover made from clothing little girls once wore. A one-of-a-kind doll made from repurposed clothing comes with each book and fits into the pocket of the cover of GIRLS. The doll’s arms and legs are moveable. The doll is made from yarn, dyed wool, piper cleaners and a variety of silk, cotton and polyester fabric. A box, which houses each book, is made from corduroy fabric. The top of the box lid and the inside of the box bottom contain a page from the GIRLS book. I created GIRLS: An Alphabet Book Inspired by Daughters to portray the unique essence of girls. When I watch girls playing make-believe, swinging on swings, or telling tales to furry friends, I see the special ways girls express themselves. To convey that individuality, I bound each book with a unique cover distinct from the other books in the edition, made from clothing little girls once wore. A one-of-a-kind doll accompanies each book and fits into the pocket featured on the cover. For my illustrations and text, I chose to feature activities that are available to girls regardless of economics, cultural backgrounds or access to technology. I wanted to elevate imagination and play as rich keys to childhood. Cathy Dorris took my ideas for each letter of the alphabet and brought them into reality with her charming illustrations. Together, we hand painted each letter, ponytail and skirt. Sabina Nies cut and folded each book. Meg Conrard shaped and sewed each of my doll designs and added her special flare to each lock of hair. GIRLS: An Alphabet Book Inspired By Daughters is intended for children of all ages. GIRLS functions as a work of art, an accordion sculpture that can adorn a child’s bedroom or a family room shelf. I invite everyone to romp through the colorful alphabet letters, images and text and to delight in the joy and creativity of girls: “A-Adorning alphabets, with awesome alliterations, B-Bashful booklovers, bubbling beauty, C-Capably choreographing cartwheels” GIRLS: An Alphabet Book Inspired By Daughters is a companion to my previously published book, BOYS: An Alphabet Book Inspired By Sons. Both books reflect and express the joys of childhood and are intended to delight generations for years to come. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381491192-YWC3THZ9N8MVOM08XN3H/mcba-prize-2015-cathy-deforest-our-immortal-soul1.jpg Entries & Jurors - 2015 Entries - Cathy DeForest Cathy DeForest (Ashland, OR) cathydeforest.com Our Immortal Soul 2015 Edition of 8 9 pages 7.25 x 21 x .2 inches open 8.75 x 11.5 x 1.25 inches closed Cover pages are hand-inked intaglio etchings of cuneiforms dating from the 5th century BCE from Babylonia. John Sullivan of Logos Graphics made etching plates from photographs of original cuneiforms housed in The British Museum. The first set of interior pages consist of relief prints of cuneiforms featured on the cover of the book. The next set of interior pages is comprised of intaglio etchings of the English and Arabic translation of The Manifesto of The Poets of Baghdad. Cathy DeForest printed those translations as intaglio etchings from solar plates by which she made. The final page of Our Immortal Soul is an intaglio etching of a map of ancient Mesopotamia also made from solar plates. Images and text are printed on Hahnemühle German Etching Paper. Paper clay was molded into a customized stamp of the Babylonian dream journal cuneiform in order to make the miniature cuneiform on the front of the portfolio box. The cuneiform was then painted with acrylic paints to resemble the artifact. Sabina Nies made the clamshell portfolio box housing Our Immortal Soul. Within 24 hours of the bombing of Al-Mutanabbi Street in Baghdad in 2007, ten poets and several actors staged performances. At great risk, they gathered to celebrate the long history of the street as welcoming and housing the art forms, written and pictorial, that have graced the rich history of the region. As a sister artist, the minute I heard of their courageous acts, I wanted a way to stand with them by creating a piece that would honor them and their culture. These poets stood in the debris of the bombing, but they also stood on the shoulders of our common ancestors, those who formed the first letters in clay cuneiforms, five thousand years ago. I have long been fascinated with the crucial developments of ancient Mesopotamia and its achievements: the invention of writing, the creation of sophisticated art and literature, scientific discoveries that still influence life today. As poet, Abdul-Zehra Zeki said in his 2007 Manifesto of the Poets of Baghdad, ancient Mesopotamia “was the center of civilization,” and Baghdad was “one of the largest cities of enlightenment in history.” When I discovered that the cuneiform on the right was a dream journal from Babylonia (circa 5th centruy BCE), I felt that it embodied the dreams of the Al-Mutanabbi poets in the 21st century. I wanted each viewer to have a visceral experience with the beauty of humankind’s first writing. Today we see maps of Iraq and connote it with terrorism and great suffering. I chose to replace those images with the map of the Fertile Crescent, one of the greatest sources of our common cultural heritage. This book I part of the Al-Mutanabbi Street Project, an international response to the car bombing of the ancient book seller street in Baghdad in 2007. The original translator of the Arabic Manifesto into English was Inan Jab. Hassan Anwar assisted me in the Arabic translation of the excerpts I chose to highlight from the Manifesto. I realize how privileged I am to create this piece. I am deeply aware there are many who are not free to create or even read books. I dedicate this piece to all who, like the Baghdad poets who proclaimed their Manifesto, risk their lives daily to protect artifacts and sacred books in Iraq, Syria, Palestine, Iran, Egypt, Afghanistan and beyond. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381491150-VMEC4SA88E32KB2UHINU/mcba-prize-2015-cathy-deforest-our-immortal-soul2.jpg Entries & Jurors - 2015 Entries - Cathy DeForest Cathy DeForest (Ashland, OR) cathydeforest.com Our Immortal Soul 2015 Edition of 8 9 pages 7.25 x 21 x .2 inches open 8.75 x 11.5 x 1.25 inches closed Cover pages are hand-inked intaglio etchings of cuneiforms dating from the 5th century BCE from Babylonia. John Sullivan of Logos Graphics made etching plates from photographs of original cuneiforms housed in The British Museum. The first set of interior pages consist of relief prints of cuneiforms featured on the cover of the book. The next set of interior pages is comprised of intaglio etchings of the English and Arabic translation of The Manifesto of The Poets of Baghdad. Cathy DeForest printed those translations as intaglio etchings from solar plates by which she made. The final page of Our Immortal Soul is an intaglio etching of a map of ancient Mesopotamia also made from solar plates. Images and text are printed on Hahnemühle German Etching Paper. Paper clay was molded into a customized stamp of the Babylonian dream journal cuneiform in order to make the miniature cuneiform on the front of the portfolio box. The cuneiform was then painted with acrylic paints to resemble the artifact. Sabina Nies made the clamshell portfolio box housing Our Immortal Soul. Within 24 hours of the bombing of Al-Mutanabbi Street in Baghdad in 2007, ten poets and several actors staged performances. At great risk, they gathered to celebrate the long history of the street as welcoming and housing the art forms, written and pictorial, that have graced the rich history of the region. As a sister artist, the minute I heard of their courageous acts, I wanted a way to stand with them by creating a piece that would honor them and their culture. These poets stood in the debris of the bombing, but they also stood on the shoulders of our common ancestors, those who formed the first letters in clay cuneiforms, five thousand years ago. I have long been fascinated with the crucial developments of ancient Mesopotamia and its achievements: the invention of writing, the creation of sophisticated art and literature, scientific discoveries that still influence life today. As poet, Abdul-Zehra Zeki said in his 2007 Manifesto of the Poets of Baghdad, ancient Mesopotamia “was the center of civilization,” and Baghdad was “one of the largest cities of enlightenment in history.” When I discovered that the cuneiform on the right was a dream journal from Babylonia (circa 5th centruy BCE), I felt that it embodied the dreams of the Al-Mutanabbi poets in the 21st century. I wanted each viewer to have a visceral experience with the beauty of humankind’s first writing. Today we see maps of Iraq and connote it with terrorism and great suffering. I chose to replace those images with the map of the Fertile Crescent, one of the greatest sources of our common cultural heritage. This book I part of the Al-Mutanabbi Street Project, an international response to the car bombing of the ancient book seller street in Baghdad in 2007. The original translator of the Arabic Manifesto into English was Inan Jab. Hassan Anwar assisted me in the Arabic translation of the excerpts I chose to highlight from the Manifesto. I realize how privileged I am to create this piece. I am deeply aware there are many who are not free to create or even read books. I dedicate this piece to all who, like the Baghdad poets who proclaimed their Manifesto, risk their lives daily to protect artifacts and sacred books in Iraq, Syria, Palestine, Iran, Egypt, Afghanistan and beyond. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381492285-YMY4S1PX6SHXUD3I9K5N/mcba-prize-2015-cathy-deforest-our-immortal-soul3.jpg Entries & Jurors - 2015 Entries - Cathy DeForest Cathy DeForest (Ashland, OR) cathydeforest.com Our Immortal Soul 2015 Edition of 8 9 pages 7.25 x 21 x .2 inches open 8.75 x 11.5 x 1.25 inches closed Cover pages are hand-inked intaglio etchings of cuneiforms dating from the 5th century BCE from Babylonia. John Sullivan of Logos Graphics made etching plates from photographs of original cuneiforms housed in The British Museum. The first set of interior pages consist of relief prints of cuneiforms featured on the cover of the book. The next set of interior pages is comprised of intaglio etchings of the English and Arabic translation of The Manifesto of The Poets of Baghdad. Cathy DeForest printed those translations as intaglio etchings from solar plates by which she made. The final page of Our Immortal Soul is an intaglio etching of a map of ancient Mesopotamia also made from solar plates. Images and text are printed on Hahnemühle German Etching Paper. Paper clay was molded into a customized stamp of the Babylonian dream journal cuneiform in order to make the miniature cuneiform on the front of the portfolio box. The cuneiform was then painted with acrylic paints to resemble the artifact. Sabina Nies made the clamshell portfolio box housing Our Immortal Soul. Within 24 hours of the bombing of Al-Mutanabbi Street in Baghdad in 2007, ten poets and several actors staged performances. At great risk, they gathered to celebrate the long history of the street as welcoming and housing the art forms, written and pictorial, that have graced the rich history of the region. As a sister artist, the minute I heard of their courageous acts, I wanted a way to stand with them by creating a piece that would honor them and their culture. These poets stood in the debris of the bombing, but they also stood on the shoulders of our common ancestors, those who formed the first letters in clay cuneiforms, five thousand years ago. I have long been fascinated with the crucial developments of ancient Mesopotamia and its achievements: the invention of writing, the creation of sophisticated art and literature, scientific discoveries that still influence life today. As poet, Abdul-Zehra Zeki said in his 2007 Manifesto of the Poets of Baghdad, ancient Mesopotamia “was the center of civilization,” and Baghdad was “one of the largest cities of enlightenment in history.” When I discovered that the cuneiform on the right was a dream journal from Babylonia (circa 5th centruy BCE), I felt that it embodied the dreams of the Al-Mutanabbi poets in the 21st century. I wanted each viewer to have a visceral experience with the beauty of humankind’s first writing. Today we see maps of Iraq and connote it with terrorism and great suffering. I chose to replace those images with the map of the Fertile Crescent, one of the greatest sources of our common cultural heritage. This book I part of the Al-Mutanabbi Street Project, an international response to the car bombing of the ancient book seller street in Baghdad in 2007. The original translator of the Arabic Manifesto into English was Inan Jab. Hassan Anwar assisted me in the Arabic translation of the excerpts I chose to highlight from the Manifesto. I realize how privileged I am to create this piece. I am deeply aware there are many who are not free to create or even read books. I dedicate this piece to all who, like the Baghdad poets who proclaimed their Manifesto, risk their lives daily to protect artifacts and sacred books in Iraq, Syria, Palestine, Iran, Egypt, Afghanistan and beyond. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381492484-FJ45ELSTTQ56N02CRIQ2/mcba-prize-2015-cathy-deforest-our-immortal-soul4.jpg Entries & Jurors - 2015 Entries - Cathy DeForest Cathy DeForest (Ashland, OR) cathydeforest.com Our Immortal Soul 2015 Edition of 8 9 pages 7.25 x 21 x .2 inches open 8.75 x 11.5 x 1.25 inches closed Cover pages are hand-inked intaglio etchings of cuneiforms dating from the 5th century BCE from Babylonia. John Sullivan of Logos Graphics made etching plates from photographs of original cuneiforms housed in The British Museum. The first set of interior pages consist of relief prints of cuneiforms featured on the cover of the book. The next set of interior pages is comprised of intaglio etchings of the English and Arabic translation of The Manifesto of The Poets of Baghdad. Cathy DeForest printed those translations as intaglio etchings from solar plates by which she made. The final page of Our Immortal Soul is an intaglio etching of a map of ancient Mesopotamia also made from solar plates. Images and text are printed on Hahnemühle German Etching Paper. Paper clay was molded into a customized stamp of the Babylonian dream journal cuneiform in order to make the miniature cuneiform on the front of the portfolio box. The cuneiform was then painted with acrylic paints to resemble the artifact. Sabina Nies made the clamshell portfolio box housing Our Immortal Soul. Within 24 hours of the bombing of Al-Mutanabbi Street in Baghdad in 2007, ten poets and several actors staged performances. At great risk, they gathered to celebrate the long history of the street as welcoming and housing the art forms, written and pictorial, that have graced the rich history of the region. As a sister artist, the minute I heard of their courageous acts, I wanted a way to stand with them by creating a piece that would honor them and their culture. These poets stood in the debris of the bombing, but they also stood on the shoulders of our common ancestors, those who formed the first letters in clay cuneiforms, five thousand years ago. I have long been fascinated with the crucial developments of ancient Mesopotamia and its achievements: the invention of writing, the creation of sophisticated art and literature, scientific discoveries that still influence life today. As poet, Abdul-Zehra Zeki said in his 2007 Manifesto of the Poets of Baghdad, ancient Mesopotamia “was the center of civilization,” and Baghdad was “one of the largest cities of enlightenment in history.” When I discovered that the cuneiform on the right was a dream journal from Babylonia (circa 5th centruy BCE), I felt that it embodied the dreams of the Al-Mutanabbi poets in the 21st century. I wanted each viewer to have a visceral experience with the beauty of humankind’s first writing. Today we see maps of Iraq and connote it with terrorism and great suffering. I chose to replace those images with the map of the Fertile Crescent, one of the greatest sources of our common cultural heritage. This book I part of the Al-Mutanabbi Street Project, an international response to the car bombing of the ancient book seller street in Baghdad in 2007. The original translator of the Arabic Manifesto into English was Inan Jab. Hassan Anwar assisted me in the Arabic translation of the excerpts I chose to highlight from the Manifesto. I realize how privileged I am to create this piece. I am deeply aware there are many who are not free to create or even read books. I dedicate this piece to all who, like the Baghdad poets who proclaimed their Manifesto, risk their lives daily to protect artifacts and sacred books in Iraq, Syria, Palestine, Iran, Egypt, Afghanistan and beyond. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381493632-YSBX0IWYW1774K2FN48G/mcba-prize-2015-cathy-deforest-our-immortal-soul5.jpg Entries & Jurors - 2015 Entries - Cathy DeForest Cathy DeForest (Ashland, OR) cathydeforest.com Our Immortal Soul 2015 Edition of 8 9 pages 7.25 x 21 x .2 inches open 8.75 x 11.5 x 1.25 inches closed Cover pages are hand-inked intaglio etchings of cuneiforms dating from the 5th century BCE from Babylonia. John Sullivan of Logos Graphics made etching plates from photographs of original cuneiforms housed in The British Museum. The first set of interior pages consist of relief prints of cuneiforms featured on the cover of the book. The next set of interior pages is comprised of intaglio etchings of the English and Arabic translation of The Manifesto of The Poets of Baghdad. Cathy DeForest printed those translations as intaglio etchings from solar plates by which she made. The final page of Our Immortal Soul is an intaglio etching of a map of ancient Mesopotamia also made from solar plates. Images and text are printed on Hahnemühle German Etching Paper. Paper clay was molded into a customized stamp of the Babylonian dream journal cuneiform in order to make the miniature cuneiform on the front of the portfolio box. The cuneiform was then painted with acrylic paints to resemble the artifact. Sabina Nies made the clamshell portfolio box housing Our Immortal Soul. Within 24 hours of the bombing of Al-Mutanabbi Street in Baghdad in 2007, ten poets and several actors staged performances. At great risk, they gathered to celebrate the long history of the street as welcoming and housing the art forms, written and pictorial, that have graced the rich history of the region. As a sister artist, the minute I heard of their courageous acts, I wanted a way to stand with them by creating a piece that would honor them and their culture. These poets stood in the debris of the bombing, but they also stood on the shoulders of our common ancestors, those who formed the first letters in clay cuneiforms, five thousand years ago. I have long been fascinated with the crucial developments of ancient Mesopotamia and its achievements: the invention of writing, the creation of sophisticated art and literature, scientific discoveries that still influence life today. As poet, Abdul-Zehra Zeki said in his 2007 Manifesto of the Poets of Baghdad, ancient Mesopotamia “was the center of civilization,” and Baghdad was “one of the largest cities of enlightenment in history.” When I discovered that the cuneiform on the right was a dream journal from Babylonia (circa 5th centruy BCE), I felt that it embodied the dreams of the Al-Mutanabbi poets in the 21st century. I wanted each viewer to have a visceral experience with the beauty of humankind’s first writing. Today we see maps of Iraq and connote it with terrorism and great suffering. I chose to replace those images with the map of the Fertile Crescent, one of the greatest sources of our common cultural heritage. This book I part of the Al-Mutanabbi Street Project, an international response to the car bombing of the ancient book seller street in Baghdad in 2007. The original translator of the Arabic Manifesto into English was Inan Jab. Hassan Anwar assisted me in the Arabic translation of the excerpts I chose to highlight from the Manifesto. I realize how privileged I am to create this piece. I am deeply aware there are many who are not free to create or even read books. I dedicate this piece to all who, like the Baghdad poets who proclaimed their Manifesto, risk their lives daily to protect artifacts and sacred books in Iraq, Syria, Palestine, Iran, Egypt, Afghanistan and beyond. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381607571-2IPP2RW0PF4RAB2BTILZ/mcba-prize-2015-thorsten-dennerline-the-wind1.jpg Entries & Jurors - 2015 Entries - Thorsten Dennerline Thorsten Dennerline (Bennington, VT) birdpress.com The Wind 2015 Plate Lithography, Stone Lithography, Intaglio, Letterpress, on handmade paper Edition of 30 42 pages Dimensions, open: 14 to 210 by 5.5 inches Dimensions, closed: 7 by 5.5 inches This book is the 12th book by The Bird Press, an artist-publishing project. Each project is an attempt to experiment with the book format using hand processes and good quality materials. Text from the prospectus: The Bird Press proudly announces the publication of The Wind, a collaborative project with text by Mark Wunderlich and imagery by Thorsten Dennerline. In order to create an element of unpredictability, as well as a sense of improvisation and openness to the artistic process, each artist worked from the same series of folded photographs without knowing exactly what the other would do. In the final step the text, images, and photographs were combined to produce the book. The handmade paper pages of this book were printed at least nine times each with lithographic plates and stones, copper plate etchings and specially cast metal type to achieve the visual subtlety to properly accompany Mark’s precise writing style. Among other things, the photographic elements are printed in two layers of light and middle grey, or a duotone, and the back of each sheet was printed three times in order to create shadows within the paper and blue reflected light that emanates from behind the book. The edition was beautifully bound by Mark Tomlinson; each book has a slipcase and a unique laser cut label. Text from the Colophon: The papers are handmade from Saint Armand Papeterie in Montreal, Canada that were first printed by the artist seven times each on an Okuma flatbed offset proofing press with lithographic plates at Working Dog Press in Whately, Massachusetts. The sheets were then printed from hand drawn lithographic stones and etching plates at Bennington College Print Studios in Bennington, Vermont also by the artist. Daniel Keleher did the final casting and printing of the Granjon Linotype at Wild Carrot Letterpress in Hadley Massachusetts. Statement from within the book by poet collaborator, Mark Wunderlich: In early 2013, Thorsten Dennerline approached me about collaborating on an artist’s book. The process we agreed on was one in which I received a maquette of the book with the photographic images, and in response to the images and the limitations of these pages, I wrote a poem. Several months into our collaboration, my nephew died. He was twenty-one. At that point, the initial ideas I had for the work no longer seemed possible, and the poem became a meditation on my nephew’s absence. Thorsten’s photographs initially struck me as both hopeful and rather lonely; after my nephew’s death, the places one sees in the photographs were now inhabited by a ghost. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381607423-7WVL4UGNY2A96ENLNR3U/mcba-prize-2015-thorsten-dennerline-the-wind2.jpg Entries & Jurors - 2015 Entries - Thorsten Dennerline Thorsten Dennerline (Bennington, VT) birdpress.com The Wind 2015 Plate Lithography, Stone Lithography, Intaglio, Letterpress, on handmade paper Edition of 30 42 pages Dimensions, open: 14 to 210 by 5.5 inches Dimensions, closed: 7 by 5.5 inches This book is the 12th book by The Bird Press, an artist-publishing project. Each project is an attempt to experiment with the book format using hand processes and good quality materials. Text from the prospectus: The Bird Press proudly announces the publication of The Wind, a collaborative project with text by Mark Wunderlich and imagery by Thorsten Dennerline. In order to create an element of unpredictability, as well as a sense of improvisation and openness to the artistic process, each artist worked from the same series of folded photographs without knowing exactly what the other would do. In the final step the text, images, and photographs were combined to produce the book. The handmade paper pages of this book were printed at least nine times each with lithographic plates and stones, copper plate etchings and specially cast metal type to achieve the visual subtlety to properly accompany Mark’s precise writing style. Among other things, the photographic elements are printed in two layers of light and middle grey, or a duotone, and the back of each sheet was printed three times in order to create shadows within the paper and blue reflected light that emanates from behind the book. The edition was beautifully bound by Mark Tomlinson; each book has a slipcase and a unique laser cut label. Text from the Colophon: The papers are handmade from Saint Armand Papeterie in Montreal, Canada that were first printed by the artist seven times each on an Okuma flatbed offset proofing press with lithographic plates at Working Dog Press in Whately, Massachusetts. The sheets were then printed from hand drawn lithographic stones and etching plates at Bennington College Print Studios in Bennington, Vermont also by the artist. Daniel Keleher did the final casting and printing of the Granjon Linotype at Wild Carrot Letterpress in Hadley Massachusetts. Statement from within the book by poet collaborator, Mark Wunderlich: In early 2013, Thorsten Dennerline approached me about collaborating on an artist’s book. The process we agreed on was one in which I received a maquette of the book with the photographic images, and in response to the images and the limitations of these pages, I wrote a poem. Several months into our collaboration, my nephew died. He was twenty-one. At that point, the initial ideas I had for the work no longer seemed possible, and the poem became a meditation on my nephew’s absence. Thorsten’s photographs initially struck me as both hopeful and rather lonely; after my nephew’s death, the places one sees in the photographs were now inhabited by a ghost. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381609230-APSEOSWVKD4KV0GAS9HO/mcba-prize-2015-thorsten-dennerline-the-wind3.jpg Entries & Jurors - 2015 Entries - Thorsten Dennerline Thorsten Dennerline (Bennington, VT) birdpress.com The Wind 2015 Plate Lithography, Stone Lithography, Intaglio, Letterpress, on handmade paper Edition of 30 42 pages Dimensions, open: 14 to 210 by 5.5 inches Dimensions, closed: 7 by 5.5 inches This book is the 12th book by The Bird Press, an artist-publishing project. Each project is an attempt to experiment with the book format using hand processes and good quality materials. Text from the prospectus: The Bird Press proudly announces the publication of The Wind, a collaborative project with text by Mark Wunderlich and imagery by Thorsten Dennerline. In order to create an element of unpredictability, as well as a sense of improvisation and openness to the artistic process, each artist worked from the same series of folded photographs without knowing exactly what the other would do. In the final step the text, images, and photographs were combined to produce the book. The handmade paper pages of this book were printed at least nine times each with lithographic plates and stones, copper plate etchings and specially cast metal type to achieve the visual subtlety to properly accompany Mark’s precise writing style. Among other things, the photographic elements are printed in two layers of light and middle grey, or a duotone, and the back of each sheet was printed three times in order to create shadows within the paper and blue reflected light that emanates from behind the book. The edition was beautifully bound by Mark Tomlinson; each book has a slipcase and a unique laser cut label. Text from the Colophon: The papers are handmade from Saint Armand Papeterie in Montreal, Canada that were first printed by the artist seven times each on an Okuma flatbed offset proofing press with lithographic plates at Working Dog Press in Whately, Massachusetts. The sheets were then printed from hand drawn lithographic stones and etching plates at Bennington College Print Studios in Bennington, Vermont also by the artist. Daniel Keleher did the final casting and printing of the Granjon Linotype at Wild Carrot Letterpress in Hadley Massachusetts. Statement from within the book by poet collaborator, Mark Wunderlich: In early 2013, Thorsten Dennerline approached me about collaborating on an artist’s book. The process we agreed on was one in which I received a maquette of the book with the photographic images, and in response to the images and the limitations of these pages, I wrote a poem. Several months into our collaboration, my nephew died. He was twenty-one. At that point, the initial ideas I had for the work no longer seemed possible, and the poem became a meditation on my nephew’s absence. Thorsten’s photographs initially struck me as both hopeful and rather lonely; after my nephew’s death, the places one sees in the photographs were now inhabited by a ghost. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381609031-GL3YJ2RZA7ZFKYHJU0BF/mcba-prize-2015-thorsten-dennerline-the-wind4.jpg Entries & Jurors - 2015 Entries - Thorsten Dennerline Thorsten Dennerline (Bennington, VT) birdpress.com The Wind 2015 Plate Lithography, Stone Lithography, Intaglio, Letterpress, on handmade paper Edition of 30 42 pages Dimensions, open: 14 to 210 by 5.5 inches Dimensions, closed: 7 by 5.5 inches This book is the 12th book by The Bird Press, an artist-publishing project. Each project is an attempt to experiment with the book format using hand processes and good quality materials. Text from the prospectus: The Bird Press proudly announces the publication of The Wind, a collaborative project with text by Mark Wunderlich and imagery by Thorsten Dennerline. In order to create an element of unpredictability, as well as a sense of improvisation and openness to the artistic process, each artist worked from the same series of folded photographs without knowing exactly what the other would do. In the final step the text, images, and photographs were combined to produce the book. The handmade paper pages of this book were printed at least nine times each with lithographic plates and stones, copper plate etchings and specially cast metal type to achieve the visual subtlety to properly accompany Mark’s precise writing style. Among other things, the photographic elements are printed in two layers of light and middle grey, or a duotone, and the back of each sheet was printed three times in order to create shadows within the paper and blue reflected light that emanates from behind the book. The edition was beautifully bound by Mark Tomlinson; each book has a slipcase and a unique laser cut label. Text from the Colophon: The papers are handmade from Saint Armand Papeterie in Montreal, Canada that were first printed by the artist seven times each on an Okuma flatbed offset proofing press with lithographic plates at Working Dog Press in Whately, Massachusetts. The sheets were then printed from hand drawn lithographic stones and etching plates at Bennington College Print Studios in Bennington, Vermont also by the artist. Daniel Keleher did the final casting and printing of the Granjon Linotype at Wild Carrot Letterpress in Hadley Massachusetts. Statement from within the book by poet collaborator, Mark Wunderlich: In early 2013, Thorsten Dennerline approached me about collaborating on an artist’s book. The process we agreed on was one in which I received a maquette of the book with the photographic images, and in response to the images and the limitations of these pages, I wrote a poem. Several months into our collaboration, my nephew died. He was twenty-one. At that point, the initial ideas I had for the work no longer seemed possible, and the poem became a meditation on my nephew’s absence. Thorsten’s photographs initially struck me as both hopeful and rather lonely; after my nephew’s death, the places one sees in the photographs were now inhabited by a ghost. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381610356-49BQPROTZJ1RJ7NYTVHU/mcba-prize-2015-thorsten-dennerline-the-wind5.jpg Entries & Jurors - 2015 Entries - Thorsten Dennerline Thorsten Dennerline (Bennington, VT) birdpress.com The Wind 2015 Plate Lithography, Stone Lithography, Intaglio, Letterpress, on handmade paper Edition of 30 42 pages Dimensions, open: 14 to 210 by 5.5 inches Dimensions, closed: 7 by 5.5 inches This book is the 12th book by The Bird Press, an artist-publishing project. Each project is an attempt to experiment with the book format using hand processes and good quality materials. Text from the prospectus: The Bird Press proudly announces the publication of The Wind, a collaborative project with text by Mark Wunderlich and imagery by Thorsten Dennerline. In order to create an element of unpredictability, as well as a sense of improvisation and openness to the artistic process, each artist worked from the same series of folded photographs without knowing exactly what the other would do. In the final step the text, images, and photographs were combined to produce the book. The handmade paper pages of this book were printed at least nine times each with lithographic plates and stones, copper plate etchings and specially cast metal type to achieve the visual subtlety to properly accompany Mark’s precise writing style. Among other things, the photographic elements are printed in two layers of light and middle grey, or a duotone, and the back of each sheet was printed three times in order to create shadows within the paper and blue reflected light that emanates from behind the book. The edition was beautifully bound by Mark Tomlinson; each book has a slipcase and a unique laser cut label. Text from the Colophon: The papers are handmade from Saint Armand Papeterie in Montreal, Canada that were first printed by the artist seven times each on an Okuma flatbed offset proofing press with lithographic plates at Working Dog Press in Whately, Massachusetts. The sheets were then printed from hand drawn lithographic stones and etching plates at Bennington College Print Studios in Bennington, Vermont also by the artist. Daniel Keleher did the final casting and printing of the Granjon Linotype at Wild Carrot Letterpress in Hadley Massachusetts. Statement from within the book by poet collaborator, Mark Wunderlich: In early 2013, Thorsten Dennerline approached me about collaborating on an artist’s book. The process we agreed on was one in which I received a maquette of the book with the photographic images, and in response to the images and the limitations of these pages, I wrote a poem. Several months into our collaboration, my nephew died. He was twenty-one. At that point, the initial ideas I had for the work no longer seemed possible, and the poem became a meditation on my nephew’s absence. Thorsten’s photographs initially struck me as both hopeful and rather lonely; after my nephew’s death, the places one sees in the photographs were now inhabited by a ghost. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381759060-VGJAYVRZREHTNHOBP5SW/mcba-prize-2015-corinne-duchesne-guter-and-bleed1.jpg Entries & Jurors - 2015 Entries - Corinne Duchesne Corinne Duchesne (Burlington, Ontario, Canada) corinneduchesne.com Gut’er & Bleed 2013 to present Mixed media on paper Original work 150+ pages 13.5″ x10.5″ x2″ This work is domestic the way crazy quilts and home deaths are. The pages developed slowly and in the dark—as if that itch on your back you can never reach grew into a third arm. It began simply as a doodle around a prep list for my next Monolithic painting but then quickly spread, engulfing my imagination like a swarm of bees. The protagonist, Diq (with umlauts over the “I”), is a genderless being faced with the existential question of how to communicate with its mother, who has lapsed into a coma. Diq begins by awkwardly reading poetry to the mother’s decomposing body, but soon realizes that the ears have closed and the eyes no longer see. The panels then move into a stream of consciousness, drawings and captions cataloging and embroidering internal dialogue. Flat image drawings mix with pop-up pages and abandoned or reclaimed fragments, while characters, symbols, and totem animals writhe or dance across the pages, all morphing and twisting through a memoir of visual addiction and homeless, restless love. Gut’er & Bleed has sprawled and oozed to over one hundred and fifty pages, but like ichor, this work continues. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381759058-Q4GJBJWPTN36QVLMI2TX/mcba-prize-2015-corinne-duchesne-guter-and-bleed2.jpg Entries & Jurors - 2015 Entries - Corinne Duchesne Corinne Duchesne (Burlington, Ontario, Canada) corinneduchesne.com Gut’er & Bleed 2013 to present Mixed media on paper Original work 150+ pages 13.5″ x10.5″ x2″ This work is domestic the way crazy quilts and home deaths are. The pages developed slowly and in the dark—as if that itch on your back you can never reach grew into a third arm. It began simply as a doodle around a prep list for my next Monolithic painting but then quickly spread, engulfing my imagination like a swarm of bees. The protagonist, Diq (with umlauts over the “I”), is a genderless being faced with the existential question of how to communicate with its mother, who has lapsed into a coma. Diq begins by awkwardly reading poetry to the mother’s decomposing body, but soon realizes that the ears have closed and the eyes no longer see. The panels then move into a stream of consciousness, drawings and captions cataloging and embroidering internal dialogue. Flat image drawings mix with pop-up pages and abandoned or reclaimed fragments, while characters, symbols, and totem animals writhe or dance across the pages, all morphing and twisting through a memoir of visual addiction and homeless, restless love. Gut’er & Bleed has sprawled and oozed to over one hundred and fifty pages, but like ichor, this work continues. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381761096-Y0YBI9BMRIG201OP176O/mcba-prize-2015-corinne-duchesne-guter-and-bleed3.jpg Entries & Jurors - 2015 Entries - Corinne Duchesne Corinne Duchesne (Burlington, Ontario, Canada) corinneduchesne.com Gut’er & Bleed 2013 to present Mixed media on paper Original work 150+ pages 13.5″ x10.5″ x2″ This work is domestic the way crazy quilts and home deaths are. The pages developed slowly and in the dark—as if that itch on your back you can never reach grew into a third arm. It began simply as a doodle around a prep list for my next Monolithic painting but then quickly spread, engulfing my imagination like a swarm of bees. The protagonist, Diq (with umlauts over the “I”), is a genderless being faced with the existential question of how to communicate with its mother, who has lapsed into a coma. Diq begins by awkwardly reading poetry to the mother’s decomposing body, but soon realizes that the ears have closed and the eyes no longer see. The panels then move into a stream of consciousness, drawings and captions cataloging and embroidering internal dialogue. Flat image drawings mix with pop-up pages and abandoned or reclaimed fragments, while characters, symbols, and totem animals writhe or dance across the pages, all morphing and twisting through a memoir of visual addiction and homeless, restless love. Gut’er & Bleed has sprawled and oozed to over one hundred and fifty pages, but like ichor, this work continues. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381761540-7ZTDN1JXNCZ8I51AVDHP/mcba-prize-2015-corinne-duchesne-guter-and-bleed4.jpg Entries & Jurors - 2015 Entries - Corinne Duchesne Corinne Duchesne (Burlington, Ontario, Canada) corinneduchesne.com Gut’er & Bleed 2013 to present Mixed media on paper Original work 150+ pages 13.5″ x10.5″ x2″ This work is domestic the way crazy quilts and home deaths are. The pages developed slowly and in the dark—as if that itch on your back you can never reach grew into a third arm. It began simply as a doodle around a prep list for my next Monolithic painting but then quickly spread, engulfing my imagination like a swarm of bees. The protagonist, Diq (with umlauts over the “I”), is a genderless being faced with the existential question of how to communicate with its mother, who has lapsed into a coma. Diq begins by awkwardly reading poetry to the mother’s decomposing body, but soon realizes that the ears have closed and the eyes no longer see. The panels then move into a stream of consciousness, drawings and captions cataloging and embroidering internal dialogue. Flat image drawings mix with pop-up pages and abandoned or reclaimed fragments, while characters, symbols, and totem animals writhe or dance across the pages, all morphing and twisting through a memoir of visual addiction and homeless, restless love. Gut’er & Bleed has sprawled and oozed to over one hundred and fifty pages, but like ichor, this work continues. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381762744-OKEA89T2M67Z0J6358E7/mcba-prize-2015-corinne-duchesne-guter-and-bleed5.jpg Entries & Jurors - 2015 Entries - Corinne Duchesne Corinne Duchesne (Burlington, Ontario, Canada) corinneduchesne.com Gut’er & Bleed 2013 to present Mixed media on paper Original work 150+ pages 13.5″ x10.5″ x2″ This work is domestic the way crazy quilts and home deaths are. The pages developed slowly and in the dark—as if that itch on your back you can never reach grew into a third arm. It began simply as a doodle around a prep list for my next Monolithic painting but then quickly spread, engulfing my imagination like a swarm of bees. The protagonist, Diq (with umlauts over the “I”), is a genderless being faced with the existential question of how to communicate with its mother, who has lapsed into a coma. Diq begins by awkwardly reading poetry to the mother’s decomposing body, but soon realizes that the ears have closed and the eyes no longer see. The panels then move into a stream of consciousness, drawings and captions cataloging and embroidering internal dialogue. Flat image drawings mix with pop-up pages and abandoned or reclaimed fragments, while characters, symbols, and totem animals writhe or dance across the pages, all morphing and twisting through a memoir of visual addiction and homeless, restless love. Gut’er & Bleed has sprawled and oozed to over one hundred and fifty pages, but like ichor, this work continues. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381862508-GQO2027BJ5BVEDWA1G79/mcba-prize-2015-diane-durant-the-fish1.jpg Entries & Jurors - 2015 Entries - Diane Durant Diane Durant (Fort Worth, Texas) dianedurant.com The Fish 2015 Found wooden box, ink on Rives BFK/Hand lettering, handmade flag book Unique work 9 5/8 x 18 x 7″ This piece started as a poem — a poem about a fish, about letting go. And it became an exchange, not only between the fisherwoman and the trout, but also an exchange between reader and storyteller, between the fiction of the poem and the reality of the book object. Perhaps it’s better stated that this piece started as an experience, and by giving the words an even more physical form, the viewer/reader is allowed to re-­experience it, the movement (the pull and sway, pull and sway, pull and sway), and the choice: keeping a fish hooked to the line, to me (and you), and finally letting it go. Unlike reading text on a flattened page, here the viewer sways from tab to tab across the accordion folds, rhythmically mimicking the act of the fish fighting against the water, against the storyteller. The text itself is comprehensible, but the order of the phrases does challenge the reader to pay attention and recognize that the middle row of tabs consists of the words or lines from the poem that slice and move and carry one through the experience (of the book and of fishing), rather than directly reproducing the original line breaks. But the “original” poem doesn’t exist in any accessible form, so the reader is left alone to address any complications or uncertainty regarding how to read the book and simply go with the flow (or the pull and sway, and perhaps eventually, ultimately, let it go. As a part of my 2015 solo exhibition entitled The silent air of ruin is fragile, which was a documentary response to John Graves’ Goodbye to A River and creative commentary on the ecology of drought along the Brazos River (and my childhood landscape), The Fish addressed the more emotional and psychological experience of catch and release. The full text of the original poem is below. (The full text of the original experience is mine…) The Fish Carving through green water like a trailing point blade through flesh, a nondescript trout fish knifes its way upstream, unhindered by the hook and line tethering us together. Monofilament laced between my fingers, I join in his cadenced pull and sway pull and sway pull and sway and I wish for another Elizabeth Bishop poem where letting him go isn’t heroic but a necessity — to set my own limbs free. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381862510-XKYU42AI8KKVM7BKSKRO/mcba-prize-2015-diane-durant-the-fish2.jpg Entries & Jurors - 2015 Entries - Diane Durant Diane Durant (Fort Worth, Texas) dianedurant.com The Fish 2015 Found wooden box, ink on Rives BFK/Hand lettering, handmade flag book Unique work 9 5/8 x 18 x 7″ This piece started as a poem — a poem about a fish, about letting go. And it became an exchange, not only between the fisherwoman and the trout, but also an exchange between reader and storyteller, between the fiction of the poem and the reality of the book object. Perhaps it’s better stated that this piece started as an experience, and by giving the words an even more physical form, the viewer/reader is allowed to re-­experience it, the movement (the pull and sway, pull and sway, pull and sway), and the choice: keeping a fish hooked to the line, to me (and you), and finally letting it go. Unlike reading text on a flattened page, here the viewer sways from tab to tab across the accordion folds, rhythmically mimicking the act of the fish fighting against the water, against the storyteller. The text itself is comprehensible, but the order of the phrases does challenge the reader to pay attention and recognize that the middle row of tabs consists of the words or lines from the poem that slice and move and carry one through the experience (of the book and of fishing), rather than directly reproducing the original line breaks. But the “original” poem doesn’t exist in any accessible form, so the reader is left alone to address any complications or uncertainty regarding how to read the book and simply go with the flow (or the pull and sway, and perhaps eventually, ultimately, let it go. As a part of my 2015 solo exhibition entitled The silent air of ruin is fragile, which was a documentary response to John Graves’ Goodbye to A River and creative commentary on the ecology of drought along the Brazos River (and my childhood landscape), The Fish addressed the more emotional and psychological experience of catch and release. The full text of the original poem is below. (The full text of the original experience is mine…) The Fish Carving through green water like a trailing point blade through flesh, a nondescript trout fish knifes its way upstream, unhindered by the hook and line tethering us together. Monofilament laced between my fingers, I join in his cadenced pull and sway pull and sway pull and sway and I wish for another Elizabeth Bishop poem where letting him go isn’t heroic but a necessity — to set my own limbs free. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381863509-73S4KPAHX1CNXGKH68TA/mcba-prize-2015-diane-durant-the-fish3.jpg Entries & Jurors - 2015 Entries - Diane Durant Diane Durant (Fort Worth, Texas) dianedurant.com The Fish 2015 Found wooden box, ink on Rives BFK/Hand lettering, handmade flag book Unique work 9 5/8 x 18 x 7″ This piece started as a poem — a poem about a fish, about letting go. And it became an exchange, not only between the fisherwoman and the trout, but also an exchange between reader and storyteller, between the fiction of the poem and the reality of the book object. Perhaps it’s better stated that this piece started as an experience, and by giving the words an even more physical form, the viewer/reader is allowed to re-­experience it, the movement (the pull and sway, pull and sway, pull and sway), and the choice: keeping a fish hooked to the line, to me (and you), and finally letting it go. Unlike reading text on a flattened page, here the viewer sways from tab to tab across the accordion folds, rhythmically mimicking the act of the fish fighting against the water, against the storyteller. The text itself is comprehensible, but the order of the phrases does challenge the reader to pay attention and recognize that the middle row of tabs consists of the words or lines from the poem that slice and move and carry one through the experience (of the book and of fishing), rather than directly reproducing the original line breaks. But the “original” poem doesn’t exist in any accessible form, so the reader is left alone to address any complications or uncertainty regarding how to read the book and simply go with the flow (or the pull and sway, and perhaps eventually, ultimately, let it go. As a part of my 2015 solo exhibition entitled The silent air of ruin is fragile, which was a documentary response to John Graves’ Goodbye to A River and creative commentary on the ecology of drought along the Brazos River (and my childhood landscape), The Fish addressed the more emotional and psychological experience of catch and release. The full text of the original poem is below. (The full text of the original experience is mine…) The Fish Carving through green water like a trailing point blade through flesh, a nondescript trout fish knifes its way upstream, unhindered by the hook and line tethering us together. Monofilament laced between my fingers, I join in his cadenced pull and sway pull and sway pull and sway and I wish for another Elizabeth Bishop poem where letting him go isn’t heroic but a necessity — to set my own limbs free. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381863665-CNIC46EHMODILBRMSO7G/mcba-prize-2015-diane-durant-the-fish4.jpg Entries & Jurors - 2015 Entries - Diane Durant Diane Durant (Fort Worth, Texas) dianedurant.com The Fish 2015 Found wooden box, ink on Rives BFK/Hand lettering, handmade flag book Unique work 9 5/8 x 18 x 7″ This piece started as a poem — a poem about a fish, about letting go. And it became an exchange, not only between the fisherwoman and the trout, but also an exchange between reader and storyteller, between the fiction of the poem and the reality of the book object. Perhaps it’s better stated that this piece started as an experience, and by giving the words an even more physical form, the viewer/reader is allowed to re-­experience it, the movement (the pull and sway, pull and sway, pull and sway), and the choice: keeping a fish hooked to the line, to me (and you), and finally letting it go. Unlike reading text on a flattened page, here the viewer sways from tab to tab across the accordion folds, rhythmically mimicking the act of the fish fighting against the water, against the storyteller. The text itself is comprehensible, but the order of the phrases does challenge the reader to pay attention and recognize that the middle row of tabs consists of the words or lines from the poem that slice and move and carry one through the experience (of the book and of fishing), rather than directly reproducing the original line breaks. But the “original” poem doesn’t exist in any accessible form, so the reader is left alone to address any complications or uncertainty regarding how to read the book and simply go with the flow (or the pull and sway, and perhaps eventually, ultimately, let it go. As a part of my 2015 solo exhibition entitled The silent air of ruin is fragile, which was a documentary response to John Graves’ Goodbye to A River and creative commentary on the ecology of drought along the Brazos River (and my childhood landscape), The Fish addressed the more emotional and psychological experience of catch and release. The full text of the original poem is below. (The full text of the original experience is mine…) The Fish Carving through green water like a trailing point blade through flesh, a nondescript trout fish knifes its way upstream, unhindered by the hook and line tethering us together. Monofilament laced between my fingers, I join in his cadenced pull and sway pull and sway pull and sway and I wish for another Elizabeth Bishop poem where letting him go isn’t heroic but a necessity — to set my own limbs free. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381865415-9EABC9QLLDKQ2BUGHMFH/mcba-prize-2015-diane-durant-the-fish5.jpg Entries & Jurors - 2015 Entries - Diane Durant Diane Durant (Fort Worth, Texas) dianedurant.com The Fish 2015 Found wooden box, ink on Rives BFK/Hand lettering, handmade flag book Unique work 9 5/8 x 18 x 7″ This piece started as a poem — a poem about a fish, about letting go. And it became an exchange, not only between the fisherwoman and the trout, but also an exchange between reader and storyteller, between the fiction of the poem and the reality of the book object. Perhaps it’s better stated that this piece started as an experience, and by giving the words an even more physical form, the viewer/reader is allowed to re-­experience it, the movement (the pull and sway, pull and sway, pull and sway), and the choice: keeping a fish hooked to the line, to me (and you), and finally letting it go. Unlike reading text on a flattened page, here the viewer sways from tab to tab across the accordion folds, rhythmically mimicking the act of the fish fighting against the water, against the storyteller. The text itself is comprehensible, but the order of the phrases does challenge the reader to pay attention and recognize that the middle row of tabs consists of the words or lines from the poem that slice and move and carry one through the experience (of the book and of fishing), rather than directly reproducing the original line breaks. But the “original” poem doesn’t exist in any accessible form, so the reader is left alone to address any complications or uncertainty regarding how to read the book and simply go with the flow (or the pull and sway, and perhaps eventually, ultimately, let it go. As a part of my 2015 solo exhibition entitled The silent air of ruin is fragile, which was a documentary response to John Graves’ Goodbye to A River and creative commentary on the ecology of drought along the Brazos River (and my childhood landscape), The Fish addressed the more emotional and psychological experience of catch and release. The full text of the original poem is below. (The full text of the original experience is mine…) The Fish Carving through green water like a trailing point blade through flesh, a nondescript trout fish knifes its way upstream, unhindered by the hook and line tethering us together. Monofilament laced between my fingers, I join in his cadenced pull and sway pull and sway pull and sway and I wish for another Elizabeth Bishop poem where letting him go isn’t heroic but a necessity — to set my own limbs free. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381983587-C0IOQ3U0TNIESE18MVDY/mcba-prize-2015-toni-easterson-when-crow-moved-into-town1.jpg Entries & Jurors - 2015 Entries - Toni Easterson Toni Easterson (Northfield, Minnesota) tonieasterson.com When crow moved into town 2015 Fiber, hand sewn Unique work Dimensions open: 16 x 30 x 6″ Dimensions closed: 16 x 6 x 6″ My understanding of the word “artist” is wobbly. I am unsure, at times, who or what an artist is. On my good days I am an artist, on my not-so-good days, I am not. The school children I work with are all artists every day. Those who make artistic attempts do so, I think, because they love to and they must. For me, it is as simple as that. My art is influenced by my education and by a father who let me sit with him at his drafting table, an aunt who taught me to sew with beads. My art is my history, my genes. But in truth I am just an old woman who makes things, who sews and who reveres the life outside her window. A person who realizes what is most important is the ordinary and the close at hand. Last year I moved to a new home where the window of my workroom looks out on a pond. From this vantage I can glimpse into the life of my neighborhood birds: the ducks, the waders, the tiny song birds, the American crows. The opportunistic, intelligent, fierce and very cunning crows. Corvus brachyrhynhos, family Corvidae. Where I might have earlier seen only a single side to my crow observations, understandings began to change as I started to read, to study. At the same time, I became aware that members of my poetry workshop had written poems that included images of crows, and that two members of another writing group I am in, also had done pieces about these ubiquitous birds. Pieces I have included in my artist’s book. A three faceted sculpture, my book about crows is dimensional, like my new found discoveries about the common birds. It includes words that describe them, the images they project. With stitches I rendered their feet and their feathers, with cut shapes I attempted to describe their anger and their grace. My use of Native word and image honors the respect given to crows by the people of my paternal grandmother. Using imported papers, thread, beads, yarn, only in shades of black and white, I told crow’s story which became my story. The crow pair on top the sculpture book, black and shiny in their nest, represent, as nesting birds do, the beginning. Each point of entry into the book, there are three, are secured with a twig. Structurally, the 60 degree triangle unfolds into three sections of interior panels each of which contain a major poem, a pocket which contains writing about crows, a crow word and an artistic rendering of crows. The book is not merely content about these common birds it is, in its coloration, variations, playfulness and complexity, a rendering of crow. But the final words of my crow poem best explain to me, I think, my artist’s book. “When crow moved into town…I understood what the sparrows were saying.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381983562-1OHUDBBBVSWZGRQ68UJO/mcba-prize-2015-toni-easterson-when-crow-moved-into-town2.jpg Entries & Jurors - 2015 Entries - Toni Easterson Toni Easterson (Northfield, Minnesota) tonieasterson.com When crow moved into town 2015 Fiber, hand sewn Unique work Dimensions open: 16 x 30 x 6″ Dimensions closed: 16 x 6 x 6″ My understanding of the word “artist” is wobbly. I am unsure, at times, who or what an artist is. On my good days I am an artist, on my not-so-good days, I am not. The school children I work with are all artists every day. Those who make artistic attempts do so, I think, because they love to and they must. For me, it is as simple as that. My art is influenced by my education and by a father who let me sit with him at his drafting table, an aunt who taught me to sew with beads. My art is my history, my genes. But in truth I am just an old woman who makes things, who sews and who reveres the life outside her window. A person who realizes what is most important is the ordinary and the close at hand. Last year I moved to a new home where the window of my workroom looks out on a pond. From this vantage I can glimpse into the life of my neighborhood birds: the ducks, the waders, the tiny song birds, the American crows. The opportunistic, intelligent, fierce and very cunning crows. Corvus brachyrhynhos, family Corvidae. Where I might have earlier seen only a single side to my crow observations, understandings began to change as I started to read, to study. At the same time, I became aware that members of my poetry workshop had written poems that included images of crows, and that two members of another writing group I am in, also had done pieces about these ubiquitous birds. Pieces I have included in my artist’s book. A three faceted sculpture, my book about crows is dimensional, like my new found discoveries about the common birds. It includes words that describe them, the images they project. With stitches I rendered their feet and their feathers, with cut shapes I attempted to describe their anger and their grace. My use of Native word and image honors the respect given to crows by the people of my paternal grandmother. Using imported papers, thread, beads, yarn, only in shades of black and white, I told crow’s story which became my story. The crow pair on top the sculpture book, black and shiny in their nest, represent, as nesting birds do, the beginning. Each point of entry into the book, there are three, are secured with a twig. Structurally, the 60 degree triangle unfolds into three sections of interior panels each of which contain a major poem, a pocket which contains writing about crows, a crow word and an artistic rendering of crows. The book is not merely content about these common birds it is, in its coloration, variations, playfulness and complexity, a rendering of crow. But the final words of my crow poem best explain to me, I think, my artist’s book. “When crow moved into town…I understood what the sparrows were saying.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381984625-2GS47IR43VUU8WRRE7WC/mcba-prize-2015-toni-easterson-when-crow-moved-into-town3.jpg Entries & Jurors - 2015 Entries - Toni Easterson Toni Easterson (Northfield, Minnesota) tonieasterson.com When crow moved into town 2015 Fiber, hand sewn Unique work Dimensions open: 16 x 30 x 6″ Dimensions closed: 16 x 6 x 6″ My understanding of the word “artist” is wobbly. I am unsure, at times, who or what an artist is. On my good days I am an artist, on my not-so-good days, I am not. The school children I work with are all artists every day. Those who make artistic attempts do so, I think, because they love to and they must. For me, it is as simple as that. My art is influenced by my education and by a father who let me sit with him at his drafting table, an aunt who taught me to sew with beads. My art is my history, my genes. But in truth I am just an old woman who makes things, who sews and who reveres the life outside her window. A person who realizes what is most important is the ordinary and the close at hand. Last year I moved to a new home where the window of my workroom looks out on a pond. From this vantage I can glimpse into the life of my neighborhood birds: the ducks, the waders, the tiny song birds, the American crows. The opportunistic, intelligent, fierce and very cunning crows. Corvus brachyrhynhos, family Corvidae. Where I might have earlier seen only a single side to my crow observations, understandings began to change as I started to read, to study. At the same time, I became aware that members of my poetry workshop had written poems that included images of crows, and that two members of another writing group I am in, also had done pieces about these ubiquitous birds. Pieces I have included in my artist’s book. A three faceted sculpture, my book about crows is dimensional, like my new found discoveries about the common birds. It includes words that describe them, the images they project. With stitches I rendered their feet and their feathers, with cut shapes I attempted to describe their anger and their grace. My use of Native word and image honors the respect given to crows by the people of my paternal grandmother. Using imported papers, thread, beads, yarn, only in shades of black and white, I told crow’s story which became my story. The crow pair on top the sculpture book, black and shiny in their nest, represent, as nesting birds do, the beginning. Each point of entry into the book, there are three, are secured with a twig. Structurally, the 60 degree triangle unfolds into three sections of interior panels each of which contain a major poem, a pocket which contains writing about crows, a crow word and an artistic rendering of crows. The book is not merely content about these common birds it is, in its coloration, variations, playfulness and complexity, a rendering of crow. But the final words of my crow poem best explain to me, I think, my artist’s book. “When crow moved into town…I understood what the sparrows were saying.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774381984893-UMCK2UAZ67V3NNZ0GN6W/mcba-prize-2015-toni-easterson-when-crow-moved-into-town4.jpg Entries & Jurors - 2015 Entries - Toni Easterson Toni Easterson (Northfield, Minnesota) tonieasterson.com When crow moved into town 2015 Fiber, hand sewn Unique work Dimensions open: 16 x 30 x 6″ Dimensions closed: 16 x 6 x 6″ My understanding of the word “artist” is wobbly. I am unsure, at times, who or what an artist is. On my good days I am an artist, on my not-so-good days, I am not. The school children I work with are all artists every day. Those who make artistic attempts do so, I think, because they love to and they must. For me, it is as simple as that. My art is influenced by my education and by a father who let me sit with him at his drafting table, an aunt who taught me to sew with beads. My art is my history, my genes. But in truth I am just an old woman who makes things, who sews and who reveres the life outside her window. A person who realizes what is most important is the ordinary and the close at hand. Last year I moved to a new home where the window of my workroom looks out on a pond. From this vantage I can glimpse into the life of my neighborhood birds: the ducks, the waders, the tiny song birds, the American crows. The opportunistic, intelligent, fierce and very cunning crows. Corvus brachyrhynhos, family Corvidae. Where I might have earlier seen only a single side to my crow observations, understandings began to change as I started to read, to study. At the same time, I became aware that members of my poetry workshop had written poems that included images of crows, and that two members of another writing group I am in, also had done pieces about these ubiquitous birds. Pieces I have included in my artist’s book. A three faceted sculpture, my book about crows is dimensional, like my new found discoveries about the common birds. It includes words that describe them, the images they project. With stitches I rendered their feet and their feathers, with cut shapes I attempted to describe their anger and their grace. My use of Native word and image honors the respect given to crows by the people of my paternal grandmother. Using imported papers, thread, beads, yarn, only in shades of black and white, I told crow’s story which became my story. The crow pair on top the sculpture book, black and shiny in their nest, represent, as nesting birds do, the beginning. Each point of entry into the book, there are three, are secured with a twig. Structurally, the 60 degree triangle unfolds into three sections of interior panels each of which contain a major poem, a pocket which contains writing about crows, a crow word and an artistic rendering of crows. The book is not merely content about these common birds it is, in its coloration, variations, playfulness and complexity, a rendering of crow. But the final words of my crow poem best explain to me, I think, my artist’s book. “When crow moved into town…I understood what the sparrows were saying.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382075505-AKLA7ODL0TBVJKJVW2AY/mcba-prize-2015-barbara-eijadi-to-draw1.jpg Entries & Jurors - 2015 Entries - Barbara Eijadi Barbara Eijadi (Saint Paul, MN) To Draw 2014 Case bound sculpture Unique work 13.5 x 23.25 x 3 In collaboration with Leon Hushcha, I was provided an opportunity to bring a new perspective to Hushcha prints, paintings, and drawings. My work began by using traditional bookbinding techniques and structures, and resulted in an exploration of sculptural books. Together we completed fourteen of these pieces, and “Book as Metaphor” was exhibited at Hushcha Studio in October of 2014. I began by selecting prints and drawings from the Hushcha archives, based on color, image, texture and shape, as well as how an image would respond to curves, and the confines of a “spread.” The books were bound as flat back case bindings. Most pieces included five sections of four folios each. Book board, book cloth, and 250Gg archival paper was used in the construction of each piece, Hushcha’s art work in the center spread. The book was then laid open, and I began forming the curves to each page, securing each with PVA, and/or a double-sided archival adhesive. Stretcher bars were attached to the back to provide stability and dimension. The books were then delivered to Hushcha for his added interpretation. With the work presented in a new form, he embellished each piece, “paying homage to the literary, the figurative, and the sculptural.” To Draw began with a portion of a print of a recent ink drawing. Leon continued to enhance this piece, drawing creatures and figures to it, and the work was transformed again. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382076968-3XZ6FDJ29B3NUHVVYT79/mcba-prize-2015-barbara-eijadi-to-draw2.jpg Entries & Jurors - 2015 Entries - Barbara Eijadi Barbara Eijadi (Saint Paul, MN) To Draw 2014 Case bound sculpture Unique work 13.5 x 23.25 x 3 In collaboration with Leon Hushcha, I was provided an opportunity to bring a new perspective to Hushcha prints, paintings, and drawings. My work began by using traditional bookbinding techniques and structures, and resulted in an exploration of sculptural books. Together we completed fourteen of these pieces, and “Book as Metaphor” was exhibited at Hushcha Studio in October of 2014. I began by selecting prints and drawings from the Hushcha archives, based on color, image, texture and shape, as well as how an image would respond to curves, and the confines of a “spread.” The books were bound as flat back case bindings. Most pieces included five sections of four folios each. Book board, book cloth, and 250Gg archival paper was used in the construction of each piece, Hushcha’s art work in the center spread. The book was then laid open, and I began forming the curves to each page, securing each with PVA, and/or a double-sided archival adhesive. Stretcher bars were attached to the back to provide stability and dimension. The books were then delivered to Hushcha for his added interpretation. With the work presented in a new form, he embellished each piece, “paying homage to the literary, the figurative, and the sculptural.” To Draw began with a portion of a print of a recent ink drawing. Leon continued to enhance this piece, drawing creatures and figures to it, and the work was transformed again. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382077259-D3R2VKJ6NWSHZN7ZQNQ0/mcba-prize-2015-barbara-eijadi-to-draw3.jpg Entries & Jurors - 2015 Entries - Barbara Eijadi Barbara Eijadi (Saint Paul, MN) To Draw 2014 Case bound sculpture Unique work 13.5 x 23.25 x 3 In collaboration with Leon Hushcha, I was provided an opportunity to bring a new perspective to Hushcha prints, paintings, and drawings. My work began by using traditional bookbinding techniques and structures, and resulted in an exploration of sculptural books. Together we completed fourteen of these pieces, and “Book as Metaphor” was exhibited at Hushcha Studio in October of 2014. I began by selecting prints and drawings from the Hushcha archives, based on color, image, texture and shape, as well as how an image would respond to curves, and the confines of a “spread.” The books were bound as flat back case bindings. Most pieces included five sections of four folios each. Book board, book cloth, and 250Gg archival paper was used in the construction of each piece, Hushcha’s art work in the center spread. The book was then laid open, and I began forming the curves to each page, securing each with PVA, and/or a double-sided archival adhesive. Stretcher bars were attached to the back to provide stability and dimension. The books were then delivered to Hushcha for his added interpretation. With the work presented in a new form, he embellished each piece, “paying homage to the literary, the figurative, and the sculptural.” To Draw began with a portion of a print of a recent ink drawing. Leon continued to enhance this piece, drawing creatures and figures to it, and the work was transformed again. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382078558-VKTIS209SW4SUM0ZY1TT/mcba-prize-2015-barbara-eijadi-to-draw4.jpg Entries & Jurors - 2015 Entries - Barbara Eijadi Barbara Eijadi (Saint Paul, MN) To Draw 2014 Case bound sculpture Unique work 13.5 x 23.25 x 3 In collaboration with Leon Hushcha, I was provided an opportunity to bring a new perspective to Hushcha prints, paintings, and drawings. My work began by using traditional bookbinding techniques and structures, and resulted in an exploration of sculptural books. Together we completed fourteen of these pieces, and “Book as Metaphor” was exhibited at Hushcha Studio in October of 2014. I began by selecting prints and drawings from the Hushcha archives, based on color, image, texture and shape, as well as how an image would respond to curves, and the confines of a “spread.” The books were bound as flat back case bindings. Most pieces included five sections of four folios each. Book board, book cloth, and 250Gg archival paper was used in the construction of each piece, Hushcha’s art work in the center spread. The book was then laid open, and I began forming the curves to each page, securing each with PVA, and/or a double-sided archival adhesive. Stretcher bars were attached to the back to provide stability and dimension. The books were then delivered to Hushcha for his added interpretation. With the work presented in a new form, he embellished each piece, “paying homage to the literary, the figurative, and the sculptural.” To Draw began with a portion of a print of a recent ink drawing. Leon continued to enhance this piece, drawing creatures and figures to it, and the work was transformed again. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382531798-6MBIKAK488D84ZDTB8FE/mcba-prize-2015-barbara-eijadi-wrong1.jpg Entries & Jurors - 2015 Entries - Barbara Eijadi Barbara Eijadi (Saint Paul, MN) Wrong 2014 Case bound sculpture Unique work 17.5 x 26.5 x 2.5 In collaboration with Leon Hushcha, I was provided an opportunity to bring a new perspective to Hushcha prints, paintings, and drawings. My work began by using traditional bookbinding techniques and structures, and resulted in an exploration of sculptural books. Together we completed fourteen of these pieces, and “Book as Metaphor” was exhibited at Hushcha Studio in October of 2014. I began by selecting prints and drawings from the Hushcha archives, based on color, image, texture and shape, as well as how an image would respond to curves, and the confines of a “spread.” The books were bound as flat back case bindings. Most pieces included five sections of four folios each. Book board, book cloth, and 250Gg archival paper was used in the construction of each piece, Hushcha’s art work in the center spread. The book was then laid open, and I began forming the curves to each page, securing each with PVA, and/or a double-sided archival adhesive. Stretcher bars were attached to the back to provide stability and dimension. The books were then delivered to Hushcha for his added interpretation. With the work presented in a new form, he embellished each piece, “paying homage to the literary, the figurative, and the sculptural.” Wrong began as a print from an early piece, which Hushcha has transformed with paint and glitter. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382529630-2IZ2P63F5LTM83JRW0FQ/mcba-prize-2015-barbara-eijadi-wrong2.jpg Entries & Jurors - 2015 Entries - Barbara Eijadi Barbara Eijadi (Saint Paul, MN) Wrong 2014 Case bound sculpture Unique work 17.5 x 26.5 x 2.5 In collaboration with Leon Hushcha, I was provided an opportunity to bring a new perspective to Hushcha prints, paintings, and drawings. My work began by using traditional bookbinding techniques and structures, and resulted in an exploration of sculptural books. Together we completed fourteen of these pieces, and “Book as Metaphor” was exhibited at Hushcha Studio in October of 2014. I began by selecting prints and drawings from the Hushcha archives, based on color, image, texture and shape, as well as how an image would respond to curves, and the confines of a “spread.” The books were bound as flat back case bindings. Most pieces included five sections of four folios each. Book board, book cloth, and 250Gg archival paper was used in the construction of each piece, Hushcha’s art work in the center spread. The book was then laid open, and I began forming the curves to each page, securing each with PVA, and/or a double-sided archival adhesive. Stretcher bars were attached to the back to provide stability and dimension. The books were then delivered to Hushcha for his added interpretation. With the work presented in a new form, he embellished each piece, “paying homage to the literary, the figurative, and the sculptural.” Wrong began as a print from an early piece, which Hushcha has transformed with paint and glitter. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382531629-LHBEQLRMMCNMZI1NJPHI/mcba-prize-2015-barbara-eijadi-wrong3.jpg Entries & Jurors - 2015 Entries - Barbara Eijadi Barbara Eijadi (Saint Paul, MN) Wrong 2014 Case bound sculpture Unique work 17.5 x 26.5 x 2.5 In collaboration with Leon Hushcha, I was provided an opportunity to bring a new perspective to Hushcha prints, paintings, and drawings. My work began by using traditional bookbinding techniques and structures, and resulted in an exploration of sculptural books. Together we completed fourteen of these pieces, and “Book as Metaphor” was exhibited at Hushcha Studio in October of 2014. I began by selecting prints and drawings from the Hushcha archives, based on color, image, texture and shape, as well as how an image would respond to curves, and the confines of a “spread.” The books were bound as flat back case bindings. Most pieces included five sections of four folios each. Book board, book cloth, and 250Gg archival paper was used in the construction of each piece, Hushcha’s art work in the center spread. The book was then laid open, and I began forming the curves to each page, securing each with PVA, and/or a double-sided archival adhesive. Stretcher bars were attached to the back to provide stability and dimension. The books were then delivered to Hushcha for his added interpretation. With the work presented in a new form, he embellished each piece, “paying homage to the literary, the figurative, and the sculptural.” Wrong began as a print from an early piece, which Hushcha has transformed with paint and glitter. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382534644-YO2JEU9C7TBFK8YZ6NT7/mcba-prize-2015-barbara-eijadi-wrong4.jpg Entries & Jurors - 2015 Entries - Barbara Eijadi Barbara Eijadi (Saint Paul, MN) Wrong 2014 Case bound sculpture Unique work 17.5 x 26.5 x 2.5 In collaboration with Leon Hushcha, I was provided an opportunity to bring a new perspective to Hushcha prints, paintings, and drawings. My work began by using traditional bookbinding techniques and structures, and resulted in an exploration of sculptural books. Together we completed fourteen of these pieces, and “Book as Metaphor” was exhibited at Hushcha Studio in October of 2014. I began by selecting prints and drawings from the Hushcha archives, based on color, image, texture and shape, as well as how an image would respond to curves, and the confines of a “spread.” The books were bound as flat back case bindings. Most pieces included five sections of four folios each. Book board, book cloth, and 250Gg archival paper was used in the construction of each piece, Hushcha’s art work in the center spread. The book was then laid open, and I began forming the curves to each page, securing each with PVA, and/or a double-sided archival adhesive. Stretcher bars were attached to the back to provide stability and dimension. The books were then delivered to Hushcha for his added interpretation. With the work presented in a new form, he embellished each piece, “paying homage to the literary, the figurative, and the sculptural.” Wrong began as a print from an early piece, which Hushcha has transformed with paint and glitter. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382641362-7GJQGV57UIPLVVOQ3G18/mcba-prize-ann-engelman-meandering-river-book2.jpg Entries & Jurors - 2015 Entries - Ann Engelman Ann Engelman (Fort Atkinson, WI) Meandering River Book 2014 Relief prints on Stonehenge paper, cut and folded using the meandering book form. Edition of 2 Dimensions open: 18×34 Dimensions closed: 4.5×6 This Artist Book began as relief print. I wanted an image of a simple, old, small, comfy, town that would have a safe, idyllic feel to it. It is defined by primitive, cartoon-in-nature architecture. The world is such a scary place right now. The town is surrounded by a river which offers some internal safety, but uncertainty on the other side. Storage of large prints hinders them invisible and framing is expensive. I wanted to be able to visit this small town from time to time. I thought of the meandering river which led to a meandering book. But, the reverse side was void of anything. I became interested in the textures of water and explored potential water movement in another relief print. I printed the water image on the back of the river town print. I was able to create different elevations, paths and points of interest with the moving pages. The book became playful sculpture. This book was an evolution of my interest in relief printing, diminishing wall space in my home and a wish to spend time with peaceful images. I also printed the River Water block on the back of the River Town print and cut it to make a meandering book. Emilie helped me to do the cuts. This was very successful. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382643220-GFERTRFQZ6YPKYPX5ID0/mcba-prize-ann-engelman-meandering-river-book3.jpg Entries & Jurors - 2015 Entries - Ann Engelman Ann Engelman (Fort Atkinson, WI) Meandering River Book 2014 Relief prints on Stonehenge paper, cut and folded using the meandering book form. Edition of 2 Dimensions open: 18×34 Dimensions closed: 4.5×6 This Artist Book began as relief print. I wanted an image of a simple, old, small, comfy, town that would have a safe, idyllic feel to it. It is defined by primitive, cartoon-in-nature architecture. The world is such a scary place right now. The town is surrounded by a river which offers some internal safety, but uncertainty on the other side. Storage of large prints hinders them invisible and framing is expensive. I wanted to be able to visit this small town from time to time. I thought of the meandering river which led to a meandering book. But, the reverse side was void of anything. I became interested in the textures of water and explored potential water movement in another relief print. I printed the water image on the back of the river town print. I was able to create different elevations, paths and points of interest with the moving pages. The book became playful sculpture. This book was an evolution of my interest in relief printing, diminishing wall space in my home and a wish to spend time with peaceful images. I also printed the River Water block on the back of the River Town print and cut it to make a meandering book. Emilie helped me to do the cuts. This was very successful. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382643493-OZFUVBD3PO3UCIR43T9A/mcba-prize-ann-engelman-meandering-river-book4.jpg Entries & Jurors - 2015 Entries - Ann Engelman Ann Engelman (Fort Atkinson, WI) Meandering River Book 2014 Relief prints on Stonehenge paper, cut and folded using the meandering book form. Edition of 2 Dimensions open: 18×34 Dimensions closed: 4.5×6 This Artist Book began as relief print. I wanted an image of a simple, old, small, comfy, town that would have a safe, idyllic feel to it. It is defined by primitive, cartoon-in-nature architecture. The world is such a scary place right now. The town is surrounded by a river which offers some internal safety, but uncertainty on the other side. Storage of large prints hinders them invisible and framing is expensive. I wanted to be able to visit this small town from time to time. I thought of the meandering river which led to a meandering book. But, the reverse side was void of anything. I became interested in the textures of water and explored potential water movement in another relief print. I printed the water image on the back of the river town print. I was able to create different elevations, paths and points of interest with the moving pages. The book became playful sculpture. This book was an evolution of my interest in relief printing, diminishing wall space in my home and a wish to spend time with peaceful images. I also printed the River Water block on the back of the River Town print and cut it to make a meandering book. Emilie helped me to do the cuts. This was very successful. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382641451-I2L9F0DFG2C3DJOK2MJ1/mcba-prize-ann-engelman-meandering-river-book1.jpg Entries & Jurors - 2015 Entries - Ann Engelman Ann Engelman (Fort Atkinson, WI) Meandering River Book 2014 Relief prints on Stonehenge paper, cut and folded using the meandering book form. Edition of 2 Dimensions open: 18×34 Dimensions closed: 4.5×6 This Artist Book began as relief print. I wanted an image of a simple, old, small, comfy, town that would have a safe, idyllic feel to it. It is defined by primitive, cartoon-in-nature architecture. The world is such a scary place right now. The town is surrounded by a river which offers some internal safety, but uncertainty on the other side. Storage of large prints hinders them invisible and framing is expensive. I wanted to be able to visit this small town from time to time. I thought of the meandering river which led to a meandering book. But, the reverse side was void of anything. I became interested in the textures of water and explored potential water movement in another relief print. I printed the water image on the back of the river town print. I was able to create different elevations, paths and points of interest with the moving pages. The book became playful sculpture. This book was an evolution of my interest in relief printing, diminishing wall space in my home and a wish to spend time with peaceful images. I also printed the River Water block on the back of the River Town print and cut it to make a meandering book. Emilie helped me to do the cuts. This was very successful. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382644661-HKO7HYHUWP6GRGVCWTVG/mcba-prize-ann-engelman-meandering-river-book5.jpg Entries & Jurors - 2015 Entries - Ann Engelman Ann Engelman (Fort Atkinson, WI) Meandering River Book 2014 Relief prints on Stonehenge paper, cut and folded using the meandering book form. Edition of 2 Dimensions open: 18×34 Dimensions closed: 4.5×6 This Artist Book began as relief print. I wanted an image of a simple, old, small, comfy, town that would have a safe, idyllic feel to it. It is defined by primitive, cartoon-in-nature architecture. The world is such a scary place right now. The town is surrounded by a river which offers some internal safety, but uncertainty on the other side. Storage of large prints hinders them invisible and framing is expensive. I wanted to be able to visit this small town from time to time. I thought of the meandering river which led to a meandering book. But, the reverse side was void of anything. I became interested in the textures of water and explored potential water movement in another relief print. I printed the water image on the back of the river town print. I was able to create different elevations, paths and points of interest with the moving pages. The book became playful sculpture. This book was an evolution of my interest in relief printing, diminishing wall space in my home and a wish to spend time with peaceful images. I also printed the River Water block on the back of the River Town print and cut it to make a meandering book. Emilie helped me to do the cuts. This was very successful. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382835771-MWL2AJMKHWDP33GJIT9W/mcba-prize-2015-ann-forbush-ania-gilmore-annie-zeybekoglu1.jpg Entries & Jurors - 2015 Entries - Ann Forbush, Ania Gilmore and Annie Zeybekoglu Ann Forbush, Ania Gilmore and Annie Zeybekoglu (Boston and Watertown, MA) apforbush.com / aniaartstudio.com / anniezey.com A Fighting Chance 2013 Image transfers, tracing, mulberry paper, mounting frames, gaffer tape, waxed linen thread, typewriter, Coptic Binding Edition of 3 12″H x 11.25″W x 10″D open 12″H x 11.25″W x 1/25″D closed A tribute to the courage and activism of young Pakistani schoolgirl, Malala Yousafzai, A Fighting Chance is designed to represent a child’s school notebook. It comprises young children’s writing samples, as well as statistics about girls’ education from around the world. A Fighting Chance is a collaborative work by Ann Forbush, Ania Gilmore, and Annie Zeybekoglu. We were all quite moved by the story and terrible events surrounding the life of the young Pakistani schoolgirl, Malala Yousafzai, who was targeted by the Taliban for her outspoken advocacy for girls’ education in her native country. A Fighting Chance is a tribute to her courage, and comprises children’s penmanship and writing samples, as well as statistics for girls’ education around the world. As women, we came to appreciate even more deeply that access to books and education is an invitation to a life-long journey of growth, discovery, and empowerment. Ann Forbush Although primarily a printmaker, I have a passion for tactile materials. Making one-of-a-kind books has been the perfect vehicle for me to combine a wide variety of media with words and images. My more unusual pieces range from an edible book made of flatbread and sugar transfers to a book installation comprised of poster-sized waterproof pages that were signposted around a 40 foot outdoor fountain. I especially enjoy making collaborative books because conferring with other artists and historians offers a rich counterpoint to my usual studio practice. Ania Gilmore Agnes Martin once wrote “An Artist is the one who can fail and fail and still go on” – these powerful words reaffirmed my creative journey by inspiring me to realize that art is a process that when started can never be finished. While studying design and printmaking I discovered a great passion for book arts. In my work, I explore the book itself, the boundaries between the form and the content. As an emigrant, I am infused with inspiration resident in my roots and history. I am interested in the continuous growing dialogue of identity and multiculturalism, which is a central element in modern society. The source of my imagery, which explores the connection between chaos and order amongst themes, is both derived by chance and experimentation. Annie Zeybekoglu I make a conscious effort not to work from intent, but rather to give myself over to the materials completely, and to pay close attention to the textures, materials, colors, and the emotional and physical response they elicit. I am fascinated with decay, the coming apart of things that are tidy or predictable; likewise, an interest in pattern and the random disruption of pattern. Most essentially, I trust in markmaking as the most natural physical way of connecting, seeing, and recording encounters. Books are a vehicle for both ideas and tangible expression, for exploring the complement between materials, content, and responsive form. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382835591-U4YDJWFOL73BJXQQVMJD/mcba-prize-2015-ann-forbush-ania-gilmore-annie-zeybekoglu2.jpg Entries & Jurors - 2015 Entries - Ann Forbush, Ania Gilmore and Annie Zeybekoglu Ann Forbush, Ania Gilmore and Annie Zeybekoglu (Boston and Watertown, MA) apforbush.com / aniaartstudio.com / anniezey.com A Fighting Chance 2013 Image transfers, tracing, mulberry paper, mounting frames, gaffer tape, waxed linen thread, typewriter, Coptic Binding Edition of 3 12″H x 11.25″W x 10″D open 12″H x 11.25″W x 1/25″D closed A look at the book’s pages, showing the children’s writing samples as well as the framing elements on which are recorded statistics about girls’ education from around the world. Malala Yousafzai, the young Pakistani schoolgirl and advocate for girls’ education in her country has become a symbol of the empowerment of education worldwide. A Fighting Chance is a collaborative work by Ann Forbush, Ania Gilmore, and Annie Zeybekoglu. We were all quite moved by the story and terrible events surrounding the life of the young Pakistani schoolgirl, Malala Yousafzai, who was targeted by the Taliban for her outspoken advocacy for girls’ education in her native country. A Fighting Chance is a tribute to her courage, and comprises children’s penmanship and writing samples, as well as statistics for girls’ education around the world. As women, we came to appreciate even more deeply that access to books and education is an invitation to a life-long journey of growth, discovery, and empowerment. Ann Forbush Although primarily a printmaker, I have a passion for tactile materials. Making one-of-a-kind books has been the perfect vehicle for me to combine a wide variety of media with words and images. My more unusual pieces range from an edible book made of flatbread and sugar transfers to a book installation comprised of poster-sized waterproof pages that were signposted around a 40 foot outdoor fountain. I especially enjoy making collaborative books because conferring with other artists and historians offers a rich counterpoint to my usual studio practice. Ania Gilmore Agnes Martin once wrote “An Artist is the one who can fail and fail and still go on” – these powerful words reaffirmed my creative journey by inspiring me to realize that art is a process that when started can never be finished. While studying design and printmaking I discovered a great passion for book arts. In my work, I explore the book itself, the boundaries between the form and the content. As an emigrant, I am infused with inspiration resident in my roots and history. I am interested in the continuous growing dialogue of identity and multiculturalism, which is a central element in modern society. The source of my imagery, which explores the connection between chaos and order amongst themes, is both derived by chance and experimentation. Annie Zeybekoglu I make a conscious effort not to work from intent, but rather to give myself over to the materials completely, and to pay close attention to the textures, materials, colors, and the emotional and physical response they elicit. I am fascinated with decay, the coming apart of things that are tidy or predictable; likewise, an interest in pattern and the random disruption of pattern. Most essentially, I trust in markmaking as the most natural physical way of connecting, seeing, and recording encounters. Books are a vehicle for both ideas and tangible expression, for exploring the complement between materials, content, and responsive form. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774382836633-ID1XP5VZXXQY98LXZDGF/mcba-prize-2015-ann-forbush-ania-gilmore-annie-zeybekoglu3.jpg Entries & Jurors - 2015 Entries - Ann Forbush, Ania Gilmore and Annie Zeybekoglu Ann Forbush, Ania Gilmore and Annie Zeybekoglu (Boston and Watertown, MA) apforbush.com / aniaartstudio.com / anniezey.com A Fighting Chance 2013 Image transfers, tracing, mulberry paper, mounting frames, gaffer tape, waxed linen thread, typewriter, Coptic Binding Edition of 3 12″H x 11.25″W x 10″D open 12″H x 11.25″W x 1/25″D closed A detail shot of the framing element of one page of A Fighting Chance, on which is recorded the statistics about girls’ education in Malala Yousafzai’s native Pakistan. The young Pakistani schoolgirl and activist was targeted by the Taliban to silence her outspoken advocacy for girls’ education in her country. A Fighting Chance is a collaborative work by Ann Forbush, Ania Gilmore, and Annie Zeybekoglu. We were all quite moved by the story and terrible events surrounding the life of the young Pakistani schoolgirl, Malala Yousafzai, who was targeted by the Taliban for her outspoken advocacy for girls’ education in her native country. A Fighting Chance is a tribute to her courage, and comprises children’s penmanship and writing samples, as well as statistics for girls’ education around the world. As women, we came to appreciate even more deeply that access to books and education is an invitation to a life-long journey of growth, discovery, and empowerment. Ann Forbush Although primarily a printmaker, I have a passion for tactile materials. Making one-of-a-kind books has been the perfect vehicle for me to combine a wide variety of media with words and images. My more unusual pieces range from an edible book made of flatbread and sugar transfers to a book installation comprised of poster-sized waterproof pages that were signposted around a 40 foot outdoor fountain. I especially enjoy making collaborative books because conferring with other artists and historians offers a rich counterpoint to my usual studio practice. Ania Gilmore Agnes Martin once wrote “An Artist is the one who can fail and fail and still go on” – these powerful words reaffirmed my creative journey by inspiring me to realize that art is a process that when started can never be finished. While studying design and printmaking I discovered a great passion for book arts. In my work, I explore the book itself, the boundaries between the form and the content. As an emigrant, I am infused with inspiration resident in my roots and history. I am interested in the continuous growing dialogue of identity and multiculturalism, which is a central element in modern society. The source of my imagery, which explores the connection between chaos and order amongst themes, is both derived by chance and experimentation. Annie Zeybekoglu I make a conscious effort not to work from intent, but rather to give myself over to the materials completely, and to pay close attention to the textures, materials, colors, and the emotional and physical response they elicit. I am fascinated with decay, the coming apart of things that are tidy or predictable; likewise, an interest in pattern and the random disruption of pattern. Most essentially, I trust in markmaking as the most natural physical way of connecting, seeing, and recording encounters. Books are a vehicle for both ideas and tangible expression, for exploring the complement between materials, content, and responsive form. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383003103-KW529HLFHR8HGLYODVJ2/mcba-prize-2015-jacques-fournier-dejouer1.jpg Entries & Jurors - 2015 Entries - Jacques Fournier Jacques Fournier (Montreal, Quebec) editionsroselin.com Déjouer 2013 BFK Rives paper/linen-cartonnage Pages: 22 Dimensions open: 5 x 12 1/4 x 6 3/4″ Dimensions closed: 5 1/4 x 12 1/4 x 6 3/4″ The book Déjouer is conceived as a French pun. The verb “déjouer” means to foil, but dé means dice and jouer to play. Playing dice allows chance to become the main player in the game the book provides. Six authors (all women) were invited to write a text to accompany the six images created specifically for this book by artist Marie-Claude Bouthillier. The numerous text/image combinations provide for a playful and creative interaction of the reader. The objective of Editions Roselin is to capture the essence of the original contribution of an author and a visual artist who work in close association with the book designer and producer. Editions Roselin, founded in 1993 by Jacques Fournier, proposes a site of collaboration. As a bookbinder, Fournier invites other artists to work with him in the production of artist’s books that help rethink the rapport between text and image in relation to the format that houses them and the role of their public. The concept and the structure of the book are seen as the proper locus to allow words and visuals to take their full development while approached and manipulated. The artist’s books published by Editions Roselin explore other supports than paper as a medium to convey the text and its meaning and they celebrate the participation of the reader/viewer. Texts by Martine Audet, Louise Cotnoir, Denise Desautels, Louise Dupré, Diane Régimbald, Élise Turcotte Original drawings by Marie-Claude Bouthillier (carbon and acrylic) Typo and printing by Pierre Filion Concept and bookbinding Jacques Fournier (Éditions Roselin), 2013. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383003189-KLUOSOZS8UBX5BIPSF06/mcba-prize-2015-jacques-fournier-dejouer2.jpg Entries & Jurors - 2015 Entries - Jacques Fournier Jacques Fournier (Montreal, Quebec) editionsroselin.com Déjouer 2013 BFK Rives paper/linen-cartonnage Pages: 22 Dimensions open: 5 x 12 1/4 x 6 3/4″ Dimensions closed: 5 1/4 x 12 1/4 x 6 3/4″ The book Déjouer is conceived as a French pun. The verb “déjouer” means to foil, but dé means dice and jouer to play. Playing dice allows chance to become the main player in the game the book provides. Six authors (all women) were invited to write a text to accompany the six images created specifically for this book by artist Marie-Claude Bouthillier. The numerous text/image combinations provide for a playful and creative interaction of the reader. The objective of Editions Roselin is to capture the essence of the original contribution of an author and a visual artist who work in close association with the book designer and producer. Editions Roselin, founded in 1993 by Jacques Fournier, proposes a site of collaboration. As a bookbinder, Fournier invites other artists to work with him in the production of artist’s books that help rethink the rapport between text and image in relation to the format that houses them and the role of their public. The concept and the structure of the book are seen as the proper locus to allow words and visuals to take their full development while approached and manipulated. The artist’s books published by Editions Roselin explore other supports than paper as a medium to convey the text and its meaning and they celebrate the participation of the reader/viewer. Texts by Martine Audet, Louise Cotnoir, Denise Desautels, Louise Dupré, Diane Régimbald, Élise Turcotte Original drawings by Marie-Claude Bouthillier (carbon and acrylic) Typo and printing by Pierre Filion Concept and bookbinding Jacques Fournier (Éditions Roselin), 2013. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383004210-JKM7XE01J9TSY5NK5QXE/mcba-prize-2015-jacques-fournier-dejouer3.jpg Entries & Jurors - 2015 Entries - Jacques Fournier Jacques Fournier (Montreal, Quebec) editionsroselin.com Déjouer 2013 BFK Rives paper/linen-cartonnage Pages: 22 Dimensions open: 5 x 12 1/4 x 6 3/4″ Dimensions closed: 5 1/4 x 12 1/4 x 6 3/4″ The book Déjouer is conceived as a French pun. The verb “déjouer” means to foil, but dé means dice and jouer to play. Playing dice allows chance to become the main player in the game the book provides. Six authors (all women) were invited to write a text to accompany the six images created specifically for this book by artist Marie-Claude Bouthillier. The numerous text/image combinations provide for a playful and creative interaction of the reader. The objective of Editions Roselin is to capture the essence of the original contribution of an author and a visual artist who work in close association with the book designer and producer. Editions Roselin, founded in 1993 by Jacques Fournier, proposes a site of collaboration. As a bookbinder, Fournier invites other artists to work with him in the production of artist’s books that help rethink the rapport between text and image in relation to the format that houses them and the role of their public. The concept and the structure of the book are seen as the proper locus to allow words and visuals to take their full development while approached and manipulated. The artist’s books published by Editions Roselin explore other supports than paper as a medium to convey the text and its meaning and they celebrate the participation of the reader/viewer. Texts by Martine Audet, Louise Cotnoir, Denise Desautels, Louise Dupré, Diane Régimbald, Élise Turcotte Original drawings by Marie-Claude Bouthillier (carbon and acrylic) Typo and printing by Pierre Filion Concept and bookbinding Jacques Fournier (Éditions Roselin), 2013. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383004411-1PX9MAAWQWN5S77RHYP7/mcba-prize-2015-jacques-fournier-dejouer4.jpg Entries & Jurors - 2015 Entries - Jacques Fournier Jacques Fournier (Montreal, Quebec) editionsroselin.com Déjouer 2013 BFK Rives paper/linen-cartonnage Pages: 22 Dimensions open: 5 x 12 1/4 x 6 3/4″ Dimensions closed: 5 1/4 x 12 1/4 x 6 3/4″ The book Déjouer is conceived as a French pun. The verb “déjouer” means to foil, but dé means dice and jouer to play. Playing dice allows chance to become the main player in the game the book provides. Six authors (all women) were invited to write a text to accompany the six images created specifically for this book by artist Marie-Claude Bouthillier. The numerous text/image combinations provide for a playful and creative interaction of the reader. The objective of Editions Roselin is to capture the essence of the original contribution of an author and a visual artist who work in close association with the book designer and producer. Editions Roselin, founded in 1993 by Jacques Fournier, proposes a site of collaboration. As a bookbinder, Fournier invites other artists to work with him in the production of artist’s books that help rethink the rapport between text and image in relation to the format that houses them and the role of their public. The concept and the structure of the book are seen as the proper locus to allow words and visuals to take their full development while approached and manipulated. The artist’s books published by Editions Roselin explore other supports than paper as a medium to convey the text and its meaning and they celebrate the participation of the reader/viewer. Texts by Martine Audet, Louise Cotnoir, Denise Desautels, Louise Dupré, Diane Régimbald, Élise Turcotte Original drawings by Marie-Claude Bouthillier (carbon and acrylic) Typo and printing by Pierre Filion Concept and bookbinding Jacques Fournier (Éditions Roselin), 2013. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383005196-00WNTW1AXB2H5G492M7S/mcba-prize-2015-jacques-fournier-dejouer5.jpg Entries & Jurors - 2015 Entries - Jacques Fournier Jacques Fournier (Montreal, Quebec) editionsroselin.com Déjouer 2013 BFK Rives paper/linen-cartonnage Pages: 22 Dimensions open: 5 x 12 1/4 x 6 3/4″ Dimensions closed: 5 1/4 x 12 1/4 x 6 3/4″ The book Déjouer is conceived as a French pun. The verb “déjouer” means to foil, but dé means dice and jouer to play. Playing dice allows chance to become the main player in the game the book provides. Six authors (all women) were invited to write a text to accompany the six images created specifically for this book by artist Marie-Claude Bouthillier. The numerous text/image combinations provide for a playful and creative interaction of the reader. The objective of Editions Roselin is to capture the essence of the original contribution of an author and a visual artist who work in close association with the book designer and producer. Editions Roselin, founded in 1993 by Jacques Fournier, proposes a site of collaboration. As a bookbinder, Fournier invites other artists to work with him in the production of artist’s books that help rethink the rapport between text and image in relation to the format that houses them and the role of their public. The concept and the structure of the book are seen as the proper locus to allow words and visuals to take their full development while approached and manipulated. The artist’s books published by Editions Roselin explore other supports than paper as a medium to convey the text and its meaning and they celebrate the participation of the reader/viewer. Texts by Martine Audet, Louise Cotnoir, Denise Desautels, Louise Dupré, Diane Régimbald, Élise Turcotte Original drawings by Marie-Claude Bouthillier (carbon and acrylic) Typo and printing by Pierre Filion Concept and bookbinding Jacques Fournier (Éditions Roselin), 2013. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383183322-8GM1V4SODDPJNTR4D12K/mcba-prize-2015-timonthy-frerichs-fissile-shale1.jpg Entries & Jurors - 2015 Entries - Timothy Frerichs Timothy Frerichs (Fredonia, New York) timothyfrerichs.com Fissile–Shale 2015 Handmade black cotton/abaca paper with watermarks/blow outs, Flexi-rock, Coptic binding Unique Work Pages: 60 Dimensions open: 15.5″ x 23.5″ x 7/16″ (middle) Dimensions closed: 15.5″ x 11.75″ x 7/8″ The artist book Fissile–Shale is part of my Shale series of artist books, installations, and works on paper relating to shale extraction. Considered a lowly rock (and not all that aesthetically attractive) native to Western New York and significant portions of the United States, shale extraction is having a profound transformative impact on the world economy, ecology, and geology. The Shale series was initiated by an invitation from the Buffalo Central Library Rare Book Collection to create an artist book responding to seminal geology/mineralogy books. In Fissile–Shale, I am striving to connect the symbolism of fissility or fracturing of shale rock, through the action of the water with the current shale extraction process. Furthermore, I hope to engage aspects of the history of science — in particular geology including the recognition of the Anthropocene as a geological epoch. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383183364-0ZH39825D9Z99029RMN4/mcba-prize-2015-timonthy-frerichs-fissile-shale2.jpg Entries & Jurors - 2015 Entries - Timothy Frerichs Timothy Frerichs (Fredonia, New York) timothyfrerichs.com Fissile–Shale 2015 Handmade black cotton/abaca paper with watermarks/blow outs, Flexi-rock, Coptic binding Unique Work Pages: 60 Dimensions open: 15.5″ x 23.5″ x 7/16″ (middle) Dimensions closed: 15.5″ x 11.75″ x 7/8″ The artist book Fissile–Shale is part of my Shale series of artist books, installations, and works on paper relating to shale extraction. Considered a lowly rock (and not all that aesthetically attractive) native to Western New York and significant portions of the United States, shale extraction is having a profound transformative impact on the world economy, ecology, and geology. The Shale series was initiated by an invitation from the Buffalo Central Library Rare Book Collection to create an artist book responding to seminal geology/mineralogy books. In Fissile–Shale, I am striving to connect the symbolism of fissility or fracturing of shale rock, through the action of the water with the current shale extraction process. Furthermore, I hope to engage aspects of the history of science — in particular geology including the recognition of the Anthropocene as a geological epoch. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383184370-5DBISVM0RV42SXO31ZV1/mcba-prize-2015-timonthy-frerichs-fissile-shale3.jpg Entries & Jurors - 2015 Entries - Timothy Frerichs Timothy Frerichs (Fredonia, New York) timothyfrerichs.com Fissile–Shale 2015 Handmade black cotton/abaca paper with watermarks/blow outs, Flexi-rock, Coptic binding Unique Work Pages: 60 Dimensions open: 15.5″ x 23.5″ x 7/16″ (middle) Dimensions closed: 15.5″ x 11.75″ x 7/8″ The artist book Fissile–Shale is part of my Shale series of artist books, installations, and works on paper relating to shale extraction. Considered a lowly rock (and not all that aesthetically attractive) native to Western New York and significant portions of the United States, shale extraction is having a profound transformative impact on the world economy, ecology, and geology. The Shale series was initiated by an invitation from the Buffalo Central Library Rare Book Collection to create an artist book responding to seminal geology/mineralogy books. In Fissile–Shale, I am striving to connect the symbolism of fissility or fracturing of shale rock, through the action of the water with the current shale extraction process. Furthermore, I hope to engage aspects of the history of science — in particular geology including the recognition of the Anthropocene as a geological epoch. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383184532-5MVSJCAEZ8240N3GHJCB/mcba-prize-2015-timonthy-frerichs-fissile-shale4.jpg Entries & Jurors - 2015 Entries - Timothy Frerichs Timothy Frerichs (Fredonia, New York) timothyfrerichs.com Fissile–Shale 2015 Handmade black cotton/abaca paper with watermarks/blow outs, Flexi-rock, Coptic binding Unique Work Pages: 60 Dimensions open: 15.5″ x 23.5″ x 7/16″ (middle) Dimensions closed: 15.5″ x 11.75″ x 7/8″ The artist book Fissile–Shale is part of my Shale series of artist books, installations, and works on paper relating to shale extraction. Considered a lowly rock (and not all that aesthetically attractive) native to Western New York and significant portions of the United States, shale extraction is having a profound transformative impact on the world economy, ecology, and geology. The Shale series was initiated by an invitation from the Buffalo Central Library Rare Book Collection to create an artist book responding to seminal geology/mineralogy books. In Fissile–Shale, I am striving to connect the symbolism of fissility or fracturing of shale rock, through the action of the water with the current shale extraction process. Furthermore, I hope to engage aspects of the history of science — in particular geology including the recognition of the Anthropocene as a geological epoch. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383185405-0NLCCYZQQENH6XH29N0O/mcba-prize-2015-timonthy-frerichs-fissile-shale5.jpg Entries & Jurors - 2015 Entries - Timothy Frerichs Timothy Frerichs (Fredonia, New York) timothyfrerichs.com Fissile–Shale 2015 Handmade black cotton/abaca paper with watermarks/blow outs, Flexi-rock, Coptic binding Unique Work Pages: 60 Dimensions open: 15.5″ x 23.5″ x 7/16″ (middle) Dimensions closed: 15.5″ x 11.75″ x 7/8″ The artist book Fissile–Shale is part of my Shale series of artist books, installations, and works on paper relating to shale extraction. Considered a lowly rock (and not all that aesthetically attractive) native to Western New York and significant portions of the United States, shale extraction is having a profound transformative impact on the world economy, ecology, and geology. The Shale series was initiated by an invitation from the Buffalo Central Library Rare Book Collection to create an artist book responding to seminal geology/mineralogy books. In Fissile–Shale, I am striving to connect the symbolism of fissility or fracturing of shale rock, through the action of the water with the current shale extraction process. Furthermore, I hope to engage aspects of the history of science — in particular geology including the recognition of the Anthropocene as a geological epoch. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383317725-XMEDXSW434G2UHBA00WF/mcba-prize-2015-eva-gallizi-station-book5.jpg Entries & Jurors - 2015 Entries - Eva Gallizzi Eva Gallizzi (Zürich, Switzerland) xylon.ch Station-book 2013 pictures: woodcut/linocut; text: digital print; cover: wood Edition of 3 Pages: 28 Dimensions open: 31 x 87.5 x 3 cm Dimensions closed: 31 x 43 x 3 cm Since the beginning of the year 2013 I have visited three very different SMEs for my station book .This book is handmade, using mainly wood and linocuts of different kinds, fort he text I used digital print. Those three small enterprise are: The paper flowers artist “Florina” The mobile Brewery “Fahrtwind” The museum mill named Wespimühle. When working, I felt more and more joy these three stations, as different as they were with each other to mix and combine. If we did enough to exchange with each other in real life and dare us more peculiar combinations enter into the creativity would be no limits and quality of life would be increased. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383316879-U254YQY8SIQJ253NJ6KW/mcba-prize-2015-eva-gallizi-station-book4.jpeg Entries & Jurors - 2015 Entries - Eva Gallizzi Eva Gallizzi (Zürich, Switzerland) xylon.ch Station-book 2013 pictures: woodcut/linocut; text: digital print; cover: wood Edition of 3 Pages: 28 Dimensions open: 31 x 87.5 x 3 cm Dimensions closed: 31 x 43 x 3 cm Since the beginning of the year 2013 I have visited three very different SMEs for my station book .This book is handmade, using mainly wood and linocuts of different kinds, fort he text I used digital print. Those three small enterprise are: The paper flowers artist “Florina” The mobile Brewery “Fahrtwind” The museum mill named Wespimühle. When working, I felt more and more joy these three stations, as different as they were with each other to mix and combine. If we did enough to exchange with each other in real life and dare us more peculiar combinations enter into the creativity would be no limits and quality of life would be increased. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383315404-T63EL7Y5E5P8KBWX92EL/mcba-prize-2015-eva-gallizi-station-book1.jpg Entries & Jurors - 2015 Entries - Eva Gallizzi Eva Gallizzi (Zürich, Switzerland) xylon.ch Station-book 2013 pictures: woodcut/linocut; text: digital print; cover: wood Edition of 3 Pages: 28 Dimensions open: 31 x 87.5 x 3 cm Dimensions closed: 31 x 43 x 3 cm Since the beginning of the year 2013 I have visited three very different SMEs for my station book .This book is handmade, using mainly wood and linocuts of different kinds, fort he text I used digital print. Those three small enterprise are: The paper flowers artist “Florina” The mobile Brewery “Fahrtwind” The museum mill named Wespimühle. When working, I felt more and more joy these three stations, as different as they were with each other to mix and combine. If we did enough to exchange with each other in real life and dare us more peculiar combinations enter into the creativity would be no limits and quality of life would be increased. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383315503-7S3KZIR1V3SCO0KQC9VY/mcba-prize-2015-eva-gallizi-station-book2.jpg Entries & Jurors - 2015 Entries - Eva Gallizzi Eva Gallizzi (Zürich, Switzerland) xylon.ch Station-book 2013 pictures: woodcut/linocut; text: digital print; cover: wood Edition of 3 Pages: 28 Dimensions open: 31 x 87.5 x 3 cm Dimensions closed: 31 x 43 x 3 cm Since the beginning of the year 2013 I have visited three very different SMEs for my station book .This book is handmade, using mainly wood and linocuts of different kinds, fort he text I used digital print. Those three small enterprise are: The paper flowers artist “Florina” The mobile Brewery “Fahrtwind” The museum mill named Wespimühle. When working, I felt more and more joy these three stations, as different as they were with each other to mix and combine. If we did enough to exchange with each other in real life and dare us more peculiar combinations enter into the creativity would be no limits and quality of life would be increased. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383316634-N4M79M3AOEZ9CY7GO375/mcba-prize-2015-eva-gallizi-station-book3.jpg Entries & Jurors - 2015 Entries - Eva Gallizzi Eva Gallizzi (Zürich, Switzerland) xylon.ch Station-book 2013 pictures: woodcut/linocut; text: digital print; cover: wood Edition of 3 Pages: 28 Dimensions open: 31 x 87.5 x 3 cm Dimensions closed: 31 x 43 x 3 cm Since the beginning of the year 2013 I have visited three very different SMEs for my station book .This book is handmade, using mainly wood and linocuts of different kinds, fort he text I used digital print. Those three small enterprise are: The paper flowers artist “Florina” The mobile Brewery “Fahrtwind” The museum mill named Wespimühle. When working, I felt more and more joy these three stations, as different as they were with each other to mix and combine. If we did enough to exchange with each other in real life and dare us more peculiar combinations enter into the creativity would be no limits and quality of life would be increased. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383506146-4814KZRVUIN3AEBSR3XZ/mcba-prize-2015-philip-gallo-electric-tulips.1.jpg Entries & Jurors - 2015 Entries - Philip Gallo Philip Gallo (Minneapolis, MN) hermeticpress.blogspot.com Electric Tulips 5.1 2015 Letterpress Edition of 50 32 pages 13x15x.375-inches open 13×7.5-inches closed Electric Tulips 5.1 was conceived as a dialogue between an imaginary literary critic and the poet, Philip Gallo; and revolving around the concept and development of Gallo’s poem, “Electric Tulips 5.1.” The essay which results, “Future Preterite,” by the esteemed critic Alessandro S. Stompanado is intended to emulate that of the essay by James Joyce, written under the pseudonym Vladimir Dixon; and which appeared in the Sylvia Beach publication of 1929: Our Exagmination Round His Factification for Incamination of Work in Progress, in which Joyce writes an appreciation of his own novel, Ulysses. As such the book is a multi-layered pastiche of both literary and typographic treatments, along with a tour-de-force double gatefold presentation of the poem in eight colors (each of the seven stanzas in a separate color and the seminal tulip in an eighth); all set by hand and printed letterpress from Permanent Headline from the now defunct foundry Ludwig & Meyer. The essay reflecting directly from the poem moves from the serious to the comic, ranging from discussions of typefaces and handling of individual characters, to musings on the deconstructive possibilities of paint-by-numbers; to comparisons of landmark works such as Mallarmé’s Un Coup de Dès and Crises de Vers; and the pairing of Wordworth’s “poetry is powerful emotion recollected in tranquillity” to a computer nerd’s Read-Only Memory; to the reduction of a painting to stroked outlines in Illustrator. As one of the major themes of the book is the effect of the anachronistic upon the present, as well the future, the printer did not feel obliged to print the entire book from handset metal type. In fact the essay was set on the computer from Eras, one of the very first typefaces to break the lead ceiling, being available in both metal and digital format. The result is a book that blends the handset with the computer-generated, and in its entire production harmonizes the anachronistic: an adhesiveless binding sewn on tapes encapsulating the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383506391-METWTRL32WEPEI6F1W9U/mcba-prize-2015-philip-gallo-electric-tulips.2.jpg Entries & Jurors - 2015 Entries - Philip Gallo Philip Gallo (Minneapolis, MN) hermeticpress.blogspot.com Electric Tulips 5.1 2015 Letterpress Edition of 50 32 pages 13x15x.375-inches open 13×7.5-inches closed Electric Tulips 5.1 was conceived as a dialogue between an imaginary literary critic and the poet, Philip Gallo; and revolving around the concept and development of Gallo’s poem, “Electric Tulips 5.1.” The essay which results, “Future Preterite,” by the esteemed critic Alessandro S. Stompanado is intended to emulate that of the essay by James Joyce, written under the pseudonym Vladimir Dixon; and which appeared in the Sylvia Beach publication of 1929: Our Exagmination Round His Factification for Incamination of Work in Progress, in which Joyce writes an appreciation of his own novel, Ulysses. As such the book is a multi-layered pastiche of both literary and typographic treatments, along with a tour-de-force double gatefold presentation of the poem in eight colors (each of the seven stanzas in a separate color and the seminal tulip in an eighth); all set by hand and printed letterpress from Permanent Headline from the now defunct foundry Ludwig & Meyer. The essay reflecting directly from the poem moves from the serious to the comic, ranging from discussions of typefaces and handling of individual characters, to musings on the deconstructive possibilities of paint-by-numbers; to comparisons of landmark works such as Mallarmé’s Un Coup de Dès and Crises de Vers; and the pairing of Wordworth’s “poetry is powerful emotion recollected in tranquillity” to a computer nerd’s Read-Only Memory; to the reduction of a painting to stroked outlines in Illustrator. As one of the major themes of the book is the effect of the anachronistic upon the present, as well the future, the printer did not feel obliged to print the entire book from handset metal type. In fact the essay was set on the computer from Eras, one of the very first typefaces to break the lead ceiling, being available in both metal and digital format. The result is a book that blends the handset with the computer-generated, and in its entire production harmonizes the anachronistic: an adhesiveless binding sewn on tapes encapsulating the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383507544-P1Z2V62ORNSFHVH66OLU/mcba-prize-2015-philip-gallo-electric-tulips.3.jpg Entries & Jurors - 2015 Entries - Philip Gallo Philip Gallo (Minneapolis, MN) hermeticpress.blogspot.com Electric Tulips 5.1 2015 Letterpress Edition of 50 32 pages 13x15x.375-inches open 13×7.5-inches closed Electric Tulips 5.1 was conceived as a dialogue between an imaginary literary critic and the poet, Philip Gallo; and revolving around the concept and development of Gallo’s poem, “Electric Tulips 5.1.” The essay which results, “Future Preterite,” by the esteemed critic Alessandro S. Stompanado is intended to emulate that of the essay by James Joyce, written under the pseudonym Vladimir Dixon; and which appeared in the Sylvia Beach publication of 1929: Our Exagmination Round His Factification for Incamination of Work in Progress, in which Joyce writes an appreciation of his own novel, Ulysses. As such the book is a multi-layered pastiche of both literary and typographic treatments, along with a tour-de-force double gatefold presentation of the poem in eight colors (each of the seven stanzas in a separate color and the seminal tulip in an eighth); all set by hand and printed letterpress from Permanent Headline from the now defunct foundry Ludwig & Meyer. The essay reflecting directly from the poem moves from the serious to the comic, ranging from discussions of typefaces and handling of individual characters, to musings on the deconstructive possibilities of paint-by-numbers; to comparisons of landmark works such as Mallarmé’s Un Coup de Dès and Crises de Vers; and the pairing of Wordworth’s “poetry is powerful emotion recollected in tranquillity” to a computer nerd’s Read-Only Memory; to the reduction of a painting to stroked outlines in Illustrator. As one of the major themes of the book is the effect of the anachronistic upon the present, as well the future, the printer did not feel obliged to print the entire book from handset metal type. In fact the essay was set on the computer from Eras, one of the very first typefaces to break the lead ceiling, being available in both metal and digital format. The result is a book that blends the handset with the computer-generated, and in its entire production harmonizes the anachronistic: an adhesiveless binding sewn on tapes encapsulating the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383507746-1I37A4SPRKHNULFF51MJ/mcba-prize-2015-philip-gallo-electric-tulips.4.jpg Entries & Jurors - 2015 Entries - Philip Gallo Philip Gallo (Minneapolis, MN) hermeticpress.blogspot.com Electric Tulips 5.1 2015 Letterpress Edition of 50 32 pages 13x15x.375-inches open 13×7.5-inches closed Electric Tulips 5.1 was conceived as a dialogue between an imaginary literary critic and the poet, Philip Gallo; and revolving around the concept and development of Gallo’s poem, “Electric Tulips 5.1.” The essay which results, “Future Preterite,” by the esteemed critic Alessandro S. Stompanado is intended to emulate that of the essay by James Joyce, written under the pseudonym Vladimir Dixon; and which appeared in the Sylvia Beach publication of 1929: Our Exagmination Round His Factification for Incamination of Work in Progress, in which Joyce writes an appreciation of his own novel, Ulysses. As such the book is a multi-layered pastiche of both literary and typographic treatments, along with a tour-de-force double gatefold presentation of the poem in eight colors (each of the seven stanzas in a separate color and the seminal tulip in an eighth); all set by hand and printed letterpress from Permanent Headline from the now defunct foundry Ludwig & Meyer. The essay reflecting directly from the poem moves from the serious to the comic, ranging from discussions of typefaces and handling of individual characters, to musings on the deconstructive possibilities of paint-by-numbers; to comparisons of landmark works such as Mallarmé’s Un Coup de Dès and Crises de Vers; and the pairing of Wordworth’s “poetry is powerful emotion recollected in tranquillity” to a computer nerd’s Read-Only Memory; to the reduction of a painting to stroked outlines in Illustrator. As one of the major themes of the book is the effect of the anachronistic upon the present, as well the future, the printer did not feel obliged to print the entire book from handset metal type. In fact the essay was set on the computer from Eras, one of the very first typefaces to break the lead ceiling, being available in both metal and digital format. The result is a book that blends the handset with the computer-generated, and in its entire production harmonizes the anachronistic: an adhesiveless binding sewn on tapes encapsulating the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383508842-WPPYPB8SZQBUV8GZ32QF/mcba-prize-2015-philip-gallo-electric-tulips.5.jpg Entries & Jurors - 2015 Entries - Philip Gallo Philip Gallo (Minneapolis, MN) hermeticpress.blogspot.com Electric Tulips 5.1 2015 Letterpress Edition of 50 32 pages 13x15x.375-inches open 13×7.5-inches closed Electric Tulips 5.1 was conceived as a dialogue between an imaginary literary critic and the poet, Philip Gallo; and revolving around the concept and development of Gallo’s poem, “Electric Tulips 5.1.” The essay which results, “Future Preterite,” by the esteemed critic Alessandro S. Stompanado is intended to emulate that of the essay by James Joyce, written under the pseudonym Vladimir Dixon; and which appeared in the Sylvia Beach publication of 1929: Our Exagmination Round His Factification for Incamination of Work in Progress, in which Joyce writes an appreciation of his own novel, Ulysses. As such the book is a multi-layered pastiche of both literary and typographic treatments, along with a tour-de-force double gatefold presentation of the poem in eight colors (each of the seven stanzas in a separate color and the seminal tulip in an eighth); all set by hand and printed letterpress from Permanent Headline from the now defunct foundry Ludwig & Meyer. The essay reflecting directly from the poem moves from the serious to the comic, ranging from discussions of typefaces and handling of individual characters, to musings on the deconstructive possibilities of paint-by-numbers; to comparisons of landmark works such as Mallarmé’s Un Coup de Dès and Crises de Vers; and the pairing of Wordworth’s “poetry is powerful emotion recollected in tranquillity” to a computer nerd’s Read-Only Memory; to the reduction of a painting to stroked outlines in Illustrator. As one of the major themes of the book is the effect of the anachronistic upon the present, as well the future, the printer did not feel obliged to print the entire book from handset metal type. In fact the essay was set on the computer from Eras, one of the very first typefaces to break the lead ceiling, being available in both metal and digital format. The result is a book that blends the handset with the computer-generated, and in its entire production harmonizes the anachronistic: an adhesiveless binding sewn on tapes encapsulating the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383610420-J1I0T83S9Q508MV7200P/mcba-prize-2015-david-gieske-anatomical-wonder1.jpg Entries & Jurors - 2015 Entries - David Gieske David Gieske (Hamilton, OH) davidpgieske.com Anatomical Wonder 2014 Altered Book Unique work 24 x 17 x 1 I search for the alternative, unwritten visual language books contain. Only through my process can I reveal this new language. It becomes my history, my language, and my interpretation of the book. My process is reductive. Nothing is added, rearranged, or changed. I only remove unwanted, undesirable sections from each page of the book I feel will not work in my overall composition. My technique involves elements of chance and my reactions to revealed imagery. For each selected segment I consider placement, color, and content. The saved section must connect to an edge of the cut frame which is connected to the books binding since I do not seal my books shut. I do not seal my books because it is important to me to preserve the original function and structure of the book. My transformation adds new life to the object, but at the root of each work a book still exists. I emphasize what it contains. The revealed sections of my finished pieces are a glimpse or synopsis of imagery within the source. I have a basic composition in mind at the beginning of each book, but also need to be flexible and adapt according to the content uncovered within the book. Each saved section affects the next image revealed, therefore every cut and decision is based on the previously saved content. By excavating these used books I reveal an alternate visual language. I show that a book is more than a container that houses written and visual information. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383610420-Y9UQ8EDYWQDTJH09N6YI/mcba-prize-2015-david-gieske-anatomical-wonder2.jpg Entries & Jurors - 2015 Entries - David Gieske David Gieske (Hamilton, OH) davidpgieske.com Anatomical Wonder 2014 Altered Book Unique work 24 x 17 x 1 I search for the alternative, unwritten visual language books contain. Only through my process can I reveal this new language. It becomes my history, my language, and my interpretation of the book. My process is reductive. Nothing is added, rearranged, or changed. I only remove unwanted, undesirable sections from each page of the book I feel will not work in my overall composition. My technique involves elements of chance and my reactions to revealed imagery. For each selected segment I consider placement, color, and content. The saved section must connect to an edge of the cut frame which is connected to the books binding since I do not seal my books shut. I do not seal my books because it is important to me to preserve the original function and structure of the book. My transformation adds new life to the object, but at the root of each work a book still exists. I emphasize what it contains. The revealed sections of my finished pieces are a glimpse or synopsis of imagery within the source. I have a basic composition in mind at the beginning of each book, but also need to be flexible and adapt according to the content uncovered within the book. Each saved section affects the next image revealed, therefore every cut and decision is based on the previously saved content. By excavating these used books I reveal an alternate visual language. I show that a book is more than a container that houses written and visual information. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383702955-KI0UX84M0IJTBKKWW68M/mcba-prize-2015-ania-gilmore-annie-zeybekoglu-learning-curve1.png Entries & Jurors - 2015 Entries - Ania Gilmore and Annie Zeybekoglu Ania Gilmore and Annie Zeybekoglu (Boston, MA) aniaartstudio.com / anniezey.com Learning Curve 2013 Flexible accordion spine book, Encyclopedia pages and covers, Stonehenge Kraft paper, waxed binding string, image transfer Edition of 3 2.25″H x 3.75″W x approx. 96″ long, extended Ania Gilmore Agnes Martin once wrote “An Artist is the one who can fail and fail and still go on” – these powerful words reaffirmed my creative journey by inspiring me to realize that art is a process that when started can never be finished. While studying design and printmaking I discovered a great passion for book arts. In my work, I explore the book itself, the boundaries between the form and the content. As an emigrant, I am infused with inspiration resident in my roots and history. I am interested in the continuous growing dialogue of identity and multiculturalism, which is a central element in modern society. The source of my imagery, which explores the connection between chaos and order amongst themes, is both derived by chance and experimentation. Annie Zeybekoglu I make a conscious effort not to work from intent, but rather to give myself over to the materials completely, and to pay close attention to the textures, materials, colors, and the emotional and physical response they elicit. I am fascinated with decay, the coming apart of things that are tidy or predictable; likewise, an interest in pattern and the random disruption of pattern. Most essentially, I trust in markmaking as the most natural physical way of connecting, seeing, and recording encounters. Books are a vehicle for both ideas and tangible expression, for exploring the complement between materials, content, and responsive form. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383702855-LKHPGIIQMN9PG3OI2JXG/mcba-prize-2015-ania-gilmore-annie-zeybekoglu-learning-curve2.jpg Entries & Jurors - 2015 Entries - Ania Gilmore and Annie Zeybekoglu Ania Gilmore and Annie Zeybekoglu (Boston, MA) aniaartstudio.com / anniezey.com Learning Curve 2013 Flexible accordion spine book, Encyclopedia pages and covers, Stonehenge Kraft paper, waxed binding string, image transfer Edition of 3 2.25″H x 3.75″W x approx. 96″ long, extended Ania Gilmore Agnes Martin once wrote “An Artist is the one who can fail and fail and still go on” – these powerful words reaffirmed my creative journey by inspiring me to realize that art is a process that when started can never be finished. While studying design and printmaking I discovered a great passion for book arts. In my work, I explore the book itself, the boundaries between the form and the content. As an emigrant, I am infused with inspiration resident in my roots and history. I am interested in the continuous growing dialogue of identity and multiculturalism, which is a central element in modern society. The source of my imagery, which explores the connection between chaos and order amongst themes, is both derived by chance and experimentation. Annie Zeybekoglu I make a conscious effort not to work from intent, but rather to give myself over to the materials completely, and to pay close attention to the textures, materials, colors, and the emotional and physical response they elicit. I am fascinated with decay, the coming apart of things that are tidy or predictable; likewise, an interest in pattern and the random disruption of pattern. Most essentially, I trust in markmaking as the most natural physical way of connecting, seeing, and recording encounters. Books are a vehicle for both ideas and tangible expression, for exploring the complement between materials, content, and responsive form. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383704311-WFPU4ADI45ZO2GQ7CISV/mcba-prize-2015-ania-gilmore-annie-zeybekoglu-learning-curve3.jpg Entries & Jurors - 2015 Entries - Ania Gilmore and Annie Zeybekoglu Ania Gilmore and Annie Zeybekoglu (Boston, MA) aniaartstudio.com / anniezey.com Learning Curve 2013 Flexible accordion spine book, Encyclopedia pages and covers, Stonehenge Kraft paper, waxed binding string, image transfer Edition of 3 2.25″H x 3.75″W x approx. 96″ long, extended Ania Gilmore Agnes Martin once wrote “An Artist is the one who can fail and fail and still go on” – these powerful words reaffirmed my creative journey by inspiring me to realize that art is a process that when started can never be finished. While studying design and printmaking I discovered a great passion for book arts. In my work, I explore the book itself, the boundaries between the form and the content. As an emigrant, I am infused with inspiration resident in my roots and history. I am interested in the continuous growing dialogue of identity and multiculturalism, which is a central element in modern society. The source of my imagery, which explores the connection between chaos and order amongst themes, is both derived by chance and experimentation. Annie Zeybekoglu I make a conscious effort not to work from intent, but rather to give myself over to the materials completely, and to pay close attention to the textures, materials, colors, and the emotional and physical response they elicit. I am fascinated with decay, the coming apart of things that are tidy or predictable; likewise, an interest in pattern and the random disruption of pattern. Most essentially, I trust in markmaking as the most natural physical way of connecting, seeing, and recording encounters. Books are a vehicle for both ideas and tangible expression, for exploring the complement between materials, content, and responsive form. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383704436-UEUEU5F9KGCNE4NNQR4J/mcba-prize-2015-ania-gilmore-annie-zeybekoglu-learning-curve4.jpg Entries & Jurors - 2015 Entries - Ania Gilmore and Annie Zeybekoglu Ania Gilmore and Annie Zeybekoglu (Boston, MA) aniaartstudio.com / anniezey.com Learning Curve 2013 Flexible accordion spine book, Encyclopedia pages and covers, Stonehenge Kraft paper, waxed binding string, image transfer Edition of 3 2.25″H x 3.75″W x approx. 96″ long, extended Ania Gilmore Agnes Martin once wrote “An Artist is the one who can fail and fail and still go on” – these powerful words reaffirmed my creative journey by inspiring me to realize that art is a process that when started can never be finished. While studying design and printmaking I discovered a great passion for book arts. In my work, I explore the book itself, the boundaries between the form and the content. As an emigrant, I am infused with inspiration resident in my roots and history. I am interested in the continuous growing dialogue of identity and multiculturalism, which is a central element in modern society. The source of my imagery, which explores the connection between chaos and order amongst themes, is both derived by chance and experimentation. Annie Zeybekoglu I make a conscious effort not to work from intent, but rather to give myself over to the materials completely, and to pay close attention to the textures, materials, colors, and the emotional and physical response they elicit. I am fascinated with decay, the coming apart of things that are tidy or predictable; likewise, an interest in pattern and the random disruption of pattern. Most essentially, I trust in markmaking as the most natural physical way of connecting, seeing, and recording encounters. Books are a vehicle for both ideas and tangible expression, for exploring the complement between materials, content, and responsive form. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383824911-UD3Q2GNTV8LXP4O8C6RM/mcba-prize02015-tatiana-ginsberg-i-fear-we-must-go1.jpg Entries & Jurors - 2015 Entries - Tatiana Ginsberg Tatiana Ginsberg (South Hadley, MA) tatianaginsberg.org I Fear We Must Go 2015 Two-color lithographs on handmade cotton paper, pulp-stenciled text on handmade kozo/gampi, embedded thread, inkjet print in enclosure. Edition of 12 12 pages 22 x 14 x 1 open 11 x 14 x 1 closed I think of myself as collaborating with materials. Making my own paper is the foundation from which most of my work grows, allowing me to embed ideas and marks from the beginning. In the past few years, I’ve come back to drawing, though often in indirect ways, such as drawing shadows on limestone for lithographs. Printmaking, in the widest sense, has, since college, shaped the way I construct images. I build in layers, considering recto and verso, tactility and structure. As often as not, print finds its way into installations, artist’s books, or whatever I make. I Fear We Must Go was inspired by the British Antarctic Expedition of 1910–13 and the five men, led by Robert Falcon Scott, who trekked to the South Pole but perished on the return trip. Their lives and deaths have cast long shadows. The rock specimens they collected contained fossilized plants, such as Glossopteris indica, which not only indicated that the frozen land once supported plant life but also provided proof that Antarctica was once joined to Australia, South America, Africa, and other landmasses in a single supercontinent, Gondwana. This project follows an installation of the same name that consisted of large drawings based on the shadows of decaying leaves. The drawings were arranged around a map of the journey to the South Pole. In this artist’s book the same method was used, but instead of drawing on paper the drawings were done on limestone and printed as lithographs. The resulting two-color images, one for each of the five men, are printed on handmade cotton paper. The translucent interleaving text sheets, a mixture of kozo and gampi, are pulp-stenciled with phrases taken from the last letters Scott wrote. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383824821-QOD4CH85Y5T4Y6L8SV0A/mcba-prize02015-tatiana-ginsberg-i-fear-we-must-go2.jpg Entries & Jurors - 2015 Entries - Tatiana Ginsberg Tatiana Ginsberg (South Hadley, MA) tatianaginsberg.org I Fear We Must Go 2015 Two-color lithographs on handmade cotton paper, pulp-stenciled text on handmade kozo/gampi, embedded thread, inkjet print in enclosure. Edition of 12 12 pages 22 x 14 x 1 open 11 x 14 x 1 closed I think of myself as collaborating with materials. Making my own paper is the foundation from which most of my work grows, allowing me to embed ideas and marks from the beginning. In the past few years, I’ve come back to drawing, though often in indirect ways, such as drawing shadows on limestone for lithographs. Printmaking, in the widest sense, has, since college, shaped the way I construct images. I build in layers, considering recto and verso, tactility and structure. As often as not, print finds its way into installations, artist’s books, or whatever I make. I Fear We Must Go was inspired by the British Antarctic Expedition of 1910–13 and the five men, led by Robert Falcon Scott, who trekked to the South Pole but perished on the return trip. Their lives and deaths have cast long shadows. The rock specimens they collected contained fossilized plants, such as Glossopteris indica, which not only indicated that the frozen land once supported plant life but also provided proof that Antarctica was once joined to Australia, South America, Africa, and other landmasses in a single supercontinent, Gondwana. This project follows an installation of the same name that consisted of large drawings based on the shadows of decaying leaves. The drawings were arranged around a map of the journey to the South Pole. In this artist’s book the same method was used, but instead of drawing on paper the drawings were done on limestone and printed as lithographs. The resulting two-color images, one for each of the five men, are printed on handmade cotton paper. The translucent interleaving text sheets, a mixture of kozo and gampi, are pulp-stenciled with phrases taken from the last letters Scott wrote. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383825936-PIMSL9VQ97USGQ48C4TJ/mcba-prize02015-tatiana-ginsberg-i-fear-we-must-go3.jpg Entries & Jurors - 2015 Entries - Tatiana Ginsberg Tatiana Ginsberg (South Hadley, MA) tatianaginsberg.org I Fear We Must Go 2015 Two-color lithographs on handmade cotton paper, pulp-stenciled text on handmade kozo/gampi, embedded thread, inkjet print in enclosure. Edition of 12 12 pages 22 x 14 x 1 open 11 x 14 x 1 closed I think of myself as collaborating with materials. Making my own paper is the foundation from which most of my work grows, allowing me to embed ideas and marks from the beginning. In the past few years, I’ve come back to drawing, though often in indirect ways, such as drawing shadows on limestone for lithographs. Printmaking, in the widest sense, has, since college, shaped the way I construct images. I build in layers, considering recto and verso, tactility and structure. As often as not, print finds its way into installations, artist’s books, or whatever I make. I Fear We Must Go was inspired by the British Antarctic Expedition of 1910–13 and the five men, led by Robert Falcon Scott, who trekked to the South Pole but perished on the return trip. Their lives and deaths have cast long shadows. The rock specimens they collected contained fossilized plants, such as Glossopteris indica, which not only indicated that the frozen land once supported plant life but also provided proof that Antarctica was once joined to Australia, South America, Africa, and other landmasses in a single supercontinent, Gondwana. This project follows an installation of the same name that consisted of large drawings based on the shadows of decaying leaves. The drawings were arranged around a map of the journey to the South Pole. In this artist’s book the same method was used, but instead of drawing on paper the drawings were done on limestone and printed as lithographs. The resulting two-color images, one for each of the five men, are printed on handmade cotton paper. The translucent interleaving text sheets, a mixture of kozo and gampi, are pulp-stenciled with phrases taken from the last letters Scott wrote. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383826139-BWI6VDUR0B22O2B23M1E/mcba-prize02015-tatiana-ginsberg-i-fear-we-must-go4.jpg Entries & Jurors - 2015 Entries - Tatiana Ginsberg Tatiana Ginsberg (South Hadley, MA) tatianaginsberg.org I Fear We Must Go 2015 Two-color lithographs on handmade cotton paper, pulp-stenciled text on handmade kozo/gampi, embedded thread, inkjet print in enclosure. Edition of 12 12 pages 22 x 14 x 1 open 11 x 14 x 1 closed I think of myself as collaborating with materials. Making my own paper is the foundation from which most of my work grows, allowing me to embed ideas and marks from the beginning. In the past few years, I’ve come back to drawing, though often in indirect ways, such as drawing shadows on limestone for lithographs. Printmaking, in the widest sense, has, since college, shaped the way I construct images. I build in layers, considering recto and verso, tactility and structure. As often as not, print finds its way into installations, artist’s books, or whatever I make. I Fear We Must Go was inspired by the British Antarctic Expedition of 1910–13 and the five men, led by Robert Falcon Scott, who trekked to the South Pole but perished on the return trip. Their lives and deaths have cast long shadows. The rock specimens they collected contained fossilized plants, such as Glossopteris indica, which not only indicated that the frozen land once supported plant life but also provided proof that Antarctica was once joined to Australia, South America, Africa, and other landmasses in a single supercontinent, Gondwana. This project follows an installation of the same name that consisted of large drawings based on the shadows of decaying leaves. The drawings were arranged around a map of the journey to the South Pole. In this artist’s book the same method was used, but instead of drawing on paper the drawings were done on limestone and printed as lithographs. The resulting two-color images, one for each of the five men, are printed on handmade cotton paper. The translucent interleaving text sheets, a mixture of kozo and gampi, are pulp-stenciled with phrases taken from the last letters Scott wrote. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383827012-16MXG65E1U7VDVFM16Q1/mcba-prize02015-tatiana-ginsberg-i-fear-we-must-go5.jpg Entries & Jurors - 2015 Entries - Tatiana Ginsberg Tatiana Ginsberg (South Hadley, MA) tatianaginsberg.org I Fear We Must Go 2015 Two-color lithographs on handmade cotton paper, pulp-stenciled text on handmade kozo/gampi, embedded thread, inkjet print in enclosure. Edition of 12 12 pages 22 x 14 x 1 open 11 x 14 x 1 closed I think of myself as collaborating with materials. Making my own paper is the foundation from which most of my work grows, allowing me to embed ideas and marks from the beginning. In the past few years, I’ve come back to drawing, though often in indirect ways, such as drawing shadows on limestone for lithographs. Printmaking, in the widest sense, has, since college, shaped the way I construct images. I build in layers, considering recto and verso, tactility and structure. As often as not, print finds its way into installations, artist’s books, or whatever I make. I Fear We Must Go was inspired by the British Antarctic Expedition of 1910–13 and the five men, led by Robert Falcon Scott, who trekked to the South Pole but perished on the return trip. Their lives and deaths have cast long shadows. The rock specimens they collected contained fossilized plants, such as Glossopteris indica, which not only indicated that the frozen land once supported plant life but also provided proof that Antarctica was once joined to Australia, South America, Africa, and other landmasses in a single supercontinent, Gondwana. This project follows an installation of the same name that consisted of large drawings based on the shadows of decaying leaves. The drawings were arranged around a map of the journey to the South Pole. In this artist’s book the same method was used, but instead of drawing on paper the drawings were done on limestone and printed as lithographs. The resulting two-color images, one for each of the five men, are printed on handmade cotton paper. The translucent interleaving text sheets, a mixture of kozo and gampi, are pulp-stenciled with phrases taken from the last letters Scott wrote. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383928069-SFIV5BDM7E5J1D6GYSUP/mcba-prize-monica-goldstein-my-beginning-my-end1.jpg Entries & Jurors - 2015 Entries - Mónica Goldstein Mónica Goldstein (Buenos Aires, Argentina) artebus.net My Beginning, My End 2014 Ink on Japanese paper Macau, Golden Panda Unique work 119 cm x 104 cm x 1 cm open 17.5 cm x 51.5 cm x 1 cm closed The starting point for this book is drawings and photographs taken among the mountains in the Argentine Puna, in the Andes. Or was the starting point the quietness all around me and inside me? I worked in my atelier seeking to recreate in my drawings what I felt was essential, under that sky and surrounded by the mountains: silence, a time that passed in an unusual way. I remembered readings about the circularity of time —a concept masterly expressed in the two lines by T. S. Eliot I copied in the front endpaper. They are the first and the last line in No. 2 of the Four Quartets, East Coker: In my beginning is my end and In my end is my beginning. I account for that circularity in the front and back covers, with a drawing which also continues on the first page when the book is opened and is repeated on the last page. This book is part of a group of works revolving around the idea of Mythical or legendary Realms. They are places for peace and prosperity. In general, they were model societies, many times located in mountainous areas. In these myths, it is possible to see the expression of human desire for a good, satisfactory life. In certain traditions, they are considered not a physical place but the foundation for a state of development which exists potentially for every human being. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383928072-MG7D1EP9NJHM9GSH2AOC/mcba-prize-monica-goldstein-my-beginning-my-end2.jpg Entries & Jurors - 2015 Entries - Mónica Goldstein Mónica Goldstein (Buenos Aires, Argentina) artebus.net My Beginning, My End 2014 Ink on Japanese paper Macau, Golden Panda Unique work 119 cm x 104 cm x 1 cm open 17.5 cm x 51.5 cm x 1 cm closed The starting point for this book is drawings and photographs taken among the mountains in the Argentine Puna, in the Andes. Or was the starting point the quietness all around me and inside me? I worked in my atelier seeking to recreate in my drawings what I felt was essential, under that sky and surrounded by the mountains: silence, a time that passed in an unusual way. I remembered readings about the circularity of time —a concept masterly expressed in the two lines by T. S. Eliot I copied in the front endpaper. They are the first and the last line in No. 2 of the Four Quartets, East Coker: In my beginning is my end and In my end is my beginning. I account for that circularity in the front and back covers, with a drawing which also continues on the first page when the book is opened and is repeated on the last page. This book is part of a group of works revolving around the idea of Mythical or legendary Realms. They are places for peace and prosperity. In general, they were model societies, many times located in mountainous areas. In these myths, it is possible to see the expression of human desire for a good, satisfactory life. In certain traditions, they are considered not a physical place but the foundation for a state of development which exists potentially for every human being. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383928949-P671LUKRPQMSVHBMYUMA/mcba-prize-monica-goldstein-my-beginning-my-end3.jpg Entries & Jurors - 2015 Entries - Mónica Goldstein Mónica Goldstein (Buenos Aires, Argentina) artebus.net My Beginning, My End 2014 Ink on Japanese paper Macau, Golden Panda Unique work 119 cm x 104 cm x 1 cm open 17.5 cm x 51.5 cm x 1 cm closed The starting point for this book is drawings and photographs taken among the mountains in the Argentine Puna, in the Andes. Or was the starting point the quietness all around me and inside me? I worked in my atelier seeking to recreate in my drawings what I felt was essential, under that sky and surrounded by the mountains: silence, a time that passed in an unusual way. I remembered readings about the circularity of time —a concept masterly expressed in the two lines by T. S. Eliot I copied in the front endpaper. They are the first and the last line in No. 2 of the Four Quartets, East Coker: In my beginning is my end and In my end is my beginning. I account for that circularity in the front and back covers, with a drawing which also continues on the first page when the book is opened and is repeated on the last page. This book is part of a group of works revolving around the idea of Mythical or legendary Realms. They are places for peace and prosperity. In general, they were model societies, many times located in mountainous areas. In these myths, it is possible to see the expression of human desire for a good, satisfactory life. In certain traditions, they are considered not a physical place but the foundation for a state of development which exists potentially for every human being. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383929378-396ORYPDXJ0OG28PE43A/mcba-prize-monica-goldstein-my-beginning-my-end4.jpg Entries & Jurors - 2015 Entries - Mónica Goldstein Mónica Goldstein (Buenos Aires, Argentina) artebus.net My Beginning, My End 2014 Ink on Japanese paper Macau, Golden Panda Unique work 119 cm x 104 cm x 1 cm open 17.5 cm x 51.5 cm x 1 cm closed The starting point for this book is drawings and photographs taken among the mountains in the Argentine Puna, in the Andes. Or was the starting point the quietness all around me and inside me? I worked in my atelier seeking to recreate in my drawings what I felt was essential, under that sky and surrounded by the mountains: silence, a time that passed in an unusual way. I remembered readings about the circularity of time —a concept masterly expressed in the two lines by T. S. Eliot I copied in the front endpaper. They are the first and the last line in No. 2 of the Four Quartets, East Coker: In my beginning is my end and In my end is my beginning. I account for that circularity in the front and back covers, with a drawing which also continues on the first page when the book is opened and is repeated on the last page. This book is part of a group of works revolving around the idea of Mythical or legendary Realms. They are places for peace and prosperity. In general, they were model societies, many times located in mountainous areas. In these myths, it is possible to see the expression of human desire for a good, satisfactory life. In certain traditions, they are considered not a physical place but the foundation for a state of development which exists potentially for every human being. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774383930184-G9NKTTBLTP9YWR888UMY/mcba-prize-monica-goldstein-my-beginning-my-end5.jpg Entries & Jurors - 2015 Entries - Mónica Goldstein Mónica Goldstein (Buenos Aires, Argentina) artebus.net My Beginning, My End 2014 Ink on Japanese paper Macau, Golden Panda Unique work 119 cm x 104 cm x 1 cm open 17.5 cm x 51.5 cm x 1 cm closed The starting point for this book is drawings and photographs taken among the mountains in the Argentine Puna, in the Andes. Or was the starting point the quietness all around me and inside me? I worked in my atelier seeking to recreate in my drawings what I felt was essential, under that sky and surrounded by the mountains: silence, a time that passed in an unusual way. I remembered readings about the circularity of time —a concept masterly expressed in the two lines by T. S. Eliot I copied in the front endpaper. They are the first and the last line in No. 2 of the Four Quartets, East Coker: In my beginning is my end and In my end is my beginning. I account for that circularity in the front and back covers, with a drawing which also continues on the first page when the book is opened and is repeated on the last page. This book is part of a group of works revolving around the idea of Mythical or legendary Realms. They are places for peace and prosperity. In general, they were model societies, many times located in mountainous areas. In these myths, it is possible to see the expression of human desire for a good, satisfactory life. In certain traditions, they are considered not a physical place but the foundation for a state of development which exists potentially for every human being. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384038093-WF7BKWFHDCNQN53B3RIQ/mcba-prize-2015-paula-marie-gourley-a-visit-to-cross-creek-the-vanishing-world-of-majorie-kinnan-rawlings1.jpg Entries & Jurors - 2015 Entries - Paula Marie Gourley Paula Marie Gourley (Eugene, OR) A Visit to Cross Creek: The Vanishing World of Marjorie Kinnan Rawlings 2013-2015 Artist’s book, with letterpress printing, handmade paper, text, pochoir and watercolor illustrations, decorative elements printed from Royal Palm pods, hand bound in three versions. All elements are the creation of the artist. Edition of 50, plus hors series Approx. 120 pages 8.5×16.5×3/4″ open 8.5×8.5×3/4″ closed There were no boundaries. The gift of time, space, studio access and creative freedom are a heady mix, and the generosity of Helen Salzberg in conjuring this opportunity at the Jaffe Center for Book Arts was such a windfall. I had been missing the opportunity to MAKE…books, paper, printing, designing, writing, binding, teaching. So when the award notice came, I was over the moon. And so I drove across the country, all the way from the Pacific Northwest, ideas weaving their way through my mind as the miles passed. My subject was the home and environment – or what remains – of the famed writer, Marjorie Kinnan Rawlings. I had previously visited and absorbed and photographed her place, there in the Florida Cracker Country. The orange groves, palmettos, wild birds, the lake, the dust and off-the- beaten track place where she wrote and eked out a living. This quiet place spoke deeply to me, and continues to resonate over time and space. A place that felt like the essence of “home” for spirit and soul. For creation and achievement and quiet solitude. Oregon to Florida is a long and fruitful distance for developing ideas, for creative ferment. l wrote the book’s introductory narrative on the road between California and Louisiana. And on arriving at the Jaffe Center, the doors were open, the press at the ready and the paper mill and bindery just waiting for me to begin. I brought blue jeans with me from Eugene, combined them with new white linen shirts from Florida and made paper. Stencil brushes and vibrant cardinal red gouache brought a touch of pochoir, and Marjorie Rawlings’ beloved “red bird” flew off the edges of pages. Fallen Royal Palm pods supplied material for a creative approach to printing textured accents throughout. I learned to operate a laser printer for my many photographs of the farm and orange grove at Cross Creek. More visits to the farm ensued. Choosing and winnowing images was an adventure in discernment. I worked at setting type and designing pages with pencil and computer. I’ve always done things the Old Fashioned way. Setting brand new Perpetua in lead and generating computer text for polymer plates brought yet another adventure into the mix. John Cutrone let me publish his charming and insightful essay, “Searching for Marjorie” in this overachiever’s project. His words are beautiful. In the AIR office, there is a painting by Helen Salzberg, the generous donor who made this Artist Residency possible. One day, having arrayed many of my photographs on the work table there, I saw that most of my photographic images were there, in that painting, The Red Bird. The rounded trees The barn. The cloth with a red edging, like the curtains in Marjorie’s kitchen, the simple cotton panels hanging from cotton string. Almost as if this project was meant to be. Predetermined. The frisson continues as I write this, and continue to bind my books, slowly. One by one. Arthur Jaffe and I talked nearly every day. He watched, posed incisive questions, and commented with bemusement. We became very close friends, and I am so grateful for that experience. A life changing thing, making this book, returning to all of my creative roots in the arts of the finely handcrafted, handbound book. Because of selfless generosity, I was able to experiment, give and receive a creative experience so full. And as Arthur would say, “Beshert (meant to be).” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384038182-57J3SB56EAB6GAN2N6RF/mcba-prize-2015-paula-marie-gourley-a-visit-to-cross-creek-the-vanishing-world-of-majorie-kinnan-rawlings2.jpg Entries & Jurors - 2015 Entries - Paula Marie Gourley Paula Marie Gourley (Eugene, OR) A Visit to Cross Creek: The Vanishing World of Marjorie Kinnan Rawlings 2013-2015 Artist’s book, with letterpress printing, handmade paper, text, pochoir and watercolor illustrations, decorative elements printed from Royal Palm pods, hand bound in three versions. All elements are the creation of the artist. Edition of 50, plus hors series Approx. 120 pages 8.5×16.5×3/4″ open 8.5×8.5×3/4″ closed There were no boundaries. The gift of time, space, studio access and creative freedom are a heady mix, and the generosity of Helen Salzberg in conjuring this opportunity at the Jaffe Center for Book Arts was such a windfall. I had been missing the opportunity to MAKE…books, paper, printing, designing, writing, binding, teaching. So when the award notice came, I was over the moon. And so I drove across the country, all the way from the Pacific Northwest, ideas weaving their way through my mind as the miles passed. My subject was the home and environment – or what remains – of the famed writer, Marjorie Kinnan Rawlings. I had previously visited and absorbed and photographed her place, there in the Florida Cracker Country. The orange groves, palmettos, wild birds, the lake, the dust and off-the- beaten track place where she wrote and eked out a living. This quiet place spoke deeply to me, and continues to resonate over time and space. A place that felt like the essence of “home” for spirit and soul. For creation and achievement and quiet solitude. Oregon to Florida is a long and fruitful distance for developing ideas, for creative ferment. l wrote the book’s introductory narrative on the road between California and Louisiana. And on arriving at the Jaffe Center, the doors were open, the press at the ready and the paper mill and bindery just waiting for me to begin. I brought blue jeans with me from Eugene, combined them with new white linen shirts from Florida and made paper. Stencil brushes and vibrant cardinal red gouache brought a touch of pochoir, and Marjorie Rawlings’ beloved “red bird” flew off the edges of pages. Fallen Royal Palm pods supplied material for a creative approach to printing textured accents throughout. I learned to operate a laser printer for my many photographs of the farm and orange grove at Cross Creek. More visits to the farm ensued. Choosing and winnowing images was an adventure in discernment. I worked at setting type and designing pages with pencil and computer. I’ve always done things the Old Fashioned way. Setting brand new Perpetua in lead and generating computer text for polymer plates brought yet another adventure into the mix. John Cutrone let me publish his charming and insightful essay, “Searching for Marjorie” in this overachiever’s project. His words are beautiful. In the AIR office, there is a painting by Helen Salzberg, the generous donor who made this Artist Residency possible. One day, having arrayed many of my photographs on the work table there, I saw that most of my photographic images were there, in that painting, The Red Bird. The rounded trees The barn. The cloth with a red edging, like the curtains in Marjorie’s kitchen, the simple cotton panels hanging from cotton string. Almost as if this project was meant to be. Predetermined. The frisson continues as I write this, and continue to bind my books, slowly. One by one. Arthur Jaffe and I talked nearly every day. He watched, posed incisive questions, and commented with bemusement. We became very close friends, and I am so grateful for that experience. A life changing thing, making this book, returning to all of my creative roots in the arts of the finely handcrafted, handbound book. Because of selfless generosity, I was able to experiment, give and receive a creative experience so full. And as Arthur would say, “Beshert (meant to be).” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384039176-7Z0R9NUBUQUC4Q3S87YL/mcba-prize-2015-paula-marie-gourley-a-visit-to-cross-creek-the-vanishing-world-of-majorie-kinnan-rawlings3.jpg Entries & Jurors - 2015 Entries - Paula Marie Gourley Paula Marie Gourley (Eugene, OR) A Visit to Cross Creek: The Vanishing World of Marjorie Kinnan Rawlings 2013-2015 Artist’s book, with letterpress printing, handmade paper, text, pochoir and watercolor illustrations, decorative elements printed from Royal Palm pods, hand bound in three versions. All elements are the creation of the artist. Edition of 50, plus hors series Approx. 120 pages 8.5×16.5×3/4″ open 8.5×8.5×3/4″ closed There were no boundaries. The gift of time, space, studio access and creative freedom are a heady mix, and the generosity of Helen Salzberg in conjuring this opportunity at the Jaffe Center for Book Arts was such a windfall. I had been missing the opportunity to MAKE…books, paper, printing, designing, writing, binding, teaching. So when the award notice came, I was over the moon. And so I drove across the country, all the way from the Pacific Northwest, ideas weaving their way through my mind as the miles passed. My subject was the home and environment – or what remains – of the famed writer, Marjorie Kinnan Rawlings. I had previously visited and absorbed and photographed her place, there in the Florida Cracker Country. The orange groves, palmettos, wild birds, the lake, the dust and off-the- beaten track place where she wrote and eked out a living. This quiet place spoke deeply to me, and continues to resonate over time and space. A place that felt like the essence of “home” for spirit and soul. For creation and achievement and quiet solitude. Oregon to Florida is a long and fruitful distance for developing ideas, for creative ferment. l wrote the book’s introductory narrative on the road between California and Louisiana. And on arriving at the Jaffe Center, the doors were open, the press at the ready and the paper mill and bindery just waiting for me to begin. I brought blue jeans with me from Eugene, combined them with new white linen shirts from Florida and made paper. Stencil brushes and vibrant cardinal red gouache brought a touch of pochoir, and Marjorie Rawlings’ beloved “red bird” flew off the edges of pages. Fallen Royal Palm pods supplied material for a creative approach to printing textured accents throughout. I learned to operate a laser printer for my many photographs of the farm and orange grove at Cross Creek. More visits to the farm ensued. Choosing and winnowing images was an adventure in discernment. I worked at setting type and designing pages with pencil and computer. I’ve always done things the Old Fashioned way. Setting brand new Perpetua in lead and generating computer text for polymer plates brought yet another adventure into the mix. John Cutrone let me publish his charming and insightful essay, “Searching for Marjorie” in this overachiever’s project. His words are beautiful. In the AIR office, there is a painting by Helen Salzberg, the generous donor who made this Artist Residency possible. One day, having arrayed many of my photographs on the work table there, I saw that most of my photographic images were there, in that painting, The Red Bird. The rounded trees The barn. The cloth with a red edging, like the curtains in Marjorie’s kitchen, the simple cotton panels hanging from cotton string. Almost as if this project was meant to be. Predetermined. The frisson continues as I write this, and continue to bind my books, slowly. One by one. Arthur Jaffe and I talked nearly every day. He watched, posed incisive questions, and commented with bemusement. We became very close friends, and I am so grateful for that experience. A life changing thing, making this book, returning to all of my creative roots in the arts of the finely handcrafted, handbound book. Because of selfless generosity, I was able to experiment, give and receive a creative experience so full. And as Arthur would say, “Beshert (meant to be).” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384039379-WXR9TUDOUU9V5T113ITF/mcba-prize-2015-paula-marie-gourley-a-visit-to-cross-creek-the-vanishing-world-of-majorie-kinnan-rawlings4.jpg Entries & Jurors - 2015 Entries - Paula Marie Gourley Paula Marie Gourley (Eugene, OR) A Visit to Cross Creek: The Vanishing World of Marjorie Kinnan Rawlings 2013-2015 Artist’s book, with letterpress printing, handmade paper, text, pochoir and watercolor illustrations, decorative elements printed from Royal Palm pods, hand bound in three versions. All elements are the creation of the artist. Edition of 50, plus hors series Approx. 120 pages 8.5×16.5×3/4″ open 8.5×8.5×3/4″ closed There were no boundaries. The gift of time, space, studio access and creative freedom are a heady mix, and the generosity of Helen Salzberg in conjuring this opportunity at the Jaffe Center for Book Arts was such a windfall. I had been missing the opportunity to MAKE…books, paper, printing, designing, writing, binding, teaching. So when the award notice came, I was over the moon. And so I drove across the country, all the way from the Pacific Northwest, ideas weaving their way through my mind as the miles passed. My subject was the home and environment – or what remains – of the famed writer, Marjorie Kinnan Rawlings. I had previously visited and absorbed and photographed her place, there in the Florida Cracker Country. The orange groves, palmettos, wild birds, the lake, the dust and off-the- beaten track place where she wrote and eked out a living. This quiet place spoke deeply to me, and continues to resonate over time and space. A place that felt like the essence of “home” for spirit and soul. For creation and achievement and quiet solitude. Oregon to Florida is a long and fruitful distance for developing ideas, for creative ferment. l wrote the book’s introductory narrative on the road between California and Louisiana. And on arriving at the Jaffe Center, the doors were open, the press at the ready and the paper mill and bindery just waiting for me to begin. I brought blue jeans with me from Eugene, combined them with new white linen shirts from Florida and made paper. Stencil brushes and vibrant cardinal red gouache brought a touch of pochoir, and Marjorie Rawlings’ beloved “red bird” flew off the edges of pages. Fallen Royal Palm pods supplied material for a creative approach to printing textured accents throughout. I learned to operate a laser printer for my many photographs of the farm and orange grove at Cross Creek. More visits to the farm ensued. Choosing and winnowing images was an adventure in discernment. I worked at setting type and designing pages with pencil and computer. I’ve always done things the Old Fashioned way. Setting brand new Perpetua in lead and generating computer text for polymer plates brought yet another adventure into the mix. John Cutrone let me publish his charming and insightful essay, “Searching for Marjorie” in this overachiever’s project. His words are beautiful. In the AIR office, there is a painting by Helen Salzberg, the generous donor who made this Artist Residency possible. One day, having arrayed many of my photographs on the work table there, I saw that most of my photographic images were there, in that painting, The Red Bird. The rounded trees The barn. The cloth with a red edging, like the curtains in Marjorie’s kitchen, the simple cotton panels hanging from cotton string. Almost as if this project was meant to be. Predetermined. The frisson continues as I write this, and continue to bind my books, slowly. One by one. Arthur Jaffe and I talked nearly every day. He watched, posed incisive questions, and commented with bemusement. We became very close friends, and I am so grateful for that experience. A life changing thing, making this book, returning to all of my creative roots in the arts of the finely handcrafted, handbound book. Because of selfless generosity, I was able to experiment, give and receive a creative experience so full. And as Arthur would say, “Beshert (meant to be).” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384040170-7978Q3FDUBBO7J2F8T4T/mcba-prize-2015-paula-marie-gourley-a-visit-to-cross-creek-the-vanishing-world-of-majorie-kinnan-rawlings5.jpg Entries & Jurors - 2015 Entries - Paula Marie Gourley Paula Marie Gourley (Eugene, OR) A Visit to Cross Creek: The Vanishing World of Marjorie Kinnan Rawlings 2013-2015 Artist’s book, with letterpress printing, handmade paper, text, pochoir and watercolor illustrations, decorative elements printed from Royal Palm pods, hand bound in three versions. All elements are the creation of the artist. Edition of 50, plus hors series Approx. 120 pages 8.5×16.5×3/4″ open 8.5×8.5×3/4″ closed There were no boundaries. The gift of time, space, studio access and creative freedom are a heady mix, and the generosity of Helen Salzberg in conjuring this opportunity at the Jaffe Center for Book Arts was such a windfall. I had been missing the opportunity to MAKE…books, paper, printing, designing, writing, binding, teaching. So when the award notice came, I was over the moon. And so I drove across the country, all the way from the Pacific Northwest, ideas weaving their way through my mind as the miles passed. My subject was the home and environment – or what remains – of the famed writer, Marjorie Kinnan Rawlings. I had previously visited and absorbed and photographed her place, there in the Florida Cracker Country. The orange groves, palmettos, wild birds, the lake, the dust and off-the- beaten track place where she wrote and eked out a living. This quiet place spoke deeply to me, and continues to resonate over time and space. A place that felt like the essence of “home” for spirit and soul. For creation and achievement and quiet solitude. Oregon to Florida is a long and fruitful distance for developing ideas, for creative ferment. l wrote the book’s introductory narrative on the road between California and Louisiana. And on arriving at the Jaffe Center, the doors were open, the press at the ready and the paper mill and bindery just waiting for me to begin. I brought blue jeans with me from Eugene, combined them with new white linen shirts from Florida and made paper. Stencil brushes and vibrant cardinal red gouache brought a touch of pochoir, and Marjorie Rawlings’ beloved “red bird” flew off the edges of pages. Fallen Royal Palm pods supplied material for a creative approach to printing textured accents throughout. I learned to operate a laser printer for my many photographs of the farm and orange grove at Cross Creek. More visits to the farm ensued. Choosing and winnowing images was an adventure in discernment. I worked at setting type and designing pages with pencil and computer. I’ve always done things the Old Fashioned way. Setting brand new Perpetua in lead and generating computer text for polymer plates brought yet another adventure into the mix. John Cutrone let me publish his charming and insightful essay, “Searching for Marjorie” in this overachiever’s project. His words are beautiful. In the AIR office, there is a painting by Helen Salzberg, the generous donor who made this Artist Residency possible. One day, having arrayed many of my photographs on the work table there, I saw that most of my photographic images were there, in that painting, The Red Bird. The rounded trees The barn. The cloth with a red edging, like the curtains in Marjorie’s kitchen, the simple cotton panels hanging from cotton string. Almost as if this project was meant to be. Predetermined. The frisson continues as I write this, and continue to bind my books, slowly. One by one. Arthur Jaffe and I talked nearly every day. He watched, posed incisive questions, and commented with bemusement. We became very close friends, and I am so grateful for that experience. A life changing thing, making this book, returning to all of my creative roots in the arts of the finely handcrafted, handbound book. Because of selfless generosity, I was able to experiment, give and receive a creative experience so full. And as Arthur would say, “Beshert (meant to be).” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384143486-5L5OJZY6BHGWU6S4JZPH/mcba-prize-2015-meg-green-joves-brother1.jpg Entries & Jurors - 2015 Entries - Meg Green Meg Green (Chertsey, Surrey, U.K.) SomeOddPages.com Jove’s Brother 2015 Ink, plastic, broken electronic readers, cord, unique QR code, website. Unique work 6 pages Dimensions, open: 16.5cm x 23cm x 6.5cm Dimensions, closed: 16.5cm x 11.5cm x 6.5cm “Why did the Greeks give it a separate deity and own brother of Jove? It is the image of the ungraspable phantom of life; and this is the key to it all.” – Herman Melville, Moby Dick, 1851 The discussion surrounding overtaking technologies isn’t new, it’s one we have every time a new technology redraws the ways in which we perceive and communicate ideas. Photography was supposed to have killed painting, video was supposed to have killed film. Once upon a time, books were the new ‘technology’ that threatened the practice of impressing pointy Cuneiform shapes into little clay tablets. Clearly, digital books aren’t somehow ‘better‘ than conventional paper books, they’re simply a different medium of exchange. We aren’t confused about it either, we see and feel the differences between a conventional book and an e-reader, a paper page and a digital screen. We are physical creatures, our perceptions conceived and conducted within our organic brains and bodies. We maintain physical immediacy with the objects through which we express ourselves, exchange experiences and communicate ideas. Our methods continue to change and evolve but this helps refine our subtlety and depth of understanding, our relationship to ‘reading’, books, text, coded images and abstract perceptions. The Codex and The Screen: Stating the Obvious The book: a codex of turnable paper(?) pages assembled within covers comprising a set of material properties specific to its construction. The illuminated screen, whether an e-reader, mobile phone, laptop or billboard, obviously behaves in ways specific to its own material properties. The idea of Reading has traditionally implied a universality across all forms of media => Reading is reading, without regard to the format or context of the material. However, the way we interact with different types of reading is now the pivot of change in digital media. Reading is no longer a universal or uniform activity irrespective of the mediating device. Marshall McLuhan taught us this decades ago with ‘The Medium is the Massage’. We ‘read’ differently from a screen, a mobile, a roadside sign, or a paper codex. It’s not just about absorbing information or finding things out, an activity well served by the internet. The aesthetic experience of reading depends on the way we access it. Memory, retention and depth depend on the material properties we select for different types of reading. Research on the changing way we read A new European study led by Anne Mangen of Norway’s Stavanger University documents differences in the immersion, recall and emotional responses based on whether material is presented in traditional paper book form or via digital e-reader. Researchers found that digital reading is becoming more intermittent and fragmented. They also found that the time invested in sustained reading strengthens our ability to maintain long term focus, improves our understanding of depth, complexity and layered meaning, and provides a more thoroughly immersive experience. Sustained focus helps people, especially children at formative education levels, prepare for and negotiate complex life situations with more balanced references to deeper memory and cultural experiences. Why Moby Dick I turned to Herman Melville’s ‘Moby Dick’ as an intuitive choice specifically appropriate to my vision for this work. Moby Dick is famously debated as one of the few compositions in any language about which no one seems to agree on its content. Ask any number of scholars, professors, casual readers or innocent bystanders what it’s ABOUT and you will get as many answers as there are questions. There are central themes, of course, but there is no consensus on the subject of this book. Is it about fishing? About the sea? A philosophical discussion about Savage Nature versus the Divine? Yes. And no. The open, ongoing and seemingly timeless discussion on the nature of ‘Moby Dick’ embodies Melville’s intention with a stroke of ironic perfection. Melville’s text is to reading what Ahab’s obsession is to life. What ‘Moby Dick’ is about forms part of the profound mystery of the sea and ourselves, it is archetypal. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384143533-37PG91F8WVO87QQ7XEGN/mcba-prize-2015-meg-green-joves-brother2.jpg Entries & Jurors - 2015 Entries - Meg Green Meg Green (Chertsey, Surrey, U.K.) SomeOddPages.com Jove’s Brother 2015 Ink, plastic, broken electronic readers, cord, unique QR code, website. Unique work 6 pages Dimensions, open: 16.5cm x 23cm x 6.5cm Dimensions, closed: 16.5cm x 11.5cm x 6.5cm “Why did the Greeks give it a separate deity and own brother of Jove? It is the image of the ungraspable phantom of life; and this is the key to it all.” – Herman Melville, Moby Dick, 1851 The discussion surrounding overtaking technologies isn’t new, it’s one we have every time a new technology redraws the ways in which we perceive and communicate ideas. Photography was supposed to have killed painting, video was supposed to have killed film. Once upon a time, books were the new ‘technology’ that threatened the practice of impressing pointy Cuneiform shapes into little clay tablets. Clearly, digital books aren’t somehow ‘better‘ than conventional paper books, they’re simply a different medium of exchange. We aren’t confused about it either, we see and feel the differences between a conventional book and an e-reader, a paper page and a digital screen. We are physical creatures, our perceptions conceived and conducted within our organic brains and bodies. We maintain physical immediacy with the objects through which we express ourselves, exchange experiences and communicate ideas. Our methods continue to change and evolve but this helps refine our subtlety and depth of understanding, our relationship to ‘reading’, books, text, coded images and abstract perceptions. The Codex and The Screen: Stating the Obvious The book: a codex of turnable paper(?) pages assembled within covers comprising a set of material properties specific to its construction. The illuminated screen, whether an e-reader, mobile phone, laptop or billboard, obviously behaves in ways specific to its own material properties. The idea of Reading has traditionally implied a universality across all forms of media => Reading is reading, without regard to the format or context of the material. However, the way we interact with different types of reading is now the pivot of change in digital media. Reading is no longer a universal or uniform activity irrespective of the mediating device. Marshall McLuhan taught us this decades ago with ‘The Medium is the Massage’. We ‘read’ differently from a screen, a mobile, a roadside sign, or a paper codex. It’s not just about absorbing information or finding things out, an activity well served by the internet. The aesthetic experience of reading depends on the way we access it. Memory, retention and depth depend on the material properties we select for different types of reading. Research on the changing way we read A new European study led by Anne Mangen of Norway’s Stavanger University documents differences in the immersion, recall and emotional responses based on whether material is presented in traditional paper book form or via digital e-reader. Researchers found that digital reading is becoming more intermittent and fragmented. They also found that the time invested in sustained reading strengthens our ability to maintain long term focus, improves our understanding of depth, complexity and layered meaning, and provides a more thoroughly immersive experience. Sustained focus helps people, especially children at formative education levels, prepare for and negotiate complex life situations with more balanced references to deeper memory and cultural experiences. Why Moby Dick I turned to Herman Melville’s ‘Moby Dick’ as an intuitive choice specifically appropriate to my vision for this work. Moby Dick is famously debated as one of the few compositions in any language about which no one seems to agree on its content. Ask any number of scholars, professors, casual readers or innocent bystanders what it’s ABOUT and you will get as many answers as there are questions. There are central themes, of course, but there is no consensus on the subject of this book. Is it about fishing? About the sea? A philosophical discussion about Savage Nature versus the Divine? Yes. And no. The open, ongoing and seemingly timeless discussion on the nature of ‘Moby Dick’ embodies Melville’s intention with a stroke of ironic perfection. Melville’s text is to reading what Ahab’s obsession is to life. What ‘Moby Dick’ is about forms part of the profound mystery of the sea and ourselves, it is archetypal. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384144519-KL0ZU4A7ZB47FYDK8HEG/mcba-prize-2015-meg-green-joves-brother3.jpg Entries & Jurors - 2015 Entries - Meg Green Meg Green (Chertsey, Surrey, U.K.) SomeOddPages.com Jove’s Brother 2015 Ink, plastic, broken electronic readers, cord, unique QR code, website. Unique work 6 pages Dimensions, open: 16.5cm x 23cm x 6.5cm Dimensions, closed: 16.5cm x 11.5cm x 6.5cm “Why did the Greeks give it a separate deity and own brother of Jove? It is the image of the ungraspable phantom of life; and this is the key to it all.” – Herman Melville, Moby Dick, 1851 The discussion surrounding overtaking technologies isn’t new, it’s one we have every time a new technology redraws the ways in which we perceive and communicate ideas. Photography was supposed to have killed painting, video was supposed to have killed film. Once upon a time, books were the new ‘technology’ that threatened the practice of impressing pointy Cuneiform shapes into little clay tablets. Clearly, digital books aren’t somehow ‘better‘ than conventional paper books, they’re simply a different medium of exchange. We aren’t confused about it either, we see and feel the differences between a conventional book and an e-reader, a paper page and a digital screen. We are physical creatures, our perceptions conceived and conducted within our organic brains and bodies. We maintain physical immediacy with the objects through which we express ourselves, exchange experiences and communicate ideas. Our methods continue to change and evolve but this helps refine our subtlety and depth of understanding, our relationship to ‘reading’, books, text, coded images and abstract perceptions. The Codex and The Screen: Stating the Obvious The book: a codex of turnable paper(?) pages assembled within covers comprising a set of material properties specific to its construction. The illuminated screen, whether an e-reader, mobile phone, laptop or billboard, obviously behaves in ways specific to its own material properties. The idea of Reading has traditionally implied a universality across all forms of media => Reading is reading, without regard to the format or context of the material. However, the way we interact with different types of reading is now the pivot of change in digital media. Reading is no longer a universal or uniform activity irrespective of the mediating device. Marshall McLuhan taught us this decades ago with ‘The Medium is the Massage’. We ‘read’ differently from a screen, a mobile, a roadside sign, or a paper codex. It’s not just about absorbing information or finding things out, an activity well served by the internet. The aesthetic experience of reading depends on the way we access it. Memory, retention and depth depend on the material properties we select for different types of reading. Research on the changing way we read A new European study led by Anne Mangen of Norway’s Stavanger University documents differences in the immersion, recall and emotional responses based on whether material is presented in traditional paper book form or via digital e-reader. Researchers found that digital reading is becoming more intermittent and fragmented. They also found that the time invested in sustained reading strengthens our ability to maintain long term focus, improves our understanding of depth, complexity and layered meaning, and provides a more thoroughly immersive experience. Sustained focus helps people, especially children at formative education levels, prepare for and negotiate complex life situations with more balanced references to deeper memory and cultural experiences. Why Moby Dick I turned to Herman Melville’s ‘Moby Dick’ as an intuitive choice specifically appropriate to my vision for this work. Moby Dick is famously debated as one of the few compositions in any language about which no one seems to agree on its content. Ask any number of scholars, professors, casual readers or innocent bystanders what it’s ABOUT and you will get as many answers as there are questions. There are central themes, of course, but there is no consensus on the subject of this book. Is it about fishing? About the sea? A philosophical discussion about Savage Nature versus the Divine? Yes. And no. The open, ongoing and seemingly timeless discussion on the nature of ‘Moby Dick’ embodies Melville’s intention with a stroke of ironic perfection. Melville’s text is to reading what Ahab’s obsession is to life. What ‘Moby Dick’ is about forms part of the profound mystery of the sea and ourselves, it is archetypal. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384144727-3LSGNZWZQ46C89TPYI5E/mcba-prize-2015-meg-green-joves-brother4.jpg Entries & Jurors - 2015 Entries - Meg Green Meg Green (Chertsey, Surrey, U.K.) SomeOddPages.com Jove’s Brother 2015 Ink, plastic, broken electronic readers, cord, unique QR code, website. Unique work 6 pages Dimensions, open: 16.5cm x 23cm x 6.5cm Dimensions, closed: 16.5cm x 11.5cm x 6.5cm “Why did the Greeks give it a separate deity and own brother of Jove? It is the image of the ungraspable phantom of life; and this is the key to it all.” – Herman Melville, Moby Dick, 1851 The discussion surrounding overtaking technologies isn’t new, it’s one we have every time a new technology redraws the ways in which we perceive and communicate ideas. Photography was supposed to have killed painting, video was supposed to have killed film. Once upon a time, books were the new ‘technology’ that threatened the practice of impressing pointy Cuneiform shapes into little clay tablets. Clearly, digital books aren’t somehow ‘better‘ than conventional paper books, they’re simply a different medium of exchange. We aren’t confused about it either, we see and feel the differences between a conventional book and an e-reader, a paper page and a digital screen. We are physical creatures, our perceptions conceived and conducted within our organic brains and bodies. We maintain physical immediacy with the objects through which we express ourselves, exchange experiences and communicate ideas. Our methods continue to change and evolve but this helps refine our subtlety and depth of understanding, our relationship to ‘reading’, books, text, coded images and abstract perceptions. The Codex and The Screen: Stating the Obvious The book: a codex of turnable paper(?) pages assembled within covers comprising a set of material properties specific to its construction. The illuminated screen, whether an e-reader, mobile phone, laptop or billboard, obviously behaves in ways specific to its own material properties. The idea of Reading has traditionally implied a universality across all forms of media => Reading is reading, without regard to the format or context of the material. However, the way we interact with different types of reading is now the pivot of change in digital media. Reading is no longer a universal or uniform activity irrespective of the mediating device. Marshall McLuhan taught us this decades ago with ‘The Medium is the Massage’. We ‘read’ differently from a screen, a mobile, a roadside sign, or a paper codex. It’s not just about absorbing information or finding things out, an activity well served by the internet. The aesthetic experience of reading depends on the way we access it. Memory, retention and depth depend on the material properties we select for different types of reading. Research on the changing way we read A new European study led by Anne Mangen of Norway’s Stavanger University documents differences in the immersion, recall and emotional responses based on whether material is presented in traditional paper book form or via digital e-reader. Researchers found that digital reading is becoming more intermittent and fragmented. They also found that the time invested in sustained reading strengthens our ability to maintain long term focus, improves our understanding of depth, complexity and layered meaning, and provides a more thoroughly immersive experience. Sustained focus helps people, especially children at formative education levels, prepare for and negotiate complex life situations with more balanced references to deeper memory and cultural experiences. Why Moby Dick I turned to Herman Melville’s ‘Moby Dick’ as an intuitive choice specifically appropriate to my vision for this work. Moby Dick is famously debated as one of the few compositions in any language about which no one seems to agree on its content. Ask any number of scholars, professors, casual readers or innocent bystanders what it’s ABOUT and you will get as many answers as there are questions. There are central themes, of course, but there is no consensus on the subject of this book. Is it about fishing? About the sea? A philosophical discussion about Savage Nature versus the Divine? Yes. And no. The open, ongoing and seemingly timeless discussion on the nature of ‘Moby Dick’ embodies Melville’s intention with a stroke of ironic perfection. Melville’s text is to reading what Ahab’s obsession is to life. What ‘Moby Dick’ is about forms part of the profound mystery of the sea and ourselves, it is archetypal. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774384145405-FBGFDWH48QW5H7V3TTFJ/mcba-prize-2015-meg-green-joves-brother5.jpg Entries & Jurors - 2015 Entries - Meg Green Meg Green (Chertsey, Surrey, U.K.) SomeOddPages.com Jove’s Brother 2015 Ink, plastic, broken electronic readers, cord, unique QR code, website. Unique work 6 pages Dimensions, open: 16.5cm x 23cm x 6.5cm Dimensions, closed: 16.5cm x 11.5cm x 6.5cm “Why did the Greeks give it a separate deity and own brother of Jove? It is the image of the ungraspable phantom of life; and this is the key to it all.” – Herman Melville, Moby Dick, 1851 The discussion surrounding overtaking technologies isn’t new, it’s one we have every time a new technology redraws the ways in which we perceive and communicate ideas. Photography was supposed to have killed painting, video was supposed to have killed film. Once upon a time, books were the new ‘technology’ that threatened the practice of impressing pointy Cuneiform shapes into little clay tablets. Clearly, digital books aren’t somehow ‘better‘ than conventional paper books, they’re simply a different medium of exchange. We aren’t confused about it either, we see and feel the differences between a conventional book and an e-reader, a paper page and a digital screen. We are physical creatures, our perceptions conceived and conducted within our organic brains and bodies. We maintain physical immediacy with the objects through which we express ourselves, exchange experiences and communicate ideas. Our methods continue to change and evolve but this helps refine our subtlety and depth of understanding, our relationship to ‘reading’, books, text, coded images and abstract perceptions. The Codex and The Screen: Stating the Obvious The book: a codex of turnable paper(?) pages assembled within covers comprising a set of material properties specific to its construction. The illuminated screen, whether an e-reader, mobile phone, laptop or billboard, obviously behaves in ways specific to its own material properties. The idea of Reading has traditionally implied a universality across all forms of media => Reading is reading, without regard to the format or context of the material. However, the way we interact with different types of reading is now the pivot of change in digital media. Reading is no longer a universal or uniform activity irrespective of the mediating device. Marshall McLuhan taught us this decades ago with ‘The Medium is the Massage’. We ‘read’ differently from a screen, a mobile, a roadside sign, or a paper codex. It’s not just about absorbing information or finding things out, an activity well served by the internet. The aesthetic experience of reading depends on the way we access it. Memory, retention and depth depend on the material properties we select for different types of reading. Research on the changing way we read A new European study led by Anne Mangen of Norway’s Stavanger University documents differences in the immersion, recall and emotional responses based on whether material is presented in traditional paper book form or via digital e-reader. Researchers found that digital reading is becoming more intermittent and fragmented. They also found that the time invested in sustained reading strengthens our ability to maintain long term focus, improves our understanding of depth, complexity and layered meaning, and provides a more thoroughly immersive experience. Sustained focus helps people, especially children at formative education levels, prepare for and negotiate complex life situations with more balanced references to deeper memory and cultural experiences. Why Moby Dick I turned to Herman Melville’s ‘Moby Dick’ as an intuitive choice specifically appropriate to my vision for this work. Moby Dick is famously debated as one of the few compositions in any language about which no one seems to agree on its content. Ask any number of scholars, professors, casual readers or innocent bystanders what it’s ABOUT and you will get as many answers as there are questions. There are central themes, of course, but there is no consensus on the subject of this book. Is it about fishing? About the sea? A philosophical discussion about Savage Nature versus the Divine? Yes. And no. The open, ongoing and seemingly timeless discussion on the nature of ‘Moby Dick’ embodies Melville’s intention with a stroke of ironic perfection. Melville’s text is to reading what Ahab’s obsession is to life. What ‘Moby Dick’ is about forms part of the profound mystery of the sea and ourselves, it is archetypal. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774449158357-4GFFXWGX79TN7IR1KL3X/MCBA-prize-2015-Ryoko-Adachi-The-Song-Of-Birds-1.jpg Entries & Jurors - 2015 Entries - Ryoko Adachi Ryoko Adachi (Setagaya-ku, Tokyo) ada-library.com The song of birds 2014 Lithograph, letterpress, japanese paper (torinoko), acryl tube Edition of 5 9 sheets 420 x 550 mm open 80 x 80 x 495 mm closed Strolling in the park, listening to birds chirping, I saw letter-like symbols among the twigs at my feet. I gathered them, photographed them, and arranged this imaginary alphabet into sentences. Looking like calligraphy, these letters mean nothing, but the emerged composition looks as if they were words uttered by nature. Dr. Kazuo Okanoya has supposed that the origin of a language must have been musical, like the chatter of birds, and studied the song structure of finches.* Each species of bird communicates in its own song; if we understood the musical and pre-linguistic communication, what would we hear in the collective words “spoken” by non-human creatures, birds, insects and plants? The imaginary alphabet of twigs was printed in subtly varied colors on both sides of thin Japanese paper (Torinoko) in lithography. Visualizing the overlapping chirps of birds coming from trees near and far, I wanted the printed images to show through the layers of paper. I chose not to bind them as a book but have them in a transparent acrylic tube to embrace the lightness of the Japanese paper. *From bird songs to the words of the person, Kazuo Okanoya, Ph. D https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774449158467-CM7TAA75LHZTD6T9SQ5L/MCBA-prize-2015-Ryoko-Adachi-The-Song-Of-Birds-2.jpg Entries & Jurors - 2015 Entries - Ryoko Adachi Ryoko Adachi (Setagaya-ku, Tokyo) ada-library.com The song of birds 2014 Lithograph, letterpress, japanese paper (torinoko), acryl tube Edition of 5 9 sheets 420 x 550 mm open 80 x 80 x 495 mm closed Strolling in the park, listening to birds chirping, I saw letter-like symbols among the twigs at my feet. I gathered them, photographed them, and arranged this imaginary alphabet into sentences. Looking like calligraphy, these letters mean nothing, but the emerged composition looks as if they were words uttered by nature. Dr. Kazuo Okanoya has supposed that the origin of a language must have been musical, like the chatter of birds, and studied the song structure of finches.* Each species of bird communicates in its own song; if we understood the musical and pre-linguistic communication, what would we hear in the collective words “spoken” by non-human creatures, birds, insects and plants? The imaginary alphabet of twigs was printed in subtly varied colors on both sides of thin Japanese paper (Torinoko) in lithography. Visualizing the overlapping chirps of birds coming from trees near and far, I wanted the printed images to show through the layers of paper. I chose not to bind them as a book but have them in a transparent acrylic tube to embrace the lightness of the Japanese paper. *From bird songs to the words of the person, Kazuo Okanoya, Ph. D https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774449159896-71PMYMYWR68C1WKHR7JP/MCBA-prize-2015-Ryoko-Adachi-The-Song-Of-Birds-3.jpg Entries & Jurors - 2015 Entries - Ryoko Adachi Ryoko Adachi (Setagaya-ku, Tokyo) ada-library.com The song of birds 2014 Lithograph, letterpress, japanese paper (torinoko), acryl tube Edition of 5 9 sheets 420 x 550 mm open 80 x 80 x 495 mm closed Strolling in the park, listening to birds chirping, I saw letter-like symbols among the twigs at my feet. I gathered them, photographed them, and arranged this imaginary alphabet into sentences. Looking like calligraphy, these letters mean nothing, but the emerged composition looks as if they were words uttered by nature. Dr. Kazuo Okanoya has supposed that the origin of a language must have been musical, like the chatter of birds, and studied the song structure of finches.* Each species of bird communicates in its own song; if we understood the musical and pre-linguistic communication, what would we hear in the collective words “spoken” by non-human creatures, birds, insects and plants? The imaginary alphabet of twigs was printed in subtly varied colors on both sides of thin Japanese paper (Torinoko) in lithography. Visualizing the overlapping chirps of birds coming from trees near and far, I wanted the printed images to show through the layers of paper. I chose not to bind them as a book but have them in a transparent acrylic tube to embrace the lightness of the Japanese paper. *From bird songs to the words of the person, Kazuo Okanoya, Ph. D https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774449159961-N4NDZK0IJVFRB4AQ74R8/MCBA-prize-2015-Ryoko-Adachi-The-Song-Of-Birds-4.jpg Entries & Jurors - 2015 Entries - Ryoko Adachi Ryoko Adachi (Setagaya-ku, Tokyo) ada-library.com The song of birds 2014 Lithograph, letterpress, japanese paper (torinoko), acryl tube Edition of 5 9 sheets 420 x 550 mm open 80 x 80 x 495 mm closed Strolling in the park, listening to birds chirping, I saw letter-like symbols among the twigs at my feet. I gathered them, photographed them, and arranged this imaginary alphabet into sentences. Looking like calligraphy, these letters mean nothing, but the emerged composition looks as if they were words uttered by nature. Dr. Kazuo Okanoya has supposed that the origin of a language must have been musical, like the chatter of birds, and studied the song structure of finches.* Each species of bird communicates in its own song; if we understood the musical and pre-linguistic communication, what would we hear in the collective words “spoken” by non-human creatures, birds, insects and plants? The imaginary alphabet of twigs was printed in subtly varied colors on both sides of thin Japanese paper (Torinoko) in lithography. Visualizing the overlapping chirps of birds coming from trees near and far, I wanted the printed images to show through the layers of paper. I chose not to bind them as a book but have them in a transparent acrylic tube to embrace the lightness of the Japanese paper. *From bird songs to the words of the person, Kazuo Okanoya, Ph. D https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774449259805-T98WCS8DDXFP40BNR4JL/MCBA-prize-2015-Ryoko-Adachi-The-Song-Of-Birds-5.jpg Entries & Jurors - 2015 Entries - Ryoko Adachi Ryoko Adachi (Setagaya-ku, Tokyo) ada-library.com The song of birds 2014 Lithograph, letterpress, japanese paper (torinoko), acryl tube Edition of 5 9 sheets 420 x 550 mm open 80 x 80 x 495 mm closed Strolling in the park, listening to birds chirping, I saw letter-like symbols among the twigs at my feet. I gathered them, photographed them, and arranged this imaginary alphabet into sentences. Looking like calligraphy, these letters mean nothing, but the emerged composition looks as if they were words uttered by nature. Dr. Kazuo Okanoya has supposed that the origin of a language must have been musical, like the chatter of birds, and studied the song structure of finches.* Each species of bird communicates in its own song; if we understood the musical and pre-linguistic communication, what would we hear in the collective words “spoken” by non-human creatures, birds, insects and plants? The imaginary alphabet of twigs was printed in subtly varied colors on both sides of thin Japanese paper (Torinoko) in lithography. Visualizing the overlapping chirps of birds coming from trees near and far, I wanted the printed images to show through the layers of paper. I chose not to bind them as a book but have them in a transparent acrylic tube to embrace the lightness of the Japanese paper. *From bird songs to the words of the person, Kazuo Okanoya, Ph. D https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774449327996-Y95TNS90VN7ZFVETXSSP/MCBA-Prize-2015-Ioulia-Akhmadeeva-Libro-De-Botones%3ABook-Of-Buttons-1.jpg Entries & Jurors - 2015 Entries - Ioulia Akhmadeeva Ioulia Akhmadeeva (Morelia, Michoacana, México) ioulia-akhmadeeva.net Libro de botones / Book of Buttons 2015 Lithograph on cotton paper in codex form with pop-up details and watercolor hand painting. The binding with envelope in linen a embroidery, by author with buttons of family¨s collection. Text handwritten in english and spanish by author. P/A, signed by the author 12 pages Dimensions (open): 37 x 59 x 3 cm The Book of Buttons is about some moments in the life of Antonina Sidorova (1924-2013), artist’s grandmother. Each page is a story told by Antonina to the artist. About how at the age of five a horse took her in the woods. About how she sewed her first garment destroying a new dress and hair styled her rag doll with her own recently styled hair. Difficulties at an orphanage in Leningrad with Spanish children, while her mother was imprisoned in 1938. Her marriage at age of 17 with captain Vasily Voloshin, in the first year of the Patriotic War against German fascism in 1941. About when she went with her husband to live in the Far East of the USSR and helped the Army of the Soviet front sewing military coats. The book ends with the birth of her eldest daughter Valentina, mother of the artist. The button is a conductive element in the lives of the Voloshiny women, just because Antonina was a wonderful seamstress. The fabrics that are presented on the pages are pieces of clothing made by her and her daughter. El Libro de botones cuenta momentos de la vida de Antonina Sidorova (1924-2013), abuela de la autora. Cada página es una historia contada por Antonina a la autora. Desde cómo a sus 5 años un caballo la llevó al bosque. Cómo cosió su primera prenda destruyendo un vestido nuevo y cómo hizo un peinado de su melena recién cortada a su muñeca de trapo. De Los meses difíciles en un orfanato en Leningrado con niños españoles, mientras su madre estaba en la cárcel en 1938. De su matrimonio a los 17 años con el capitán Vasily Voloshin, en el primer año de la Guerra Patria contra el fascismo alemán en 1941; de cuando se fue con su esposo a vivir al Extremo Oriente de la URSS y ayudó a la armada del frente soviético cosiendo abrigos militares. El libro termina con el nacimiento de su hija mayor Valentina, madre de la artista. El botón es un elemento conductor en la vida de las mujeres Voloshiny, ya que Antonina se convirtió en una magnífica costurera. Las telas presentadas en las páginas son retazos de la ropa hecha por ella y su hija. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774449326668-E4PRX9CJKF2KVA4G5U1N/MCBA-Prize-2015-Ioulia-Akhmadeeva-Libro-De-Botones%3ABook-Of-Buttons-2.jpg Entries & Jurors - 2015 Entries - Ioulia Akhmadeeva Ioulia Akhmadeeva (Morelia, Michoacana, México) ioulia-akhmadeeva.net Libro de botones / Book of Buttons 2015 Lithograph on cotton paper in codex form with pop-up details and watercolor hand painting. The binding with envelope in linen a embroidery, by author with buttons of family¨s collection. Text handwritten in english and spanish by author. P/A, signed by the author 12 pages Dimensions (open): 37 x 59 x 3 cm The Book of Buttons is about some moments in the life of Antonina Sidorova (1924-2013), artist’s grandmother. Each page is a story told by Antonina to the artist. About how at the age of five a horse took her in the woods. About how she sewed her first garment destroying a new dress and hair styled her rag doll with her own recently styled hair. Difficulties at an orphanage in Leningrad with Spanish children, while her mother was imprisoned in 1938. Her marriage at age of 17 with captain Vasily Voloshin, in the first year of the Patriotic War against German fascism in 1941. About when she went with her husband to live in the Far East of the USSR and helped the Army of the Soviet front sewing military coats. The book ends with the birth of her eldest daughter Valentina, mother of the artist. The button is a conductive element in the lives of the Voloshiny women, just because Antonina was a wonderful seamstress. The fabrics that are presented on the pages are pieces of clothing made by her and her daughter. El Libro de botones cuenta momentos de la vida de Antonina Sidorova (1924-2013), abuela de la autora. Cada página es una historia contada por Antonina a la autora. Desde cómo a sus 5 años un caballo la llevó al bosque. Cómo cosió su primera prenda destruyendo un vestido nuevo y cómo hizo un peinado de su melena recién cortada a su muñeca de trapo. De Los meses difíciles en un orfanato en Leningrado con niños españoles, mientras su madre estaba en la cárcel en 1938. De su matrimonio a los 17 años con el capitán Vasily Voloshin, en el primer año de la Guerra Patria contra el fascismo alemán en 1941; de cuando se fue con su esposo a vivir al Extremo Oriente de la URSS y ayudó a la armada del frente soviético cosiendo abrigos militares. El libro termina con el nacimiento de su hija mayor Valentina, madre de la artista. El botón es un elemento conductor en la vida de las mujeres Voloshiny, ya que Antonina se convirtió en una magnífica costurera. Las telas presentadas en las páginas son retazos de la ropa hecha por ella y su hija. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774449328370-W04WRU26MFCV00WOLYQA/MCBA-Prize-2015-Ioulia-Akhmadeeva-Libro-De-Botones%3ABook-Of-Buttons-3.jpg Entries & Jurors - 2015 Entries - Ioulia Akhmadeeva Ioulia Akhmadeeva (Morelia, Michoacana, México) ioulia-akhmadeeva.net Libro de botones / Book of Buttons 2015 Lithograph on cotton paper in codex form with pop-up details and watercolor hand painting. The binding with envelope in linen a embroidery, by author with buttons of family¨s collection. Text handwritten in english and spanish by author. P/A, signed by the author 12 pages Dimensions (open): 37 x 59 x 3 cm The Book of Buttons is about some moments in the life of Antonina Sidorova (1924-2013), artist’s grandmother. Each page is a story told by Antonina to the artist. About how at the age of five a horse took her in the woods. About how she sewed her first garment destroying a new dress and hair styled her rag doll with her own recently styled hair. Difficulties at an orphanage in Leningrad with Spanish children, while her mother was imprisoned in 1938. Her marriage at age of 17 with captain Vasily Voloshin, in the first year of the Patriotic War against German fascism in 1941. About when she went with her husband to live in the Far East of the USSR and helped the Army of the Soviet front sewing military coats. The book ends with the birth of her eldest daughter Valentina, mother of the artist. The button is a conductive element in the lives of the Voloshiny women, just because Antonina was a wonderful seamstress. The fabrics that are presented on the pages are pieces of clothing made by her and her daughter. El Libro de botones cuenta momentos de la vida de Antonina Sidorova (1924-2013), abuela de la autora. Cada página es una historia contada por Antonina a la autora. Desde cómo a sus 5 años un caballo la llevó al bosque. Cómo cosió su primera prenda destruyendo un vestido nuevo y cómo hizo un peinado de su melena recién cortada a su muñeca de trapo. De Los meses difíciles en un orfanato en Leningrado con niños españoles, mientras su madre estaba en la cárcel en 1938. De su matrimonio a los 17 años con el capitán Vasily Voloshin, en el primer año de la Guerra Patria contra el fascismo alemán en 1941; de cuando se fue con su esposo a vivir al Extremo Oriente de la URSS y ayudó a la armada del frente soviético cosiendo abrigos militares. El libro termina con el nacimiento de su hija mayor Valentina, madre de la artista. El botón es un elemento conductor en la vida de las mujeres Voloshiny, ya que Antonina se convirtió en una magnífica costurera. Las telas presentadas en las páginas son retazos de la ropa hecha por ella y su hija. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774449329668-R6R6DR5F8ENFM025UV5F/MCBA-Prize-2015-Ioulia-Akhmadeeva-Libro-De-Botones%3ABook-Of-Buttons-4.jpg Entries & Jurors - 2015 Entries - Ioulia Akhmadeeva Ioulia Akhmadeeva (Morelia, Michoacana, México) ioulia-akhmadeeva.net Libro de botones / Book of Buttons 2015 Lithograph on cotton paper in codex form with pop-up details and watercolor hand painting. The binding with envelope in linen a embroidery, by author with buttons of family¨s collection. Text handwritten in english and spanish by author. P/A, signed by the author 12 pages Dimensions (open): 37 x 59 x 3 cm The Book of Buttons is about some moments in the life of Antonina Sidorova (1924-2013), artist’s grandmother. Each page is a story told by Antonina to the artist. About how at the age of five a horse took her in the woods. About how she sewed her first garment destroying a new dress and hair styled her rag doll with her own recently styled hair. Difficulties at an orphanage in Leningrad with Spanish children, while her mother was imprisoned in 1938. Her marriage at age of 17 with captain Vasily Voloshin, in the first year of the Patriotic War against German fascism in 1941. About when she went with her husband to live in the Far East of the USSR and helped the Army of the Soviet front sewing military coats. The book ends with the birth of her eldest daughter Valentina, mother of the artist. The button is a conductive element in the lives of the Voloshiny women, just because Antonina was a wonderful seamstress. The fabrics that are presented on the pages are pieces of clothing made by her and her daughter. El Libro de botones cuenta momentos de la vida de Antonina Sidorova (1924-2013), abuela de la autora. Cada página es una historia contada por Antonina a la autora. Desde cómo a sus 5 años un caballo la llevó al bosque. Cómo cosió su primera prenda destruyendo un vestido nuevo y cómo hizo un peinado de su melena recién cortada a su muñeca de trapo. De Los meses difíciles en un orfanato en Leningrado con niños españoles, mientras su madre estaba en la cárcel en 1938. De su matrimonio a los 17 años con el capitán Vasily Voloshin, en el primer año de la Guerra Patria contra el fascismo alemán en 1941; de cuando se fue con su esposo a vivir al Extremo Oriente de la URSS y ayudó a la armada del frente soviético cosiendo abrigos militares. El libro termina con el nacimiento de su hija mayor Valentina, madre de la artista. El botón es un elemento conductor en la vida de las mujeres Voloshiny, ya que Antonina se convirtió en una magnífica costurera. Las telas presentadas en las páginas son retazos de la ropa hecha por ella y su hija. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774449330676-6JRB3N0ZDXIJB4EPW8YC/MCBA-Prize-2015-Ioulia-Akhmadeeva-Libro-De-Botones%3ABook-Of-Buttons-5.jpg Entries & Jurors - 2015 Entries - Ioulia Akhmadeeva Ioulia Akhmadeeva (Morelia, Michoacana, México) ioulia-akhmadeeva.net Libro de botones / Book of Buttons 2015 Lithograph on cotton paper in codex form with pop-up details and watercolor hand painting. The binding with envelope in linen a embroidery, by author with buttons of family¨s collection. Text handwritten in english and spanish by author. P/A, signed by the author 12 pages Dimensions (open): 37 x 59 x 3 cm The Book of Buttons is about some moments in the life of Antonina Sidorova (1924-2013), artist’s grandmother. Each page is a story told by Antonina to the artist. About how at the age of five a horse took her in the woods. About how she sewed her first garment destroying a new dress and hair styled her rag doll with her own recently styled hair. Difficulties at an orphanage in Leningrad with Spanish children, while her mother was imprisoned in 1938. Her marriage at age of 17 with captain Vasily Voloshin, in the first year of the Patriotic War against German fascism in 1941. About when she went with her husband to live in the Far East of the USSR and helped the Army of the Soviet front sewing military coats. The book ends with the birth of her eldest daughter Valentina, mother of the artist. The button is a conductive element in the lives of the Voloshiny women, just because Antonina was a wonderful seamstress. The fabrics that are presented on the pages are pieces of clothing made by her and her daughter. El Libro de botones cuenta momentos de la vida de Antonina Sidorova (1924-2013), abuela de la autora. Cada página es una historia contada por Antonina a la autora. Desde cómo a sus 5 años un caballo la llevó al bosque. Cómo cosió su primera prenda destruyendo un vestido nuevo y cómo hizo un peinado de su melena recién cortada a su muñeca de trapo. De Los meses difíciles en un orfanato en Leningrado con niños españoles, mientras su madre estaba en la cárcel en 1938. De su matrimonio a los 17 años con el capitán Vasily Voloshin, en el primer año de la Guerra Patria contra el fascismo alemán en 1941; de cuando se fue con su esposo a vivir al Extremo Oriente de la URSS y ayudó a la armada del frente soviético cosiendo abrigos militares. El libro termina con el nacimiento de su hija mayor Valentina, madre de la artista. El botón es un elemento conductor en la vida de las mujeres Voloshiny, ya que Antonina se convirtió en una magnífica costurera. Las telas presentadas en las páginas son retazos de la ropa hecha por ella y su hija. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774449405392-57SIG2RPAO0VKMXFVRJ7/MCBA-Prize-2015-Ioulia-Akhmadeeva-Mis-Tortillas-para-Valentina-%3A-My-tortillas-for-Valentina-1.jpg Entries & Jurors - 2015 Entries - Ioulia Akhmadeeva Ioulia Akhmadeeva (Morelia, Michoacana, México) ioulia-akhmadeeva.net Mis Tortillas para Valentina / My tortillas for Valentina Etching on copper, drypoint engraving on acrylic, photopolymer engraving printed on handmade paper by the author with fiber pulp of “jonote tree” used to make handmade mexican paper “amate” (amatl). Text and colophon (silkscreen on amate paper) in Spanish, English and Russian. The box with serigraph text presents handmade tortillas from community Atécuaro, Michoacán, México. Second edition, 5 pieces with 5 pages wich one Signed and numbered by the artist. 19 cm x 3.5 cm …Knead … and prepare my tortillas of amate for you, I printed your face in them from and to my memory… The book is dedicated to my mother russian Valentina, who died in Mexico in 2001. It presents the five stages of her life. 5 “tortillas” pages with family s portraits and engravings by various techniques printed on handmade paper of jonote fiber. The box is wrapped in traditional embroidered folder. Tortillas is the more traditional Mexican food. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774449404565-Y3NZN9JO0M7599CJBIU0/MCBA-Prize-2015-Ioulia-Akhmadeeva-Mis-Tortillas-para-Valentina-%3A-My-tortillas-for-Valentina-2.jpg Entries & Jurors - 2015 Entries - Ioulia Akhmadeeva Ioulia Akhmadeeva (Morelia, Michoacana, México) ioulia-akhmadeeva.net Mis Tortillas para Valentina / My tortillas for Valentina Etching on copper, drypoint engraving on acrylic, photopolymer engraving printed on handmade paper by the author with fiber pulp of “jonote tree” used to make handmade mexican paper “amate” (amatl). Text and colophon (silkscreen on amate paper) in Spanish, English and Russian. The box with serigraph text presents handmade tortillas from community Atécuaro, Michoacán, México. Second edition, 5 pieces with 5 pages wich one Signed and numbered by the artist. 19 cm x 3.5 cm …Knead … and prepare my tortillas of amate for you, I printed your face in them from and to my memory… The book is dedicated to my mother russian Valentina, who died in Mexico in 2001. It presents the five stages of her life. 5 “tortillas” pages with family s portraits and engravings by various techniques printed on handmade paper of jonote fiber. The box is wrapped in traditional embroidered folder. Tortillas is the more traditional Mexican food. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774449406268-K1JZTY5XLQWQJ6Z0DQYZ/MCBA-Prize-2015-Ioulia-Akhmadeeva-Mis-Tortillas-para-Valentina-%3A-My-tortillas-for-Valentina-3.jpg Entries & Jurors - 2015 Entries - Ioulia Akhmadeeva Ioulia Akhmadeeva (Morelia, Michoacana, México) ioulia-akhmadeeva.net Mis Tortillas para Valentina / My tortillas for Valentina Etching on copper, drypoint engraving on acrylic, photopolymer engraving printed on handmade paper by the author with fiber pulp of “jonote tree” used to make handmade mexican paper “amate” (amatl). Text and colophon (silkscreen on amate paper) in Spanish, English and Russian. The box with serigraph text presents handmade tortillas from community Atécuaro, Michoacán, México. Second edition, 5 pieces with 5 pages wich one Signed and numbered by the artist. 19 cm x 3.5 cm …Knead … and prepare my tortillas of amate for you, I printed your face in them from and to my memory… The book is dedicated to my mother russian Valentina, who died in Mexico in 2001. It presents the five stages of her life. 5 “tortillas” pages with family s portraits and engravings by various techniques printed on handmade paper of jonote fiber. The box is wrapped in traditional embroidered folder. Tortillas is the more traditional Mexican food. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774449407095-FA6Y6XIJJD043UUZCQ2P/MCBA-Prize-2015-Ioulia-Akhmadeeva-Mis-Tortillas-para-Valentina-%3A-My-tortillas-for-Valentina-4.jpg Entries & Jurors - 2015 Entries - Ioulia Akhmadeeva Ioulia Akhmadeeva (Morelia, Michoacana, México) ioulia-akhmadeeva.net Mis Tortillas para Valentina / My tortillas for Valentina Etching on copper, drypoint engraving on acrylic, photopolymer engraving printed on handmade paper by the author with fiber pulp of “jonote tree” used to make handmade mexican paper “amate” (amatl). Text and colophon (silkscreen on amate paper) in Spanish, English and Russian. The box with serigraph text presents handmade tortillas from community Atécuaro, Michoacán, México. Second edition, 5 pieces with 5 pages wich one Signed and numbered by the artist. 19 cm x 3.5 cm …Knead … and prepare my tortillas of amate for you, I printed your face in them from and to my memory… The book is dedicated to my mother russian Valentina, who died in Mexico in 2001. It presents the five stages of her life. 5 “tortillas” pages with family s portraits and engravings by various techniques printed on handmade paper of jonote fiber. The box is wrapped in traditional embroidered folder. Tortillas is the more traditional Mexican food. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774449408262-VB7DXYB5MJDK62ZM200F/MCBA-Prize-2015-Ioulia-Akhmadeeva-Mis-Tortillas-para-Valentina-%3A-My-tortillas-for-Valentina-5.jpg Entries & Jurors - 2015 Entries - Ioulia Akhmadeeva Ioulia Akhmadeeva (Morelia, Michoacana, México) ioulia-akhmadeeva.net Mis Tortillas para Valentina / My tortillas for Valentina Etching on copper, drypoint engraving on acrylic, photopolymer engraving printed on handmade paper by the author with fiber pulp of “jonote tree” used to make handmade mexican paper “amate” (amatl). Text and colophon (silkscreen on amate paper) in Spanish, English and Russian. The box with serigraph text presents handmade tortillas from community Atécuaro, Michoacán, México. Second edition, 5 pieces with 5 pages wich one Signed and numbered by the artist. 19 cm x 3.5 cm …Knead … and prepare my tortillas of amate for you, I printed your face in them from and to my memory… The book is dedicated to my mother russian Valentina, who died in Mexico in 2001. It presents the five stages of her life. 5 “tortillas” pages with family s portraits and engravings by various techniques printed on handmade paper of jonote fiber. The box is wrapped in traditional embroidered folder. Tortillas is the more traditional Mexican food. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774450144692-HQIPV6WGXIVR8ZBMF1U8/MCBA-Prize-2015-Islam-Aly-The-Square-Al-Midan-1.jpg Entries & Jurors - 2015 Entries - Islam Aly Islam Aly (Iowa City, IA) islamaly.com The Square, Al Midan 2014 Laser Cut, edge painting, laser etching Edition of 40 20 sections, each section four folios, total of 160 pages 4.5 x 4.5 x 2.5 inches When I make a historical book structure, I go through a learning process. I learn the history as well as the different physical aspects of the binding such as how a book form is constructed in a specific sequence. I learn about the use of different materials such as paper, wood, leather and dyes. I learn to make choices in selecting and replacing traditional materials that I don’t have access to. I use these different experiences to enhance my work in making artists’ books and to use historical and cultural references from these structures in the actual content. In essence, I wish to explore new ways to use the rich structures of historical books in contemporary artists’ book practice and incorporate contemporary content into strictly historical structures. Historically, these structures used a lot of text, either calligraphy or print, and they sometimes also included illustrations, illumination, and images. I explore different ways to add alternative content to these structures while keeping their appearance and integrity. I want to reuse these rich structures and give them a new life as artists’ books. I am using two main themes. The first is abstract, where I’ll explore texture, color, and form. The second is language; I am interested in the similarities and differences between English and Arabic languages. For example: writing, pronunciation, letterforms and typography. I am also examining pieces where these themes will intersect through the use of material. In my work I experiment with different techniques on handmade paper such as laser cutting, waxing, stitching, and paper dyeing. My book art reproduces familiar book structures that embody the heritage of book history but contain some of the wonder that can come from contemporary book art.¬¬ Description of the work: Egyptian uprising called for democratic reform. Tahrir Square in Cairo became the focal point and the most effective symbol of the protests in January and February 2011. For 18 days Egyptians repeated the slogan: The People Want to Bring down the Regime (al-sha`b yurid isqat al-nizam) until the regime stepped down on the 11th of February 2011. “This book focuses on the revolution slogan ‘al-sha`b yurid isqat al-nizam.’ Using Arabic Kufic script the words of the slogan are repeated in an ascending sequence. Section 19 contains the English translation for the slogan ‘The People Want to Bring down the Regime.’ The last section contains the time and date when the regime stepped down along with the sentence ‘Al Saa’b Askat al Nezam’ with its English translation ‘The People have Brought down the Regime’. “Cairo’s map is laser engraved on the book covers. Three edges of the book are colored then laser engraved to show the streets of Cairo. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774450143382-ADU30EXOEOS2892JJ5CQ/MCBA-Prize-2015-Islam-Aly-The-Square-Al-Midan-2.jpg Entries & Jurors - 2015 Entries - Islam Aly Islam Aly (Iowa City, IA) islamaly.com The Square, Al Midan 2014 Laser Cut, edge painting, laser etching Edition of 40 20 sections, each section four folios, total of 160 pages 4.5 x 4.5 x 2.5 inches When I make a historical book structure, I go through a learning process. I learn the history as well as the different physical aspects of the binding such as how a book form is constructed in a specific sequence. I learn about the use of different materials such as paper, wood, leather and dyes. I learn to make choices in selecting and replacing traditional materials that I don’t have access to. I use these different experiences to enhance my work in making artists’ books and to use historical and cultural references from these structures in the actual content. In essence, I wish to explore new ways to use the rich structures of historical books in contemporary artists’ book practice and incorporate contemporary content into strictly historical structures. Historically, these structures used a lot of text, either calligraphy or print, and they sometimes also included illustrations, illumination, and images. I explore different ways to add alternative content to these structures while keeping their appearance and integrity. I want to reuse these rich structures and give them a new life as artists’ books. I am using two main themes. The first is abstract, where I’ll explore texture, color, and form. The second is language; I am interested in the similarities and differences between English and Arabic languages. For example: writing, pronunciation, letterforms and typography. I am also examining pieces where these themes will intersect through the use of material. In my work I experiment with different techniques on handmade paper such as laser cutting, waxing, stitching, and paper dyeing. My book art reproduces familiar book structures that embody the heritage of book history but contain some of the wonder that can come from contemporary book art.¬¬ Description of the work: Egyptian uprising called for democratic reform. Tahrir Square in Cairo became the focal point and the most effective symbol of the protests in January and February 2011. For 18 days Egyptians repeated the slogan: The People Want to Bring down the Regime (al-sha`b yurid isqat al-nizam) until the regime stepped down on the 11th of February 2011. “This book focuses on the revolution slogan ‘al-sha`b yurid isqat al-nizam.’ Using Arabic Kufic script the words of the slogan are repeated in an ascending sequence. Section 19 contains the English translation for the slogan ‘The People Want to Bring down the Regime.’ The last section contains the time and date when the regime stepped down along with the sentence ‘Al Saa’b Askat al Nezam’ with its English translation ‘The People have Brought down the Regime’. “Cairo’s map is laser engraved on the book covers. Three edges of the book are colored then laser engraved to show the streets of Cairo. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774450145004-WJXWKM3L1WXY2QRBOSDX/MCBA-Prize-2015-Islam-Aly-The-Square-Al-Midan-3.jpg Entries & Jurors - 2015 Entries - Islam Aly Islam Aly (Iowa City, IA) islamaly.com The Square, Al Midan 2014 Laser Cut, edge painting, laser etching Edition of 40 20 sections, each section four folios, total of 160 pages 4.5 x 4.5 x 2.5 inches When I make a historical book structure, I go through a learning process. I learn the history as well as the different physical aspects of the binding such as how a book form is constructed in a specific sequence. I learn about the use of different materials such as paper, wood, leather and dyes. I learn to make choices in selecting and replacing traditional materials that I don’t have access to. I use these different experiences to enhance my work in making artists’ books and to use historical and cultural references from these structures in the actual content. In essence, I wish to explore new ways to use the rich structures of historical books in contemporary artists’ book practice and incorporate contemporary content into strictly historical structures. Historically, these structures used a lot of text, either calligraphy or print, and they sometimes also included illustrations, illumination, and images. I explore different ways to add alternative content to these structures while keeping their appearance and integrity. I want to reuse these rich structures and give them a new life as artists’ books. I am using two main themes. The first is abstract, where I’ll explore texture, color, and form. The second is language; I am interested in the similarities and differences between English and Arabic languages. For example: writing, pronunciation, letterforms and typography. I am also examining pieces where these themes will intersect through the use of material. In my work I experiment with different techniques on handmade paper such as laser cutting, waxing, stitching, and paper dyeing. My book art reproduces familiar book structures that embody the heritage of book history but contain some of the wonder that can come from contemporary book art.¬¬ Description of the work: Egyptian uprising called for democratic reform. Tahrir Square in Cairo became the focal point and the most effective symbol of the protests in January and February 2011. For 18 days Egyptians repeated the slogan: The People Want to Bring down the Regime (al-sha`b yurid isqat al-nizam) until the regime stepped down on the 11th of February 2011. “This book focuses on the revolution slogan ‘al-sha`b yurid isqat al-nizam.’ Using Arabic Kufic script the words of the slogan are repeated in an ascending sequence. Section 19 contains the English translation for the slogan ‘The People Want to Bring down the Regime.’ The last section contains the time and date when the regime stepped down along with the sentence ‘Al Saa’b Askat al Nezam’ with its English translation ‘The People have Brought down the Regime’. “Cairo’s map is laser engraved on the book covers. Three edges of the book are colored then laser engraved to show the streets of Cairo. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774450146302-L1U6BU06QGGN4KTEL08I/MCBA-Prize-2015-Islam-Aly-The-Square-Al-Midan-4.jpg Entries & Jurors - 2015 Entries - Islam Aly Islam Aly (Iowa City, IA) islamaly.com The Square, Al Midan 2014 Laser Cut, edge painting, laser etching Edition of 40 20 sections, each section four folios, total of 160 pages 4.5 x 4.5 x 2.5 inches When I make a historical book structure, I go through a learning process. I learn the history as well as the different physical aspects of the binding such as how a book form is constructed in a specific sequence. I learn about the use of different materials such as paper, wood, leather and dyes. I learn to make choices in selecting and replacing traditional materials that I don’t have access to. I use these different experiences to enhance my work in making artists’ books and to use historical and cultural references from these structures in the actual content. In essence, I wish to explore new ways to use the rich structures of historical books in contemporary artists’ book practice and incorporate contemporary content into strictly historical structures. Historically, these structures used a lot of text, either calligraphy or print, and they sometimes also included illustrations, illumination, and images. I explore different ways to add alternative content to these structures while keeping their appearance and integrity. I want to reuse these rich structures and give them a new life as artists’ books. I am using two main themes. The first is abstract, where I’ll explore texture, color, and form. The second is language; I am interested in the similarities and differences between English and Arabic languages. For example: writing, pronunciation, letterforms and typography. I am also examining pieces where these themes will intersect through the use of material. In my work I experiment with different techniques on handmade paper such as laser cutting, waxing, stitching, and paper dyeing. My book art reproduces familiar book structures that embody the heritage of book history but contain some of the wonder that can come from contemporary book art.¬¬ Description of the work: Egyptian uprising called for democratic reform. Tahrir Square in Cairo became the focal point and the most effective symbol of the protests in January and February 2011. For 18 days Egyptians repeated the slogan: The People Want to Bring down the Regime (al-sha`b yurid isqat al-nizam) until the regime stepped down on the 11th of February 2011. “This book focuses on the revolution slogan ‘al-sha`b yurid isqat al-nizam.’ Using Arabic Kufic script the words of the slogan are repeated in an ascending sequence. Section 19 contains the English translation for the slogan ‘The People Want to Bring down the Regime.’ The last section contains the time and date when the regime stepped down along with the sentence ‘Al Saa’b Askat al Nezam’ with its English translation ‘The People have Brought down the Regime’. “Cairo’s map is laser engraved on the book covers. Three edges of the book are colored then laser engraved to show the streets of Cairo. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774450146479-GFJUWI4EXJD7JUAVMXP6/MCBA-Prize-2015-Islam-Aly-The-Square-Al-Midan-5.jpg Entries & Jurors - 2015 Entries - Islam Aly Islam Aly (Iowa City, IA) islamaly.com The Square, Al Midan 2014 Laser Cut, edge painting, laser etching Edition of 40 20 sections, each section four folios, total of 160 pages 4.5 x 4.5 x 2.5 inches When I make a historical book structure, I go through a learning process. I learn the history as well as the different physical aspects of the binding such as how a book form is constructed in a specific sequence. I learn about the use of different materials such as paper, wood, leather and dyes. I learn to make choices in selecting and replacing traditional materials that I don’t have access to. I use these different experiences to enhance my work in making artists’ books and to use historical and cultural references from these structures in the actual content. In essence, I wish to explore new ways to use the rich structures of historical books in contemporary artists’ book practice and incorporate contemporary content into strictly historical structures. Historically, these structures used a lot of text, either calligraphy or print, and they sometimes also included illustrations, illumination, and images. I explore different ways to add alternative content to these structures while keeping their appearance and integrity. I want to reuse these rich structures and give them a new life as artists’ books. I am using two main themes. The first is abstract, where I’ll explore texture, color, and form. The second is language; I am interested in the similarities and differences between English and Arabic languages. For example: writing, pronunciation, letterforms and typography. I am also examining pieces where these themes will intersect through the use of material. In my work I experiment with different techniques on handmade paper such as laser cutting, waxing, stitching, and paper dyeing. My book art reproduces familiar book structures that embody the heritage of book history but contain some of the wonder that can come from contemporary book art.¬¬ Description of the work: Egyptian uprising called for democratic reform. Tahrir Square in Cairo became the focal point and the most effective symbol of the protests in January and February 2011. For 18 days Egyptians repeated the slogan: The People Want to Bring down the Regime (al-sha`b yurid isqat al-nizam) until the regime stepped down on the 11th of February 2011. “This book focuses on the revolution slogan ‘al-sha`b yurid isqat al-nizam.’ Using Arabic Kufic script the words of the slogan are repeated in an ascending sequence. Section 19 contains the English translation for the slogan ‘The People Want to Bring down the Regime.’ The last section contains the time and date when the regime stepped down along with the sentence ‘Al Saa’b Askat al Nezam’ with its English translation ‘The People have Brought down the Regime’. “Cairo’s map is laser engraved on the book covers. Three edges of the book are colored then laser engraved to show the streets of Cairo. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774451977420-75GC4EQ15V3PMRVQPUYW/MCBA-Prize-2015-phillip-anderson-bellwether-live-at-first-avenue-1.jpg Entries & Jurors - 2015 Entries - Phillip Anderson Philip Anderson (Maple Grove, MN) philipanderson.org Bellwether live at First Avenue 2015 print Edition of 100 46 pages 6″ x 12″ x .25″ open 6″ x 6″ x .25″ closed The book Bellwether live at First Avenue is a project about creativity and doing what is needed to realize that creativity. The history of the band Bellwether and its evolution is included along with images as they played at the legendary First Avenue in Minneapolis, Minnesota. Art professor Will Agar wrote a wonderful foreword that provides a great reference point into the symbiotic interaction between music and photography. The author’s afterword wrote of the impetus of the project and the subsequent life events that brought it to fruition. It is a limited edition of 100 books (English/Spanish), all signed and numbered. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774451975358-X9NYUC9UB2IM3D69G04K/mcba-prize-2015-phillip-anderson-bellwether-live-at-first-avenue-2.jpg Entries & Jurors - 2015 Entries - Phillip Anderson Philip Anderson (Maple Grove, MN) philipanderson.org Bellwether live at First Avenue 2015 print Edition of 100 46 pages 6″ x 12″ x .25″ open 6″ x 6″ x .25″ closed The book Bellwether live at First Avenue is a project about creativity and doing what is needed to realize that creativity. The history of the band Bellwether and its evolution is included along with images as they played at the legendary First Avenue in Minneapolis, Minnesota. Art professor Will Agar wrote a wonderful foreword that provides a great reference point into the symbiotic interaction between music and photography. The author’s afterword wrote of the impetus of the project and the subsequent life events that brought it to fruition. It is a limited edition of 100 books (English/Spanish), all signed and numbered. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774451977289-K658UDEB2ORB10SKP0KU/mcba-prize-2015-phillip-anderson-bellwether-live-at-first-avenue-3.jpg Entries & Jurors - 2015 Entries - Phillip Anderson Philip Anderson (Maple Grove, MN) philipanderson.org Bellwether live at First Avenue 2015 print Edition of 100 46 pages 6″ x 12″ x .25″ open 6″ x 6″ x .25″ closed The book Bellwether live at First Avenue is a project about creativity and doing what is needed to realize that creativity. The history of the band Bellwether and its evolution is included along with images as they played at the legendary First Avenue in Minneapolis, Minnesota. Art professor Will Agar wrote a wonderful foreword that provides a great reference point into the symbiotic interaction between music and photography. The author’s afterword wrote of the impetus of the project and the subsequent life events that brought it to fruition. It is a limited edition of 100 books (English/Spanish), all signed and numbered. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774451979184-B8KI58DKOKF2FCNUKOEQ/mcba-prize-2015-phillip-anderson-bellwether-live-at-first-avenue-4.jpg Entries & Jurors - 2015 Entries - Phillip Anderson Philip Anderson (Maple Grove, MN) philipanderson.org Bellwether live at First Avenue 2015 print Edition of 100 46 pages 6″ x 12″ x .25″ open 6″ x 6″ x .25″ closed The book Bellwether live at First Avenue is a project about creativity and doing what is needed to realize that creativity. The history of the band Bellwether and its evolution is included along with images as they played at the legendary First Avenue in Minneapolis, Minnesota. Art professor Will Agar wrote a wonderful foreword that provides a great reference point into the symbiotic interaction between music and photography. The author’s afterword wrote of the impetus of the project and the subsequent life events that brought it to fruition. It is a limited edition of 100 books (English/Spanish), all signed and numbered. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452159731-FG99M974H0T8YB6O69VI/MCBA-Prize-2015-susan-angebranndt-persimmons-1.jpg Entries & Jurors - 2015 Entries - Persimmons Susan Angebranndt (Santa Fe, New Mexico) GreenChairPress.com Persimmons 2014 Letterpress printed, sewing Edition of 50 7 spreads 5 x 7 x 1.25 open At Green Chair Press, Susan Angebranndt combines her love of type, poetry and old cranky machines to make fine press books, miniatures and ephemera. The fine press work centers on limited-edition “poem books.” This intense focus, together with a design, structure, materials and artwork that speak to the text, aims to give the reader a deeper experience of the poetry. Her books are in collections across the US. Li-Young Lee’s poem Persimmons shows how sight can be deceiving, that perhaps trusting one’s sense of touch can be a better measure of the world. I’ve paired Lee’s words with lines sewn in Braille using french knots, to emphasis this tactile theme. The words in Braille echo the poetry and are also blind stamped above the sewing. The text is printed letterpress on Canson paper. There are 7 spreads, woven together with a technique devised by Elizabeth Steiner. Housed in a paper box. Designed, printed, sewn and bound by Susan Angebranndt. Limited edition of 50 numbered copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452158090-POJYMA62EA4OHA3C1U48/MCBA-Prize-2015-susan-angebranndt-persimmons-2.jpg Entries & Jurors - 2015 Entries - Persimmons Susan Angebranndt (Santa Fe, New Mexico) GreenChairPress.com Persimmons 2014 Letterpress printed, sewing Edition of 50 7 spreads 5 x 7 x 1.25 open At Green Chair Press, Susan Angebranndt combines her love of type, poetry and old cranky machines to make fine press books, miniatures and ephemera. The fine press work centers on limited-edition “poem books.” This intense focus, together with a design, structure, materials and artwork that speak to the text, aims to give the reader a deeper experience of the poetry. Her books are in collections across the US. Li-Young Lee’s poem Persimmons shows how sight can be deceiving, that perhaps trusting one’s sense of touch can be a better measure of the world. I’ve paired Lee’s words with lines sewn in Braille using french knots, to emphasis this tactile theme. The words in Braille echo the poetry and are also blind stamped above the sewing. The text is printed letterpress on Canson paper. There are 7 spreads, woven together with a technique devised by Elizabeth Steiner. Housed in a paper box. Designed, printed, sewn and bound by Susan Angebranndt. Limited edition of 50 numbered copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452159915-7OZVWAK2B1F9JZOD6C48/MCBA-Prize-2015-susan-angebranndt-persimmons-3.jpg Entries & Jurors - 2015 Entries - Persimmons Susan Angebranndt (Santa Fe, New Mexico) GreenChairPress.com Persimmons 2014 Letterpress printed, sewing Edition of 50 7 spreads 5 x 7 x 1.25 open At Green Chair Press, Susan Angebranndt combines her love of type, poetry and old cranky machines to make fine press books, miniatures and ephemera. The fine press work centers on limited-edition “poem books.” This intense focus, together with a design, structure, materials and artwork that speak to the text, aims to give the reader a deeper experience of the poetry. Her books are in collections across the US. Li-Young Lee’s poem Persimmons shows how sight can be deceiving, that perhaps trusting one’s sense of touch can be a better measure of the world. I’ve paired Lee’s words with lines sewn in Braille using french knots, to emphasis this tactile theme. The words in Braille echo the poetry and are also blind stamped above the sewing. The text is printed letterpress on Canson paper. There are 7 spreads, woven together with a technique devised by Elizabeth Steiner. Housed in a paper box. Designed, printed, sewn and bound by Susan Angebranndt. Limited edition of 50 numbered copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452161481-CNMCHNYNEDH3EHXBLCX1/MCBA-Prize-2015-susan-angebranndt-persimmons-4.jpg Entries & Jurors - 2015 Entries - Persimmons Susan Angebranndt (Santa Fe, New Mexico) GreenChairPress.com Persimmons 2014 Letterpress printed, sewing Edition of 50 7 spreads 5 x 7 x 1.25 open At Green Chair Press, Susan Angebranndt combines her love of type, poetry and old cranky machines to make fine press books, miniatures and ephemera. The fine press work centers on limited-edition “poem books.” This intense focus, together with a design, structure, materials and artwork that speak to the text, aims to give the reader a deeper experience of the poetry. Her books are in collections across the US. Li-Young Lee’s poem Persimmons shows how sight can be deceiving, that perhaps trusting one’s sense of touch can be a better measure of the world. I’ve paired Lee’s words with lines sewn in Braille using french knots, to emphasis this tactile theme. The words in Braille echo the poetry and are also blind stamped above the sewing. The text is printed letterpress on Canson paper. There are 7 spreads, woven together with a technique devised by Elizabeth Steiner. Housed in a paper box. Designed, printed, sewn and bound by Susan Angebranndt. Limited edition of 50 numbered copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452161583-ZRG78IEFVY1MP7QCPQ51/MCBA-Prize-2015-susan-angebranndt-persimmons-5.jpg Entries & Jurors - 2015 Entries - Persimmons Susan Angebranndt (Santa Fe, New Mexico) GreenChairPress.com Persimmons 2014 Letterpress printed, sewing Edition of 50 7 spreads 5 x 7 x 1.25 open At Green Chair Press, Susan Angebranndt combines her love of type, poetry and old cranky machines to make fine press books, miniatures and ephemera. The fine press work centers on limited-edition “poem books.” This intense focus, together with a design, structure, materials and artwork that speak to the text, aims to give the reader a deeper experience of the poetry. Her books are in collections across the US. Li-Young Lee’s poem Persimmons shows how sight can be deceiving, that perhaps trusting one’s sense of touch can be a better measure of the world. I’ve paired Lee’s words with lines sewn in Braille using french knots, to emphasis this tactile theme. The words in Braille echo the poetry and are also blind stamped above the sewing. The text is printed letterpress on Canson paper. There are 7 spreads, woven together with a technique devised by Elizabeth Steiner. Housed in a paper box. Designed, printed, sewn and bound by Susan Angebranndt. Limited edition of 50 numbered copies. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452241455-TJ6VYDMM0BUTQWHAAG0J/MCBA-prize-2015-Jill-AnnieMargaret-Hairstory-Herstory-1.jpg Entries & Jurors - 2015 Entries - Jill AnnieMargaret Jill AnnieMargaret (Boise, ID) jillanniemargaret.com Hairstory-Herstory 2014 lithography, screenprint, accordion book Edition of 5 25cm x 200cm x 25cm open 25cm x 25cm x 1 cm closed Hairstory-Herstory reaches out to women affected by sexual assault, domestic violence and child sexual abuse. Through the collection of hair and writings, lithography and screenprint, the work aims to shatter isolation, facilitate healing and shed light on generational cycles of abuse and trauma. Hair is a physical print of the individual it belongs to. It holds within it a record of ancestral relationships. Spanning eons and cultures, the hair of loved ones has been saved for memorial and spiritual purposes. If undisturbed, hair withstands time, standing as a record of a life or an era. The artist book featured in my images was created in collaboration with the Argentine printmaking residency at La Fundación ´ace para el Arte Contemporáneo in Buenos Aires. Direct exposure of women’s hair created the photo-lithography plates used in the book. The edition number is 5. In April and May of 2014, I collaborated with Idaho City poet, Mary Ellen McMurtrie and co-led writing workshops at the Women’s and Children’s Alliance (a local women’s shelter) in Boise, Idaho. The text in the artist book was graciously donated to the project by one of the workshop participants. The text in the book is in both English and Spanish as is the colophon page. When I created the work, my name was Jill Ingram Fitterer. In January 2015, I changed my name to Jill AnnieMargaret. AnnieMargaret honors four generations of women in my maternal lineage. The project expanded into an international scope in July 2014 with my invitation for an AcePIRAR residency at Proyecto ‘Ace, La Fundación ´ace para el Arte Contemporáneo in Buenos Aires, Argentina. During my residency, I led oral narration workshops with the women at Centre Arminda Aberastury in collaboration with La Fundación ´ace para el Arte Contemporáneo and in Buenos Aires, Argentina. The workshops featured the poems of Chilean poet, Dehlia Dominguez and U.S. poet Dorianne Laux, participants wrote and told stories of their own experiences. Hairstory-Herstory the book is one component of a larger project that seeks social change through an immersive installation of printed silk gauze, vinyl type, audio recordings, hand-pulled prints and mass printed postcards. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452241197-MM7GWAEGN9D2INXKOGN9/MCBA-prize-2015-Jill-AnnieMargaret-Hairstory-Herstory-2.jpg Entries & Jurors - 2015 Entries - Jill AnnieMargaret Jill AnnieMargaret (Boise, ID) jillanniemargaret.com Hairstory-Herstory 2014 lithography, screenprint, accordion book Edition of 5 25cm x 200cm x 25cm open 25cm x 25cm x 1 cm closed Hairstory-Herstory reaches out to women affected by sexual assault, domestic violence and child sexual abuse. Through the collection of hair and writings, lithography and screenprint, the work aims to shatter isolation, facilitate healing and shed light on generational cycles of abuse and trauma. Hair is a physical print of the individual it belongs to. It holds within it a record of ancestral relationships. Spanning eons and cultures, the hair of loved ones has been saved for memorial and spiritual purposes. If undisturbed, hair withstands time, standing as a record of a life or an era. The artist book featured in my images was created in collaboration with the Argentine printmaking residency at La Fundación ´ace para el Arte Contemporáneo in Buenos Aires. Direct exposure of women’s hair created the photo-lithography plates used in the book. The edition number is 5. In April and May of 2014, I collaborated with Idaho City poet, Mary Ellen McMurtrie and co-led writing workshops at the Women’s and Children’s Alliance (a local women’s shelter) in Boise, Idaho. The text in the artist book was graciously donated to the project by one of the workshop participants. The text in the book is in both English and Spanish as is the colophon page. When I created the work, my name was Jill Ingram Fitterer. In January 2015, I changed my name to Jill AnnieMargaret. AnnieMargaret honors four generations of women in my maternal lineage. The project expanded into an international scope in July 2014 with my invitation for an AcePIRAR residency at Proyecto ‘Ace, La Fundación ´ace para el Arte Contemporáneo in Buenos Aires, Argentina. During my residency, I led oral narration workshops with the women at Centre Arminda Aberastury in collaboration with La Fundación ´ace para el Arte Contemporáneo and in Buenos Aires, Argentina. The workshops featured the poems of Chilean poet, Dehlia Dominguez and U.S. poet Dorianne Laux, participants wrote and told stories of their own experiences. Hairstory-Herstory the book is one component of a larger project that seeks social change through an immersive installation of printed silk gauze, vinyl type, audio recordings, hand-pulled prints and mass printed postcards. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452242692-8TOVPLYZYI3XCZVVD5D4/MCBA-prize-2015-Jill-AnnieMargaret-Hairstory-Herstory-3.jpg Entries & Jurors - 2015 Entries - Jill AnnieMargaret Jill AnnieMargaret (Boise, ID) jillanniemargaret.com Hairstory-Herstory 2014 lithography, screenprint, accordion book Edition of 5 25cm x 200cm x 25cm open 25cm x 25cm x 1 cm closed Hairstory-Herstory reaches out to women affected by sexual assault, domestic violence and child sexual abuse. Through the collection of hair and writings, lithography and screenprint, the work aims to shatter isolation, facilitate healing and shed light on generational cycles of abuse and trauma. Hair is a physical print of the individual it belongs to. It holds within it a record of ancestral relationships. Spanning eons and cultures, the hair of loved ones has been saved for memorial and spiritual purposes. If undisturbed, hair withstands time, standing as a record of a life or an era. The artist book featured in my images was created in collaboration with the Argentine printmaking residency at La Fundación ´ace para el Arte Contemporáneo in Buenos Aires. Direct exposure of women’s hair created the photo-lithography plates used in the book. The edition number is 5. In April and May of 2014, I collaborated with Idaho City poet, Mary Ellen McMurtrie and co-led writing workshops at the Women’s and Children’s Alliance (a local women’s shelter) in Boise, Idaho. The text in the artist book was graciously donated to the project by one of the workshop participants. The text in the book is in both English and Spanish as is the colophon page. When I created the work, my name was Jill Ingram Fitterer. In January 2015, I changed my name to Jill AnnieMargaret. AnnieMargaret honors four generations of women in my maternal lineage. The project expanded into an international scope in July 2014 with my invitation for an AcePIRAR residency at Proyecto ‘Ace, La Fundación ´ace para el Arte Contemporáneo in Buenos Aires, Argentina. During my residency, I led oral narration workshops with the women at Centre Arminda Aberastury in collaboration with La Fundación ´ace para el Arte Contemporáneo and in Buenos Aires, Argentina. The workshops featured the poems of Chilean poet, Dehlia Dominguez and U.S. poet Dorianne Laux, participants wrote and told stories of their own experiences. Hairstory-Herstory the book is one component of a larger project that seeks social change through an immersive installation of printed silk gauze, vinyl type, audio recordings, hand-pulled prints and mass printed postcards. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452243031-QC5U20JNZR8ULY3VKBWE/MCBA-prize-2015-Jill-AnnieMargaret-Hairstory-Herstory-4.jpg Entries & Jurors - 2015 Entries - Jill AnnieMargaret Jill AnnieMargaret (Boise, ID) jillanniemargaret.com Hairstory-Herstory 2014 lithography, screenprint, accordion book Edition of 5 25cm x 200cm x 25cm open 25cm x 25cm x 1 cm closed Hairstory-Herstory reaches out to women affected by sexual assault, domestic violence and child sexual abuse. Through the collection of hair and writings, lithography and screenprint, the work aims to shatter isolation, facilitate healing and shed light on generational cycles of abuse and trauma. Hair is a physical print of the individual it belongs to. It holds within it a record of ancestral relationships. Spanning eons and cultures, the hair of loved ones has been saved for memorial and spiritual purposes. If undisturbed, hair withstands time, standing as a record of a life or an era. The artist book featured in my images was created in collaboration with the Argentine printmaking residency at La Fundación ´ace para el Arte Contemporáneo in Buenos Aires. Direct exposure of women’s hair created the photo-lithography plates used in the book. The edition number is 5. In April and May of 2014, I collaborated with Idaho City poet, Mary Ellen McMurtrie and co-led writing workshops at the Women’s and Children’s Alliance (a local women’s shelter) in Boise, Idaho. The text in the artist book was graciously donated to the project by one of the workshop participants. The text in the book is in both English and Spanish as is the colophon page. When I created the work, my name was Jill Ingram Fitterer. In January 2015, I changed my name to Jill AnnieMargaret. AnnieMargaret honors four generations of women in my maternal lineage. The project expanded into an international scope in July 2014 with my invitation for an AcePIRAR residency at Proyecto ‘Ace, La Fundación ´ace para el Arte Contemporáneo in Buenos Aires, Argentina. During my residency, I led oral narration workshops with the women at Centre Arminda Aberastury in collaboration with La Fundación ´ace para el Arte Contemporáneo and in Buenos Aires, Argentina. The workshops featured the poems of Chilean poet, Dehlia Dominguez and U.S. poet Dorianne Laux, participants wrote and told stories of their own experiences. Hairstory-Herstory the book is one component of a larger project that seeks social change through an immersive installation of printed silk gauze, vinyl type, audio recordings, hand-pulled prints and mass printed postcards. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452244253-DERXXVVA43BZE2MTY368/MCBA-prize-2015-Jill-AnnieMargaret-Hairstory-Herstory-5.jpg Entries & Jurors - 2015 Entries - Jill AnnieMargaret Jill AnnieMargaret (Boise, ID) jillanniemargaret.com Hairstory-Herstory 2014 lithography, screenprint, accordion book Edition of 5 25cm x 200cm x 25cm open 25cm x 25cm x 1 cm closed Hairstory-Herstory reaches out to women affected by sexual assault, domestic violence and child sexual abuse. Through the collection of hair and writings, lithography and screenprint, the work aims to shatter isolation, facilitate healing and shed light on generational cycles of abuse and trauma. Hair is a physical print of the individual it belongs to. It holds within it a record of ancestral relationships. Spanning eons and cultures, the hair of loved ones has been saved for memorial and spiritual purposes. If undisturbed, hair withstands time, standing as a record of a life or an era. The artist book featured in my images was created in collaboration with the Argentine printmaking residency at La Fundación ´ace para el Arte Contemporáneo in Buenos Aires. Direct exposure of women’s hair created the photo-lithography plates used in the book. The edition number is 5. In April and May of 2014, I collaborated with Idaho City poet, Mary Ellen McMurtrie and co-led writing workshops at the Women’s and Children’s Alliance (a local women’s shelter) in Boise, Idaho. The text in the artist book was graciously donated to the project by one of the workshop participants. The text in the book is in both English and Spanish as is the colophon page. When I created the work, my name was Jill Ingram Fitterer. In January 2015, I changed my name to Jill AnnieMargaret. AnnieMargaret honors four generations of women in my maternal lineage. The project expanded into an international scope in July 2014 with my invitation for an AcePIRAR residency at Proyecto ‘Ace, La Fundación ´ace para el Arte Contemporáneo in Buenos Aires, Argentina. During my residency, I led oral narration workshops with the women at Centre Arminda Aberastury in collaboration with La Fundación ´ace para el Arte Contemporáneo and in Buenos Aires, Argentina. The workshops featured the poems of Chilean poet, Dehlia Dominguez and U.S. poet Dorianne Laux, participants wrote and told stories of their own experiences. Hairstory-Herstory the book is one component of a larger project that seeks social change through an immersive installation of printed silk gauze, vinyl type, audio recordings, hand-pulled prints and mass printed postcards. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452428321-16CFLGDOYR1ZCU3V28H9/MCBA-Prize-2015-Joanna-Apanowicz-Liber-non-scriptum-1.JPG Entries & Jurors - 2015 Entries - Joanna Apanowicz Joanna Apanowicz (Lodz, Poland) ceramicus.eu Liber non scriptum 2013 mixed media Unique work Dimensions open: 42 x 215 x 1 cm Dimensions closed: 42 x 43 x 1 cm I have always been intrigued by contrast, texture and rhythm. Ceramics let me transfer this search into the third, and the book even into the fourth dimension, as the factor of time appears here. My works take forms which come from their intrinsic construction, avoiding additional ornaments. I believe it gives me a chance to reveal their natural beauty which is a reflection of the plain truth of the world that surrounds us. “Liber non scriptum” is a book without a word, which story is based on contrasts of different materialities and geometry contrasting with handmade elements. I intend to develop an equality of a matrix and an impression in it. I hope that the contrast of softness and hardness, order and untidiness is complementing the artistic expression of this work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452428890-N7RGCXCMCVSSVDVKQCLR/MCBA-Prize-2015-Joanna-Apanowicz-Liber-non-scriptum-2.JPG Entries & Jurors - 2015 Entries - Joanna Apanowicz Joanna Apanowicz (Lodz, Poland) ceramicus.eu Liber non scriptum 2013 mixed media Unique work Dimensions open: 42 x 215 x 1 cm Dimensions closed: 42 x 43 x 1 cm I have always been intrigued by contrast, texture and rhythm. Ceramics let me transfer this search into the third, and the book even into the fourth dimension, as the factor of time appears here. My works take forms which come from their intrinsic construction, avoiding additional ornaments. I believe it gives me a chance to reveal their natural beauty which is a reflection of the plain truth of the world that surrounds us. “Liber non scriptum” is a book without a word, which story is based on contrasts of different materialities and geometry contrasting with handmade elements. I intend to develop an equality of a matrix and an impression in it. I hope that the contrast of softness and hardness, order and untidiness is complementing the artistic expression of this work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452430110-NF8668P9M777GEZ5K5R7/MCBA-Prize-2015-Joanna-Apanowicz-Liber-non-scriptum-3.JPG Entries & Jurors - 2015 Entries - Joanna Apanowicz Joanna Apanowicz (Lodz, Poland) ceramicus.eu Liber non scriptum 2013 mixed media Unique work Dimensions open: 42 x 215 x 1 cm Dimensions closed: 42 x 43 x 1 cm I have always been intrigued by contrast, texture and rhythm. Ceramics let me transfer this search into the third, and the book even into the fourth dimension, as the factor of time appears here. My works take forms which come from their intrinsic construction, avoiding additional ornaments. I believe it gives me a chance to reveal their natural beauty which is a reflection of the plain truth of the world that surrounds us. “Liber non scriptum” is a book without a word, which story is based on contrasts of different materialities and geometry contrasting with handmade elements. I intend to develop an equality of a matrix and an impression in it. I hope that the contrast of softness and hardness, order and untidiness is complementing the artistic expression of this work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452519021-QX3Y1ZKVT2LCCKECJ814/MCBA-prize-2015-Alex-Appella-The-Ja%CC%81nos-Letter-1.jpg Entries & Jurors - 2015 Entries - Alex Appella Alex Appella (Salem, OR) alexappella.com The János Letter 2015 Hard back Japanese Stabbinding, Handwoven Pages, Digital Collage, Epson Ink Jet Printing, Housed in a Clam Shell Box Edition 50 11 pages 9.75 x 53 x .75″ open 9.75 x 26 x 1.5″ closed For over a decade I researched, wrote, and created The János Book. It is the project that brought me to Argentina originally in 1994, to speak with János, my grandfather’s brother. János was the only elder living who could answer questions that arose in our home in the US after going through my deceased grandfather’s boxes of photos and letters. The János Book is a limited edition artist’s book that began in 2006. It tells of János, and of his decision to reveal our family’s identity despite generations of secrecy. Once the book came to life, I felt certain I had explored all there was to share about János and our family’s journey. I felt certain of that until May of 2014, when I received a letter in the mail. From János. He wrote it to me in 1983, and due to a string of incredible events, as only real life can offer us, the letter appeared for the first time on my doorstep last May. János passed away in 2003. The letter János wrote to me is a prologue. The letter is an epilogue. The letter is a turning point within a work I believed to be complete. The letter, and its arrival, is too unbelievable to not share, so that readers may decide for themselves. Creating The János Letter challenged me to design a work that could stand on its own, or integrate seamlessly with its counterpart, The János Book. Likewise, The János Letter challenges the reader to do something similar: to weave together the inconceivable into a certainty one can either depend on, or question endlessly. As needed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452431174-LJSI5166PPP81C8TDAKP/MCBA-Prize-2015-Joanna-Apanowicz-Liber-non-scriptum-4.JPG Entries & Jurors - 2015 Entries - Joanna Apanowicz Joanna Apanowicz (Lodz, Poland) ceramicus.eu Liber non scriptum 2013 mixed media Unique work Dimensions open: 42 x 215 x 1 cm Dimensions closed: 42 x 43 x 1 cm I have always been intrigued by contrast, texture and rhythm. Ceramics let me transfer this search into the third, and the book even into the fourth dimension, as the factor of time appears here. My works take forms which come from their intrinsic construction, avoiding additional ornaments. I believe it gives me a chance to reveal their natural beauty which is a reflection of the plain truth of the world that surrounds us. “Liber non scriptum” is a book without a word, which story is based on contrasts of different materialities and geometry contrasting with handmade elements. I intend to develop an equality of a matrix and an impression in it. I hope that the contrast of softness and hardness, order and untidiness is complementing the artistic expression of this work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452518491-MP8NNXAPBB7STQ8GDLKD/MCBA-prize-2015-Alex-Appella-The-Ja%CC%81nos-Letter-2.jpg Entries & Jurors - 2015 Entries - Alex Appella Alex Appella (Salem, OR) alexappella.com The János Letter 2015 Hard back Japanese Stabbinding, Handwoven Pages, Digital Collage, Epson Ink Jet Printing, Housed in a Clam Shell Box Edition 50 11 pages 9.75 x 53 x .75″ open 9.75 x 26 x 1.5″ closed For over a decade I researched, wrote, and created The János Book. It is the project that brought me to Argentina originally in 1994, to speak with János, my grandfather’s brother. János was the only elder living who could answer questions that arose in our home in the US after going through my deceased grandfather’s boxes of photos and letters. The János Book is a limited edition artist’s book that began in 2006. It tells of János, and of his decision to reveal our family’s identity despite generations of secrecy. Once the book came to life, I felt certain I had explored all there was to share about János and our family’s journey. I felt certain of that until May of 2014, when I received a letter in the mail. From János. He wrote it to me in 1983, and due to a string of incredible events, as only real life can offer us, the letter appeared for the first time on my doorstep last May. János passed away in 2003. The letter János wrote to me is a prologue. The letter is an epilogue. The letter is a turning point within a work I believed to be complete. The letter, and its arrival, is too unbelievable to not share, so that readers may decide for themselves. Creating The János Letter challenged me to design a work that could stand on its own, or integrate seamlessly with its counterpart, The János Book. Likewise, The János Letter challenges the reader to do something similar: to weave together the inconceivable into a certainty one can either depend on, or question endlessly. As needed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452432200-1S1PFQFYXXKYU89FHPIX/MCBA-Prize-2015-Joanna-Apanowicz-Liber-non-scriptum-5.JPG Entries & Jurors - 2015 Entries - Joanna Apanowicz Joanna Apanowicz (Lodz, Poland) ceramicus.eu Liber non scriptum 2013 mixed media Unique work Dimensions open: 42 x 215 x 1 cm Dimensions closed: 42 x 43 x 1 cm I have always been intrigued by contrast, texture and rhythm. Ceramics let me transfer this search into the third, and the book even into the fourth dimension, as the factor of time appears here. My works take forms which come from their intrinsic construction, avoiding additional ornaments. I believe it gives me a chance to reveal their natural beauty which is a reflection of the plain truth of the world that surrounds us. “Liber non scriptum” is a book without a word, which story is based on contrasts of different materialities and geometry contrasting with handmade elements. I intend to develop an equality of a matrix and an impression in it. I hope that the contrast of softness and hardness, order and untidiness is complementing the artistic expression of this work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452521296-FJQRYECG2CVEZTVDYXRK/MCBA-prize-2015-Alex-Appella-The-Ja%CC%81nos-Letter-3.jpg Entries & Jurors - 2015 Entries - Alex Appella Alex Appella (Salem, OR) alexappella.com The János Letter 2015 Hard back Japanese Stabbinding, Handwoven Pages, Digital Collage, Epson Ink Jet Printing, Housed in a Clam Shell Box Edition 50 11 pages 9.75 x 53 x .75″ open 9.75 x 26 x 1.5″ closed For over a decade I researched, wrote, and created The János Book. It is the project that brought me to Argentina originally in 1994, to speak with János, my grandfather’s brother. János was the only elder living who could answer questions that arose in our home in the US after going through my deceased grandfather’s boxes of photos and letters. The János Book is a limited edition artist’s book that began in 2006. It tells of János, and of his decision to reveal our family’s identity despite generations of secrecy. Once the book came to life, I felt certain I had explored all there was to share about János and our family’s journey. I felt certain of that until May of 2014, when I received a letter in the mail. From János. He wrote it to me in 1983, and due to a string of incredible events, as only real life can offer us, the letter appeared for the first time on my doorstep last May. János passed away in 2003. The letter János wrote to me is a prologue. The letter is an epilogue. The letter is a turning point within a work I believed to be complete. The letter, and its arrival, is too unbelievable to not share, so that readers may decide for themselves. Creating The János Letter challenged me to design a work that could stand on its own, or integrate seamlessly with its counterpart, The János Book. Likewise, The János Letter challenges the reader to do something similar: to weave together the inconceivable into a certainty one can either depend on, or question endlessly. As needed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452520824-3HY20TBLAB3A2CTTMAW6/MCBA-prize-2015-Alex-Appella-The-Ja%CC%81nos-Letter-4.jpg Entries & Jurors - 2015 Entries - Alex Appella Alex Appella (Salem, OR) alexappella.com The János Letter 2015 Hard back Japanese Stabbinding, Handwoven Pages, Digital Collage, Epson Ink Jet Printing, Housed in a Clam Shell Box Edition 50 11 pages 9.75 x 53 x .75″ open 9.75 x 26 x 1.5″ closed For over a decade I researched, wrote, and created The János Book. It is the project that brought me to Argentina originally in 1994, to speak with János, my grandfather’s brother. János was the only elder living who could answer questions that arose in our home in the US after going through my deceased grandfather’s boxes of photos and letters. The János Book is a limited edition artist’s book that began in 2006. It tells of János, and of his decision to reveal our family’s identity despite generations of secrecy. Once the book came to life, I felt certain I had explored all there was to share about János and our family’s journey. I felt certain of that until May of 2014, when I received a letter in the mail. From János. He wrote it to me in 1983, and due to a string of incredible events, as only real life can offer us, the letter appeared for the first time on my doorstep last May. János passed away in 2003. The letter János wrote to me is a prologue. The letter is an epilogue. The letter is a turning point within a work I believed to be complete. The letter, and its arrival, is too unbelievable to not share, so that readers may decide for themselves. Creating The János Letter challenged me to design a work that could stand on its own, or integrate seamlessly with its counterpart, The János Book. Likewise, The János Letter challenges the reader to do something similar: to weave together the inconceivable into a certainty one can either depend on, or question endlessly. As needed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452522369-D5QIE46P2WLK7K0RPDYE/MCBA-prize-2015-Alex-Appella-The-Ja%CC%81nos-Letter-5.jpg Entries & Jurors - 2015 Entries - Alex Appella Alex Appella (Salem, OR) alexappella.com The János Letter 2015 Hard back Japanese Stabbinding, Handwoven Pages, Digital Collage, Epson Ink Jet Printing, Housed in a Clam Shell Box Edition 50 11 pages 9.75 x 53 x .75″ open 9.75 x 26 x 1.5″ closed For over a decade I researched, wrote, and created The János Book. It is the project that brought me to Argentina originally in 1994, to speak with János, my grandfather’s brother. János was the only elder living who could answer questions that arose in our home in the US after going through my deceased grandfather’s boxes of photos and letters. The János Book is a limited edition artist’s book that began in 2006. It tells of János, and of his decision to reveal our family’s identity despite generations of secrecy. Once the book came to life, I felt certain I had explored all there was to share about János and our family’s journey. I felt certain of that until May of 2014, when I received a letter in the mail. From János. He wrote it to me in 1983, and due to a string of incredible events, as only real life can offer us, the letter appeared for the first time on my doorstep last May. János passed away in 2003. The letter János wrote to me is a prologue. The letter is an epilogue. The letter is a turning point within a work I believed to be complete. The letter, and its arrival, is too unbelievable to not share, so that readers may decide for themselves. Creating The János Letter challenged me to design a work that could stand on its own, or integrate seamlessly with its counterpart, The János Book. Likewise, The János Letter challenges the reader to do something similar: to weave together the inconceivable into a certainty one can either depend on, or question endlessly. As needed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452603040-KDMGRU2PF8X92VKUGS2J/mcba-prize-2015-Elizabeth-Banfield-On-Reflection-The-Forest-of-Ambiguity-1.jpg Entries & Jurors - 2015 Entries - Elizabeth Banfield Elizabeth Banfield (Olinda, Victoria) On Reflection (The Forest of Ambiguity) 2013 linocut, paper cutting, thread, portfolio box enclosure unique work 6 pages 28cm x 45cm x 28cm Mine is a forest of ambiguity. For most of the year I can confidently say that I love the beauty in my forest of towering eucalypts. Under this protective canopy there easily comes a feeling of quiet contemplation, conducive to the evocation of lost memories. They lie in abeyance within the detritus of the forest floor, connected to the fabric of life, recording the changes that take place as time passes. All this happens within the warm and nurturing layer beneath my feet, linking us to the past and the future. This is the wondrous and enigmatic forest that I love. Something changes, becoming more like a sense of foreboding, each year as February approaches. At such times it can feel somewhat selfish and foolhardy to live amongst a dense and dry forest. The leaves flutter to the ground at all times of year, but in the heat of a windy February day they too easily remind me of the flying embers that travel before a fast moving bushfire. This is when the love can become fear. It won’t fully diminish the love, but it is always there beneath the surface, coming to the fore while watching the far-reaching, whirling leaves. This artist book, featuring the reflected trees in a pond in the Dandenong Ranges of southern Australia, is symbolic of my reflection upon these contradictory emotions, as well as the insights gained from them. Ultimately it is the forest that remains, as does all its inherent beauty, in all its necessary states of being. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452602764-0MAPT0OWWAKDH269OCLZ/mcba-prize-2015-Elizabeth-Banfield-On-Reflection-The-Forest-of-Ambiguity-2.jpg Entries & Jurors - 2015 Entries - Elizabeth Banfield Elizabeth Banfield (Olinda, Victoria) On Reflection (The Forest of Ambiguity) 2013 linocut, paper cutting, thread, portfolio box enclosure unique work 6 pages 28cm x 45cm x 28cm Mine is a forest of ambiguity. For most of the year I can confidently say that I love the beauty in my forest of towering eucalypts. Under this protective canopy there easily comes a feeling of quiet contemplation, conducive to the evocation of lost memories. They lie in abeyance within the detritus of the forest floor, connected to the fabric of life, recording the changes that take place as time passes. All this happens within the warm and nurturing layer beneath my feet, linking us to the past and the future. This is the wondrous and enigmatic forest that I love. Something changes, becoming more like a sense of foreboding, each year as February approaches. At such times it can feel somewhat selfish and foolhardy to live amongst a dense and dry forest. The leaves flutter to the ground at all times of year, but in the heat of a windy February day they too easily remind me of the flying embers that travel before a fast moving bushfire. This is when the love can become fear. It won’t fully diminish the love, but it is always there beneath the surface, coming to the fore while watching the far-reaching, whirling leaves. This artist book, featuring the reflected trees in a pond in the Dandenong Ranges of southern Australia, is symbolic of my reflection upon these contradictory emotions, as well as the insights gained from them. Ultimately it is the forest that remains, as does all its inherent beauty, in all its necessary states of being. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452604206-0IUCRRLIOT61TNZMD75K/mcba-prize-2015-Elizabeth-Banfield-On-Reflection-The-Forest-of-Ambiguity-3.jpg Entries & Jurors - 2015 Entries - Elizabeth Banfield Elizabeth Banfield (Olinda, Victoria) On Reflection (The Forest of Ambiguity) 2013 linocut, paper cutting, thread, portfolio box enclosure unique work 6 pages 28cm x 45cm x 28cm Mine is a forest of ambiguity. For most of the year I can confidently say that I love the beauty in my forest of towering eucalypts. Under this protective canopy there easily comes a feeling of quiet contemplation, conducive to the evocation of lost memories. They lie in abeyance within the detritus of the forest floor, connected to the fabric of life, recording the changes that take place as time passes. All this happens within the warm and nurturing layer beneath my feet, linking us to the past and the future. This is the wondrous and enigmatic forest that I love. Something changes, becoming more like a sense of foreboding, each year as February approaches. At such times it can feel somewhat selfish and foolhardy to live amongst a dense and dry forest. The leaves flutter to the ground at all times of year, but in the heat of a windy February day they too easily remind me of the flying embers that travel before a fast moving bushfire. This is when the love can become fear. It won’t fully diminish the love, but it is always there beneath the surface, coming to the fore while watching the far-reaching, whirling leaves. This artist book, featuring the reflected trees in a pond in the Dandenong Ranges of southern Australia, is symbolic of my reflection upon these contradictory emotions, as well as the insights gained from them. Ultimately it is the forest that remains, as does all its inherent beauty, in all its necessary states of being. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452604680-74688H8UFFETUPG3QMZQ/mcba-prize-2015-Elizabeth-Banfield-On-Reflection-The-Forest-of-Ambiguity-4.jpg Entries & Jurors - 2015 Entries - Elizabeth Banfield Elizabeth Banfield (Olinda, Victoria) On Reflection (The Forest of Ambiguity) 2013 linocut, paper cutting, thread, portfolio box enclosure unique work 6 pages 28cm x 45cm x 28cm Mine is a forest of ambiguity. For most of the year I can confidently say that I love the beauty in my forest of towering eucalypts. Under this protective canopy there easily comes a feeling of quiet contemplation, conducive to the evocation of lost memories. They lie in abeyance within the detritus of the forest floor, connected to the fabric of life, recording the changes that take place as time passes. All this happens within the warm and nurturing layer beneath my feet, linking us to the past and the future. This is the wondrous and enigmatic forest that I love. Something changes, becoming more like a sense of foreboding, each year as February approaches. At such times it can feel somewhat selfish and foolhardy to live amongst a dense and dry forest. The leaves flutter to the ground at all times of year, but in the heat of a windy February day they too easily remind me of the flying embers that travel before a fast moving bushfire. This is when the love can become fear. It won’t fully diminish the love, but it is always there beneath the surface, coming to the fore while watching the far-reaching, whirling leaves. This artist book, featuring the reflected trees in a pond in the Dandenong Ranges of southern Australia, is symbolic of my reflection upon these contradictory emotions, as well as the insights gained from them. Ultimately it is the forest that remains, as does all its inherent beauty, in all its necessary states of being. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452605988-9U8LLEQ70G9R904LXJIQ/mcba-prize-2015-Elizabeth-Banfield-On-Reflection-The-Forest-of-Ambiguity-5.jpg Entries & Jurors - 2015 Entries - Elizabeth Banfield Elizabeth Banfield (Olinda, Victoria) On Reflection (The Forest of Ambiguity) 2013 linocut, paper cutting, thread, portfolio box enclosure unique work 6 pages 28cm x 45cm x 28cm Mine is a forest of ambiguity. For most of the year I can confidently say that I love the beauty in my forest of towering eucalypts. Under this protective canopy there easily comes a feeling of quiet contemplation, conducive to the evocation of lost memories. They lie in abeyance within the detritus of the forest floor, connected to the fabric of life, recording the changes that take place as time passes. All this happens within the warm and nurturing layer beneath my feet, linking us to the past and the future. This is the wondrous and enigmatic forest that I love. Something changes, becoming more like a sense of foreboding, each year as February approaches. At such times it can feel somewhat selfish and foolhardy to live amongst a dense and dry forest. The leaves flutter to the ground at all times of year, but in the heat of a windy February day they too easily remind me of the flying embers that travel before a fast moving bushfire. This is when the love can become fear. It won’t fully diminish the love, but it is always there beneath the surface, coming to the fore while watching the far-reaching, whirling leaves. This artist book, featuring the reflected trees in a pond in the Dandenong Ranges of southern Australia, is symbolic of my reflection upon these contradictory emotions, as well as the insights gained from them. Ultimately it is the forest that remains, as does all its inherent beauty, in all its necessary states of being. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452720838-Q73TXD5FDQ6IQ36SIFGD/mcba-prize-2015-Harriet-Bart-Ghost-Maps-1.jpg Entries & Jurors - 2015 Entries - Harriet Bart Harriet Bart (Minneapolis, MN) harrietbart.com Ghost Maps 2015 Digital and fine press on Pictorico Kenaf 68 (coated Washi) Edition size: 25 Pages: 24 Dimensions open: 7 3/4″ x 20 1/2″ x 5/8″ Dimensions closed: 7 3/4″ x 10 1/8″ x 5/8″ In 2010 I was a Resident Fellow at the Virginia Center for creative Arts in Amherst, Virginia where I had time to research, and develop new work. I brought a few basic art materials and several books to read, among them Italo Calvino’s fantastic and evocative tale Invisible Cities. Settling into VA5, my assigned studio, I noted the light was good, the ceiling high, the white walls ample, but the paint-splattered and stained concrete floor was a distraction. I requested-and was denied-permission to repaint the floor. That seemingly insignificant chance encounter marked the beginning of a series of new projects. I started to see the encrusted floor as a palimpsest, a cartography of the creative process, even an archive. Attending to color and repetition, I marked off sections of the floor with tape, scrubber the spaces between them and took aerial photographs. Ghost Maps began as a documentary process recording the absence and presence of myriad artists preceding me in Studio VA5. I finished working on the floor as I finished reading Invisible Cities. In its final form, Ghost Maps merges memory with mapping, as it suggests a topography of the creative world that lies beneath the mask of a city. At the end of the tale of the city of Zaira, Marco Polo laments to Kublai Kahn… The city does not tell its past, but contains it like the lines of a hand… https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452719665-V5RCDINQSN0QP3BVXGXE/mcba-prize-2015-Harriet-Bart-Ghost-Maps-2.jpg Entries & Jurors - 2015 Entries - Harriet Bart Harriet Bart (Minneapolis, MN) harrietbart.com Ghost Maps 2015 Digital and fine press on Pictorico Kenaf 68 (coated Washi) Edition size: 25 Pages: 24 Dimensions open: 7 3/4″ x 20 1/2″ x 5/8″ Dimensions closed: 7 3/4″ x 10 1/8″ x 5/8″ In 2010 I was a Resident Fellow at the Virginia Center for creative Arts in Amherst, Virginia where I had time to research, and develop new work. I brought a few basic art materials and several books to read, among them Italo Calvino’s fantastic and evocative tale Invisible Cities. Settling into VA5, my assigned studio, I noted the light was good, the ceiling high, the white walls ample, but the paint-splattered and stained concrete floor was a distraction. I requested-and was denied-permission to repaint the floor. That seemingly insignificant chance encounter marked the beginning of a series of new projects. I started to see the encrusted floor as a palimpsest, a cartography of the creative process, even an archive. Attending to color and repetition, I marked off sections of the floor with tape, scrubber the spaces between them and took aerial photographs. Ghost Maps began as a documentary process recording the absence and presence of myriad artists preceding me in Studio VA5. I finished working on the floor as I finished reading Invisible Cities. In its final form, Ghost Maps merges memory with mapping, as it suggests a topography of the creative world that lies beneath the mask of a city. At the end of the tale of the city of Zaira, Marco Polo laments to Kublai Kahn… The city does not tell its past, but contains it like the lines of a hand… https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452721175-FCOWAKRWKK1V9O8OEIT0/mcba-prize-2015-Harriet-Bart-Ghost-Maps-3.jpg Entries & Jurors - 2015 Entries - Harriet Bart Harriet Bart (Minneapolis, MN) harrietbart.com Ghost Maps 2015 Digital and fine press on Pictorico Kenaf 68 (coated Washi) Edition size: 25 Pages: 24 Dimensions open: 7 3/4″ x 20 1/2″ x 5/8″ Dimensions closed: 7 3/4″ x 10 1/8″ x 5/8″ In 2010 I was a Resident Fellow at the Virginia Center for creative Arts in Amherst, Virginia where I had time to research, and develop new work. I brought a few basic art materials and several books to read, among them Italo Calvino’s fantastic and evocative tale Invisible Cities. Settling into VA5, my assigned studio, I noted the light was good, the ceiling high, the white walls ample, but the paint-splattered and stained concrete floor was a distraction. I requested-and was denied-permission to repaint the floor. That seemingly insignificant chance encounter marked the beginning of a series of new projects. I started to see the encrusted floor as a palimpsest, a cartography of the creative process, even an archive. Attending to color and repetition, I marked off sections of the floor with tape, scrubber the spaces between them and took aerial photographs. Ghost Maps began as a documentary process recording the absence and presence of myriad artists preceding me in Studio VA5. I finished working on the floor as I finished reading Invisible Cities. In its final form, Ghost Maps merges memory with mapping, as it suggests a topography of the creative world that lies beneath the mask of a city. At the end of the tale of the city of Zaira, Marco Polo laments to Kublai Kahn… The city does not tell its past, but contains it like the lines of a hand… https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452722401-E2VT52M19ECDJ3QP5FGJ/mcba-prize-2015-Harriet-Bart-Ghost-Maps-4.jpg Entries & Jurors - 2015 Entries - Harriet Bart Harriet Bart (Minneapolis, MN) harrietbart.com Ghost Maps 2015 Digital and fine press on Pictorico Kenaf 68 (coated Washi) Edition size: 25 Pages: 24 Dimensions open: 7 3/4″ x 20 1/2″ x 5/8″ Dimensions closed: 7 3/4″ x 10 1/8″ x 5/8″ In 2010 I was a Resident Fellow at the Virginia Center for creative Arts in Amherst, Virginia where I had time to research, and develop new work. I brought a few basic art materials and several books to read, among them Italo Calvino’s fantastic and evocative tale Invisible Cities. Settling into VA5, my assigned studio, I noted the light was good, the ceiling high, the white walls ample, but the paint-splattered and stained concrete floor was a distraction. I requested-and was denied-permission to repaint the floor. That seemingly insignificant chance encounter marked the beginning of a series of new projects. I started to see the encrusted floor as a palimpsest, a cartography of the creative process, even an archive. Attending to color and repetition, I marked off sections of the floor with tape, scrubber the spaces between them and took aerial photographs. Ghost Maps began as a documentary process recording the absence and presence of myriad artists preceding me in Studio VA5. I finished working on the floor as I finished reading Invisible Cities. In its final form, Ghost Maps merges memory with mapping, as it suggests a topography of the creative world that lies beneath the mask of a city. At the end of the tale of the city of Zaira, Marco Polo laments to Kublai Kahn… The city does not tell its past, but contains it like the lines of a hand… https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452723740-N9ZLHYZNM46QK7FDXX1X/mcba-prize-2015-Harriet-Bart-Ghost-Maps-5.jpg Entries & Jurors - 2015 Entries - Harriet Bart Harriet Bart (Minneapolis, MN) harrietbart.com Ghost Maps 2015 Digital and fine press on Pictorico Kenaf 68 (coated Washi) Edition size: 25 Pages: 24 Dimensions open: 7 3/4″ x 20 1/2″ x 5/8″ Dimensions closed: 7 3/4″ x 10 1/8″ x 5/8″ In 2010 I was a Resident Fellow at the Virginia Center for creative Arts in Amherst, Virginia where I had time to research, and develop new work. I brought a few basic art materials and several books to read, among them Italo Calvino’s fantastic and evocative tale Invisible Cities. Settling into VA5, my assigned studio, I noted the light was good, the ceiling high, the white walls ample, but the paint-splattered and stained concrete floor was a distraction. I requested-and was denied-permission to repaint the floor. That seemingly insignificant chance encounter marked the beginning of a series of new projects. I started to see the encrusted floor as a palimpsest, a cartography of the creative process, even an archive. Attending to color and repetition, I marked off sections of the floor with tape, scrubber the spaces between them and took aerial photographs. Ghost Maps began as a documentary process recording the absence and presence of myriad artists preceding me in Studio VA5. I finished working on the floor as I finished reading Invisible Cities. In its final form, Ghost Maps merges memory with mapping, as it suggests a topography of the creative world that lies beneath the mask of a city. At the end of the tale of the city of Zaira, Marco Polo laments to Kublai Kahn… The city does not tell its past, but contains it like the lines of a hand… https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452869114-A3J4FTRRSE56XRNYZY7K/mcba-prize-2015-Mindy-Belloff-In-the-Garden-of-Earthly-Delights-1.jpg Entries & Jurors - 2015 Entries - Mindy Belloff Mindy Belloff (New York, NY) IntimaPress.com In the Garden of Earthly Delights 2014/2015 Eleven unique multi-colored etchings with hand painting, poems letterpress printed, uniquely designed Roman numerals, concertina sewn spine, quarter-bound pink Buffalo skin with leather onlays, full leather slipcase. Edition of 12 + 1 A.P. 32 pages Dimensions, open: 10.5 x 17.5 x 1 Dimensions, closed: 10.5 x 8.25 x 1 Intima Press is pleased to announce a new livres d’artiste based upon Hieronymus Bosch’s three-panel painting (1450-1516), which continues to intrigue and delight. The book features eleven unique multi-colored viscosity etchings, with inks applied in a painterly manner from open bite copper plates, a process more in tune with William Blake’s poetic illustrations, than with traditional etching, and hand painted with delicate and explosive lines breaking out of the rectangular frame. The intaglio prints are on folios of cotton rag papers of white (Section I), tan (Section II), and gray (Section III), the three sections coinciding with the panels of the painting from left to middle to right. Three newly written poems by Amy Lemmon, Steven Gentile, and Rich Turnbull are letterpress printed and announce each section, along with uniquely designed Roman numerals. The text is letterpress printed on vintage papers from JB Green paper mill, England. Binding by Celine Lombardi: concertina sewn spine with Bugra end papers, quarter-bound pink Buffalo skin with leather onlays, full leather slipcase. Artwork, etchings, designs & printing by artist Mindy Belloff. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452869633-MTVF4RC7YX83J5M3WVJC/mcba-prize-2015-Mindy-Belloff-In-the-Garden-of-Earthly-Delights-2.jpg Entries & Jurors - 2015 Entries - Mindy Belloff Mindy Belloff (New York, NY) IntimaPress.com In the Garden of Earthly Delights 2014/2015 Eleven unique multi-colored etchings with hand painting, poems letterpress printed, uniquely designed Roman numerals, concertina sewn spine, quarter-bound pink Buffalo skin with leather onlays, full leather slipcase. Edition of 12 + 1 A.P. 32 pages Dimensions, open: 10.5 x 17.5 x 1 Dimensions, closed: 10.5 x 8.25 x 1 Intima Press is pleased to announce a new livres d’artiste based upon Hieronymus Bosch’s three-panel painting (1450-1516), which continues to intrigue and delight. The book features eleven unique multi-colored viscosity etchings, with inks applied in a painterly manner from open bite copper plates, a process more in tune with William Blake’s poetic illustrations, than with traditional etching, and hand painted with delicate and explosive lines breaking out of the rectangular frame. The intaglio prints are on folios of cotton rag papers of white (Section I), tan (Section II), and gray (Section III), the three sections coinciding with the panels of the painting from left to middle to right. Three newly written poems by Amy Lemmon, Steven Gentile, and Rich Turnbull are letterpress printed and announce each section, along with uniquely designed Roman numerals. The text is letterpress printed on vintage papers from JB Green paper mill, England. Binding by Celine Lombardi: concertina sewn spine with Bugra end papers, quarter-bound pink Buffalo skin with leather onlays, full leather slipcase. Artwork, etchings, designs & printing by artist Mindy Belloff. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452871266-K60MKJ9S3ZPIA3339HVU/mcba-prize-2015-Mindy-Belloff-In-the-Garden-of-Earthly-Delights-3.jpg Entries & Jurors - 2015 Entries - Mindy Belloff Mindy Belloff (New York, NY) IntimaPress.com In the Garden of Earthly Delights 2014/2015 Eleven unique multi-colored etchings with hand painting, poems letterpress printed, uniquely designed Roman numerals, concertina sewn spine, quarter-bound pink Buffalo skin with leather onlays, full leather slipcase. Edition of 12 + 1 A.P. 32 pages Dimensions, open: 10.5 x 17.5 x 1 Dimensions, closed: 10.5 x 8.25 x 1 Intima Press is pleased to announce a new livres d’artiste based upon Hieronymus Bosch’s three-panel painting (1450-1516), which continues to intrigue and delight. The book features eleven unique multi-colored viscosity etchings, with inks applied in a painterly manner from open bite copper plates, a process more in tune with William Blake’s poetic illustrations, than with traditional etching, and hand painted with delicate and explosive lines breaking out of the rectangular frame. The intaglio prints are on folios of cotton rag papers of white (Section I), tan (Section II), and gray (Section III), the three sections coinciding with the panels of the painting from left to middle to right. Three newly written poems by Amy Lemmon, Steven Gentile, and Rich Turnbull are letterpress printed and announce each section, along with uniquely designed Roman numerals. The text is letterpress printed on vintage papers from JB Green paper mill, England. Binding by Celine Lombardi: concertina sewn spine with Bugra end papers, quarter-bound pink Buffalo skin with leather onlays, full leather slipcase. Artwork, etchings, designs & printing by artist Mindy Belloff. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452871722-F1XLKRUR7WEQQAKZHD93/mcba-prize-2015-Mindy-Belloff-In-the-Garden-of-Earthly-Delights-4.jpg Entries & Jurors - 2015 Entries - Mindy Belloff Mindy Belloff (New York, NY) IntimaPress.com In the Garden of Earthly Delights 2014/2015 Eleven unique multi-colored etchings with hand painting, poems letterpress printed, uniquely designed Roman numerals, concertina sewn spine, quarter-bound pink Buffalo skin with leather onlays, full leather slipcase. Edition of 12 + 1 A.P. 32 pages Dimensions, open: 10.5 x 17.5 x 1 Dimensions, closed: 10.5 x 8.25 x 1 Intima Press is pleased to announce a new livres d’artiste based upon Hieronymus Bosch’s three-panel painting (1450-1516), which continues to intrigue and delight. The book features eleven unique multi-colored viscosity etchings, with inks applied in a painterly manner from open bite copper plates, a process more in tune with William Blake’s poetic illustrations, than with traditional etching, and hand painted with delicate and explosive lines breaking out of the rectangular frame. The intaglio prints are on folios of cotton rag papers of white (Section I), tan (Section II), and gray (Section III), the three sections coinciding with the panels of the painting from left to middle to right. Three newly written poems by Amy Lemmon, Steven Gentile, and Rich Turnbull are letterpress printed and announce each section, along with uniquely designed Roman numerals. The text is letterpress printed on vintage papers from JB Green paper mill, England. Binding by Celine Lombardi: concertina sewn spine with Bugra end papers, quarter-bound pink Buffalo skin with leather onlays, full leather slipcase. Artwork, etchings, designs & printing by artist Mindy Belloff. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452873251-9M8BFOY91W5PZ006M5BL/mcba-prize-2015-Mindy-Belloff-In-the-Garden-of-Earthly-Delights-5.jpg Entries & Jurors - 2015 Entries - Mindy Belloff Mindy Belloff (New York, NY) IntimaPress.com In the Garden of Earthly Delights 2014/2015 Eleven unique multi-colored etchings with hand painting, poems letterpress printed, uniquely designed Roman numerals, concertina sewn spine, quarter-bound pink Buffalo skin with leather onlays, full leather slipcase. Edition of 12 + 1 A.P. 32 pages Dimensions, open: 10.5 x 17.5 x 1 Dimensions, closed: 10.5 x 8.25 x 1 Intima Press is pleased to announce a new livres d’artiste based upon Hieronymus Bosch’s three-panel painting (1450-1516), which continues to intrigue and delight. The book features eleven unique multi-colored viscosity etchings, with inks applied in a painterly manner from open bite copper plates, a process more in tune with William Blake’s poetic illustrations, than with traditional etching, and hand painted with delicate and explosive lines breaking out of the rectangular frame. The intaglio prints are on folios of cotton rag papers of white (Section I), tan (Section II), and gray (Section III), the three sections coinciding with the panels of the painting from left to middle to right. Three newly written poems by Amy Lemmon, Steven Gentile, and Rich Turnbull are letterpress printed and announce each section, along with uniquely designed Roman numerals. The text is letterpress printed on vintage papers from JB Green paper mill, England. Binding by Celine Lombardi: concertina sewn spine with Bugra end papers, quarter-bound pink Buffalo skin with leather onlays, full leather slipcase. Artwork, etchings, designs & printing by artist Mindy Belloff. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452971458-PZKBBBALB5VUKF54ANOV/mcba-prize-2015-Lene-Bennike-Tatouage-1.jpg Entries & Jurors - 2015 Entries - Lene Bennike Lene Bennike (Copenhagen, Denmark) lenebennike.com Tatouage 2015 photogravure, chine collé Unique work 10 pages, inclusive of colophon 18 x 36.3 x 1.6 cm open; fully open 206 cm 18 x 17.8 closed Saw the light of day while experimenting with different kinds of chine collé paper like Japanese and Indian qualities, paper from old worn posters and old wall paper. All used on the same plate representing an old worn bisque doll with loose arms. Each of the 9 prints are unique. The title reflects our modern society where tattoo of the human body has become an overwhelming important status symbol for so many people. The book is printed and bound in Copenhagen 2015. Printed on Zerkall Wove paper 340 grams, leporello format, book size 18 x 17.8 cm, each page paper size 17.5 x 17.5 cm x 9 unique photogravure prints with chine collé of handmade Japanese and Indian paper, old poster and wall paper + colophon. Total length fully open when lying flat 206 cm. Cover in black linen, inside black carton. Pages glued together with black linen. The font used for the title on front page is laser cut wood and credit graphic artist Bjarne Agerbo, Copenhagen. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452970891-B47RC5B4353ZE8GGYITH/mcba-prize-2015-Lene-Bennike-Tatouage-2.jpg Entries & Jurors - 2015 Entries - Lene Bennike Lene Bennike (Copenhagen, Denmark) lenebennike.com Tatouage 2015 photogravure, chine collé Unique work 10 pages, inclusive of colophon 18 x 36.3 x 1.6 cm open; fully open 206 cm 18 x 17.8 closed Saw the light of day while experimenting with different kinds of chine collé paper like Japanese and Indian qualities, paper from old worn posters and old wall paper. All used on the same plate representing an old worn bisque doll with loose arms. Each of the 9 prints are unique. The title reflects our modern society where tattoo of the human body has become an overwhelming important status symbol for so many people. The book is printed and bound in Copenhagen 2015. Printed on Zerkall Wove paper 340 grams, leporello format, book size 18 x 17.8 cm, each page paper size 17.5 x 17.5 cm x 9 unique photogravure prints with chine collé of handmade Japanese and Indian paper, old poster and wall paper + colophon. Total length fully open when lying flat 206 cm. Cover in black linen, inside black carton. Pages glued together with black linen. The font used for the title on front page is laser cut wood and credit graphic artist Bjarne Agerbo, Copenhagen. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452972934-69ZB2OY5L2ZUH1FB8KML/mcba-prize-2015-Lene-Bennike-Tatouage-3.jpg Entries & Jurors - 2015 Entries - Lene Bennike Lene Bennike (Copenhagen, Denmark) lenebennike.com Tatouage 2015 photogravure, chine collé Unique work 10 pages, inclusive of colophon 18 x 36.3 x 1.6 cm open; fully open 206 cm 18 x 17.8 closed Saw the light of day while experimenting with different kinds of chine collé paper like Japanese and Indian qualities, paper from old worn posters and old wall paper. All used on the same plate representing an old worn bisque doll with loose arms. Each of the 9 prints are unique. The title reflects our modern society where tattoo of the human body has become an overwhelming important status symbol for so many people. The book is printed and bound in Copenhagen 2015. Printed on Zerkall Wove paper 340 grams, leporello format, book size 18 x 17.8 cm, each page paper size 17.5 x 17.5 cm x 9 unique photogravure prints with chine collé of handmade Japanese and Indian paper, old poster and wall paper + colophon. Total length fully open when lying flat 206 cm. Cover in black linen, inside black carton. Pages glued together with black linen. The font used for the title on front page is laser cut wood and credit graphic artist Bjarne Agerbo, Copenhagen. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774452973250-UDI3V0NUWCKH50VG4PF9/mcba-prize-2015-Lene-Bennike-Tatouage-4.jpg Entries & Jurors - 2015 Entries - Lene Bennike Lene Bennike (Copenhagen, Denmark) lenebennike.com Tatouage 2015 photogravure, chine collé Unique work 10 pages, inclusive of colophon 18 x 36.3 x 1.6 cm open; fully open 206 cm 18 x 17.8 closed Saw the light of day while experimenting with different kinds of chine collé paper like Japanese and Indian qualities, paper from old worn posters and old wall paper. All used on the same plate representing an old worn bisque doll with loose arms. Each of the 9 prints are unique. The title reflects our modern society where tattoo of the human body has become an overwhelming important status symbol for so many people. The book is printed and bound in Copenhagen 2015. Printed on Zerkall Wove paper 340 grams, leporello format, book size 18 x 17.8 cm, each page paper size 17.5 x 17.5 cm x 9 unique photogravure prints with chine collé of handmade Japanese and Indian paper, old poster and wall paper + colophon. Total length fully open when lying flat 206 cm. Cover in black linen, inside black carton. Pages glued together with black linen. The font used for the title on front page is laser cut wood and credit graphic artist Bjarne Agerbo, Copenhagen. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453044105-EVNDJXBQCAK4THYGUD61/mcba-prize-2015-Lene-Bennike-Traces-d%E2%80%99enfance-1.jpg Entries & Jurors - 2015 Entries - Lene Bennike Lene Bennike (Copenhagen, Denmark) lenebennike.com Traces d’enfance 2015 photogravure, chine collé Unique work 19 pages, inclusive of colophon Open: 10.5 x 19 x 1 cm (fully opened 206 cm) Closed: 9 x 10.5 cm When experimenting with old photographs and polymer plates I had to reject the first plate. During a break I had closer look at this plate and began to cut it into smaller random pieces. When printing these tiny plates the children appeared with a strong visual impact on the thick creamy paper and I knew these portraits had to be turned into a book. A book focusing on childhood and school life by adding handwritten testimonies from old French school books from the same period. And a book with an overall focus on recycling. The cover is an rather worn leather bound book from 1826 in red and brownish colors. For the inside of the cover I used a found piece of brown Canson paper part of which has also been used to glue the prints together thus forming a leporello with images on both sides. The book is printed and bound in Copenhagen 2015. Printed on Zerkall Wove paper 340 grams, leporello format, book size 9 x 10.5 cm, paper size 7.5 x 9.5 cm, total length when lying flat: 206 cm. 18 photogravure prints in black and white using Gutenberg and Charbonell ink, some of the photogravures have chine collé from old school books written in sepia or blue ink even some with the teachers annotations in red + colophon. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453043228-7QPL9OLFHQMFZ59B7CS7/mcba-prize-2015-Lene-Bennike-Traces-d%E2%80%99enfance-2.jpg Entries & Jurors - 2015 Entries - Lene Bennike Lene Bennike (Copenhagen, Denmark) lenebennike.com Traces d’enfance 2015 photogravure, chine collé Unique work 19 pages, inclusive of colophon Open: 10.5 x 19 x 1 cm (fully opened 206 cm) Closed: 9 x 10.5 cm When experimenting with old photographs and polymer plates I had to reject the first plate. During a break I had closer look at this plate and began to cut it into smaller random pieces. When printing these tiny plates the children appeared with a strong visual impact on the thick creamy paper and I knew these portraits had to be turned into a book. A book focusing on childhood and school life by adding handwritten testimonies from old French school books from the same period. And a book with an overall focus on recycling. The cover is an rather worn leather bound book from 1826 in red and brownish colors. For the inside of the cover I used a found piece of brown Canson paper part of which has also been used to glue the prints together thus forming a leporello with images on both sides. The book is printed and bound in Copenhagen 2015. Printed on Zerkall Wove paper 340 grams, leporello format, book size 9 x 10.5 cm, paper size 7.5 x 9.5 cm, total length when lying flat: 206 cm. 18 photogravure prints in black and white using Gutenberg and Charbonell ink, some of the photogravures have chine collé from old school books written in sepia or blue ink even some with the teachers annotations in red + colophon. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453044678-YGW1YN2XZFPC8FRMRM2M/mcba-prize-2015-Lene-Bennike-Traces-d%E2%80%99enfance-3.jpg Entries & Jurors - 2015 Entries - Lene Bennike Lene Bennike (Copenhagen, Denmark) lenebennike.com Traces d’enfance 2015 photogravure, chine collé Unique work 19 pages, inclusive of colophon Open: 10.5 x 19 x 1 cm (fully opened 206 cm) Closed: 9 x 10.5 cm When experimenting with old photographs and polymer plates I had to reject the first plate. During a break I had closer look at this plate and began to cut it into smaller random pieces. When printing these tiny plates the children appeared with a strong visual impact on the thick creamy paper and I knew these portraits had to be turned into a book. A book focusing on childhood and school life by adding handwritten testimonies from old French school books from the same period. And a book with an overall focus on recycling. The cover is an rather worn leather bound book from 1826 in red and brownish colors. For the inside of the cover I used a found piece of brown Canson paper part of which has also been used to glue the prints together thus forming a leporello with images on both sides. The book is printed and bound in Copenhagen 2015. Printed on Zerkall Wove paper 340 grams, leporello format, book size 9 x 10.5 cm, paper size 7.5 x 9.5 cm, total length when lying flat: 206 cm. 18 photogravure prints in black and white using Gutenberg and Charbonell ink, some of the photogravures have chine collé from old school books written in sepia or blue ink even some with the teachers annotations in red + colophon. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453301034-CDTT9RNSV9VHAT0HXPNW/mcba-prize-2015-Christine-Bjerke-On-the-Floating-World-of-the-FX-Beauties-1.jpg Entries & Jurors - 2015 Entries - Christine Bjerke Christine Bjerke (Copenhagen, Denmark) christinebjerke.com On the Floating World of the FX Beauties 2013 Japanese paper marbling, lacquered card, colored card, glossy and matt paper Unique work Variable dimensions open 9.6 in x 7.5 in x 2 in closed On the Floating World of the FX Beauties explores the role of contemporary Japanese female traders, The FX Beauties, within the non-place of the international currency (FOREX) market. The book aims to discuss feminine economies through the notion of the woman as a historical currency and the use of the reflective surface – the black mirror as a mechanism to materialize the metaphysical networks. The individual components within the black box, each represent elements of the overall project. To express the different layers of information, the book is constructed with the use of designed paper techniques and presented by organizing all components within a specific chronological structure. Color is used as a conceptual tool to represent the two main sites as well as their associated genders. Blue is used to describe London and the masculine, while red represents Tokyo and the feminine. In addition the use of textured marble paper is employed to represent the overlaps which take place between these two sites and their genders. To reflect on the research presented in the colored components, the project explores the method of spatial writing to visualize the transition of being in the ‘floating world’ between the two sites, London and Tokyo. These three additional books, structured from lacquered card, suggest a 3-dimensional reading, which explores the idea of the book being in-between the written and the built. By rotating, the books are read as an imaginary narrative and architectural response to the body of research. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453300216-WWPIP2YES68PHDJVGV5V/mcba-prize-2015-Christine-Bjerke-On-the-Floating-World-of-the-FX-Beauties-2.jpg Entries & Jurors - 2015 Entries - Christine Bjerke Christine Bjerke (Copenhagen, Denmark) christinebjerke.com On the Floating World of the FX Beauties 2013 Japanese paper marbling, lacquered card, colored card, glossy and matt paper Unique work Variable dimensions open 9.6 in x 7.5 in x 2 in closed On the Floating World of the FX Beauties explores the role of contemporary Japanese female traders, The FX Beauties, within the non-place of the international currency (FOREX) market. The book aims to discuss feminine economies through the notion of the woman as a historical currency and the use of the reflective surface – the black mirror as a mechanism to materialize the metaphysical networks. The individual components within the black box, each represent elements of the overall project. To express the different layers of information, the book is constructed with the use of designed paper techniques and presented by organizing all components within a specific chronological structure. Color is used as a conceptual tool to represent the two main sites as well as their associated genders. Blue is used to describe London and the masculine, while red represents Tokyo and the feminine. In addition the use of textured marble paper is employed to represent the overlaps which take place between these two sites and their genders. To reflect on the research presented in the colored components, the project explores the method of spatial writing to visualize the transition of being in the ‘floating world’ between the two sites, London and Tokyo. These three additional books, structured from lacquered card, suggest a 3-dimensional reading, which explores the idea of the book being in-between the written and the built. By rotating, the books are read as an imaginary narrative and architectural response to the body of research. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453502241-N2B5I4QH5LNRD1G19IGI/mcba-prize-2015-Christine-Bjerke-On-the-Floating-World-of-the-FX-Beauties-5.jpg Entries & Jurors - 2015 Entries - Christine Bjerke Christine Bjerke (Copenhagen, Denmark) christinebjerke.com On the Floating World of the FX Beauties 2013 Japanese paper marbling, lacquered card, colored card, glossy and matt paper Unique work Variable dimensions open 9.6 in x 7.5 in x 2 in closed On the Floating World of the FX Beauties explores the role of contemporary Japanese female traders, The FX Beauties, within the non-place of the international currency (FOREX) market. The book aims to discuss feminine economies through the notion of the woman as a historical currency and the use of the reflective surface – the black mirror as a mechanism to materialize the metaphysical networks. The individual components within the black box, each represent elements of the overall project. To express the different layers of information, the book is constructed with the use of designed paper techniques and presented by organizing all components within a specific chronological structure. Color is used as a conceptual tool to represent the two main sites as well as their associated genders. Blue is used to describe London and the masculine, while red represents Tokyo and the feminine. In addition the use of textured marble paper is employed to represent the overlaps which take place between these two sites and their genders. To reflect on the research presented in the colored components, the project explores the method of spatial writing to visualize the transition of being in the ‘floating world’ between the two sites, London and Tokyo. These three additional books, structured from lacquered card, suggest a 3-dimensional reading, which explores the idea of the book being in-between the written and the built. By rotating, the books are read as an imaginary narrative and architectural response to the body of research. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453304259-WRTKZ4ZZ1GZ8U5EG7M2B/mcba-prize-2015-Christine-Bjerke-On-the-Floating-World-of-the-FX-Beauties-3.jpg Entries & Jurors - 2015 Entries - Christine Bjerke Christine Bjerke (Copenhagen, Denmark) christinebjerke.com On the Floating World of the FX Beauties 2013 Japanese paper marbling, lacquered card, colored card, glossy and matt paper Unique work Variable dimensions open 9.6 in x 7.5 in x 2 in closed On the Floating World of the FX Beauties explores the role of contemporary Japanese female traders, The FX Beauties, within the non-place of the international currency (FOREX) market. The book aims to discuss feminine economies through the notion of the woman as a historical currency and the use of the reflective surface – the black mirror as a mechanism to materialize the metaphysical networks. The individual components within the black box, each represent elements of the overall project. To express the different layers of information, the book is constructed with the use of designed paper techniques and presented by organizing all components within a specific chronological structure. Color is used as a conceptual tool to represent the two main sites as well as their associated genders. Blue is used to describe London and the masculine, while red represents Tokyo and the feminine. In addition the use of textured marble paper is employed to represent the overlaps which take place between these two sites and their genders. To reflect on the research presented in the colored components, the project explores the method of spatial writing to visualize the transition of being in the ‘floating world’ between the two sites, London and Tokyo. These three additional books, structured from lacquered card, suggest a 3-dimensional reading, which explores the idea of the book being in-between the written and the built. By rotating, the books are read as an imaginary narrative and architectural response to the body of research. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453302747-X8M5J05BWC4FHKT3FCU3/mcba-prize-2015-Christine-Bjerke-On-the-Floating-World-of-the-FX-Beauties-4.jpg Entries & Jurors - 2015 Entries - Christine Bjerke Christine Bjerke (Copenhagen, Denmark) christinebjerke.com On the Floating World of the FX Beauties 2013 Japanese paper marbling, lacquered card, colored card, glossy and matt paper Unique work Variable dimensions open 9.6 in x 7.5 in x 2 in closed On the Floating World of the FX Beauties explores the role of contemporary Japanese female traders, The FX Beauties, within the non-place of the international currency (FOREX) market. The book aims to discuss feminine economies through the notion of the woman as a historical currency and the use of the reflective surface – the black mirror as a mechanism to materialize the metaphysical networks. The individual components within the black box, each represent elements of the overall project. To express the different layers of information, the book is constructed with the use of designed paper techniques and presented by organizing all components within a specific chronological structure. Color is used as a conceptual tool to represent the two main sites as well as their associated genders. Blue is used to describe London and the masculine, while red represents Tokyo and the feminine. In addition the use of textured marble paper is employed to represent the overlaps which take place between these two sites and their genders. To reflect on the research presented in the colored components, the project explores the method of spatial writing to visualize the transition of being in the ‘floating world’ between the two sites, London and Tokyo. These three additional books, structured from lacquered card, suggest a 3-dimensional reading, which explores the idea of the book being in-between the written and the built. By rotating, the books are read as an imaginary narrative and architectural response to the body of research. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453582355-247QKJ1CGKCPXJ32OHMO/mcba-prize-2015-Debra-Bolgla-Gray-Matters-1.jpg Entries & Jurors - 2015 Entries - Debra Bolgla Debra Bolgla (Sidney, IL) Gray Matters 2014 Digital printed, Hand bound Artist Ed 8. Full Ed TBD 58 pages 7-1/4 x 16-1/4 x 3/8 open 7-1/4 x 8-1/8 x 3/8 closed Gray Matters creates a visual narrative of my experience when confronted with a brain tumor diagnosis in 2006. The progression from disbelief, shock, and numbness to fear, coping, healing, and reflection are captured within the story as I grasped, in desperation, for ways to make sense of the senseless. When faced with a barrage of MRI images and CT scans I was stunned by the duality of how beautiful the toxic images of my brain, with invading tumor, were. The very large Meningioma, benign yet potentially deadly, was located in my visual cortex. The impact was upon my visual thinking area, a graphic designer’s nightmare. Thus, this brain mass presented me with an array of imagery both spectacular and absolutely terrifying. Throughout Gray Matters are contrasts of raw realism with imperfect human textures creating layers of illusory space. I began to journal everything I saw, documenting my visual symptoms, such as flickering geometric patterns in my visual field and jumbled sentence structure. It was a constant battle to remove the ‘What ifs?’ from my conscious thought and creative problem solving was the one thing that kept my mind focused in a healthy direction. Following my surgery the visually powerful images I saw evolved into bursting showers of fireworks and afterimages with photographically negative imprinting. I continued to record these occurrences and photographed self-portrait phases of my healing. What began as a therapeutic mechanism for myself, evolved as a vessel to impart a unique visual perspective of this harrowing experience. Weaving images of my medical scans, personal photos, mark making, and textural elements to evoke the poignancy of such a traumatic happening became a way to communicate my journey. Collectively the book looks at dualities amidst our daily routine. It reveals the essence of life’s flawed exquisiteness as the parts simultaneously work in tandem to form the whole. The spread entitled “Shattered Illusions” states: “My tumor and I coexisted in a symbiotic relationship filled with give and take, push and pull, evil verses good. Both of us focused on growth with different intents, each assuming her own was the right one…vying for control, dominance, survival of the fittest. HOPE AND DESPAIR ARE SIDE BY SIDE.” The physical entry into Gray Matters presents a beveled die cut circle, a symbol of my craniotomy hole and the essence of the emotional void. The black linen book cloth edge continues on to a full wrap over the back cover. Its texture is present to give a subtle tactile feel of reality while holding the book. A partial image of myself appears through this die cut window, markedly degraded, to imply the imperfect wounded world that is to follow in the contents of the story. Recurring is my ‘little me’…a captured moment of myself at age five with a knowing gaze that has forever entranced me as a potent soul seeking meaningfulness. She and my ‘adult me’ travel together as the narrative evolves. Another repeating symbol is the circular purple line. This significant mark is an ongoing metaphor for the line that was drawn onto the back of my head prior to surgery which indicated the size needed for the precise hole opening to successfully remove the tumor. Important to the narrative was the shock and vulnerability of my physical self. Photographic self-portrait imagery is integrated to articulate the dichotomous relationship of sharp reality as it coexists in tandem with the surreal and translucent, often obfuscated, layering. Both vantage points appear throughout the memoir to delineate and collectively describe the totality. Gray Matters as a title implies an ambiguous meaning. The obvious interpretation being the brains gray nerve tissue. But further reflection reveals a complex perspective of all things meaningful in life…the area between black and white. It unravels with the pondering of what truly does matter. Printing: Indigo Digital at Dixon Graphics. Champaign. IL Paper: Cougar Opaque 80# Text Uncoated Recycled Binding: Hand bound at Lincoln Bookbindery. Urbana. IL Spine: black linen book cloth with 3/4 in. on cover + 1/4 in. gutter + wrap around to back cover Image content: Digitally manipulated images incorporate elements from my own etchings, personal photography, hand mark making, medical imaging, vocalized typography, and found imagery. Front cover boards: 4 in. die cut circles hand cut out of archival mat board at Ziemer Gallery, Monticello. IL https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453581884-OAQEATS69NK8BA3PN72O/mcba-prize-2015-Debra-Bolgla-Gray-Matters-2.jpg Entries & Jurors - 2015 Entries - Debra Bolgla Debra Bolgla (Sidney, IL) Gray Matters 2014 Digital printed, Hand bound Artist Ed 8. Full Ed TBD 58 pages 7-1/4 x 16-1/4 x 3/8 open 7-1/4 x 8-1/8 x 3/8 closed Gray Matters creates a visual narrative of my experience when confronted with a brain tumor diagnosis in 2006. The progression from disbelief, shock, and numbness to fear, coping, healing, and reflection are captured within the story as I grasped, in desperation, for ways to make sense of the senseless. When faced with a barrage of MRI images and CT scans I was stunned by the duality of how beautiful the toxic images of my brain, with invading tumor, were. The very large Meningioma, benign yet potentially deadly, was located in my visual cortex. The impact was upon my visual thinking area, a graphic designer’s nightmare. Thus, this brain mass presented me with an array of imagery both spectacular and absolutely terrifying. Throughout Gray Matters are contrasts of raw realism with imperfect human textures creating layers of illusory space. I began to journal everything I saw, documenting my visual symptoms, such as flickering geometric patterns in my visual field and jumbled sentence structure. It was a constant battle to remove the ‘What ifs?’ from my conscious thought and creative problem solving was the one thing that kept my mind focused in a healthy direction. Following my surgery the visually powerful images I saw evolved into bursting showers of fireworks and afterimages with photographically negative imprinting. I continued to record these occurrences and photographed self-portrait phases of my healing. What began as a therapeutic mechanism for myself, evolved as a vessel to impart a unique visual perspective of this harrowing experience. Weaving images of my medical scans, personal photos, mark making, and textural elements to evoke the poignancy of such a traumatic happening became a way to communicate my journey. Collectively the book looks at dualities amidst our daily routine. It reveals the essence of life’s flawed exquisiteness as the parts simultaneously work in tandem to form the whole. The spread entitled “Shattered Illusions” states: “My tumor and I coexisted in a symbiotic relationship filled with give and take, push and pull, evil verses good. Both of us focused on growth with different intents, each assuming her own was the right one…vying for control, dominance, survival of the fittest. HOPE AND DESPAIR ARE SIDE BY SIDE.” The physical entry into Gray Matters presents a beveled die cut circle, a symbol of my craniotomy hole and the essence of the emotional void. The black linen book cloth edge continues on to a full wrap over the back cover. Its texture is present to give a subtle tactile feel of reality while holding the book. A partial image of myself appears through this die cut window, markedly degraded, to imply the imperfect wounded world that is to follow in the contents of the story. Recurring is my ‘little me’…a captured moment of myself at age five with a knowing gaze that has forever entranced me as a potent soul seeking meaningfulness. She and my ‘adult me’ travel together as the narrative evolves. Another repeating symbol is the circular purple line. This significant mark is an ongoing metaphor for the line that was drawn onto the back of my head prior to surgery which indicated the size needed for the precise hole opening to successfully remove the tumor. Important to the narrative was the shock and vulnerability of my physical self. Photographic self-portrait imagery is integrated to articulate the dichotomous relationship of sharp reality as it coexists in tandem with the surreal and translucent, often obfuscated, layering. Both vantage points appear throughout the memoir to delineate and collectively describe the totality. Gray Matters as a title implies an ambiguous meaning. The obvious interpretation being the brains gray nerve tissue. But further reflection reveals a complex perspective of all things meaningful in life…the area between black and white. It unravels with the pondering of what truly does matter. Printing: Indigo Digital at Dixon Graphics. Champaign. IL Paper: Cougar Opaque 80# Text Uncoated Recycled Binding: Hand bound at Lincoln Bookbindery. Urbana. IL Spine: black linen book cloth with 3/4 in. on cover + 1/4 in. gutter + wrap around to back cover Image content: Digitally manipulated images incorporate elements from my own etchings, personal photography, hand mark making, medical imaging, vocalized typography, and found imagery. Front cover boards: 4 in. die cut circles hand cut out of archival mat board at Ziemer Gallery, Monticello. IL https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453583387-EL0ZL3OB7P6G129X48MY/mcba-prize-2015-Debra-Bolgla-Gray-Matters-3.jpg Entries & Jurors - 2015 Entries - Debra Bolgla Debra Bolgla (Sidney, IL) Gray Matters 2014 Digital printed, Hand bound Artist Ed 8. Full Ed TBD 58 pages 7-1/4 x 16-1/4 x 3/8 open 7-1/4 x 8-1/8 x 3/8 closed Gray Matters creates a visual narrative of my experience when confronted with a brain tumor diagnosis in 2006. The progression from disbelief, shock, and numbness to fear, coping, healing, and reflection are captured within the story as I grasped, in desperation, for ways to make sense of the senseless. When faced with a barrage of MRI images and CT scans I was stunned by the duality of how beautiful the toxic images of my brain, with invading tumor, were. The very large Meningioma, benign yet potentially deadly, was located in my visual cortex. The impact was upon my visual thinking area, a graphic designer’s nightmare. Thus, this brain mass presented me with an array of imagery both spectacular and absolutely terrifying. Throughout Gray Matters are contrasts of raw realism with imperfect human textures creating layers of illusory space. I began to journal everything I saw, documenting my visual symptoms, such as flickering geometric patterns in my visual field and jumbled sentence structure. It was a constant battle to remove the ‘What ifs?’ from my conscious thought and creative problem solving was the one thing that kept my mind focused in a healthy direction. Following my surgery the visually powerful images I saw evolved into bursting showers of fireworks and afterimages with photographically negative imprinting. I continued to record these occurrences and photographed self-portrait phases of my healing. What began as a therapeutic mechanism for myself, evolved as a vessel to impart a unique visual perspective of this harrowing experience. Weaving images of my medical scans, personal photos, mark making, and textural elements to evoke the poignancy of such a traumatic happening became a way to communicate my journey. Collectively the book looks at dualities amidst our daily routine. It reveals the essence of life’s flawed exquisiteness as the parts simultaneously work in tandem to form the whole. The spread entitled “Shattered Illusions” states: “My tumor and I coexisted in a symbiotic relationship filled with give and take, push and pull, evil verses good. Both of us focused on growth with different intents, each assuming her own was the right one…vying for control, dominance, survival of the fittest. HOPE AND DESPAIR ARE SIDE BY SIDE.” The physical entry into Gray Matters presents a beveled die cut circle, a symbol of my craniotomy hole and the essence of the emotional void. The black linen book cloth edge continues on to a full wrap over the back cover. Its texture is present to give a subtle tactile feel of reality while holding the book. A partial image of myself appears through this die cut window, markedly degraded, to imply the imperfect wounded world that is to follow in the contents of the story. Recurring is my ‘little me’…a captured moment of myself at age five with a knowing gaze that has forever entranced me as a potent soul seeking meaningfulness. She and my ‘adult me’ travel together as the narrative evolves. Another repeating symbol is the circular purple line. This significant mark is an ongoing metaphor for the line that was drawn onto the back of my head prior to surgery which indicated the size needed for the precise hole opening to successfully remove the tumor. Important to the narrative was the shock and vulnerability of my physical self. Photographic self-portrait imagery is integrated to articulate the dichotomous relationship of sharp reality as it coexists in tandem with the surreal and translucent, often obfuscated, layering. Both vantage points appear throughout the memoir to delineate and collectively describe the totality. Gray Matters as a title implies an ambiguous meaning. The obvious interpretation being the brains gray nerve tissue. But further reflection reveals a complex perspective of all things meaningful in life…the area between black and white. It unravels with the pondering of what truly does matter. Printing: Indigo Digital at Dixon Graphics. Champaign. IL Paper: Cougar Opaque 80# Text Uncoated Recycled Binding: Hand bound at Lincoln Bookbindery. Urbana. IL Spine: black linen book cloth with 3/4 in. on cover + 1/4 in. gutter + wrap around to back cover Image content: Digitally manipulated images incorporate elements from my own etchings, personal photography, hand mark making, medical imaging, vocalized typography, and found imagery. Front cover boards: 4 in. die cut circles hand cut out of archival mat board at Ziemer Gallery, Monticello. IL https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453583835-YQMBEDE9I8861C8C2C63/mcba-prize-2015-Debra-Bolgla-Gray-Matters-4.jpg Entries & Jurors - 2015 Entries - Debra Bolgla Debra Bolgla (Sidney, IL) Gray Matters 2014 Digital printed, Hand bound Artist Ed 8. Full Ed TBD 58 pages 7-1/4 x 16-1/4 x 3/8 open 7-1/4 x 8-1/8 x 3/8 closed Gray Matters creates a visual narrative of my experience when confronted with a brain tumor diagnosis in 2006. The progression from disbelief, shock, and numbness to fear, coping, healing, and reflection are captured within the story as I grasped, in desperation, for ways to make sense of the senseless. When faced with a barrage of MRI images and CT scans I was stunned by the duality of how beautiful the toxic images of my brain, with invading tumor, were. The very large Meningioma, benign yet potentially deadly, was located in my visual cortex. The impact was upon my visual thinking area, a graphic designer’s nightmare. Thus, this brain mass presented me with an array of imagery both spectacular and absolutely terrifying. Throughout Gray Matters are contrasts of raw realism with imperfect human textures creating layers of illusory space. I began to journal everything I saw, documenting my visual symptoms, such as flickering geometric patterns in my visual field and jumbled sentence structure. It was a constant battle to remove the ‘What ifs?’ from my conscious thought and creative problem solving was the one thing that kept my mind focused in a healthy direction. Following my surgery the visually powerful images I saw evolved into bursting showers of fireworks and afterimages with photographically negative imprinting. I continued to record these occurrences and photographed self-portrait phases of my healing. What began as a therapeutic mechanism for myself, evolved as a vessel to impart a unique visual perspective of this harrowing experience. Weaving images of my medical scans, personal photos, mark making, and textural elements to evoke the poignancy of such a traumatic happening became a way to communicate my journey. Collectively the book looks at dualities amidst our daily routine. It reveals the essence of life’s flawed exquisiteness as the parts simultaneously work in tandem to form the whole. The spread entitled “Shattered Illusions” states: “My tumor and I coexisted in a symbiotic relationship filled with give and take, push and pull, evil verses good. Both of us focused on growth with different intents, each assuming her own was the right one…vying for control, dominance, survival of the fittest. HOPE AND DESPAIR ARE SIDE BY SIDE.” The physical entry into Gray Matters presents a beveled die cut circle, a symbol of my craniotomy hole and the essence of the emotional void. The black linen book cloth edge continues on to a full wrap over the back cover. Its texture is present to give a subtle tactile feel of reality while holding the book. A partial image of myself appears through this die cut window, markedly degraded, to imply the imperfect wounded world that is to follow in the contents of the story. Recurring is my ‘little me’…a captured moment of myself at age five with a knowing gaze that has forever entranced me as a potent soul seeking meaningfulness. She and my ‘adult me’ travel together as the narrative evolves. Another repeating symbol is the circular purple line. This significant mark is an ongoing metaphor for the line that was drawn onto the back of my head prior to surgery which indicated the size needed for the precise hole opening to successfully remove the tumor. Important to the narrative was the shock and vulnerability of my physical self. Photographic self-portrait imagery is integrated to articulate the dichotomous relationship of sharp reality as it coexists in tandem with the surreal and translucent, often obfuscated, layering. Both vantage points appear throughout the memoir to delineate and collectively describe the totality. Gray Matters as a title implies an ambiguous meaning. The obvious interpretation being the brains gray nerve tissue. But further reflection reveals a complex perspective of all things meaningful in life…the area between black and white. It unravels with the pondering of what truly does matter. Printing: Indigo Digital at Dixon Graphics. Champaign. IL Paper: Cougar Opaque 80# Text Uncoated Recycled Binding: Hand bound at Lincoln Bookbindery. Urbana. IL Spine: black linen book cloth with 3/4 in. on cover + 1/4 in. gutter + wrap around to back cover Image content: Digitally manipulated images incorporate elements from my own etchings, personal photography, hand mark making, medical imaging, vocalized typography, and found imagery. Front cover boards: 4 in. die cut circles hand cut out of archival mat board at Ziemer Gallery, Monticello. IL https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453585123-M6N9BWKEZS5SZVVB7YIP/mcba-prize-2015-Debra-Bolgla-Gray-Matters-5.jpg Entries & Jurors - 2015 Entries - Debra Bolgla Debra Bolgla (Sidney, IL) Gray Matters 2014 Digital printed, Hand bound Artist Ed 8. Full Ed TBD 58 pages 7-1/4 x 16-1/4 x 3/8 open 7-1/4 x 8-1/8 x 3/8 closed Gray Matters creates a visual narrative of my experience when confronted with a brain tumor diagnosis in 2006. The progression from disbelief, shock, and numbness to fear, coping, healing, and reflection are captured within the story as I grasped, in desperation, for ways to make sense of the senseless. When faced with a barrage of MRI images and CT scans I was stunned by the duality of how beautiful the toxic images of my brain, with invading tumor, were. The very large Meningioma, benign yet potentially deadly, was located in my visual cortex. The impact was upon my visual thinking area, a graphic designer’s nightmare. Thus, this brain mass presented me with an array of imagery both spectacular and absolutely terrifying. Throughout Gray Matters are contrasts of raw realism with imperfect human textures creating layers of illusory space. I began to journal everything I saw, documenting my visual symptoms, such as flickering geometric patterns in my visual field and jumbled sentence structure. It was a constant battle to remove the ‘What ifs?’ from my conscious thought and creative problem solving was the one thing that kept my mind focused in a healthy direction. Following my surgery the visually powerful images I saw evolved into bursting showers of fireworks and afterimages with photographically negative imprinting. I continued to record these occurrences and photographed self-portrait phases of my healing. What began as a therapeutic mechanism for myself, evolved as a vessel to impart a unique visual perspective of this harrowing experience. Weaving images of my medical scans, personal photos, mark making, and textural elements to evoke the poignancy of such a traumatic happening became a way to communicate my journey. Collectively the book looks at dualities amidst our daily routine. It reveals the essence of life’s flawed exquisiteness as the parts simultaneously work in tandem to form the whole. The spread entitled “Shattered Illusions” states: “My tumor and I coexisted in a symbiotic relationship filled with give and take, push and pull, evil verses good. Both of us focused on growth with different intents, each assuming her own was the right one…vying for control, dominance, survival of the fittest. HOPE AND DESPAIR ARE SIDE BY SIDE.” The physical entry into Gray Matters presents a beveled die cut circle, a symbol of my craniotomy hole and the essence of the emotional void. The black linen book cloth edge continues on to a full wrap over the back cover. Its texture is present to give a subtle tactile feel of reality while holding the book. A partial image of myself appears through this die cut window, markedly degraded, to imply the imperfect wounded world that is to follow in the contents of the story. Recurring is my ‘little me’…a captured moment of myself at age five with a knowing gaze that has forever entranced me as a potent soul seeking meaningfulness. She and my ‘adult me’ travel together as the narrative evolves. Another repeating symbol is the circular purple line. This significant mark is an ongoing metaphor for the line that was drawn onto the back of my head prior to surgery which indicated the size needed for the precise hole opening to successfully remove the tumor. Important to the narrative was the shock and vulnerability of my physical self. Photographic self-portrait imagery is integrated to articulate the dichotomous relationship of sharp reality as it coexists in tandem with the surreal and translucent, often obfuscated, layering. Both vantage points appear throughout the memoir to delineate and collectively describe the totality. Gray Matters as a title implies an ambiguous meaning. The obvious interpretation being the brains gray nerve tissue. But further reflection reveals a complex perspective of all things meaningful in life…the area between black and white. It unravels with the pondering of what truly does matter. Printing: Indigo Digital at Dixon Graphics. Champaign. IL Paper: Cougar Opaque 80# Text Uncoated Recycled Binding: Hand bound at Lincoln Bookbindery. Urbana. IL Spine: black linen book cloth with 3/4 in. on cover + 1/4 in. gutter + wrap around to back cover Image content: Digitally manipulated images incorporate elements from my own etchings, personal photography, hand mark making, medical imaging, vocalized typography, and found imagery. Front cover boards: 4 in. die cut circles hand cut out of archival mat board at Ziemer Gallery, Monticello. IL https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453640305-73Y0ILBFXWIKVIHTWCMR/mcba-prize-2015-Mandy+Bonnell-Eloise-Butler%E2%80%99s-Wildflower-Garden-1.jpg Entries & Jurors - 2015 Entries - Mandy Bonnell Mandy Bonnell (London, U.K.) mandybonnell.com Eloise Butler’s Wildflower Garden August 2013 Box/book: Drawing, Collage, Letterpress and Emboss Unique work 25 pages 21cm x 46cm x5cm open 21cm x 23cmx5cm closed I am interested in responding to self taught Eighteenth and Nineteenth century women naturalists who were predominant in producing herbariums, watercolors’ and embroideries of nature, as this was frequently considered a feminine leisure activity. However there were many Victorian women such as Marianne North, Constance Cummings and Maria Burgess who took the pastime of gathering, collecting and recording very seriously and with appreciation for their subject matter. They rightly gained respect for the detailed intricacy of their imagery and have influenced the work that I do. Drawing is my primary means of enquiry. My work investigates traditional drawing methods and materials and explores how to apply them to a contemporary, interdisciplinary practice. I am interested in the exploration of the book as an art form, which has a historical affinity to the tradition of sample books, in use for over 300 years. I work with paper and incorporate traditional materials and methods, applying them to current drawing practices and traditional printmaking techniques. I explore binding and packaging as a conduit and container for images of mementos and memories. I have examined the intricacies of lace making as a touchstone to counter the structures within nature, and I have developed my own visual language using graphite dots, pinpricking and typographic punctuation marks in different combinations, so as to evoke an emerging form or narrative. The time it takes to produce these sequences unites the pursuit of hand-stitched needlepoint. Eloise Butler’s Wildflower Garden is a handmade box, which contains 3 envelopes, which incorporate letterpress plant stems made up from ornamentals, borders and punctuation marks, drawings of wildflowers and pressed wildflowers. Eloise Butler was an independent intrepid woman with a deep wish to see the wildflowers of Minnesota protected and safe. Her wildflower garden was established in 1906 and her vision to protect indigenous flora in Minnesota survives to this day. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453640236-9RUJ0Y5HNAPELZL301LV/mcba-prize-2015-Mandy+Bonnell-Eloise-Butler%E2%80%99s-Wildflower-Garden-2.jpg Entries & Jurors - 2015 Entries - Mandy Bonnell Mandy Bonnell (London, U.K.) mandybonnell.com Eloise Butler’s Wildflower Garden August 2013 Box/book: Drawing, Collage, Letterpress and Emboss Unique work 25 pages 21cm x 46cm x5cm open 21cm x 23cmx5cm closed I am interested in responding to self taught Eighteenth and Nineteenth century women naturalists who were predominant in producing herbariums, watercolors’ and embroideries of nature, as this was frequently considered a feminine leisure activity. However there were many Victorian women such as Marianne North, Constance Cummings and Maria Burgess who took the pastime of gathering, collecting and recording very seriously and with appreciation for their subject matter. They rightly gained respect for the detailed intricacy of their imagery and have influenced the work that I do. Drawing is my primary means of enquiry. My work investigates traditional drawing methods and materials and explores how to apply them to a contemporary, interdisciplinary practice. I am interested in the exploration of the book as an art form, which has a historical affinity to the tradition of sample books, in use for over 300 years. I work with paper and incorporate traditional materials and methods, applying them to current drawing practices and traditional printmaking techniques. I explore binding and packaging as a conduit and container for images of mementos and memories. I have examined the intricacies of lace making as a touchstone to counter the structures within nature, and I have developed my own visual language using graphite dots, pinpricking and typographic punctuation marks in different combinations, so as to evoke an emerging form or narrative. The time it takes to produce these sequences unites the pursuit of hand-stitched needlepoint. Eloise Butler’s Wildflower Garden is a handmade box, which contains 3 envelopes, which incorporate letterpress plant stems made up from ornamentals, borders and punctuation marks, drawings of wildflowers and pressed wildflowers. Eloise Butler was an independent intrepid woman with a deep wish to see the wildflowers of Minnesota protected and safe. Her wildflower garden was established in 1906 and her vision to protect indigenous flora in Minnesota survives to this day. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453641584-B804TSSN9ZY7TW8SLMJL/mcba-prize-2015-Mandy+Bonnell-Eloise-Butler%E2%80%99s-Wildflower-Garden-3.jpg Entries & Jurors - 2015 Entries - Mandy Bonnell Mandy Bonnell (London, U.K.) mandybonnell.com Eloise Butler’s Wildflower Garden August 2013 Box/book: Drawing, Collage, Letterpress and Emboss Unique work 25 pages 21cm x 46cm x5cm open 21cm x 23cmx5cm closed I am interested in responding to self taught Eighteenth and Nineteenth century women naturalists who were predominant in producing herbariums, watercolors’ and embroideries of nature, as this was frequently considered a feminine leisure activity. However there were many Victorian women such as Marianne North, Constance Cummings and Maria Burgess who took the pastime of gathering, collecting and recording very seriously and with appreciation for their subject matter. They rightly gained respect for the detailed intricacy of their imagery and have influenced the work that I do. Drawing is my primary means of enquiry. My work investigates traditional drawing methods and materials and explores how to apply them to a contemporary, interdisciplinary practice. I am interested in the exploration of the book as an art form, which has a historical affinity to the tradition of sample books, in use for over 300 years. I work with paper and incorporate traditional materials and methods, applying them to current drawing practices and traditional printmaking techniques. I explore binding and packaging as a conduit and container for images of mementos and memories. I have examined the intricacies of lace making as a touchstone to counter the structures within nature, and I have developed my own visual language using graphite dots, pinpricking and typographic punctuation marks in different combinations, so as to evoke an emerging form or narrative. The time it takes to produce these sequences unites the pursuit of hand-stitched needlepoint. Eloise Butler’s Wildflower Garden is a handmade box, which contains 3 envelopes, which incorporate letterpress plant stems made up from ornamentals, borders and punctuation marks, drawings of wildflowers and pressed wildflowers. Eloise Butler was an independent intrepid woman with a deep wish to see the wildflowers of Minnesota protected and safe. Her wildflower garden was established in 1906 and her vision to protect indigenous flora in Minnesota survives to this day. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453642032-I0HUCJWVEF679EPZ9100/mcba-prize-2015-Mandy+Bonnell-Eloise-Butler%E2%80%99s-Wildflower-Garden-4.jpg Entries & Jurors - 2015 Entries - Mandy Bonnell Mandy Bonnell (London, U.K.) mandybonnell.com Eloise Butler’s Wildflower Garden August 2013 Box/book: Drawing, Collage, Letterpress and Emboss Unique work 25 pages 21cm x 46cm x5cm open 21cm x 23cmx5cm closed I am interested in responding to self taught Eighteenth and Nineteenth century women naturalists who were predominant in producing herbariums, watercolors’ and embroideries of nature, as this was frequently considered a feminine leisure activity. However there were many Victorian women such as Marianne North, Constance Cummings and Maria Burgess who took the pastime of gathering, collecting and recording very seriously and with appreciation for their subject matter. They rightly gained respect for the detailed intricacy of their imagery and have influenced the work that I do. Drawing is my primary means of enquiry. My work investigates traditional drawing methods and materials and explores how to apply them to a contemporary, interdisciplinary practice. I am interested in the exploration of the book as an art form, which has a historical affinity to the tradition of sample books, in use for over 300 years. I work with paper and incorporate traditional materials and methods, applying them to current drawing practices and traditional printmaking techniques. I explore binding and packaging as a conduit and container for images of mementos and memories. I have examined the intricacies of lace making as a touchstone to counter the structures within nature, and I have developed my own visual language using graphite dots, pinpricking and typographic punctuation marks in different combinations, so as to evoke an emerging form or narrative. The time it takes to produce these sequences unites the pursuit of hand-stitched needlepoint. Eloise Butler’s Wildflower Garden is a handmade box, which contains 3 envelopes, which incorporate letterpress plant stems made up from ornamentals, borders and punctuation marks, drawings of wildflowers and pressed wildflowers. Eloise Butler was an independent intrepid woman with a deep wish to see the wildflowers of Minnesota protected and safe. Her wildflower garden was established in 1906 and her vision to protect indigenous flora in Minnesota survives to this day. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453643189-5J813I6R537NHPL4MCZY/mcba-prize-2015-Mandy+Bonnell-Eloise-Butler%E2%80%99s-Wildflower-Garden-5.jpg Entries & Jurors - 2015 Entries - Mandy Bonnell Mandy Bonnell (London, U.K.) mandybonnell.com Eloise Butler’s Wildflower Garden August 2013 Box/book: Drawing, Collage, Letterpress and Emboss Unique work 25 pages 21cm x 46cm x5cm open 21cm x 23cmx5cm closed I am interested in responding to self taught Eighteenth and Nineteenth century women naturalists who were predominant in producing herbariums, watercolors’ and embroideries of nature, as this was frequently considered a feminine leisure activity. However there were many Victorian women such as Marianne North, Constance Cummings and Maria Burgess who took the pastime of gathering, collecting and recording very seriously and with appreciation for their subject matter. They rightly gained respect for the detailed intricacy of their imagery and have influenced the work that I do. Drawing is my primary means of enquiry. My work investigates traditional drawing methods and materials and explores how to apply them to a contemporary, interdisciplinary practice. I am interested in the exploration of the book as an art form, which has a historical affinity to the tradition of sample books, in use for over 300 years. I work with paper and incorporate traditional materials and methods, applying them to current drawing practices and traditional printmaking techniques. I explore binding and packaging as a conduit and container for images of mementos and memories. I have examined the intricacies of lace making as a touchstone to counter the structures within nature, and I have developed my own visual language using graphite dots, pinpricking and typographic punctuation marks in different combinations, so as to evoke an emerging form or narrative. The time it takes to produce these sequences unites the pursuit of hand-stitched needlepoint. Eloise Butler’s Wildflower Garden is a handmade box, which contains 3 envelopes, which incorporate letterpress plant stems made up from ornamentals, borders and punctuation marks, drawings of wildflowers and pressed wildflowers. Eloise Butler was an independent intrepid woman with a deep wish to see the wildflowers of Minnesota protected and safe. Her wildflower garden was established in 1906 and her vision to protect indigenous flora in Minnesota survives to this day. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453827611-XSP3US1A7MNY5JYR2K64/mcba-prize-2015-Roger-Boulay-All-That-Glitters-1.jpg Entries & Jurors - 2015 Entries - Roger Boulay Roger Boulay (Winona, MN) rogerboulay.com All That Glitters 2015 Pastiche, collage, gold-leafing Unique work 8 ft 2 in x 38 ft x 1/2 in Much of my work is about erasure and change expressed through different objects and media. For this piece, I collected over 1,000 used paperback book covers that contain a gold element, often embossed gold text. I meticulously painted around the original gold portions using gold paint. I am interested in what happens when I erase the color gold with itself. This process results in clashes of different shades of gold or reveals other colors (yellows, bronzes and oranges) either described as gold or confused with gold, perhaps as a kind of “fool’s” gold. This clash of color speaks to discrepancies in how we assign value. The economic value of cultural production such as fiction has become increasingly unclear as print media begins to disappear. A lot of information is erased from each book cover. However, In many cases I left visual elements or particular signifiers visible. These become traces of the original narrative within each book or the journey of the object itself. Price tags indicate reduced, second-hand sales and library barcodes hint at rejection from community archives. Homes, hair, police badges, shadowy figures and a wide range of other objects and symbols are left as flotsam and jetsam floating through a sea of gold. By combining gold and cheaply mass-produced goods, the work describes the ephemeral, unstable space of popular culture. Pop and pulp narratives contain fleeting, momentary value and are quickly discarded. Stories are hyped, consumed and thrown away. I want the viewer to feel immersed in the piece. Seen as a whole, the stacked book covers evoke the bricks of a tenuous, crumbling wall. It is a partial periodic table of storytelling. It is only a fragment of something larger -– beautiful and shimmering yet fatally flawed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453827973-U3DD4LHO290JWBVNPBNC/mcba-prize-2015-Roger-Boulay-All-That-Glitters-2.jpg Entries & Jurors - 2015 Entries - Roger Boulay Roger Boulay (Winona, MN) rogerboulay.com All That Glitters 2015 Pastiche, collage, gold-leafing Unique work 8 ft 2 in x 38 ft x 1/2 in Much of my work is about erasure and change expressed through different objects and media. For this piece, I collected over 1,000 used paperback book covers that contain a gold element, often embossed gold text. I meticulously painted around the original gold portions using gold paint. I am interested in what happens when I erase the color gold with itself. This process results in clashes of different shades of gold or reveals other colors (yellows, bronzes and oranges) either described as gold or confused with gold, perhaps as a kind of “fool’s” gold. This clash of color speaks to discrepancies in how we assign value. The economic value of cultural production such as fiction has become increasingly unclear as print media begins to disappear. A lot of information is erased from each book cover. However, In many cases I left visual elements or particular signifiers visible. These become traces of the original narrative within each book or the journey of the object itself. Price tags indicate reduced, second-hand sales and library barcodes hint at rejection from community archives. Homes, hair, police badges, shadowy figures and a wide range of other objects and symbols are left as flotsam and jetsam floating through a sea of gold. By combining gold and cheaply mass-produced goods, the work describes the ephemeral, unstable space of popular culture. Pop and pulp narratives contain fleeting, momentary value and are quickly discarded. Stories are hyped, consumed and thrown away. I want the viewer to feel immersed in the piece. Seen as a whole, the stacked book covers evoke the bricks of a tenuous, crumbling wall. It is a partial periodic table of storytelling. It is only a fragment of something larger -– beautiful and shimmering yet fatally flawed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453829815-X7M2PPPJF252LRYWVS22/mcba-prize-2015-Roger-Boulay-All-That-Glitters-3.jpg Entries & Jurors - 2015 Entries - Roger Boulay Roger Boulay (Winona, MN) rogerboulay.com All That Glitters 2015 Pastiche, collage, gold-leafing Unique work 8 ft 2 in x 38 ft x 1/2 in Much of my work is about erasure and change expressed through different objects and media. For this piece, I collected over 1,000 used paperback book covers that contain a gold element, often embossed gold text. I meticulously painted around the original gold portions using gold paint. I am interested in what happens when I erase the color gold with itself. This process results in clashes of different shades of gold or reveals other colors (yellows, bronzes and oranges) either described as gold or confused with gold, perhaps as a kind of “fool’s” gold. This clash of color speaks to discrepancies in how we assign value. The economic value of cultural production such as fiction has become increasingly unclear as print media begins to disappear. A lot of information is erased from each book cover. However, In many cases I left visual elements or particular signifiers visible. These become traces of the original narrative within each book or the journey of the object itself. Price tags indicate reduced, second-hand sales and library barcodes hint at rejection from community archives. Homes, hair, police badges, shadowy figures and a wide range of other objects and symbols are left as flotsam and jetsam floating through a sea of gold. By combining gold and cheaply mass-produced goods, the work describes the ephemeral, unstable space of popular culture. Pop and pulp narratives contain fleeting, momentary value and are quickly discarded. Stories are hyped, consumed and thrown away. I want the viewer to feel immersed in the piece. Seen as a whole, the stacked book covers evoke the bricks of a tenuous, crumbling wall. It is a partial periodic table of storytelling. It is only a fragment of something larger -– beautiful and shimmering yet fatally flawed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453831840-AFFNCZUC7V1FED5IX3ON/mcba-prize-2015-Roger-Boulay-All-That-Glitters-4.jpg Entries & Jurors - 2015 Entries - Roger Boulay Roger Boulay (Winona, MN) rogerboulay.com All That Glitters 2015 Pastiche, collage, gold-leafing Unique work 8 ft 2 in x 38 ft x 1/2 in Much of my work is about erasure and change expressed through different objects and media. For this piece, I collected over 1,000 used paperback book covers that contain a gold element, often embossed gold text. I meticulously painted around the original gold portions using gold paint. I am interested in what happens when I erase the color gold with itself. This process results in clashes of different shades of gold or reveals other colors (yellows, bronzes and oranges) either described as gold or confused with gold, perhaps as a kind of “fool’s” gold. This clash of color speaks to discrepancies in how we assign value. The economic value of cultural production such as fiction has become increasingly unclear as print media begins to disappear. A lot of information is erased from each book cover. However, In many cases I left visual elements or particular signifiers visible. These become traces of the original narrative within each book or the journey of the object itself. Price tags indicate reduced, second-hand sales and library barcodes hint at rejection from community archives. Homes, hair, police badges, shadowy figures and a wide range of other objects and symbols are left as flotsam and jetsam floating through a sea of gold. By combining gold and cheaply mass-produced goods, the work describes the ephemeral, unstable space of popular culture. Pop and pulp narratives contain fleeting, momentary value and are quickly discarded. Stories are hyped, consumed and thrown away. I want the viewer to feel immersed in the piece. Seen as a whole, the stacked book covers evoke the bricks of a tenuous, crumbling wall. It is a partial periodic table of storytelling. It is only a fragment of something larger -– beautiful and shimmering yet fatally flawed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453831884-ALA9YE6K33JBJERLC6LU/mcba-prize-2015-Roger-Boulay-All-That-Glitters-5.jpg Entries & Jurors - 2015 Entries - Roger Boulay Roger Boulay (Winona, MN) rogerboulay.com All That Glitters 2015 Pastiche, collage, gold-leafing Unique work 8 ft 2 in x 38 ft x 1/2 in Much of my work is about erasure and change expressed through different objects and media. For this piece, I collected over 1,000 used paperback book covers that contain a gold element, often embossed gold text. I meticulously painted around the original gold portions using gold paint. I am interested in what happens when I erase the color gold with itself. This process results in clashes of different shades of gold or reveals other colors (yellows, bronzes and oranges) either described as gold or confused with gold, perhaps as a kind of “fool’s” gold. This clash of color speaks to discrepancies in how we assign value. The economic value of cultural production such as fiction has become increasingly unclear as print media begins to disappear. A lot of information is erased from each book cover. However, In many cases I left visual elements or particular signifiers visible. These become traces of the original narrative within each book or the journey of the object itself. Price tags indicate reduced, second-hand sales and library barcodes hint at rejection from community archives. Homes, hair, police badges, shadowy figures and a wide range of other objects and symbols are left as flotsam and jetsam floating through a sea of gold. By combining gold and cheaply mass-produced goods, the work describes the ephemeral, unstable space of popular culture. Pop and pulp narratives contain fleeting, momentary value and are quickly discarded. Stories are hyped, consumed and thrown away. I want the viewer to feel immersed in the piece. Seen as a whole, the stacked book covers evoke the bricks of a tenuous, crumbling wall. It is a partial periodic table of storytelling. It is only a fragment of something larger -– beautiful and shimmering yet fatally flawed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453934147-LCEWUZEASMWUTNA5HDII/mcba-prize-2015-Louisa-Boyd-Cartography-I-1.jpg Entries & Jurors - 2015 Entries - Louisa Boyd Louisa Boyd (Cheshire, England) louisaboyd.com Cartography I 2014 Turkish map-fold book with etched pages and collagraph end papers. Blind tooled leather cover. Edition of 3 3 pages Dimensions open: H 5” x W 10”x D 4” Dimensions closed: diameter 5”, depth 1” I often consider place and its meaning to an individual in my work. Literal interpretations of the environment, representations of mapping as well as more abstract concepts about our individual finite existence and our relationship with home find their way into my pieces. Tradition, both familial and cultural, lie at the heart of my artistic practice and in many instances I am considering memory and knowledge and how this is transferred across generations. Using the book itself makes reference to our cultural heritage, a traditional skill that relies on methods that have remained unchanged for centuries. In such senses, the process of bookbinding has become as important as the books themselves and the concepts behind them. Recognizing the beauty and skill involved in making books is just as much part of the work. It is a slow process, and requires patience, concentration and practice, but it is calming and rewarding. The hand-bound book stands out in an age where we are used to fast results and machine-made objects. Materials and technique also play an important role in all the pieces, and I dedicate a lot of time to experimenting with paper, paint and printmaking, pushing materials and understanding what they do. I am particularly interested in paper as a material with its fragile properties and I enjoy its sometimes unpredictable nature. Printmaking has become a large part of my practice over recent years and again I enjoy the historical relevance of this method of working and passing on of traditional skills. Many printmaking processes employed aid concept within the pieces as the permanent marks made by tools and techniques evoke ideas of retained memories and repetition of image alludes to the idea of inter-generational traditions. Cartography I is an etched book, bound using a Turkish map-fold structure with a hand tooled leather cover. It uses abstract imagery to evoke ideas of mapping and is part of a series of works that explore ideas of human existence and a sense of place through symbols and technique. Mapping is used as a way of making sense of our environment and this piece considers this on both a physical and emotional level. It uses the book structure, the imagery and the method of making marks to allude to its meaning. The piece includes three internal folded pages, featuring an etching printed onto Somerset paper on each page. These pages can be opened flat to be viewed individually, or the book may be viewed as a sculpture. The end papers are collagraphs printed with oil based inks onto Magnani paper, with a brown leather cover featuring the title of the book, blind embossed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453933458-WKMP16LV3BJZDNYR222G/mcba-prize-2015-Louisa-Boyd-Cartography-I-2.jpg Entries & Jurors - 2015 Entries - Louisa Boyd Louisa Boyd (Cheshire, England) louisaboyd.com Cartography I 2014 Turkish map-fold book with etched pages and collagraph end papers. Blind tooled leather cover. Edition of 3 3 pages Dimensions open: H 5” x W 10”x D 4” Dimensions closed: diameter 5”, depth 1” I often consider place and its meaning to an individual in my work. Literal interpretations of the environment, representations of mapping as well as more abstract concepts about our individual finite existence and our relationship with home find their way into my pieces. Tradition, both familial and cultural, lie at the heart of my artistic practice and in many instances I am considering memory and knowledge and how this is transferred across generations. Using the book itself makes reference to our cultural heritage, a traditional skill that relies on methods that have remained unchanged for centuries. In such senses, the process of bookbinding has become as important as the books themselves and the concepts behind them. Recognizing the beauty and skill involved in making books is just as much part of the work. It is a slow process, and requires patience, concentration and practice, but it is calming and rewarding. The hand-bound book stands out in an age where we are used to fast results and machine-made objects. Materials and technique also play an important role in all the pieces, and I dedicate a lot of time to experimenting with paper, paint and printmaking, pushing materials and understanding what they do. I am particularly interested in paper as a material with its fragile properties and I enjoy its sometimes unpredictable nature. Printmaking has become a large part of my practice over recent years and again I enjoy the historical relevance of this method of working and passing on of traditional skills. Many printmaking processes employed aid concept within the pieces as the permanent marks made by tools and techniques evoke ideas of retained memories and repetition of image alludes to the idea of inter-generational traditions. Cartography I is an etched book, bound using a Turkish map-fold structure with a hand tooled leather cover. It uses abstract imagery to evoke ideas of mapping and is part of a series of works that explore ideas of human existence and a sense of place through symbols and technique. Mapping is used as a way of making sense of our environment and this piece considers this on both a physical and emotional level. It uses the book structure, the imagery and the method of making marks to allude to its meaning. The piece includes three internal folded pages, featuring an etching printed onto Somerset paper on each page. These pages can be opened flat to be viewed individually, or the book may be viewed as a sculpture. The end papers are collagraphs printed with oil based inks onto Magnani paper, with a brown leather cover featuring the title of the book, blind embossed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453936297-N5N8XD3VGSFZGK5RQ0RC/mcba-prize-2015-Louisa-Boyd-Cartography-I-3.jpg Entries & Jurors - 2015 Entries - Louisa Boyd Louisa Boyd (Cheshire, England) louisaboyd.com Cartography I 2014 Turkish map-fold book with etched pages and collagraph end papers. Blind tooled leather cover. Edition of 3 3 pages Dimensions open: H 5” x W 10”x D 4” Dimensions closed: diameter 5”, depth 1” I often consider place and its meaning to an individual in my work. Literal interpretations of the environment, representations of mapping as well as more abstract concepts about our individual finite existence and our relationship with home find their way into my pieces. Tradition, both familial and cultural, lie at the heart of my artistic practice and in many instances I am considering memory and knowledge and how this is transferred across generations. Using the book itself makes reference to our cultural heritage, a traditional skill that relies on methods that have remained unchanged for centuries. In such senses, the process of bookbinding has become as important as the books themselves and the concepts behind them. Recognizing the beauty and skill involved in making books is just as much part of the work. It is a slow process, and requires patience, concentration and practice, but it is calming and rewarding. The hand-bound book stands out in an age where we are used to fast results and machine-made objects. Materials and technique also play an important role in all the pieces, and I dedicate a lot of time to experimenting with paper, paint and printmaking, pushing materials and understanding what they do. I am particularly interested in paper as a material with its fragile properties and I enjoy its sometimes unpredictable nature. Printmaking has become a large part of my practice over recent years and again I enjoy the historical relevance of this method of working and passing on of traditional skills. Many printmaking processes employed aid concept within the pieces as the permanent marks made by tools and techniques evoke ideas of retained memories and repetition of image alludes to the idea of inter-generational traditions. Cartography I is an etched book, bound using a Turkish map-fold structure with a hand tooled leather cover. It uses abstract imagery to evoke ideas of mapping and is part of a series of works that explore ideas of human existence and a sense of place through symbols and technique. Mapping is used as a way of making sense of our environment and this piece considers this on both a physical and emotional level. It uses the book structure, the imagery and the method of making marks to allude to its meaning. The piece includes three internal folded pages, featuring an etching printed onto Somerset paper on each page. These pages can be opened flat to be viewed individually, or the book may be viewed as a sculpture. The end papers are collagraphs printed with oil based inks onto Magnani paper, with a brown leather cover featuring the title of the book, blind embossed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774453935972-69G6IARKR0OXURDBT54Q/mcba-prize-2015-Louisa-Boyd-Cartography-I-4.jpg Entries & Jurors - 2015 Entries - Louisa Boyd Louisa Boyd (Cheshire, England) louisaboyd.com Cartography I 2014 Turkish map-fold book with etched pages and collagraph end papers. Blind tooled leather cover. Edition of 3 3 pages Dimensions open: H 5” x W 10”x D 4” Dimensions closed: diameter 5”, depth 1” I often consider place and its meaning to an individual in my work. Literal interpretations of the environment, representations of mapping as well as more abstract concepts about our individual finite existence and our relationship with home find their way into my pieces. Tradition, both familial and cultural, lie at the heart of my artistic practice and in many instances I am considering memory and knowledge and how this is transferred across generations. Using the book itself makes reference to our cultural heritage, a traditional skill that relies on methods that have remained unchanged for centuries. In such senses, the process of bookbinding has become as important as the books themselves and the concepts behind them. Recognizing the beauty and skill involved in making books is just as much part of the work. It is a slow process, and requires patience, concentration and practice, but it is calming and rewarding. The hand-bound book stands out in an age where we are used to fast results and machine-made objects. Materials and technique also play an important role in all the pieces, and I dedicate a lot of time to experimenting with paper, paint and printmaking, pushing materials and understanding what they do. I am particularly interested in paper as a material with its fragile properties and I enjoy its sometimes unpredictable nature. Printmaking has become a large part of my practice over recent years and again I enjoy the historical relevance of this method of working and passing on of traditional skills. Many printmaking processes employed aid concept within the pieces as the permanent marks made by tools and techniques evoke ideas of retained memories and repetition of image alludes to the idea of inter-generational traditions. Cartography I is an etched book, bound using a Turkish map-fold structure with a hand tooled leather cover. It uses abstract imagery to evoke ideas of mapping and is part of a series of works that explore ideas of human existence and a sense of place through symbols and technique. Mapping is used as a way of making sense of our environment and this piece considers this on both a physical and emotional level. It uses the book structure, the imagery and the method of making marks to allude to its meaning. The piece includes three internal folded pages, featuring an etching printed onto Somerset paper on each page. These pages can be opened flat to be viewed individually, or the book may be viewed as a sculpture. The end papers are collagraphs printed with oil based inks onto Magnani paper, with a brown leather cover featuring the title of the book, blind embossed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774454005171-734KQRYAYOD6HQYFHR6F/mcba-prize-2015-Servane-Briand-bicycles-form-a-chain-1.jpg Entries & Jurors - 2015 Entries - Servane Briand Servane Briand (Palo Alto, CA) servanebriand.com bicycles form a chain 2014-2015 Edition of 3 Pages: 56 Dimensions open: variable, max is 7″x23′ Dimensions closed: circular, H-2.25″, diameter 7.75″ Living in Silicon Valley and making artists’ books is exhilarating. When some may blame the digital revolution for the demise of the book, one could also argue that it allowed the extraordinary vitality of the artist book. I am an enthusiastic reader and have always loved books. This naturally led me to want to make my own. Starting in 2006, I studied printmaking, papermaking, bookbinding. I also revisited my favorite poets and discovered many I did not know. Along the way, I have been lucky to have extraordinary teachers whose levels of craftsmanship and artistry is unique. I also was able to work on several collaborations. I greatly enjoyed it and keep time in my studio practice for collaborative projects. In creating a book, I enjoy the ability to work from these different perspectives and putting them together. I like that inspiration can arise from different places but that in the end all pieces must fit together, a bit like a puzzle. I have fun using very ancient tools and techniques and the latest technology too. And often, I have to ask for help which may lead to more collaborations! It’s a wonderful challenge and the narrative is always moving forward. In pursuing the book as art object, I am also interested in what happens within the interaction. The reader/viewer picks up the book and invents yet another narrative. He or she tells a story and while I may not capture it, I am curious at what it is and what if? More of my work in the coming years will explore what happens in this territory. I cherish our ability to be moved by works of art and I love witnessing it. Bicycles form a chain come from my recent exploration (and obsession!) with circular shapes. That has led me to explore a wide variety of cycles. Making my own paper enabled me to have natural deckles on round leaves and opened up the door for several round books, circular time story (time), a book for laure (time and memory) and les bicyclettes font la chaîne (bicycles)! In these books I also explore freedom and attachment. The book is bound but the lightness and transparency of the paper suggests a possible escape. I have always felt there was some resemblance between dogs and bicycles that wait, attached to a post, for their human companions. There is within their expectancy something mysterious that I tried to capture in this book. These bicycles both real and rooted in my imagination form a chain that give them, maybe, an opportunity to escape their terrestrial ties. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774454005347-I7PRRUX8RHV6K48ZYIFE/mcba-prize-2015-Servane-Briand-bicycles-form-a-chain-2.jpg Entries & Jurors - 2015 Entries - Servane Briand Servane Briand (Palo Alto, CA) servanebriand.com bicycles form a chain 2014-2015 Edition of 3 Pages: 56 Dimensions open: variable, max is 7″x23′ Dimensions closed: circular, H-2.25″, diameter 7.75″ Living in Silicon Valley and making artists’ books is exhilarating. When some may blame the digital revolution for the demise of the book, one could also argue that it allowed the extraordinary vitality of the artist book. I am an enthusiastic reader and have always loved books. This naturally led me to want to make my own. Starting in 2006, I studied printmaking, papermaking, bookbinding. I also revisited my favorite poets and discovered many I did not know. Along the way, I have been lucky to have extraordinary teachers whose levels of craftsmanship and artistry is unique. I also was able to work on several collaborations. I greatly enjoyed it and keep time in my studio practice for collaborative projects. In creating a book, I enjoy the ability to work from these different perspectives and putting them together. I like that inspiration can arise from different places but that in the end all pieces must fit together, a bit like a puzzle. I have fun using very ancient tools and techniques and the latest technology too. And often, I have to ask for help which may lead to more collaborations! It’s a wonderful challenge and the narrative is always moving forward. In pursuing the book as art object, I am also interested in what happens within the interaction. The reader/viewer picks up the book and invents yet another narrative. He or she tells a story and while I may not capture it, I am curious at what it is and what if? More of my work in the coming years will explore what happens in this territory. I cherish our ability to be moved by works of art and I love witnessing it. Bicycles form a chain come from my recent exploration (and obsession!) with circular shapes. That has led me to explore a wide variety of cycles. Making my own paper enabled me to have natural deckles on round leaves and opened up the door for several round books, circular time story (time), a book for laure (time and memory) and les bicyclettes font la chaîne (bicycles)! In these books I also explore freedom and attachment. The book is bound but the lightness and transparency of the paper suggests a possible escape. I have always felt there was some resemblance between dogs and bicycles that wait, attached to a post, for their human companions. There is within their expectancy something mysterious that I tried to capture in this book. These bicycles both real and rooted in my imagination form a chain that give them, maybe, an opportunity to escape their terrestrial ties. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774454009778-SW8QN6BBEGDDG1HTEEYL/mcba-prize-2015-Servane-Briand-bicycles-form-a-chain-3.jpg Entries & Jurors - 2015 Entries - Servane Briand Servane Briand (Palo Alto, CA) servanebriand.com bicycles form a chain 2014-2015 Edition of 3 Pages: 56 Dimensions open: variable, max is 7″x23′ Dimensions closed: circular, H-2.25″, diameter 7.75″ Living in Silicon Valley and making artists’ books is exhilarating. When some may blame the digital revolution for the demise of the book, one could also argue that it allowed the extraordinary vitality of the artist book. I am an enthusiastic reader and have always loved books. This naturally led me to want to make my own. Starting in 2006, I studied printmaking, papermaking, bookbinding. I also revisited my favorite poets and discovered many I did not know. Along the way, I have been lucky to have extraordinary teachers whose levels of craftsmanship and artistry is unique. I also was able to work on several collaborations. I greatly enjoyed it and keep time in my studio practice for collaborative projects. In creating a book, I enjoy the ability to work from these different perspectives and putting them together. I like that inspiration can arise from different places but that in the end all pieces must fit together, a bit like a puzzle. I have fun using very ancient tools and techniques and the latest technology too. And often, I have to ask for help which may lead to more collaborations! It’s a wonderful challenge and the narrative is always moving forward. In pursuing the book as art object, I am also interested in what happens within the interaction. The reader/viewer picks up the book and invents yet another narrative. He or she tells a story and while I may not capture it, I am curious at what it is and what if? More of my work in the coming years will explore what happens in this territory. I cherish our ability to be moved by works of art and I love witnessing it. Bicycles form a chain come from my recent exploration (and obsession!) with circular shapes. That has led me to explore a wide variety of cycles. Making my own paper enabled me to have natural deckles on round leaves and opened up the door for several round books, circular time story (time), a book for laure (time and memory) and les bicyclettes font la chaîne (bicycles)! In these books I also explore freedom and attachment. The book is bound but the lightness and transparency of the paper suggests a possible escape. I have always felt there was some resemblance between dogs and bicycles that wait, attached to a post, for their human companions. There is within their expectancy something mysterious that I tried to capture in this book. These bicycles both real and rooted in my imagination form a chain that give them, maybe, an opportunity to escape their terrestrial ties. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774454009531-CSS09235UW57P1RPI89E/mcba-prize-2015-Servane-Briand-bicycles-form-a-chain-4.jpg Entries & Jurors - 2015 Entries - Servane Briand Servane Briand (Palo Alto, CA) servanebriand.com bicycles form a chain 2014-2015 Edition of 3 Pages: 56 Dimensions open: variable, max is 7″x23′ Dimensions closed: circular, H-2.25″, diameter 7.75″ Living in Silicon Valley and making artists’ books is exhilarating. When some may blame the digital revolution for the demise of the book, one could also argue that it allowed the extraordinary vitality of the artist book. I am an enthusiastic reader and have always loved books. This naturally led me to want to make my own. Starting in 2006, I studied printmaking, papermaking, bookbinding. I also revisited my favorite poets and discovered many I did not know. Along the way, I have been lucky to have extraordinary teachers whose levels of craftsmanship and artistry is unique. I also was able to work on several collaborations. I greatly enjoyed it and keep time in my studio practice for collaborative projects. In creating a book, I enjoy the ability to work from these different perspectives and putting them together. I like that inspiration can arise from different places but that in the end all pieces must fit together, a bit like a puzzle. I have fun using very ancient tools and techniques and the latest technology too. And often, I have to ask for help which may lead to more collaborations! It’s a wonderful challenge and the narrative is always moving forward. In pursuing the book as art object, I am also interested in what happens within the interaction. The reader/viewer picks up the book and invents yet another narrative. He or she tells a story and while I may not capture it, I am curious at what it is and what if? More of my work in the coming years will explore what happens in this territory. I cherish our ability to be moved by works of art and I love witnessing it. Bicycles form a chain come from my recent exploration (and obsession!) with circular shapes. That has led me to explore a wide variety of cycles. Making my own paper enabled me to have natural deckles on round leaves and opened up the door for several round books, circular time story (time), a book for laure (time and memory) and les bicyclettes font la chaîne (bicycles)! In these books I also explore freedom and attachment. The book is bound but the lightness and transparency of the paper suggests a possible escape. I have always felt there was some resemblance between dogs and bicycles that wait, attached to a post, for their human companions. There is within their expectancy something mysterious that I tried to capture in this book. These bicycles both real and rooted in my imagination form a chain that give them, maybe, an opportunity to escape their terrestrial ties. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774454012311-44OSHN5UIOYT11CLGHKY/mcba-prize-2015-Servane-Briand-bicycles-form-a-chain-5.jpg Entries & Jurors - 2015 Entries - Servane Briand Servane Briand (Palo Alto, CA) servanebriand.com bicycles form a chain 2014-2015 Edition of 3 Pages: 56 Dimensions open: variable, max is 7″x23′ Dimensions closed: circular, H-2.25″, diameter 7.75″ Living in Silicon Valley and making artists’ books is exhilarating. When some may blame the digital revolution for the demise of the book, one could also argue that it allowed the extraordinary vitality of the artist book. I am an enthusiastic reader and have always loved books. This naturally led me to want to make my own. Starting in 2006, I studied printmaking, papermaking, bookbinding. I also revisited my favorite poets and discovered many I did not know. Along the way, I have been lucky to have extraordinary teachers whose levels of craftsmanship and artistry is unique. I also was able to work on several collaborations. I greatly enjoyed it and keep time in my studio practice for collaborative projects. In creating a book, I enjoy the ability to work from these different perspectives and putting them together. I like that inspiration can arise from different places but that in the end all pieces must fit together, a bit like a puzzle. I have fun using very ancient tools and techniques and the latest technology too. And often, I have to ask for help which may lead to more collaborations! It’s a wonderful challenge and the narrative is always moving forward. In pursuing the book as art object, I am also interested in what happens within the interaction. The reader/viewer picks up the book and invents yet another narrative. He or she tells a story and while I may not capture it, I am curious at what it is and what if? More of my work in the coming years will explore what happens in this territory. I cherish our ability to be moved by works of art and I love witnessing it. Bicycles form a chain come from my recent exploration (and obsession!) with circular shapes. That has led me to explore a wide variety of cycles. Making my own paper enabled me to have natural deckles on round leaves and opened up the door for several round books, circular time story (time), a book for laure (time and memory) and les bicyclettes font la chaîne (bicycles)! In these books I also explore freedom and attachment. The book is bound but the lightness and transparency of the paper suggests a possible escape. I have always felt there was some resemblance between dogs and bicycles that wait, attached to a post, for their human companions. There is within their expectancy something mysterious that I tried to capture in this book. These bicycles both real and rooted in my imagination form a chain that give them, maybe, an opportunity to escape their terrestrial ties. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774454081665-HGOKLZDAJ3735MHGKYW7/mcba-prize-2015-Linda-Broadfoot-Hive-1.jpg Entries & Jurors - 2015 Entries - Linda Broadfoot Linda Broadfoot (Atlantic Beach, Florida) Hive 2014 Letterpress printed text on Hahnemühle Ingres, archival pigment print images on Hahnemühle Photo Silk Baryta paper mounted on Russian birch plywood, detailed with beeswax, encased within a fabricated one half scale maple Langstroth beehive box structure Edition of 30 Pages: 20 Dimensions open: 6 1/2″ x 7″ x 9 1/2″ Dimensions closed: 6 1/2″ x 7″ x 9 1/2″ Hive was created to reveal the wonder of sunlit bees in the air and the mystery of the hive. The images and the physical structure of the book came from my experience as a beekeeper. Here are my bees, brazen, blurs on paper, besotted; buzzwords, dancing their flawless, airy maps. On first reading of these words of British poet laureate Carol Ann Duffy from her book, The Bees: Poems, it was clear that her words about bees as a symbol of endangered nature and my images of bees in flight would illuminate each other. I can watch the bees from my bedroom window and have spent many hours fascinated by them and the trails they make as they enter and leave the hive, swirling around it. Capturing this experience on film was a technical challenge, solved by creating an outdoor studio, using a black backdrop and the mid-day sun, then the opening the shutter just long enough to capture their flight. The eight photographs included were selected from thousands made over the course of three years. After obtaining permission to use nine poems of Duffy’s, I was accepted into the Winter Letterpress Residency at Penland School of Crafts. There, I worked on honing the structure and materials for Hive, and printed the text. The form of Hive is a half-scale replica of a Langstroth hive, invented in the 1850s, which allowed the beekeeper to look inside the hive without destroying the bees, their honeycomb and their young. The pages, modeled after the ten frames inside the hive, hold poems and images conveying the sweetness and strength of honey and pollen and the vibrancy of young bees in their industrious work in and out of the hive. The beeswax-edged pages can be carefully removed and inspected, recreating the privilege of visiting inside the hive and sharing in the mysteries held within. In February, I had the honor of meeting Carol Ann Duffy, Britain’s first woman Poet Laureate, at Emory University on the occasion of The Raymond Danowski Poetry Library Reading Series and presenting Hive to her. The project had come full circle. All day long we leave and arrive at the hive, concelebrants. The hive is love . . . . . . the hive, alive, us – how we behave. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774454080516-73OEHKS7EVVOYHU07T3B/mcba-prize-2015-Linda-Broadfoot-Hive-2.jpg Entries & Jurors - 2015 Entries - Linda Broadfoot Linda Broadfoot (Atlantic Beach, Florida) Hive 2014 Letterpress printed text on Hahnemühle Ingres, archival pigment print images on Hahnemühle Photo Silk Baryta paper mounted on Russian birch plywood, detailed with beeswax, encased within a fabricated one half scale maple Langstroth beehive box structure Edition of 30 Pages: 20 Dimensions open: 6 1/2″ x 7″ x 9 1/2″ Dimensions closed: 6 1/2″ x 7″ x 9 1/2″ Hive was created to reveal the wonder of sunlit bees in the air and the mystery of the hive. The images and the physical structure of the book came from my experience as a beekeeper. Here are my bees, brazen, blurs on paper, besotted; buzzwords, dancing their flawless, airy maps. On first reading of these words of British poet laureate Carol Ann Duffy from her book, The Bees: Poems, it was clear that her words about bees as a symbol of endangered nature and my images of bees in flight would illuminate each other. I can watch the bees from my bedroom window and have spent many hours fascinated by them and the trails they make as they enter and leave the hive, swirling around it. Capturing this experience on film was a technical challenge, solved by creating an outdoor studio, using a black backdrop and the mid-day sun, then the opening the shutter just long enough to capture their flight. The eight photographs included were selected from thousands made over the course of three years. After obtaining permission to use nine poems of Duffy’s, I was accepted into the Winter Letterpress Residency at Penland School of Crafts. There, I worked on honing the structure and materials for Hive, and printed the text. The form of Hive is a half-scale replica of a Langstroth hive, invented in the 1850s, which allowed the beekeeper to look inside the hive without destroying the bees, their honeycomb and their young. The pages, modeled after the ten frames inside the hive, hold poems and images conveying the sweetness and strength of honey and pollen and the vibrancy of young bees in their industrious work in and out of the hive. The beeswax-edged pages can be carefully removed and inspected, recreating the privilege of visiting inside the hive and sharing in the mysteries held within. In February, I had the honor of meeting Carol Ann Duffy, Britain’s first woman Poet Laureate, at Emory University on the occasion of The Raymond Danowski Poetry Library Reading Series and presenting Hive to her. The project had come full circle. All day long we leave and arrive at the hive, concelebrants. The hive is love . . . . . . the hive, alive, us – how we behave. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774454082181-VX2TF07THHPMPSUEFFC4/mcba-prize-2015-Linda-Broadfoot-Hive-3.jpg Entries & Jurors - 2015 Entries - Linda Broadfoot Linda Broadfoot (Atlantic Beach, Florida) Hive 2014 Letterpress printed text on Hahnemühle Ingres, archival pigment print images on Hahnemühle Photo Silk Baryta paper mounted on Russian birch plywood, detailed with beeswax, encased within a fabricated one half scale maple Langstroth beehive box structure Edition of 30 Pages: 20 Dimensions open: 6 1/2″ x 7″ x 9 1/2″ Dimensions closed: 6 1/2″ x 7″ x 9 1/2″ Hive was created to reveal the wonder of sunlit bees in the air and the mystery of the hive. The images and the physical structure of the book came from my experience as a beekeeper. Here are my bees, brazen, blurs on paper, besotted; buzzwords, dancing their flawless, airy maps. On first reading of these words of British poet laureate Carol Ann Duffy from her book, The Bees: Poems, it was clear that her words about bees as a symbol of endangered nature and my images of bees in flight would illuminate each other. I can watch the bees from my bedroom window and have spent many hours fascinated by them and the trails they make as they enter and leave the hive, swirling around it. Capturing this experience on film was a technical challenge, solved by creating an outdoor studio, using a black backdrop and the mid-day sun, then the opening the shutter just long enough to capture their flight. The eight photographs included were selected from thousands made over the course of three years. After obtaining permission to use nine poems of Duffy’s, I was accepted into the Winter Letterpress Residency at Penland School of Crafts. There, I worked on honing the structure and materials for Hive, and printed the text. The form of Hive is a half-scale replica of a Langstroth hive, invented in the 1850s, which allowed the beekeeper to look inside the hive without destroying the bees, their honeycomb and their young. The pages, modeled after the ten frames inside the hive, hold poems and images conveying the sweetness and strength of honey and pollen and the vibrancy of young bees in their industrious work in and out of the hive. The beeswax-edged pages can be carefully removed and inspected, recreating the privilege of visiting inside the hive and sharing in the mysteries held within. In February, I had the honor of meeting Carol Ann Duffy, Britain’s first woman Poet Laureate, at Emory University on the occasion of The Raymond Danowski Poetry Library Reading Series and presenting Hive to her. The project had come full circle. All day long we leave and arrive at the hive, concelebrants. The hive is love . . . . . . the hive, alive, us – how we behave. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774454083132-4TWGKF5PU65EJOZ1MM5G/mcba-prize-2015-Linda-Broadfoot-Hive-4.jpg Entries & Jurors - 2015 Entries - Linda Broadfoot Linda Broadfoot (Atlantic Beach, Florida) Hive 2014 Letterpress printed text on Hahnemühle Ingres, archival pigment print images on Hahnemühle Photo Silk Baryta paper mounted on Russian birch plywood, detailed with beeswax, encased within a fabricated one half scale maple Langstroth beehive box structure Edition of 30 Pages: 20 Dimensions open: 6 1/2″ x 7″ x 9 1/2″ Dimensions closed: 6 1/2″ x 7″ x 9 1/2″ Hive was created to reveal the wonder of sunlit bees in the air and the mystery of the hive. The images and the physical structure of the book came from my experience as a beekeeper. Here are my bees, brazen, blurs on paper, besotted; buzzwords, dancing their flawless, airy maps. On first reading of these words of British poet laureate Carol Ann Duffy from her book, The Bees: Poems, it was clear that her words about bees as a symbol of endangered nature and my images of bees in flight would illuminate each other. I can watch the bees from my bedroom window and have spent many hours fascinated by them and the trails they make as they enter and leave the hive, swirling around it. Capturing this experience on film was a technical challenge, solved by creating an outdoor studio, using a black backdrop and the mid-day sun, then the opening the shutter just long enough to capture their flight. The eight photographs included were selected from thousands made over the course of three years. After obtaining permission to use nine poems of Duffy’s, I was accepted into the Winter Letterpress Residency at Penland School of Crafts. There, I worked on honing the structure and materials for Hive, and printed the text. The form of Hive is a half-scale replica of a Langstroth hive, invented in the 1850s, which allowed the beekeeper to look inside the hive without destroying the bees, their honeycomb and their young. The pages, modeled after the ten frames inside the hive, hold poems and images conveying the sweetness and strength of honey and pollen and the vibrancy of young bees in their industrious work in and out of the hive. The beeswax-edged pages can be carefully removed and inspected, recreating the privilege of visiting inside the hive and sharing in the mysteries held within. In February, I had the honor of meeting Carol Ann Duffy, Britain’s first woman Poet Laureate, at Emory University on the occasion of The Raymond Danowski Poetry Library Reading Series and presenting Hive to her. The project had come full circle. All day long we leave and arrive at the hive, concelebrants. The hive is love . . . . . . the hive, alive, us – how we behave. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774454083566-LX07WLI4RBGN457PLEK6/mcba-prize-2015-Linda-Broadfoot-Hive-5.jpg Entries & Jurors - 2015 Entries - Linda Broadfoot Linda Broadfoot (Atlantic Beach, Florida) Hive 2014 Letterpress printed text on Hahnemühle Ingres, archival pigment print images on Hahnemühle Photo Silk Baryta paper mounted on Russian birch plywood, detailed with beeswax, encased within a fabricated one half scale maple Langstroth beehive box structure Edition of 30 Pages: 20 Dimensions open: 6 1/2″ x 7″ x 9 1/2″ Dimensions closed: 6 1/2″ x 7″ x 9 1/2″ Hive was created to reveal the wonder of sunlit bees in the air and the mystery of the hive. The images and the physical structure of the book came from my experience as a beekeeper. Here are my bees, brazen, blurs on paper, besotted; buzzwords, dancing their flawless, airy maps. On first reading of these words of British poet laureate Carol Ann Duffy from her book, The Bees: Poems, it was clear that her words about bees as a symbol of endangered nature and my images of bees in flight would illuminate each other. I can watch the bees from my bedroom window and have spent many hours fascinated by them and the trails they make as they enter and leave the hive, swirling around it. Capturing this experience on film was a technical challenge, solved by creating an outdoor studio, using a black backdrop and the mid-day sun, then the opening the shutter just long enough to capture their flight. The eight photographs included were selected from thousands made over the course of three years. After obtaining permission to use nine poems of Duffy’s, I was accepted into the Winter Letterpress Residency at Penland School of Crafts. There, I worked on honing the structure and materials for Hive, and printed the text. The form of Hive is a half-scale replica of a Langstroth hive, invented in the 1850s, which allowed the beekeeper to look inside the hive without destroying the bees, their honeycomb and their young. The pages, modeled after the ten frames inside the hive, hold poems and images conveying the sweetness and strength of honey and pollen and the vibrancy of young bees in their industrious work in and out of the hive. The beeswax-edged pages can be carefully removed and inspected, recreating the privilege of visiting inside the hive and sharing in the mysteries held within. In February, I had the honor of meeting Carol Ann Duffy, Britain’s first woman Poet Laureate, at Emory University on the occasion of The Raymond Danowski Poetry Library Reading Series and presenting Hive to her. The project had come full circle. All day long we leave and arrive at the hive, concelebrants. The hive is love . . . . . . the hive, alive, us – how we behave. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455267115-H0ZNM0JKQG9DWAKAX8CQ/mcba-prize-2015-Victoria-Browne-I-can-highly-recommend-the-Gestapo-to-everyone-1.jpg Entries & Jurors - 2015 Entries - Victoria Browne Victoria Browne (London, London, UK) victoriabrowne.com I can highly recommend the Gestapo to everyone 2015 Foil blocking and HP Indigo Press Edition size: 150 Pages: 12 Dimensions open: 56 x 31cm Dimensions closed: 28 x 31cm Victoria Browne’s practice draws on public special collections to appropriate material research, applying traditional and innovative print techniques in the development of site responsive artworks. As the founder of KALEID editions her practice extends to artists’ books. In 2013 she was nominated by Gill Saunders, Senior Curator of Prints at the V&A Museum and shortlisted for The British Arts Foundation Printmaking Fellowship Award. I can highly recommend the Gestapo to everyone With kind permission of the Freud Museum London and the Sigmund Freud Museum Vienna. Prior to Dr. Sigmund Freud and his family’s evacuation in 1938, ‘Ich kann die Gestapo jedermann auf das beste empfehlen’ refers to the few words that Freud added after his signature in order to be granted an exit visa. Fifty years later this report was proved incorrect yet historical records have continued to perpetuate the myth until the present day. Citations implicating five biographies are presented with tipped-­in plates of Freud’s unoccupied home in Vienna, obscuring his personal artefacts relocated in London. On the occasion of the seventy-fifth anniversary of the death of the founder of psychoanalysis, ‘Sigmund Freud and the Play on the Burden of Representation’, a group exhibition curated by Joseph Kosuth and Luisa Ziaja at 21er Haus, the Museum of Contemporary Art Vienna. Signed and numbered edition of one hundred and fifty. 2015 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455267022-LWWLMUDUYSFVBEL4KU3U/mcba-prize-2015-Victoria-Browne-I-can-highly-recommend-the-Gestapo-to-everyone-2.jpg Entries & Jurors - 2015 Entries - Victoria Browne Victoria Browne (London, London, UK) victoriabrowne.com I can highly recommend the Gestapo to everyone 2015 Foil blocking and HP Indigo Press Edition size: 150 Pages: 12 Dimensions open: 56 x 31cm Dimensions closed: 28 x 31cm Victoria Browne’s practice draws on public special collections to appropriate material research, applying traditional and innovative print techniques in the development of site responsive artworks. As the founder of KALEID editions her practice extends to artists’ books. In 2013 she was nominated by Gill Saunders, Senior Curator of Prints at the V&A Museum and shortlisted for The British Arts Foundation Printmaking Fellowship Award. I can highly recommend the Gestapo to everyone With kind permission of the Freud Museum London and the Sigmund Freud Museum Vienna. Prior to Dr. Sigmund Freud and his family’s evacuation in 1938, ‘Ich kann die Gestapo jedermann auf das beste empfehlen’ refers to the few words that Freud added after his signature in order to be granted an exit visa. Fifty years later this report was proved incorrect yet historical records have continued to perpetuate the myth until the present day. Citations implicating five biographies are presented with tipped-­in plates of Freud’s unoccupied home in Vienna, obscuring his personal artefacts relocated in London. On the occasion of the seventy-fifth anniversary of the death of the founder of psychoanalysis, ‘Sigmund Freud and the Play on the Burden of Representation’, a group exhibition curated by Joseph Kosuth and Luisa Ziaja at 21er Haus, the Museum of Contemporary Art Vienna. Signed and numbered edition of one hundred and fifty. 2015 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455269001-1PCT4L3XG55R49HR3CEU/mcba-prize-2015-Victoria-Browne-I-can-highly-recommend-the-Gestapo-to-everyone-3.jpg Entries & Jurors - 2015 Entries - Victoria Browne Victoria Browne (London, London, UK) victoriabrowne.com I can highly recommend the Gestapo to everyone 2015 Foil blocking and HP Indigo Press Edition size: 150 Pages: 12 Dimensions open: 56 x 31cm Dimensions closed: 28 x 31cm Victoria Browne’s practice draws on public special collections to appropriate material research, applying traditional and innovative print techniques in the development of site responsive artworks. As the founder of KALEID editions her practice extends to artists’ books. In 2013 she was nominated by Gill Saunders, Senior Curator of Prints at the V&A Museum and shortlisted for The British Arts Foundation Printmaking Fellowship Award. I can highly recommend the Gestapo to everyone With kind permission of the Freud Museum London and the Sigmund Freud Museum Vienna. Prior to Dr. Sigmund Freud and his family’s evacuation in 1938, ‘Ich kann die Gestapo jedermann auf das beste empfehlen’ refers to the few words that Freud added after his signature in order to be granted an exit visa. Fifty years later this report was proved incorrect yet historical records have continued to perpetuate the myth until the present day. Citations implicating five biographies are presented with tipped-­in plates of Freud’s unoccupied home in Vienna, obscuring his personal artefacts relocated in London. On the occasion of the seventy-fifth anniversary of the death of the founder of psychoanalysis, ‘Sigmund Freud and the Play on the Burden of Representation’, a group exhibition curated by Joseph Kosuth and Luisa Ziaja at 21er Haus, the Museum of Contemporary Art Vienna. Signed and numbered edition of one hundred and fifty. 2015 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455269146-5BXDHRXIQJE6G3QTOYMM/mcba-prize-2015-Victoria-Browne-I-can-highly-recommend-the-Gestapo-to-everyone-4.jpg Entries & Jurors - 2015 Entries - Victoria Browne Victoria Browne (London, London, UK) victoriabrowne.com I can highly recommend the Gestapo to everyone 2015 Foil blocking and HP Indigo Press Edition size: 150 Pages: 12 Dimensions open: 56 x 31cm Dimensions closed: 28 x 31cm Victoria Browne’s practice draws on public special collections to appropriate material research, applying traditional and innovative print techniques in the development of site responsive artworks. As the founder of KALEID editions her practice extends to artists’ books. In 2013 she was nominated by Gill Saunders, Senior Curator of Prints at the V&A Museum and shortlisted for The British Arts Foundation Printmaking Fellowship Award. I can highly recommend the Gestapo to everyone With kind permission of the Freud Museum London and the Sigmund Freud Museum Vienna. Prior to Dr. Sigmund Freud and his family’s evacuation in 1938, ‘Ich kann die Gestapo jedermann auf das beste empfehlen’ refers to the few words that Freud added after his signature in order to be granted an exit visa. Fifty years later this report was proved incorrect yet historical records have continued to perpetuate the myth until the present day. Citations implicating five biographies are presented with tipped-­in plates of Freud’s unoccupied home in Vienna, obscuring his personal artefacts relocated in London. On the occasion of the seventy-fifth anniversary of the death of the founder of psychoanalysis, ‘Sigmund Freud and the Play on the Burden of Representation’, a group exhibition curated by Joseph Kosuth and Luisa Ziaja at 21er Haus, the Museum of Contemporary Art Vienna. Signed and numbered edition of one hundred and fifty. 2015 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455270677-CTW7FXZOT4SJJT68505R/mcba-prize-2015-Victoria-Browne-I-can-highly-recommend-the-Gestapo-to-everyone-5.jpg Entries & Jurors - 2015 Entries - Victoria Browne Victoria Browne (London, London, UK) victoriabrowne.com I can highly recommend the Gestapo to everyone 2015 Foil blocking and HP Indigo Press Edition size: 150 Pages: 12 Dimensions open: 56 x 31cm Dimensions closed: 28 x 31cm Victoria Browne’s practice draws on public special collections to appropriate material research, applying traditional and innovative print techniques in the development of site responsive artworks. As the founder of KALEID editions her practice extends to artists’ books. In 2013 she was nominated by Gill Saunders, Senior Curator of Prints at the V&A Museum and shortlisted for The British Arts Foundation Printmaking Fellowship Award. I can highly recommend the Gestapo to everyone With kind permission of the Freud Museum London and the Sigmund Freud Museum Vienna. Prior to Dr. Sigmund Freud and his family’s evacuation in 1938, ‘Ich kann die Gestapo jedermann auf das beste empfehlen’ refers to the few words that Freud added after his signature in order to be granted an exit visa. Fifty years later this report was proved incorrect yet historical records have continued to perpetuate the myth until the present day. Citations implicating five biographies are presented with tipped-­in plates of Freud’s unoccupied home in Vienna, obscuring his personal artefacts relocated in London. On the occasion of the seventy-fifth anniversary of the death of the founder of psychoanalysis, ‘Sigmund Freud and the Play on the Burden of Representation’, a group exhibition curated by Joseph Kosuth and Luisa Ziaja at 21er Haus, the Museum of Contemporary Art Vienna. Signed and numbered edition of one hundred and fifty. 2015 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455350197-XLQCT489ZJQRYU8VNNM0/mcba-prize-2015-Peter-Burgess-london-equivalence-days-1-12-1.jpg Entries & Jurors - 2015 Entries - Peter Burgess Peter Burgess (Petersham, New South Wales, Autralia) london equivalence days 1-12 on Blurb london equivalence days 1-12 2014 Hard cover photo book, digitally printed Edition size: 10 Pages: 26 Dimensions open: w 13 3/4″ x h 7″ x d 1/4″ Dimensions closed: w 7″ x h 7″ x d 1/6″ This book was produced as part of an artist-in-residency in London during 2014. The individual pages mimic the iconic cloudscapes of seminal photographers Minor White and Alfred Stieglitz, but have been layered with the corporate logos encountered during the first 12 days in London. The next day’s cloudscape is previewed through the logo of each page. The act of page turning activates the sequence. Best displayed on a table with access to be able to turn the pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455350271-80HPBV06EOIUP3YD2I2G/mcba-prize-2015-Peter-Burgess-london-equivalence-days-1-12-2.jpg Entries & Jurors - 2015 Entries - Peter Burgess Peter Burgess (Petersham, New South Wales, Autralia) london equivalence days 1-12 on Blurb london equivalence days 1-12 2014 Hard cover photo book, digitally printed Edition size: 10 Pages: 26 Dimensions open: w 13 3/4″ x h 7″ x d 1/4″ Dimensions closed: w 7″ x h 7″ x d 1/6″ This book was produced as part of an artist-in-residency in London during 2014. The individual pages mimic the iconic cloudscapes of seminal photographers Minor White and Alfred Stieglitz, but have been layered with the corporate logos encountered during the first 12 days in London. The next day’s cloudscape is previewed through the logo of each page. The act of page turning activates the sequence. Best displayed on a table with access to be able to turn the pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455351675-UCJ90FF650MM2ACWDKE2/mcba-prize-2015-Peter-Burgess-london-equivalence-days-1-12-3.jpg Entries & Jurors - 2015 Entries - Peter Burgess Peter Burgess (Petersham, New South Wales, Autralia) london equivalence days 1-12 on Blurb london equivalence days 1-12 2014 Hard cover photo book, digitally printed Edition size: 10 Pages: 26 Dimensions open: w 13 3/4″ x h 7″ x d 1/4″ Dimensions closed: w 7″ x h 7″ x d 1/6″ This book was produced as part of an artist-in-residency in London during 2014. The individual pages mimic the iconic cloudscapes of seminal photographers Minor White and Alfred Stieglitz, but have been layered with the corporate logos encountered during the first 12 days in London. The next day’s cloudscape is previewed through the logo of each page. The act of page turning activates the sequence. Best displayed on a table with access to be able to turn the pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455351885-QN7MBI7RRZ4AGPPI26FW/mcba-prize-2015-Peter-Burgess-london-equivalence-days-1-12-4.jpg Entries & Jurors - 2015 Entries - Peter Burgess Peter Burgess (Petersham, New South Wales, Autralia) london equivalence days 1-12 on Blurb london equivalence days 1-12 2014 Hard cover photo book, digitally printed Edition size: 10 Pages: 26 Dimensions open: w 13 3/4″ x h 7″ x d 1/4″ Dimensions closed: w 7″ x h 7″ x d 1/6″ This book was produced as part of an artist-in-residency in London during 2014. The individual pages mimic the iconic cloudscapes of seminal photographers Minor White and Alfred Stieglitz, but have been layered with the corporate logos encountered during the first 12 days in London. The next day’s cloudscape is previewed through the logo of each page. The act of page turning activates the sequence. Best displayed on a table with access to be able to turn the pages. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455436447-EETNI20WNM61SVI59B0N/mcba-prize-2015-Ginger-Burrell-Countersurveillance-1.jpg Entries & Jurors - 2015 Entries - Ginger Burrell Ginger Burrell (Morgan Hill, CA) gingerburrell.com Countersurveillance 2015 Coptic bound book mounted in a trifold binding with inset video screen Edition of 10 36 pages 9 x 18 x 2 Countersurveillance examines the surveillance state in which we now reside. Not only are we watched by businesses, the government, and our employers, but we are also being recorded and photographed by strangers, our family, our friends, often without knowing what will happen with those images. We have in effect lost any sense of privacy. The watchers are also those being watched. Countersurveillance is meant as a thought exercise. While you are watching others, they are watching, and recording, you. I am posting photos I took of someone else And looking at photos That someone else took Of me doing that thing, at that place, when I didn’t realize They were taking photos. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455434859-IW3Z4LBS6BM6TGYZ8KLZ/mcba-prize-2015-Ginger-Burrell-Countersurveillance-2.jpg Entries & Jurors - 2015 Entries - Ginger Burrell Ginger Burrell (Morgan Hill, CA) gingerburrell.com Countersurveillance 2015 Coptic bound book mounted in a trifold binding with inset video screen Edition of 10 36 pages 9 x 18 x 2 Countersurveillance examines the surveillance state in which we now reside. Not only are we watched by businesses, the government, and our employers, but we are also being recorded and photographed by strangers, our family, our friends, often without knowing what will happen with those images. We have in effect lost any sense of privacy. The watchers are also those being watched. Countersurveillance is meant as a thought exercise. While you are watching others, they are watching, and recording, you. I am posting photos I took of someone else And looking at photos That someone else took Of me doing that thing, at that place, when I didn’t realize They were taking photos. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455436561-QC5V34224ZGFY5YRCJ8H/mcba-prize-2015-Ginger-Burrell-Countersurveillance-3.jpg Entries & Jurors - 2015 Entries - Ginger Burrell Ginger Burrell (Morgan Hill, CA) gingerburrell.com Countersurveillance 2015 Coptic bound book mounted in a trifold binding with inset video screen Edition of 10 36 pages 9 x 18 x 2 Countersurveillance examines the surveillance state in which we now reside. Not only are we watched by businesses, the government, and our employers, but we are also being recorded and photographed by strangers, our family, our friends, often without knowing what will happen with those images. We have in effect lost any sense of privacy. The watchers are also those being watched. Countersurveillance is meant as a thought exercise. While you are watching others, they are watching, and recording, you. I am posting photos I took of someone else And looking at photos That someone else took Of me doing that thing, at that place, when I didn’t realize They were taking photos. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455440424-3JBUHCNGDZ05TOTHEMG8/mcba-prize-2015-Ginger-Burrell-Countersurveillance-4.jpg Entries & Jurors - 2015 Entries - Ginger Burrell Ginger Burrell (Morgan Hill, CA) gingerburrell.com Countersurveillance 2015 Coptic bound book mounted in a trifold binding with inset video screen Edition of 10 36 pages 9 x 18 x 2 Countersurveillance examines the surveillance state in which we now reside. Not only are we watched by businesses, the government, and our employers, but we are also being recorded and photographed by strangers, our family, our friends, often without knowing what will happen with those images. We have in effect lost any sense of privacy. The watchers are also those being watched. Countersurveillance is meant as a thought exercise. While you are watching others, they are watching, and recording, you. I am posting photos I took of someone else And looking at photos That someone else took Of me doing that thing, at that place, when I didn’t realize They were taking photos. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455514262-DXKCKL39FJXUYMZ9XSML/mcba-prize-2015-Ginger-Burrell-Public-Privacy-1.jpg Entries & Jurors - 2015 Entries - Ginger Burrell Ginger Burrell (Morgan Hill, CA) gingerburrell.com Public Privacy 2015 Photographic slides presented in an accordion envelope structure with pamphlet stitch binding. Edition size: 10 Pages: 44 Dimensions: 3 x 5 x 5 inches Public Privacy examines the tension between our need for privacy and the transparency of modern life. Just as our windows allow us to see out during the day, at night they become view screens to the passerby. Our devices allow us great personal freedom, but at what personal cost? Whether through open curtains or social media posting our permission to watch is implicit. In an age of Facebook, Instagram and Google Earth how is it that we have any expectation of privacy at all? Public Privacy highlights the way that we have made our lives more accessible by virtue of the devices, companies and services that surround us. Whether by the cameras on our tablets, game consoles and computers; by the GPS trackers in our phones and cars; or by the data gathering of our entertainment and shopping choices, our lives have become open books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455513152-LI8YV0M8JX5MUOO88HT2/mcba-prize-2015-Ginger-Burrell-Public-Privacy-2.jpg Entries & Jurors - 2015 Entries - Ginger Burrell Ginger Burrell (Morgan Hill, CA) gingerburrell.com Public Privacy 2015 Photographic slides presented in an accordion envelope structure with pamphlet stitch binding. Edition size: 10 Pages: 44 Dimensions: 3 x 5 x 5 inches Public Privacy examines the tension between our need for privacy and the transparency of modern life. Just as our windows allow us to see out during the day, at night they become view screens to the passerby. Our devices allow us great personal freedom, but at what personal cost? Whether through open curtains or social media posting our permission to watch is implicit. In an age of Facebook, Instagram and Google Earth how is it that we have any expectation of privacy at all? Public Privacy highlights the way that we have made our lives more accessible by virtue of the devices, companies and services that surround us. Whether by the cameras on our tablets, game consoles and computers; by the GPS trackers in our phones and cars; or by the data gathering of our entertainment and shopping choices, our lives have become open books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455514936-C5LD97ZGDV6QTRK99SVB/mcba-prize-2015-Ginger-Burrell-Public-Privacy-3.jpg Entries & Jurors - 2015 Entries - Ginger Burrell Ginger Burrell (Morgan Hill, CA) gingerburrell.com Public Privacy 2015 Photographic slides presented in an accordion envelope structure with pamphlet stitch binding. Edition size: 10 Pages: 44 Dimensions: 3 x 5 x 5 inches Public Privacy examines the tension between our need for privacy and the transparency of modern life. Just as our windows allow us to see out during the day, at night they become view screens to the passerby. Our devices allow us great personal freedom, but at what personal cost? Whether through open curtains or social media posting our permission to watch is implicit. In an age of Facebook, Instagram and Google Earth how is it that we have any expectation of privacy at all? Public Privacy highlights the way that we have made our lives more accessible by virtue of the devices, companies and services that surround us. Whether by the cameras on our tablets, game consoles and computers; by the GPS trackers in our phones and cars; or by the data gathering of our entertainment and shopping choices, our lives have become open books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455515890-KLZVAWBUMZKV8PJBG1V4/mcba-prize-2015-Ginger-Burrell-Public-Privacy-4.jpg Entries & Jurors - 2015 Entries - Ginger Burrell Ginger Burrell (Morgan Hill, CA) gingerburrell.com Public Privacy 2015 Photographic slides presented in an accordion envelope structure with pamphlet stitch binding. Edition size: 10 Pages: 44 Dimensions: 3 x 5 x 5 inches Public Privacy examines the tension between our need for privacy and the transparency of modern life. Just as our windows allow us to see out during the day, at night they become view screens to the passerby. Our devices allow us great personal freedom, but at what personal cost? Whether through open curtains or social media posting our permission to watch is implicit. In an age of Facebook, Instagram and Google Earth how is it that we have any expectation of privacy at all? Public Privacy highlights the way that we have made our lives more accessible by virtue of the devices, companies and services that surround us. Whether by the cameras on our tablets, game consoles and computers; by the GPS trackers in our phones and cars; or by the data gathering of our entertainment and shopping choices, our lives have become open books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455516475-NWAIGACWNILAIQQCZQTP/mcba-prize-2015-Ginger-Burrell-Public-Privacy-5.jpg Entries & Jurors - 2015 Entries - Ginger Burrell Ginger Burrell (Morgan Hill, CA) gingerburrell.com Public Privacy 2015 Photographic slides presented in an accordion envelope structure with pamphlet stitch binding. Edition size: 10 Pages: 44 Dimensions: 3 x 5 x 5 inches Public Privacy examines the tension between our need for privacy and the transparency of modern life. Just as our windows allow us to see out during the day, at night they become view screens to the passerby. Our devices allow us great personal freedom, but at what personal cost? Whether through open curtains or social media posting our permission to watch is implicit. In an age of Facebook, Instagram and Google Earth how is it that we have any expectation of privacy at all? Public Privacy highlights the way that we have made our lives more accessible by virtue of the devices, companies and services that surround us. Whether by the cameras on our tablets, game consoles and computers; by the GPS trackers in our phones and cars; or by the data gathering of our entertainment and shopping choices, our lives have become open books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455588198-IE7V3DG72A9LH6BD6U28/mcba-prize-2015-Ginger-Burrell-Twentysix-Charging-Stations-1.jpg Entries & Jurors - 2015 Entries - Ginger Burrell Ginger Burrell (Morgan Hill, CA) gingerburrell.com Twentysix Charging Stations 2015 Photography, Coptic Stitch Binding, EL Wire in a custom box Edition of 31 54 pages 9 x 12 x 2 inches Twentysix Charging Stations is a contemporary response to Ed Ruscha’s seminal artist book Twentysix Gasoline Stations. Twentysix Charging Stations features photographs of electric car charging stations taken from the rural areas of Portland, Oregon, to the Central Valley of California, to the tech hubs in Silicon Valley. From underground parking garages at hospitals to suburban libraries, from shopping malls to truck stops, electric charging stations are both interesting and mundane; democratic and elitist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455587192-QJPN97EZRH95CP1MVYVY/mcba-prize-2015-Ginger-Burrell-Twentysix-Charging-Stations-2.jpg Entries & Jurors - 2015 Entries - Ginger Burrell Ginger Burrell (Morgan Hill, CA) gingerburrell.com Twentysix Charging Stations 2015 Photography, Coptic Stitch Binding, EL Wire in a custom box Edition of 31 54 pages 9 x 12 x 2 inches Twentysix Charging Stations is a contemporary response to Ed Ruscha’s seminal artist book Twentysix Gasoline Stations. Twentysix Charging Stations features photographs of electric car charging stations taken from the rural areas of Portland, Oregon, to the Central Valley of California, to the tech hubs in Silicon Valley. From underground parking garages at hospitals to suburban libraries, from shopping malls to truck stops, electric charging stations are both interesting and mundane; democratic and elitist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455590253-1KX87DZVCC0BYOMBBLUB/mcba-prize-2015-Ginger-Burrell-Twentysix-Charging-Stations-3.jpg Entries & Jurors - 2015 Entries - Ginger Burrell Ginger Burrell (Morgan Hill, CA) gingerburrell.com Twentysix Charging Stations 2015 Photography, Coptic Stitch Binding, EL Wire in a custom box Edition of 31 54 pages 9 x 12 x 2 inches Twentysix Charging Stations is a contemporary response to Ed Ruscha’s seminal artist book Twentysix Gasoline Stations. Twentysix Charging Stations features photographs of electric car charging stations taken from the rural areas of Portland, Oregon, to the Central Valley of California, to the tech hubs in Silicon Valley. From underground parking garages at hospitals to suburban libraries, from shopping malls to truck stops, electric charging stations are both interesting and mundane; democratic and elitist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455589856-82XPJG11PCSW8D6XZ88U/mcba-prize-2015-Ginger-Burrell-Twentysix-Charging-Stations-4.jpg Entries & Jurors - 2015 Entries - Ginger Burrell Ginger Burrell (Morgan Hill, CA) gingerburrell.com Twentysix Charging Stations 2015 Photography, Coptic Stitch Binding, EL Wire in a custom box Edition of 31 54 pages 9 x 12 x 2 inches Twentysix Charging Stations is a contemporary response to Ed Ruscha’s seminal artist book Twentysix Gasoline Stations. Twentysix Charging Stations features photographs of electric car charging stations taken from the rural areas of Portland, Oregon, to the Central Valley of California, to the tech hubs in Silicon Valley. From underground parking garages at hospitals to suburban libraries, from shopping malls to truck stops, electric charging stations are both interesting and mundane; democratic and elitist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774455591381-8Q3ZZ4PKFMJ3KFCVT32C/mcba-prize-2015-Ginger-Burrell-Twentysix-Charging-Stations-5.jpg Entries & Jurors - 2015 Entries - Ginger Burrell Ginger Burrell (Morgan Hill, CA) gingerburrell.com Twentysix Charging Stations 2015 Photography, Coptic Stitch Binding, EL Wire in a custom box Edition of 31 54 pages 9 x 12 x 2 inches Twentysix Charging Stations is a contemporary response to Ed Ruscha’s seminal artist book Twentysix Gasoline Stations. Twentysix Charging Stations features photographs of electric car charging stations taken from the rural areas of Portland, Oregon, to the Central Valley of California, to the tech hubs in Silicon Valley. From underground parking garages at hospitals to suburban libraries, from shopping malls to truck stops, electric charging stations are both interesting and mundane; democratic and elitist. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774456251944-DCU2V3YA0KDW6QAKHFQ9/mcba-prize-2015-Carolee-Campbell-Lives-of-the-Artists-1.jpeg Entries & Jurors - 2015 Entries - Carolee Campbell Carolee Campbell (Sherman Oaks, CA) ninjapressbooks.com Lives of the Artists 2013 Hand set type printed letterpress with digitally printed drawings. Edition of 72 36 pages 12 x 11.75 x 1/2″ open 12 x 5.75″ closed Lives of the Artists is a long, single poem by W.S. Merwin. It was inspired by actual events in the lives of two young men living on the Great Plains of North America during the Plains Indian Wars of 1861-1890; one, an orphaned Arapaho boy named Frank Henderson and the other, a Northern Cheyenne Warrior named Little Finger Nail. Both recorded their past and present histories by drawing in “ledger books.” It was a time when Plains Indian ledger book art was quickly beginning to replace the centuries-old practice of painting on hide: recording battles and feats of valor on buffalo robes, and tipis; painting their hide shields with potent symbols to provide supernatural protection. Little Finger Nail’s drawing book was strapped to his back when he was killed by U.S. Army troops on January 22, 1879. Still intact but torn through the bottom by bullets, the book is now on permanent display at the American Museum of Natural History in New York City. Frank Henderson created his drawing book in 1882 at Darlington, a Cheyenne and Arapaho Agency in Indian Territory (present-day Oklahoma). It remained intact until 1988 when it was taken apart for exhibition. Each page was then sold separately. Twelve multicolored drawings accompany Lives of the Artists. They come from a 1988 facsimile edition of Frank Henderson’s drawing book. They were scanned and printed digitally using Epson UltraChrome K3 inks. The type is hand set Van Dijck with Gloria for the display, printed letterpress on Frankfurt, a Zerkall German-made paper. The binding is Hahnemühle Ingres paper over boards with a spine of French burnt umber goatskin. The paper has been hand marbled especially for this edition by Pamela Smith with additional pigment applied at the press. A second inner cover holds the text, which is sewn through the spine with linen into a granite-colored Belgian flax paper, handmade at Cave Paper. The granite-colored paper brings to mind the woolen Army issue blankets in use during that period of time. The design, presswork, and binding are by Carolee Campbell at Ninja Press. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774456251768-E9YEPF46M85CD56ERA3Y/mcba-prize-2015-Carolee-Campbell-Lives-of-the-Artists-2.jpeg Entries & Jurors - 2015 Entries - Carolee Campbell Carolee Campbell (Sherman Oaks, CA) ninjapressbooks.com Lives of the Artists 2013 Hand set type printed letterpress with digitally printed drawings. Edition of 72 36 pages 12 x 11.75 x 1/2″ open 12 x 5.75″ closed Lives of the Artists is a long, single poem by W.S. Merwin. It was inspired by actual events in the lives of two young men living on the Great Plains of North America during the Plains Indian Wars of 1861-1890; one, an orphaned Arapaho boy named Frank Henderson and the other, a Northern Cheyenne Warrior named Little Finger Nail. Both recorded their past and present histories by drawing in “ledger books.” It was a time when Plains Indian ledger book art was quickly beginning to replace the centuries-old practice of painting on hide: recording battles and feats of valor on buffalo robes, and tipis; painting their hide shields with potent symbols to provide supernatural protection. Little Finger Nail’s drawing book was strapped to his back when he was killed by U.S. Army troops on January 22, 1879. Still intact but torn through the bottom by bullets, the book is now on permanent display at the American Museum of Natural History in New York City. Frank Henderson created his drawing book in 1882 at Darlington, a Cheyenne and Arapaho Agency in Indian Territory (present-day Oklahoma). It remained intact until 1988 when it was taken apart for exhibition. Each page was then sold separately. Twelve multicolored drawings accompany Lives of the Artists. They come from a 1988 facsimile edition of Frank Henderson’s drawing book. They were scanned and printed digitally using Epson UltraChrome K3 inks. The type is hand set Van Dijck with Gloria for the display, printed letterpress on Frankfurt, a Zerkall German-made paper. The binding is Hahnemühle Ingres paper over boards with a spine of French burnt umber goatskin. The paper has been hand marbled especially for this edition by Pamela Smith with additional pigment applied at the press. A second inner cover holds the text, which is sewn through the spine with linen into a granite-colored Belgian flax paper, handmade at Cave Paper. The granite-colored paper brings to mind the woolen Army issue blankets in use during that period of time. The design, presswork, and binding are by Carolee Campbell at Ninja Press. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774456253480-2TS86G6OYBF4B303EY9U/mcba-prize-2015-Carolee-Campbell-Lives-of-the-Artists-3.jpeg Entries & Jurors - 2015 Entries - Carolee Campbell Carolee Campbell (Sherman Oaks, CA) ninjapressbooks.com Lives of the Artists 2013 Hand set type printed letterpress with digitally printed drawings. Edition of 72 36 pages 12 x 11.75 x 1/2″ open 12 x 5.75″ closed Lives of the Artists is a long, single poem by W.S. Merwin. It was inspired by actual events in the lives of two young men living on the Great Plains of North America during the Plains Indian Wars of 1861-1890; one, an orphaned Arapaho boy named Frank Henderson and the other, a Northern Cheyenne Warrior named Little Finger Nail. Both recorded their past and present histories by drawing in “ledger books.” It was a time when Plains Indian ledger book art was quickly beginning to replace the centuries-old practice of painting on hide: recording battles and feats of valor on buffalo robes, and tipis; painting their hide shields with potent symbols to provide supernatural protection. Little Finger Nail’s drawing book was strapped to his back when he was killed by U.S. Army troops on January 22, 1879. Still intact but torn through the bottom by bullets, the book is now on permanent display at the American Museum of Natural History in New York City. Frank Henderson created his drawing book in 1882 at Darlington, a Cheyenne and Arapaho Agency in Indian Territory (present-day Oklahoma). It remained intact until 1988 when it was taken apart for exhibition. Each page was then sold separately. Twelve multicolored drawings accompany Lives of the Artists. They come from a 1988 facsimile edition of Frank Henderson’s drawing book. They were scanned and printed digitally using Epson UltraChrome K3 inks. The type is hand set Van Dijck with Gloria for the display, printed letterpress on Frankfurt, a Zerkall German-made paper. The binding is Hahnemühle Ingres paper over boards with a spine of French burnt umber goatskin. The paper has been hand marbled especially for this edition by Pamela Smith with additional pigment applied at the press. A second inner cover holds the text, which is sewn through the spine with linen into a granite-colored Belgian flax paper, handmade at Cave Paper. The granite-colored paper brings to mind the woolen Army issue blankets in use during that period of time. The design, presswork, and binding are by Carolee Campbell at Ninja Press. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774456253795-YFQ93KW24P0HN1M3E7CO/mcba-prize-2015-Carolee-Campbell-Lives-of-the-Artists-4.jpeg Entries & Jurors - 2015 Entries - Carolee Campbell Carolee Campbell (Sherman Oaks, CA) ninjapressbooks.com Lives of the Artists 2013 Hand set type printed letterpress with digitally printed drawings. Edition of 72 36 pages 12 x 11.75 x 1/2″ open 12 x 5.75″ closed Lives of the Artists is a long, single poem by W.S. Merwin. It was inspired by actual events in the lives of two young men living on the Great Plains of North America during the Plains Indian Wars of 1861-1890; one, an orphaned Arapaho boy named Frank Henderson and the other, a Northern Cheyenne Warrior named Little Finger Nail. Both recorded their past and present histories by drawing in “ledger books.” It was a time when Plains Indian ledger book art was quickly beginning to replace the centuries-old practice of painting on hide: recording battles and feats of valor on buffalo robes, and tipis; painting their hide shields with potent symbols to provide supernatural protection. Little Finger Nail’s drawing book was strapped to his back when he was killed by U.S. Army troops on January 22, 1879. Still intact but torn through the bottom by bullets, the book is now on permanent display at the American Museum of Natural History in New York City. Frank Henderson created his drawing book in 1882 at Darlington, a Cheyenne and Arapaho Agency in Indian Territory (present-day Oklahoma). It remained intact until 1988 when it was taken apart for exhibition. Each page was then sold separately. Twelve multicolored drawings accompany Lives of the Artists. They come from a 1988 facsimile edition of Frank Henderson’s drawing book. They were scanned and printed digitally using Epson UltraChrome K3 inks. The type is hand set Van Dijck with Gloria for the display, printed letterpress on Frankfurt, a Zerkall German-made paper. The binding is Hahnemühle Ingres paper over boards with a spine of French burnt umber goatskin. The paper has been hand marbled especially for this edition by Pamela Smith with additional pigment applied at the press. A second inner cover holds the text, which is sewn through the spine with linen into a granite-colored Belgian flax paper, handmade at Cave Paper. The granite-colored paper brings to mind the woolen Army issue blankets in use during that period of time. The design, presswork, and binding are by Carolee Campbell at Ninja Press. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774456254991-TN0WAS3V8RSC9WUQVSD0/mcba-prize-2015-Carolee-Campbell-Lives-of-the-Artists-5.jpeg Entries & Jurors - 2015 Entries - Carolee Campbell Carolee Campbell (Sherman Oaks, CA) ninjapressbooks.com Lives of the Artists 2013 Hand set type printed letterpress with digitally printed drawings. Edition of 72 36 pages 12 x 11.75 x 1/2″ open 12 x 5.75″ closed Lives of the Artists is a long, single poem by W.S. Merwin. It was inspired by actual events in the lives of two young men living on the Great Plains of North America during the Plains Indian Wars of 1861-1890; one, an orphaned Arapaho boy named Frank Henderson and the other, a Northern Cheyenne Warrior named Little Finger Nail. Both recorded their past and present histories by drawing in “ledger books.” It was a time when Plains Indian ledger book art was quickly beginning to replace the centuries-old practice of painting on hide: recording battles and feats of valor on buffalo robes, and tipis; painting their hide shields with potent symbols to provide supernatural protection. Little Finger Nail’s drawing book was strapped to his back when he was killed by U.S. Army troops on January 22, 1879. Still intact but torn through the bottom by bullets, the book is now on permanent display at the American Museum of Natural History in New York City. Frank Henderson created his drawing book in 1882 at Darlington, a Cheyenne and Arapaho Agency in Indian Territory (present-day Oklahoma). It remained intact until 1988 when it was taken apart for exhibition. Each page was then sold separately. Twelve multicolored drawings accompany Lives of the Artists. They come from a 1988 facsimile edition of Frank Henderson’s drawing book. They were scanned and printed digitally using Epson UltraChrome K3 inks. The type is hand set Van Dijck with Gloria for the display, printed letterpress on Frankfurt, a Zerkall German-made paper. The binding is Hahnemühle Ingres paper over boards with a spine of French burnt umber goatskin. The paper has been hand marbled especially for this edition by Pamela Smith with additional pigment applied at the press. A second inner cover holds the text, which is sewn through the spine with linen into a granite-colored Belgian flax paper, handmade at Cave Paper. The granite-colored paper brings to mind the woolen Army issue blankets in use during that period of time. The design, presswork, and binding are by Carolee Campbell at Ninja Press. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774456519216-E63KIPYAPCPCK4TCTSD0/mcba-prize-2015-Valerie-Carrigan-In-Between-1.jpg Entries & Jurors - 2015 Entries - Valerie Carrigan Valerie Carrigan (North Adams, MA) valeriecarrigan.com In Between 2013 Accordion Book with monotype images and letterpress-printed cover and colophon, housed in a clamshell box. Unique work 10 pages 13″ x 54″ open 13″ x 8″ closed Liminality is an intermediate state, phase, or condition. The latin origin of the word is Limen, meaning a threshold. “Crossing the threshold” is a phrase that holds many meanings, but most often refers to taking a significant step forward and into a new phase, perhaps having overcome some obstacle along the way; and now entering into the final stage of something with new clarity. When we are at the midpoint of a transition, or crossing the threshold into a new experience, we are in a liminal state. In Between marks these moments. It marks the space between having departed but not yet arrived. The birds in this book soar, sprint, and dive, at times encircled and at other times, freed. We are not unlike the birds in this book. We cross thresholds, big and small, throughout our lifetimes, often not knowing what lies ahead. We hover in between here and there, now and then, today and tomorrow. In Between is an accordion book comprised of ten original monotypes hinged with Japanese paper. The monotypes are made by rolling a flat of black etching ink onto a sheet of Plexiglas. Through the use of subtractive processes, (namely the wiping away of ink to reveal different subtleties in value), images are conjured out of the darkness. Stencils in the shapes of birds, bones, and circles are cut from Duralar, inked and wiped individually, then placed carefully onto the inked plate with tweezers before sending the plate through the etching press with a sheet of dampened Rives BFK. I have chosen the accordion structure to allow these images to move unfettered across the page. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774456519994-B1WX9882PQHIK9R4ND26/mcba-prize-2015-Valerie-Carrigan-In-Between-2.jpg Entries & Jurors - 2015 Entries - Valerie Carrigan Valerie Carrigan (North Adams, MA) valeriecarrigan.com In Between 2013 Accordion Book with monotype images and letterpress-printed cover and colophon, housed in a clamshell box. Unique work 10 pages 13″ x 54″ open 13″ x 8″ closed Liminality is an intermediate state, phase, or condition. The latin origin of the word is Limen, meaning a threshold. “Crossing the threshold” is a phrase that holds many meanings, but most often refers to taking a significant step forward and into a new phase, perhaps having overcome some obstacle along the way; and now entering into the final stage of something with new clarity. When we are at the midpoint of a transition, or crossing the threshold into a new experience, we are in a liminal state. In Between marks these moments. It marks the space between having departed but not yet arrived. The birds in this book soar, sprint, and dive, at times encircled and at other times, freed. We are not unlike the birds in this book. We cross thresholds, big and small, throughout our lifetimes, often not knowing what lies ahead. We hover in between here and there, now and then, today and tomorrow. In Between is an accordion book comprised of ten original monotypes hinged with Japanese paper. The monotypes are made by rolling a flat of black etching ink onto a sheet of Plexiglas. Through the use of subtractive processes, (namely the wiping away of ink to reveal different subtleties in value), images are conjured out of the darkness. Stencils in the shapes of birds, bones, and circles are cut from Duralar, inked and wiped individually, then placed carefully onto the inked plate with tweezers before sending the plate through the etching press with a sheet of dampened Rives BFK. I have chosen the accordion structure to allow these images to move unfettered across the page. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774456520730-YXCZSQBKY0XTFDC7PPOG/mcba-prize-2015-Valerie-Carrigan-In-Between-3.jpg Entries & Jurors - 2015 Entries - Valerie Carrigan Valerie Carrigan (North Adams, MA) valeriecarrigan.com In Between 2013 Accordion Book with monotype images and letterpress-printed cover and colophon, housed in a clamshell box. Unique work 10 pages 13″ x 54″ open 13″ x 8″ closed Liminality is an intermediate state, phase, or condition. The latin origin of the word is Limen, meaning a threshold. “Crossing the threshold” is a phrase that holds many meanings, but most often refers to taking a significant step forward and into a new phase, perhaps having overcome some obstacle along the way; and now entering into the final stage of something with new clarity. When we are at the midpoint of a transition, or crossing the threshold into a new experience, we are in a liminal state. In Between marks these moments. It marks the space between having departed but not yet arrived. The birds in this book soar, sprint, and dive, at times encircled and at other times, freed. We are not unlike the birds in this book. We cross thresholds, big and small, throughout our lifetimes, often not knowing what lies ahead. We hover in between here and there, now and then, today and tomorrow. In Between is an accordion book comprised of ten original monotypes hinged with Japanese paper. The monotypes are made by rolling a flat of black etching ink onto a sheet of Plexiglas. Through the use of subtractive processes, (namely the wiping away of ink to reveal different subtleties in value), images are conjured out of the darkness. Stencils in the shapes of birds, bones, and circles are cut from Duralar, inked and wiped individually, then placed carefully onto the inked plate with tweezers before sending the plate through the etching press with a sheet of dampened Rives BFK. I have chosen the accordion structure to allow these images to move unfettered across the page. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774456521774-0B65LLRC9H69MGDUWXJ3/mcba-prize-2015-Valerie-Carrigan-In-Between-4.jpg Entries & Jurors - 2015 Entries - Valerie Carrigan Valerie Carrigan (North Adams, MA) valeriecarrigan.com In Between 2013 Accordion Book with monotype images and letterpress-printed cover and colophon, housed in a clamshell box. Unique work 10 pages 13″ x 54″ open 13″ x 8″ closed Liminality is an intermediate state, phase, or condition. The latin origin of the word is Limen, meaning a threshold. “Crossing the threshold” is a phrase that holds many meanings, but most often refers to taking a significant step forward and into a new phase, perhaps having overcome some obstacle along the way; and now entering into the final stage of something with new clarity. When we are at the midpoint of a transition, or crossing the threshold into a new experience, we are in a liminal state. In Between marks these moments. It marks the space between having departed but not yet arrived. The birds in this book soar, sprint, and dive, at times encircled and at other times, freed. We are not unlike the birds in this book. We cross thresholds, big and small, throughout our lifetimes, often not knowing what lies ahead. We hover in between here and there, now and then, today and tomorrow. In Between is an accordion book comprised of ten original monotypes hinged with Japanese paper. The monotypes are made by rolling a flat of black etching ink onto a sheet of Plexiglas. Through the use of subtractive processes, (namely the wiping away of ink to reveal different subtleties in value), images are conjured out of the darkness. Stencils in the shapes of birds, bones, and circles are cut from Duralar, inked and wiped individually, then placed carefully onto the inked plate with tweezers before sending the plate through the etching press with a sheet of dampened Rives BFK. I have chosen the accordion structure to allow these images to move unfettered across the page. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774456523256-9FXT8W0N23KIZ3BZXFO1/mcba-prize-2015-Valerie-Carrigan-In-Between-5.jpg Entries & Jurors - 2015 Entries - Valerie Carrigan Valerie Carrigan (North Adams, MA) valeriecarrigan.com In Between 2013 Accordion Book with monotype images and letterpress-printed cover and colophon, housed in a clamshell box. Unique work 10 pages 13″ x 54″ open 13″ x 8″ closed Liminality is an intermediate state, phase, or condition. The latin origin of the word is Limen, meaning a threshold. “Crossing the threshold” is a phrase that holds many meanings, but most often refers to taking a significant step forward and into a new phase, perhaps having overcome some obstacle along the way; and now entering into the final stage of something with new clarity. When we are at the midpoint of a transition, or crossing the threshold into a new experience, we are in a liminal state. In Between marks these moments. It marks the space between having departed but not yet arrived. The birds in this book soar, sprint, and dive, at times encircled and at other times, freed. We are not unlike the birds in this book. We cross thresholds, big and small, throughout our lifetimes, often not knowing what lies ahead. We hover in between here and there, now and then, today and tomorrow. In Between is an accordion book comprised of ten original monotypes hinged with Japanese paper. The monotypes are made by rolling a flat of black etching ink onto a sheet of Plexiglas. Through the use of subtractive processes, (namely the wiping away of ink to reveal different subtleties in value), images are conjured out of the darkness. Stencils in the shapes of birds, bones, and circles are cut from Duralar, inked and wiped individually, then placed carefully onto the inked plate with tweezers before sending the plate through the etching press with a sheet of dampened Rives BFK. I have chosen the accordion structure to allow these images to move unfettered across the page. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774456679995-5BA0WRFKWNYM635NRPQR/mcba-prize-2015-Macy-Chadwick-Locus-1.jpg Entries & Jurors - 2015 Entries - Macy Chadwick Macy Chadwick (Oakland, CA) macychadwick.com Locus 2015 letterpress (polymer, relief and pressure printing) Edition of 40 12.5 x 5 x 40″ open 12.5 x 1 x 10.5″ closed Macy Chadwick publishes artist’s books and limited-edition prints under the imprint In Cahoots Press. Through her work she addresses themes of memory, interpersonal communication and mapping personal experiences. She is interested in the connection between people: interactions both verbal and non-verbal, shared experiences, and the urge to communicate clearly. Macy received an MFA in Book Arts and Printmaking from The University of the Arts in Philadelphia and assisted book artist Julie Chen at Flying Fish Press for three years. She currently splits her time between Providence, Rhode Island, and Oakland, California, where she creates books and limited edition prints in her letterpress studio. Macy is on the faculty at the Academy of Art University, San Francisco, and her work is in prominent collections in the U.S. and abroad, including the Victoria and Albert Museum, Yale University Special Collections, and the Jack Ginsberg Collection in South Africa. Locus, a personal geography, is about existing in the space between the known past and the unknown future. In this exploratory realm, the narrator considers her past, locates herself in the present and finally embraces her many possible futures. This limited edition artist book is printed on the letterpress with relief and pressure printing on Mohawk and Gampi Shi papers. The hybrid french doors and accordion book structure is housed in a clamshell box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774456680594-K3ABIYBEBVTGVTRU6GB9/mcba-prize-2015-Macy-Chadwick-Locus-2.jpg Entries & Jurors - 2015 Entries - Macy Chadwick Macy Chadwick (Oakland, CA) macychadwick.com Locus 2015 letterpress (polymer, relief and pressure printing) Edition of 40 12.5 x 5 x 40″ open 12.5 x 1 x 10.5″ closed Macy Chadwick publishes artist’s books and limited-edition prints under the imprint In Cahoots Press. Through her work she addresses themes of memory, interpersonal communication and mapping personal experiences. She is interested in the connection between people: interactions both verbal and non-verbal, shared experiences, and the urge to communicate clearly. Macy received an MFA in Book Arts and Printmaking from The University of the Arts in Philadelphia and assisted book artist Julie Chen at Flying Fish Press for three years. She currently splits her time between Providence, Rhode Island, and Oakland, California, where she creates books and limited edition prints in her letterpress studio. Macy is on the faculty at the Academy of Art University, San Francisco, and her work is in prominent collections in the U.S. and abroad, including the Victoria and Albert Museum, Yale University Special Collections, and the Jack Ginsberg Collection in South Africa. Locus, a personal geography, is about existing in the space between the known past and the unknown future. In this exploratory realm, the narrator considers her past, locates herself in the present and finally embraces her many possible futures. This limited edition artist book is printed on the letterpress with relief and pressure printing on Mohawk and Gampi Shi papers. The hybrid french doors and accordion book structure is housed in a clamshell box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774464970886-3QFKQC95ZVG4PPR530HV/mcba-prize-2015-marvel-gregoire-where-i-am-1.jpg Entries & Jurors - 2015 Entries - Marvel Grégoire Marvel Grégoire (Minneapolis, MN) Where I Am – Photo Journey 2014 Photogravure Etchings/Letterpress Edition of 10 Folio/5 etchings/pamphlet/small book Folio 20 x 17″/photo etchings 10 x 11″ Folio 10.50 x 11.25″ I am a book artist at MCBA and a tour guide at the Walker Art Center, Minneapolis, Minnesota. As a guide I often participate in a Walker program for preschoolers called Arty Pants. On this particular day, I asked Linus, a four year old, what his favorite place was. After some thought, Linus responded, “My favorite place is, I think, where I am.” Such wise words from a youngster, connecting us to the moment, place, and others! So I began thinking about where I was. While I live in the city, I spend a great part of the year in rural northern Minnesota surrounded by nature’s beauty, in particular, the great Northern Red Pine. As Minnesota’s state tree, the red pine is noted for its grandeur, beauty and steadfastness. I have sketched, painted and taken many photos of this tree over the years. It seemed to be the perfect subject for the suite of five photogravure etchings in this book as well as a metaphor for how we live each day, for our relationships to our surroundings and to others, and for how we nurture those relationships. Where I Am is a book about place and identity. This folio, Where I Am, includes a suite of five photogravure etchings, a small book and a pamphlet. It was designed, printed and assembled by Marvel Grégoire at MCBA, Minneapolis, Minnesota in 2014. The photo etchings were printed from digital photographs on the Conrad etching press, the book and pamphlet on the Vandercook press. Materials include handmade paper from Cave Paper, Minneapolis, Minnesota, Rives BFK, Kozoshi and Hahnemühle Ingres. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774464970883-RQHBDO2UABVRBNTTPXQM/mcba-prize-2015-marvel-gregoire-where-i-am-2.jpg Entries & Jurors - 2015 Entries - Marvel Grégoire Marvel Grégoire (Minneapolis, MN) Where I Am – Photo Journey 2014 Photogravure Etchings/Letterpress Edition of 10 Folio/5 etchings/pamphlet/small book Folio 20 x 17″/photo etchings 10 x 11″ Folio 10.50 x 11.25″ I am a book artist at MCBA and a tour guide at the Walker Art Center, Minneapolis, Minnesota. As a guide I often participate in a Walker program for preschoolers called Arty Pants. On this particular day, I asked Linus, a four year old, what his favorite place was. After some thought, Linus responded, “My favorite place is, I think, where I am.” Such wise words from a youngster, connecting us to the moment, place, and others! So I began thinking about where I was. While I live in the city, I spend a great part of the year in rural northern Minnesota surrounded by nature’s beauty, in particular, the great Northern Red Pine. As Minnesota’s state tree, the red pine is noted for its grandeur, beauty and steadfastness. I have sketched, painted and taken many photos of this tree over the years. It seemed to be the perfect subject for the suite of five photogravure etchings in this book as well as a metaphor for how we live each day, for our relationships to our surroundings and to others, and for how we nurture those relationships. Where I Am is a book about place and identity. This folio, Where I Am, includes a suite of five photogravure etchings, a small book and a pamphlet. It was designed, printed and assembled by Marvel Grégoire at MCBA, Minneapolis, Minnesota in 2014. The photo etchings were printed from digital photographs on the Conrad etching press, the book and pamphlet on the Vandercook press. Materials include handmade paper from Cave Paper, Minneapolis, Minnesota, Rives BFK, Kozoshi and Hahnemühle Ingres. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774464971979-7SHBY4GT6A5MODPQ50TZ/mcba-prize-2015-marvel-gregoire-where-i-am-3.jpg Entries & Jurors - 2015 Entries - Marvel Grégoire Marvel Grégoire (Minneapolis, MN) Where I Am – Photo Journey 2014 Photogravure Etchings/Letterpress Edition of 10 Folio/5 etchings/pamphlet/small book Folio 20 x 17″/photo etchings 10 x 11″ Folio 10.50 x 11.25″ I am a book artist at MCBA and a tour guide at the Walker Art Center, Minneapolis, Minnesota. As a guide I often participate in a Walker program for preschoolers called Arty Pants. On this particular day, I asked Linus, a four year old, what his favorite place was. After some thought, Linus responded, “My favorite place is, I think, where I am.” Such wise words from a youngster, connecting us to the moment, place, and others! So I began thinking about where I was. While I live in the city, I spend a great part of the year in rural northern Minnesota surrounded by nature’s beauty, in particular, the great Northern Red Pine. As Minnesota’s state tree, the red pine is noted for its grandeur, beauty and steadfastness. I have sketched, painted and taken many photos of this tree over the years. It seemed to be the perfect subject for the suite of five photogravure etchings in this book as well as a metaphor for how we live each day, for our relationships to our surroundings and to others, and for how we nurture those relationships. Where I Am is a book about place and identity. This folio, Where I Am, includes a suite of five photogravure etchings, a small book and a pamphlet. It was designed, printed and assembled by Marvel Grégoire at MCBA, Minneapolis, Minnesota in 2014. The photo etchings were printed from digital photographs on the Conrad etching press, the book and pamphlet on the Vandercook press. Materials include handmade paper from Cave Paper, Minneapolis, Minnesota, Rives BFK, Kozoshi and Hahnemühle Ingres. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774464972850-WHETPLZ2254RYV4P25HA/mcba-prize-2015-marvel-gregoire-where-i-am-4.jpg Entries & Jurors - 2015 Entries - Marvel Grégoire Marvel Grégoire (Minneapolis, MN) Where I Am – Photo Journey 2014 Photogravure Etchings/Letterpress Edition of 10 Folio/5 etchings/pamphlet/small book Folio 20 x 17″/photo etchings 10 x 11″ Folio 10.50 x 11.25″ I am a book artist at MCBA and a tour guide at the Walker Art Center, Minneapolis, Minnesota. As a guide I often participate in a Walker program for preschoolers called Arty Pants. On this particular day, I asked Linus, a four year old, what his favorite place was. After some thought, Linus responded, “My favorite place is, I think, where I am.” Such wise words from a youngster, connecting us to the moment, place, and others! So I began thinking about where I was. While I live in the city, I spend a great part of the year in rural northern Minnesota surrounded by nature’s beauty, in particular, the great Northern Red Pine. As Minnesota’s state tree, the red pine is noted for its grandeur, beauty and steadfastness. I have sketched, painted and taken many photos of this tree over the years. It seemed to be the perfect subject for the suite of five photogravure etchings in this book as well as a metaphor for how we live each day, for our relationships to our surroundings and to others, and for how we nurture those relationships. Where I Am is a book about place and identity. This folio, Where I Am, includes a suite of five photogravure etchings, a small book and a pamphlet. It was designed, printed and assembled by Marvel Grégoire at MCBA, Minneapolis, Minnesota in 2014. The photo etchings were printed from digital photographs on the Conrad etching press, the book and pamphlet on the Vandercook press. Materials include handmade paper from Cave Paper, Minneapolis, Minnesota, Rives BFK, Kozoshi and Hahnemühle Ingres. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774464974123-P14C95ZSEI9KBE573D1B/mcba-prize-2015-marvel-gregoire-where-i-am-5.jpg Entries & Jurors - 2015 Entries - Marvel Grégoire Marvel Grégoire (Minneapolis, MN) Where I Am – Photo Journey 2014 Photogravure Etchings/Letterpress Edition of 10 Folio/5 etchings/pamphlet/small book Folio 20 x 17″/photo etchings 10 x 11″ Folio 10.50 x 11.25″ I am a book artist at MCBA and a tour guide at the Walker Art Center, Minneapolis, Minnesota. As a guide I often participate in a Walker program for preschoolers called Arty Pants. On this particular day, I asked Linus, a four year old, what his favorite place was. After some thought, Linus responded, “My favorite place is, I think, where I am.” Such wise words from a youngster, connecting us to the moment, place, and others! So I began thinking about where I was. While I live in the city, I spend a great part of the year in rural northern Minnesota surrounded by nature’s beauty, in particular, the great Northern Red Pine. As Minnesota’s state tree, the red pine is noted for its grandeur, beauty and steadfastness. I have sketched, painted and taken many photos of this tree over the years. It seemed to be the perfect subject for the suite of five photogravure etchings in this book as well as a metaphor for how we live each day, for our relationships to our surroundings and to others, and for how we nurture those relationships. Where I Am is a book about place and identity. This folio, Where I Am, includes a suite of five photogravure etchings, a small book and a pamphlet. It was designed, printed and assembled by Marvel Grégoire at MCBA, Minneapolis, Minnesota in 2014. The photo etchings were printed from digital photographs on the Conrad etching press, the book and pamphlet on the Vandercook press. Materials include handmade paper from Cave Paper, Minneapolis, Minnesota, Rives BFK, Kozoshi and Hahnemühle Ingres. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774466796741-92KX6288O3S591RO0HDQ/mcba-prize-2015-emilie-haaf-black-tuesday-1.jpg Entries & Jurors - 2015 Entries - Emilie Haaf Emilie Haaf (Lenhartsville, PA) emiliebreauxhaaf.com Black Tuesday, Part 1 & 2 2015 Archival inkjet prints glued into two-part hard bound square concertina, enclosed in handmade clam-shell box, rice paper covers Unique work Dimensions open: 85″ x 17″ Dimensions closed: 6″ x 6″ x 1″ (books), 14.75″ x 7.5″ x 1.5″ (box) Black Tuesday is a two-part concertina sculptural book that sits in a handmade clam-shell box. This book was made as a wall hanging inspired by traditional pictorial patchwork quilts. It hangs side by side “linking” together, but can also rest laying down sculpturally allowing the images to distort with the folds. All images were obtained by taking screen caps from the Minton-Breaux Family Films a part of the David M. Minton, Jr. Archives, circa 1928-1932. The title “Black Tuesday” references the Wall Street Crash of 1929. These images were taken simply from pausing of the film on screen, not from photoshop manipulation. I chose to use the blurred images for ascetic purposes because it pertains to the transient moments of time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774466796344-L6DOQW9VQA42ETPBXDA7/mcba-prize-2015-emilie-haaf-black-tuesday-2.jpg Entries & Jurors - 2015 Entries - Emilie Haaf Emilie Haaf (Lenhartsville, PA) emiliebreauxhaaf.com Black Tuesday, Part 1 & 2 2015 Archival inkjet prints glued into two-part hard bound square concertina, enclosed in handmade clam-shell box, rice paper covers Unique work Dimensions open: 85″ x 17″ Dimensions closed: 6″ x 6″ x 1″ (books), 14.75″ x 7.5″ x 1.5″ (box) Black Tuesday is a two-part concertina sculptural book that sits in a handmade clam-shell box. This book was made as a wall hanging inspired by traditional pictorial patchwork quilts. It hangs side by side “linking” together, but can also rest laying down sculpturally allowing the images to distort with the folds. All images were obtained by taking screen caps from the Minton-Breaux Family Films a part of the David M. Minton, Jr. Archives, circa 1928-1932. The title “Black Tuesday” references the Wall Street Crash of 1929. These images were taken simply from pausing of the film on screen, not from photoshop manipulation. I chose to use the blurred images for ascetic purposes because it pertains to the transient moments of time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774466797308-Y3NLI7Y5MBQ8F36GN4C4/mcba-prize-2015-emilie-haaf-black-tuesday-3.jpg Entries & Jurors - 2015 Entries - Emilie Haaf Emilie Haaf (Lenhartsville, PA) emiliebreauxhaaf.com Black Tuesday, Part 1 & 2 2015 Archival inkjet prints glued into two-part hard bound square concertina, enclosed in handmade clam-shell box, rice paper covers Unique work Dimensions open: 85″ x 17″ Dimensions closed: 6″ x 6″ x 1″ (books), 14.75″ x 7.5″ x 1.5″ (box) Black Tuesday is a two-part concertina sculptural book that sits in a handmade clam-shell box. This book was made as a wall hanging inspired by traditional pictorial patchwork quilts. It hangs side by side “linking” together, but can also rest laying down sculpturally allowing the images to distort with the folds. All images were obtained by taking screen caps from the Minton-Breaux Family Films a part of the David M. Minton, Jr. Archives, circa 1928-1932. The title “Black Tuesday” references the Wall Street Crash of 1929. These images were taken simply from pausing of the film on screen, not from photoshop manipulation. I chose to use the blurred images for ascetic purposes because it pertains to the transient moments of time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774466798523-2JVXR68SWTOTP2T88FLD/mcba-prize-2015-emilie-haaf-black-tuesday-4.jpg Entries & Jurors - 2015 Entries - Emilie Haaf Emilie Haaf (Lenhartsville, PA) emiliebreauxhaaf.com Black Tuesday, Part 1 & 2 2015 Archival inkjet prints glued into two-part hard bound square concertina, enclosed in handmade clam-shell box, rice paper covers Unique work Dimensions open: 85″ x 17″ Dimensions closed: 6″ x 6″ x 1″ (books), 14.75″ x 7.5″ x 1.5″ (box) Black Tuesday is a two-part concertina sculptural book that sits in a handmade clam-shell box. This book was made as a wall hanging inspired by traditional pictorial patchwork quilts. It hangs side by side “linking” together, but can also rest laying down sculpturally allowing the images to distort with the folds. All images were obtained by taking screen caps from the Minton-Breaux Family Films a part of the David M. Minton, Jr. Archives, circa 1928-1932. The title “Black Tuesday” references the Wall Street Crash of 1929. These images were taken simply from pausing of the film on screen, not from photoshop manipulation. I chose to use the blurred images for ascetic purposes because it pertains to the transient moments of time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774466798451-Z4XJFNLAPTY6B20D0EL4/mcba-prize-2015-emilie-haaf-black-tuesday-5.jpg Entries & Jurors - 2015 Entries - Emilie Haaf Emilie Haaf (Lenhartsville, PA) emiliebreauxhaaf.com Black Tuesday, Part 1 & 2 2015 Archival inkjet prints glued into two-part hard bound square concertina, enclosed in handmade clam-shell box, rice paper covers Unique work Dimensions open: 85″ x 17″ Dimensions closed: 6″ x 6″ x 1″ (books), 14.75″ x 7.5″ x 1.5″ (box) Black Tuesday is a two-part concertina sculptural book that sits in a handmade clam-shell box. This book was made as a wall hanging inspired by traditional pictorial patchwork quilts. It hangs side by side “linking” together, but can also rest laying down sculpturally allowing the images to distort with the folds. All images were obtained by taking screen caps from the Minton-Breaux Family Films a part of the David M. Minton, Jr. Archives, circa 1928-1932. The title “Black Tuesday” references the Wall Street Crash of 1929. These images were taken simply from pausing of the film on screen, not from photoshop manipulation. I chose to use the blurred images for ascetic purposes because it pertains to the transient moments of time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467027711-Q979R6H0KNG5A3LU84ZU/mcba-prize-2015-karen-hanmer-the-voyage-of-the-fox-in-the-artic-seas-1.jpg Entries & Jurors - 2015 Entries - Karen Hanmer Karen Hanmer (Glenview, IL) karenhanmer.com The Voyage of the “Fox” in the Arctic Seas. A Narrative of the Discovery of the Fate of Sir John Franklin and his Companions by Captain M’Clintock, R.N., LL.D. 2014 Full goatskin fine binding: text disbound, outer folios guarded and resewn on flattened cords laced into boards. Buffalo and calf vellum inlays, and back-pared and traditional onlays. Blind tooling and title. Hand-sewn, French-style silk endbands, graphite head. Cloth from original, damaged case bound in at front and rear. Ruscombe Mill handmade paper endsheets. Impression of onlays on edge-to-edge goatskin doublures offsets onto suede flyleaves. Public domain images of historic shipwrecks inkjet printed, then laminated behind vellum. Unique work Dimensions open: 7.75 x 10 x 1.5” Dimensions closed: 7.75 x 5.24 x 1.5” Sir John Franklin’s 1845 expedition was one of many to search for the elusive Northwest Passage, a sea route through the Arctic connecting the Atlantic and Pacific oceans. Franklin’s two ships, HMS Erebus and HMS Terror, became trapped in sea ice and were abandoned in 1848. None of the 129 man crew survived, and the ships were believed to be lost. The Voyage of the “Fox” in the Arctic Seas. A Narrative of the Discovery of the Fate of Sir John Franklin and his Companions is an account of one of numerous expeditions to search for Franklin’s ships and crew. The design for this binding was inspired by historic and contemporary photographs, paintings and illustrations of sea ice and Arctic exploration. Drift ice is represented by inlays and onlays of various textures and at various levels. Translucent calf vellum over photographs of shipwrecks represent glimpses of the lost ships at the bottom of the sea. The latest expedition to search for Franklin’s ships began in August 2014, concurrently with work on this binding. The well-preserved wreckage of HMS Erebus was found on September 7, 2014. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467027688-2XK0H32E3QCFE8A6YY20/mcba-prize-2015-karen-hanmer-the-voyage-of-the-fox-in-the-artic-seas-2.jpg Entries & Jurors - 2015 Entries - Karen Hanmer Karen Hanmer (Glenview, IL) karenhanmer.com The Voyage of the “Fox” in the Arctic Seas. A Narrative of the Discovery of the Fate of Sir John Franklin and his Companions by Captain M’Clintock, R.N., LL.D. 2014 Full goatskin fine binding: text disbound, outer folios guarded and resewn on flattened cords laced into boards. Buffalo and calf vellum inlays, and back-pared and traditional onlays. Blind tooling and title. Hand-sewn, French-style silk endbands, graphite head. Cloth from original, damaged case bound in at front and rear. Ruscombe Mill handmade paper endsheets. Impression of onlays on edge-to-edge goatskin doublures offsets onto suede flyleaves. Public domain images of historic shipwrecks inkjet printed, then laminated behind vellum. Unique work Dimensions open: 7.75 x 10 x 1.5” Dimensions closed: 7.75 x 5.24 x 1.5” Sir John Franklin’s 1845 expedition was one of many to search for the elusive Northwest Passage, a sea route through the Arctic connecting the Atlantic and Pacific oceans. Franklin’s two ships, HMS Erebus and HMS Terror, became trapped in sea ice and were abandoned in 1848. None of the 129 man crew survived, and the ships were believed to be lost. The Voyage of the “Fox” in the Arctic Seas. A Narrative of the Discovery of the Fate of Sir John Franklin and his Companions is an account of one of numerous expeditions to search for Franklin’s ships and crew. The design for this binding was inspired by historic and contemporary photographs, paintings and illustrations of sea ice and Arctic exploration. Drift ice is represented by inlays and onlays of various textures and at various levels. Translucent calf vellum over photographs of shipwrecks represent glimpses of the lost ships at the bottom of the sea. The latest expedition to search for Franklin’s ships began in August 2014, concurrently with work on this binding. The well-preserved wreckage of HMS Erebus was found on September 7, 2014. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467028798-P9R967NE1BZFLFABD8WZ/mcba-prize-2015-karen-hanmer-the-voyage-of-the-fox-in-the-artic-seas-3.jpg Entries & Jurors - 2015 Entries - Karen Hanmer Karen Hanmer (Glenview, IL) karenhanmer.com The Voyage of the “Fox” in the Arctic Seas. A Narrative of the Discovery of the Fate of Sir John Franklin and his Companions by Captain M’Clintock, R.N., LL.D. 2014 Full goatskin fine binding: text disbound, outer folios guarded and resewn on flattened cords laced into boards. Buffalo and calf vellum inlays, and back-pared and traditional onlays. Blind tooling and title. Hand-sewn, French-style silk endbands, graphite head. Cloth from original, damaged case bound in at front and rear. Ruscombe Mill handmade paper endsheets. Impression of onlays on edge-to-edge goatskin doublures offsets onto suede flyleaves. Public domain images of historic shipwrecks inkjet printed, then laminated behind vellum. Unique work Dimensions open: 7.75 x 10 x 1.5” Dimensions closed: 7.75 x 5.24 x 1.5” Sir John Franklin’s 1845 expedition was one of many to search for the elusive Northwest Passage, a sea route through the Arctic connecting the Atlantic and Pacific oceans. Franklin’s two ships, HMS Erebus and HMS Terror, became trapped in sea ice and were abandoned in 1848. None of the 129 man crew survived, and the ships were believed to be lost. The Voyage of the “Fox” in the Arctic Seas. A Narrative of the Discovery of the Fate of Sir John Franklin and his Companions is an account of one of numerous expeditions to search for Franklin’s ships and crew. The design for this binding was inspired by historic and contemporary photographs, paintings and illustrations of sea ice and Arctic exploration. Drift ice is represented by inlays and onlays of various textures and at various levels. Translucent calf vellum over photographs of shipwrecks represent glimpses of the lost ships at the bottom of the sea. The latest expedition to search for Franklin’s ships began in August 2014, concurrently with work on this binding. The well-preserved wreckage of HMS Erebus was found on September 7, 2014. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467028968-EEAAXQGXWI8PP5I4S9KI/mcba-prize-2015-karen-hanmer-the-voyage-of-the-fox-in-the-artic-seas-4.jpg Entries & Jurors - 2015 Entries - Karen Hanmer Karen Hanmer (Glenview, IL) karenhanmer.com The Voyage of the “Fox” in the Arctic Seas. A Narrative of the Discovery of the Fate of Sir John Franklin and his Companions by Captain M’Clintock, R.N., LL.D. 2014 Full goatskin fine binding: text disbound, outer folios guarded and resewn on flattened cords laced into boards. Buffalo and calf vellum inlays, and back-pared and traditional onlays. Blind tooling and title. Hand-sewn, French-style silk endbands, graphite head. Cloth from original, damaged case bound in at front and rear. Ruscombe Mill handmade paper endsheets. Impression of onlays on edge-to-edge goatskin doublures offsets onto suede flyleaves. Public domain images of historic shipwrecks inkjet printed, then laminated behind vellum. Unique work Dimensions open: 7.75 x 10 x 1.5” Dimensions closed: 7.75 x 5.24 x 1.5” Sir John Franklin’s 1845 expedition was one of many to search for the elusive Northwest Passage, a sea route through the Arctic connecting the Atlantic and Pacific oceans. Franklin’s two ships, HMS Erebus and HMS Terror, became trapped in sea ice and were abandoned in 1848. None of the 129 man crew survived, and the ships were believed to be lost. The Voyage of the “Fox” in the Arctic Seas. A Narrative of the Discovery of the Fate of Sir John Franklin and his Companions is an account of one of numerous expeditions to search for Franklin’s ships and crew. The design for this binding was inspired by historic and contemporary photographs, paintings and illustrations of sea ice and Arctic exploration. Drift ice is represented by inlays and onlays of various textures and at various levels. Translucent calf vellum over photographs of shipwrecks represent glimpses of the lost ships at the bottom of the sea. The latest expedition to search for Franklin’s ships began in August 2014, concurrently with work on this binding. The well-preserved wreckage of HMS Erebus was found on September 7, 2014. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467090058-8BFNK7NDDVD0UXFGPRPR/mcba-prize-2015-karen-hanmer-to-serve-and-protect-containers-conveyances-and-cosmic-happenings-1.jpg Entries & Jurors - 2015 Entries - Karen Hanmer Karen Hanmer (Glenview, IL) karenhanmer.com To Serve and Protect: Containers, conveyances, and cosmic happenings 2014 Sewn Boards binding. Pigment inkjet prints on Mohawk Superfine, covered in full, custom psychedelic marbled paper by Pamela Smith, Bugra double folio endsheets. Presented in slipcase with marbled paper accent, numbered 1-40. Edition of 100 Pages: 32 Dimensions open: 7 x 10 x .25” Dimensions closed: 7 x 5 x .25” To Serve and Protect: Containers, conveyances, and cosmic happenings began as a response to the theme “vessel.” Vehicles, containers for food, and other period receptacles provide a framework for the artist’s musings on life in the 1960s and 1970s. Ostensibly about banal period items such as the wicker-wrapped chianti bottle, electric frying pan and Chevy Nova, thirteen micro essays touch on Vietnam, fashion, the Cold War, cuisine, the economy, the women’s liberation movement, and other issues reflecting Americans’ perseverance, and our often misguided quest for peace and stability. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467089715-QCD0I8VF8VV4UJ0VW1Q4/mcba-prize-2015-karen-hanmer-to-serve-and-protect-containers-conveyances-and-cosmic-happenings-2.jpg Entries & Jurors - 2015 Entries - Karen Hanmer Karen Hanmer (Glenview, IL) karenhanmer.com To Serve and Protect: Containers, conveyances, and cosmic happenings 2014 Sewn Boards binding. Pigment inkjet prints on Mohawk Superfine, covered in full, custom psychedelic marbled paper by Pamela Smith, Bugra double folio endsheets. Presented in slipcase with marbled paper accent, numbered 1-40. Edition of 100 Pages: 32 Dimensions open: 7 x 10 x .25” Dimensions closed: 7 x 5 x .25” To Serve and Protect: Containers, conveyances, and cosmic happenings began as a response to the theme “vessel.” Vehicles, containers for food, and other period receptacles provide a framework for the artist’s musings on life in the 1960s and 1970s. Ostensibly about banal period items such as the wicker-wrapped chianti bottle, electric frying pan and Chevy Nova, thirteen micro essays touch on Vietnam, fashion, the Cold War, cuisine, the economy, the women’s liberation movement, and other issues reflecting Americans’ perseverance, and our often misguided quest for peace and stability. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467090790-3M3R3GC5UO4PB3XL3YPL/mcba-prize-2015-karen-hanmer-to-serve-and-protect-containers-conveyances-and-cosmic-happenings-3.jpg Entries & Jurors - 2015 Entries - Karen Hanmer Karen Hanmer (Glenview, IL) karenhanmer.com To Serve and Protect: Containers, conveyances, and cosmic happenings 2014 Sewn Boards binding. Pigment inkjet prints on Mohawk Superfine, covered in full, custom psychedelic marbled paper by Pamela Smith, Bugra double folio endsheets. Presented in slipcase with marbled paper accent, numbered 1-40. Edition of 100 Pages: 32 Dimensions open: 7 x 10 x .25” Dimensions closed: 7 x 5 x .25” To Serve and Protect: Containers, conveyances, and cosmic happenings began as a response to the theme “vessel.” Vehicles, containers for food, and other period receptacles provide a framework for the artist’s musings on life in the 1960s and 1970s. Ostensibly about banal period items such as the wicker-wrapped chianti bottle, electric frying pan and Chevy Nova, thirteen micro essays touch on Vietnam, fashion, the Cold War, cuisine, the economy, the women’s liberation movement, and other issues reflecting Americans’ perseverance, and our often misguided quest for peace and stability. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467091374-NY9DD5JOFFV6UAF2Q1DY/mcba-prize-2015-karen-hanmer-to-serve-and-protect-containers-conveyances-and-cosmic-happenings-4.jpg Entries & Jurors - 2015 Entries - Karen Hanmer Karen Hanmer (Glenview, IL) karenhanmer.com To Serve and Protect: Containers, conveyances, and cosmic happenings 2014 Sewn Boards binding. Pigment inkjet prints on Mohawk Superfine, covered in full, custom psychedelic marbled paper by Pamela Smith, Bugra double folio endsheets. Presented in slipcase with marbled paper accent, numbered 1-40. Edition of 100 Pages: 32 Dimensions open: 7 x 10 x .25” Dimensions closed: 7 x 5 x .25” To Serve and Protect: Containers, conveyances, and cosmic happenings began as a response to the theme “vessel.” Vehicles, containers for food, and other period receptacles provide a framework for the artist’s musings on life in the 1960s and 1970s. Ostensibly about banal period items such as the wicker-wrapped chianti bottle, electric frying pan and Chevy Nova, thirteen micro essays touch on Vietnam, fashion, the Cold War, cuisine, the economy, the women’s liberation movement, and other issues reflecting Americans’ perseverance, and our often misguided quest for peace and stability. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467091799-KCVHHYSG35WUUKP71UY1/mcba-prize-2015-karen-hanmer-to-serve-and-protect-containers-conveyances-and-cosmic-happenings-5.jpg Entries & Jurors - 2015 Entries - Karen Hanmer Karen Hanmer (Glenview, IL) karenhanmer.com To Serve and Protect: Containers, conveyances, and cosmic happenings 2014 Sewn Boards binding. Pigment inkjet prints on Mohawk Superfine, covered in full, custom psychedelic marbled paper by Pamela Smith, Bugra double folio endsheets. Presented in slipcase with marbled paper accent, numbered 1-40. Edition of 100 Pages: 32 Dimensions open: 7 x 10 x .25” Dimensions closed: 7 x 5 x .25” To Serve and Protect: Containers, conveyances, and cosmic happenings began as a response to the theme “vessel.” Vehicles, containers for food, and other period receptacles provide a framework for the artist’s musings on life in the 1960s and 1970s. Ostensibly about banal period items such as the wicker-wrapped chianti bottle, electric frying pan and Chevy Nova, thirteen micro essays touch on Vietnam, fashion, the Cold War, cuisine, the economy, the women’s liberation movement, and other issues reflecting Americans’ perseverance, and our often misguided quest for peace and stability. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467216793-YX2IKKNYHU7Z2AYNDDLU/mcba-prize-2015-karen-hardy-beckoning-1.jpg Entries & Jurors - 2015 Entries - Karen Hardy Karen Hardy (Asheville, NC) khardy.com Beckoning 2014 abaca, flax and denim handmade papers, sand, hair, linen thread, acrylic; letterpress printing Edition of 3 30 pages 12.25″ x 34.5″ x 0.25″ open 12.25″ x 18.25″ x 0.25″ closed Curiosity about materials and the associations that they carry is my primary motivation as an artist. My artist books begin with paper that I make by hand, and their meaning is inseparable from their physical materials. More than simply a two-dimensional substrate, paper can communicate ideas through expressive qualities that are not merely visual, but tactile, aural, and even olfactory. Beckoning is about gravitational force, both in the physical, literal sense of the moon pulling at the earth’s oceans to generate tides, and in the psychological phenomenon of being drawn to the moon and to the sea. The concept forth is book developed through working with the paper itself. I created imagery and texture with different types of paper pulp, and with sand, thread, or hair that I embedded in the sheets as they were made. Because the paper is translucent, the composition of each spread is defined by what appears within, behind and on the surface of the pages, causing an ambiguity of depth that pulls the viewer through the layers. The book is divided into two sections, introduced by a quote from Rachel Carson’s The Edge of the Sea: “The tides address the sense of hearing, speaking a language of their own distinct from the voice of the surf.” The first section, titled “Overture: Susurrous,” consists of several delicate “blank” pages that rustle as they are turned, suggesting the sound of waves on the shore. The thin, translucent sheets progress through a gradient of color from deep indigo to unpigmented, and serve as a reflection on the falling tide. In the second section, “Pull and Beckon,” partially obscured forms are gradually revealed and then disappear again as pages are turned. Moving through the layers is akin to traveling through the depths of the ocean, or glimpsing the bright orb of the moon through drifting clouds. On the final pages, the Pablo Neruda poem, “Nace (It is Born)” is letterpress-printed in both the original Spanish and in English translation. Full Video https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467216011-OESFN1WSCMIXTV5GZEKM/mcba-prize-2015-karen-hardy-beckoning-2.jpg Entries & Jurors - 2015 Entries - Karen Hardy Karen Hardy (Asheville, NC) khardy.com Beckoning 2014 abaca, flax and denim handmade papers, sand, hair, linen thread, acrylic; letterpress printing Edition of 3 30 pages 12.25″ x 34.5″ x 0.25″ open 12.25″ x 18.25″ x 0.25″ closed Curiosity about materials and the associations that they carry is my primary motivation as an artist. My artist books begin with paper that I make by hand, and their meaning is inseparable from their physical materials. More than simply a two-dimensional substrate, paper can communicate ideas through expressive qualities that are not merely visual, but tactile, aural, and even olfactory. Beckoning is about gravitational force, both in the physical, literal sense of the moon pulling at the earth’s oceans to generate tides, and in the psychological phenomenon of being drawn to the moon and to the sea. The concept forth is book developed through working with the paper itself. I created imagery and texture with different types of paper pulp, and with sand, thread, or hair that I embedded in the sheets as they were made. Because the paper is translucent, the composition of each spread is defined by what appears within, behind and on the surface of the pages, causing an ambiguity of depth that pulls the viewer through the layers. The book is divided into two sections, introduced by a quote from Rachel Carson’s The Edge of the Sea: “The tides address the sense of hearing, speaking a language of their own distinct from the voice of the surf.” The first section, titled “Overture: Susurrous,” consists of several delicate “blank” pages that rustle as they are turned, suggesting the sound of waves on the shore. The thin, translucent sheets progress through a gradient of color from deep indigo to unpigmented, and serve as a reflection on the falling tide. In the second section, “Pull and Beckon,” partially obscured forms are gradually revealed and then disappear again as pages are turned. Moving through the layers is akin to traveling through the depths of the ocean, or glimpsing the bright orb of the moon through drifting clouds. On the final pages, the Pablo Neruda poem, “Nace (It is Born)” is letterpress-printed in both the original Spanish and in English translation. Full Video https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467217131-9FAFSPZPJ9CPJYTN2IOY/mcba-prize-2015-karen-hardy-beckoning-3.jpg Entries & Jurors - 2015 Entries - Karen Hardy Karen Hardy (Asheville, NC) khardy.com Beckoning 2014 abaca, flax and denim handmade papers, sand, hair, linen thread, acrylic; letterpress printing Edition of 3 30 pages 12.25″ x 34.5″ x 0.25″ open 12.25″ x 18.25″ x 0.25″ closed Curiosity about materials and the associations that they carry is my primary motivation as an artist. My artist books begin with paper that I make by hand, and their meaning is inseparable from their physical materials. More than simply a two-dimensional substrate, paper can communicate ideas through expressive qualities that are not merely visual, but tactile, aural, and even olfactory. Beckoning is about gravitational force, both in the physical, literal sense of the moon pulling at the earth’s oceans to generate tides, and in the psychological phenomenon of being drawn to the moon and to the sea. The concept forth is book developed through working with the paper itself. I created imagery and texture with different types of paper pulp, and with sand, thread, or hair that I embedded in the sheets as they were made. Because the paper is translucent, the composition of each spread is defined by what appears within, behind and on the surface of the pages, causing an ambiguity of depth that pulls the viewer through the layers. The book is divided into two sections, introduced by a quote from Rachel Carson’s The Edge of the Sea: “The tides address the sense of hearing, speaking a language of their own distinct from the voice of the surf.” The first section, titled “Overture: Susurrous,” consists of several delicate “blank” pages that rustle as they are turned, suggesting the sound of waves on the shore. The thin, translucent sheets progress through a gradient of color from deep indigo to unpigmented, and serve as a reflection on the falling tide. In the second section, “Pull and Beckon,” partially obscured forms are gradually revealed and then disappear again as pages are turned. Moving through the layers is akin to traveling through the depths of the ocean, or glimpsing the bright orb of the moon through drifting clouds. On the final pages, the Pablo Neruda poem, “Nace (It is Born)” is letterpress-printed in both the original Spanish and in English translation. Full Video https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467217894-7WA0XK4N0MRBP5YP0KPW/mcba-prize-2015-karen-hardy-beckoning-4.jpg Entries & Jurors - 2015 Entries - Karen Hardy Karen Hardy (Asheville, NC) khardy.com Beckoning 2014 abaca, flax and denim handmade papers, sand, hair, linen thread, acrylic; letterpress printing Edition of 3 30 pages 12.25″ x 34.5″ x 0.25″ open 12.25″ x 18.25″ x 0.25″ closed Curiosity about materials and the associations that they carry is my primary motivation as an artist. My artist books begin with paper that I make by hand, and their meaning is inseparable from their physical materials. More than simply a two-dimensional substrate, paper can communicate ideas through expressive qualities that are not merely visual, but tactile, aural, and even olfactory. Beckoning is about gravitational force, both in the physical, literal sense of the moon pulling at the earth’s oceans to generate tides, and in the psychological phenomenon of being drawn to the moon and to the sea. The concept forth is book developed through working with the paper itself. I created imagery and texture with different types of paper pulp, and with sand, thread, or hair that I embedded in the sheets as they were made. Because the paper is translucent, the composition of each spread is defined by what appears within, behind and on the surface of the pages, causing an ambiguity of depth that pulls the viewer through the layers. The book is divided into two sections, introduced by a quote from Rachel Carson’s The Edge of the Sea: “The tides address the sense of hearing, speaking a language of their own distinct from the voice of the surf.” The first section, titled “Overture: Susurrous,” consists of several delicate “blank” pages that rustle as they are turned, suggesting the sound of waves on the shore. The thin, translucent sheets progress through a gradient of color from deep indigo to unpigmented, and serve as a reflection on the falling tide. In the second section, “Pull and Beckon,” partially obscured forms are gradually revealed and then disappear again as pages are turned. Moving through the layers is akin to traveling through the depths of the ocean, or glimpsing the bright orb of the moon through drifting clouds. On the final pages, the Pablo Neruda poem, “Nace (It is Born)” is letterpress-printed in both the original Spanish and in English translation. Full Video https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467336914-S2RDRWUTN986NKELP6KY/mcba-prize-2015-lyall-harris-patricia-silva-%3F-1.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com ? 2014 game format, paper boxes, cards, transparent sleeve, braided long stitch book, sewn fabric and paper bag, leather game pieces, inkjet and letterpress Edition of 2 6 3/8 x 10 x 2 in (game box) Open dimensions variable In the past year, book artists Patricia Silva and Lyall Harris have undertaken a series of collaborative book projects which have dealt with a wide variety of subjects, materials and techniques. For the collaborative project, ? (Question Mark), the artists began their exploration with bingo cards, a stack of leather swatches, a set of pages letterpressed with numbers, and two amusement park photographs. Collaborations between these two artists are rooted in constraints they set for the process, both of materials and time, which force them to respond and work in an immediate, intuitive and exploratory way. Their process begins with one artist providing the inspiration and starting materials. These should come from the artist’s studio, such as saved remnants or quotes and ideas previously set aside. The receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided. The project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). The collaborations often address issues and experiences from their shared and multifaceted point of view as mother/wife/artist/teacher/expat. The initial materials for this project led to the development of a game, the subtitles of which are “20 Questions into The Mysteries of the Universe” and “My Incredible, Fabulous, Terrific, Delightful Adventure.” Sets of “What If” and “Would” cards were developed, which, during enactment of the game according to the “Rules of the Game,” are selected in a fashion that allows for countless combinations. Answers to the selected questions are then drawn from a game bag; subsequently, these answers correspond to a writing exercise that encourages the participant to further explore possible outcomes to the initial questions. Engaging players in a varied and unfolding way, the game itself functions as a metaphor for the participant’s question and answer experience. Technical/material description: Games are housed in boxes, contents include paper cards, paper/Mylar card sleeves, leather/paper game pieces, sewn fabric/paper bags tied with raffia cords, handbound books with tabs for writing exercises; other techniques include photography, letterpress and inkjet printing, and reprinted appropriated materials. In all of the joint projects to date, the finished projects seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467335663-8PFP5WOQVL5MX3N0ODQK/mcba-prize-2015-lyall-harris-patricia-silva-%3F-2.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com ? 2014 game format, paper boxes, cards, transparent sleeve, braided long stitch book, sewn fabric and paper bag, leather game pieces, inkjet and letterpress Edition of 2 6 3/8 x 10 x 2 in (game box) Open dimensions variable In the past year, book artists Patricia Silva and Lyall Harris have undertaken a series of collaborative book projects which have dealt with a wide variety of subjects, materials and techniques. For the collaborative project, ? (Question Mark), the artists began their exploration with bingo cards, a stack of leather swatches, a set of pages letterpressed with numbers, and two amusement park photographs. Collaborations between these two artists are rooted in constraints they set for the process, both of materials and time, which force them to respond and work in an immediate, intuitive and exploratory way. Their process begins with one artist providing the inspiration and starting materials. These should come from the artist’s studio, such as saved remnants or quotes and ideas previously set aside. The receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided. The project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). The collaborations often address issues and experiences from their shared and multifaceted point of view as mother/wife/artist/teacher/expat. The initial materials for this project led to the development of a game, the subtitles of which are “20 Questions into The Mysteries of the Universe” and “My Incredible, Fabulous, Terrific, Delightful Adventure.” Sets of “What If” and “Would” cards were developed, which, during enactment of the game according to the “Rules of the Game,” are selected in a fashion that allows for countless combinations. Answers to the selected questions are then drawn from a game bag; subsequently, these answers correspond to a writing exercise that encourages the participant to further explore possible outcomes to the initial questions. Engaging players in a varied and unfolding way, the game itself functions as a metaphor for the participant’s question and answer experience. Technical/material description: Games are housed in boxes, contents include paper cards, paper/Mylar card sleeves, leather/paper game pieces, sewn fabric/paper bags tied with raffia cords, handbound books with tabs for writing exercises; other techniques include photography, letterpress and inkjet printing, and reprinted appropriated materials. In all of the joint projects to date, the finished projects seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467336916-I0C96DJEA6SHMEEXJKJ6/mcba-prize-2015-lyall-harris-patricia-silva-%3F-3.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com ? 2014 game format, paper boxes, cards, transparent sleeve, braided long stitch book, sewn fabric and paper bag, leather game pieces, inkjet and letterpress Edition of 2 6 3/8 x 10 x 2 in (game box) Open dimensions variable In the past year, book artists Patricia Silva and Lyall Harris have undertaken a series of collaborative book projects which have dealt with a wide variety of subjects, materials and techniques. For the collaborative project, ? (Question Mark), the artists began their exploration with bingo cards, a stack of leather swatches, a set of pages letterpressed with numbers, and two amusement park photographs. Collaborations between these two artists are rooted in constraints they set for the process, both of materials and time, which force them to respond and work in an immediate, intuitive and exploratory way. Their process begins with one artist providing the inspiration and starting materials. These should come from the artist’s studio, such as saved remnants or quotes and ideas previously set aside. The receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided. The project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). The collaborations often address issues and experiences from their shared and multifaceted point of view as mother/wife/artist/teacher/expat. The initial materials for this project led to the development of a game, the subtitles of which are “20 Questions into The Mysteries of the Universe” and “My Incredible, Fabulous, Terrific, Delightful Adventure.” Sets of “What If” and “Would” cards were developed, which, during enactment of the game according to the “Rules of the Game,” are selected in a fashion that allows for countless combinations. Answers to the selected questions are then drawn from a game bag; subsequently, these answers correspond to a writing exercise that encourages the participant to further explore possible outcomes to the initial questions. Engaging players in a varied and unfolding way, the game itself functions as a metaphor for the participant’s question and answer experience. Technical/material description: Games are housed in boxes, contents include paper cards, paper/Mylar card sleeves, leather/paper game pieces, sewn fabric/paper bags tied with raffia cords, handbound books with tabs for writing exercises; other techniques include photography, letterpress and inkjet printing, and reprinted appropriated materials. In all of the joint projects to date, the finished projects seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467340054-JWRW8JI7WXJOJZ0JZR5S/mcba-prize-2015-lyall-harris-patricia-silva-%3F-4.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com ? 2014 game format, paper boxes, cards, transparent sleeve, braided long stitch book, sewn fabric and paper bag, leather game pieces, inkjet and letterpress Edition of 2 6 3/8 x 10 x 2 in (game box) Open dimensions variable In the past year, book artists Patricia Silva and Lyall Harris have undertaken a series of collaborative book projects which have dealt with a wide variety of subjects, materials and techniques. For the collaborative project, ? (Question Mark), the artists began their exploration with bingo cards, a stack of leather swatches, a set of pages letterpressed with numbers, and two amusement park photographs. Collaborations between these two artists are rooted in constraints they set for the process, both of materials and time, which force them to respond and work in an immediate, intuitive and exploratory way. Their process begins with one artist providing the inspiration and starting materials. These should come from the artist’s studio, such as saved remnants or quotes and ideas previously set aside. The receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided. The project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). The collaborations often address issues and experiences from their shared and multifaceted point of view as mother/wife/artist/teacher/expat. The initial materials for this project led to the development of a game, the subtitles of which are “20 Questions into The Mysteries of the Universe” and “My Incredible, Fabulous, Terrific, Delightful Adventure.” Sets of “What If” and “Would” cards were developed, which, during enactment of the game according to the “Rules of the Game,” are selected in a fashion that allows for countless combinations. Answers to the selected questions are then drawn from a game bag; subsequently, these answers correspond to a writing exercise that encourages the participant to further explore possible outcomes to the initial questions. Engaging players in a varied and unfolding way, the game itself functions as a metaphor for the participant’s question and answer experience. Technical/material description: Games are housed in boxes, contents include paper cards, paper/Mylar card sleeves, leather/paper game pieces, sewn fabric/paper bags tied with raffia cords, handbound books with tabs for writing exercises; other techniques include photography, letterpress and inkjet printing, and reprinted appropriated materials. In all of the joint projects to date, the finished projects seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467339568-WPB9VB52JGQ8NUSQNUWS/mcba-prize-2015-lyall-harris-patricia-silva-%3F-5.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com ? 2014 game format, paper boxes, cards, transparent sleeve, braided long stitch book, sewn fabric and paper bag, leather game pieces, inkjet and letterpress Edition of 2 6 3/8 x 10 x 2 in (game box) Open dimensions variable In the past year, book artists Patricia Silva and Lyall Harris have undertaken a series of collaborative book projects which have dealt with a wide variety of subjects, materials and techniques. For the collaborative project, ? (Question Mark), the artists began their exploration with bingo cards, a stack of leather swatches, a set of pages letterpressed with numbers, and two amusement park photographs. Collaborations between these two artists are rooted in constraints they set for the process, both of materials and time, which force them to respond and work in an immediate, intuitive and exploratory way. Their process begins with one artist providing the inspiration and starting materials. These should come from the artist’s studio, such as saved remnants or quotes and ideas previously set aside. The receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided. The project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). The collaborations often address issues and experiences from their shared and multifaceted point of view as mother/wife/artist/teacher/expat. The initial materials for this project led to the development of a game, the subtitles of which are “20 Questions into The Mysteries of the Universe” and “My Incredible, Fabulous, Terrific, Delightful Adventure.” Sets of “What If” and “Would” cards were developed, which, during enactment of the game according to the “Rules of the Game,” are selected in a fashion that allows for countless combinations. Answers to the selected questions are then drawn from a game bag; subsequently, these answers correspond to a writing exercise that encourages the participant to further explore possible outcomes to the initial questions. Engaging players in a varied and unfolding way, the game itself functions as a metaphor for the participant’s question and answer experience. Technical/material description: Games are housed in boxes, contents include paper cards, paper/Mylar card sleeves, leather/paper game pieces, sewn fabric/paper bags tied with raffia cords, handbound books with tabs for writing exercises; other techniques include photography, letterpress and inkjet printing, and reprinted appropriated materials. In all of the joint projects to date, the finished projects seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467427382-AX1OKT0LYKDR2ACH6POX/mcba-prize-2015-lyall-harris-patricia-silva-a-concise-encyclopedia-of-unknown-things-that-belong-together-1.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com A Concise Encyclopedia of Unknown Things That Belong Together 2014 encyclopedia/dictionary format, paper flap elements, appropriated images, borrowed and original text, inkjet and letterpress, spiral binding, sewn cloth case Edition of 2 30 page spreads 7 1/2 x 5 3/4 x 6 in open 7 1/2 x 5 3/4 x 1/2 in closed Book artists Lyall Harris and Patricia Silva began the collaborative project A Concise Encyclopedia of Unknown Things that Belong Together with a quote from Charles Simic’s book Dime-Store Alchemy — “Somewhere in the city of New York there are four or five still-unknown objects that belong together” — and found images from a 1968 illustrated, multi-volume Italian encyclopedia. Collaborations between these two artists are rooted in constraints they set for the process, both of materials and time, which force them to respond and work in an immediate, intuitive and exploratory way. Their process begins with one artist providing the inspiration and starting materials. These should come from the artist’s studio, such as saved remnants or quotes and ideas previously set aside. The receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided. The project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). The collaborations often address issues and experiences from their shared and multifaceted point of view as mother/wife/artist/teacher/expat. This project is based in the artists’ intuitive response to the images, in selecting which to use, how to pair and order them, and in composing the accompanying text. Borrowing from an encyclopedic and dictionary format, the project presents unexpected text and image juxtapositions while taking the reader on a journey of overlapping and intersecting narratives. Technical/material description: Spiral-bound books housed in cloth cases, single-sheet papers include vellum, transparencies, gridded and lined paper, text and cardstock weight paper, and a few dimensional elements (flaps and removable Mylar discs). Images and text are inkjet printed, cover title is letterpress printed. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467426568-P4YVQDPCSCHNH4JBYNM3/mcba-prize-2015-lyall-harris-patricia-silva-a-concise-encyclopedia-of-unknown-things-that-belong-together-2.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com A Concise Encyclopedia of Unknown Things That Belong Together 2014 encyclopedia/dictionary format, paper flap elements, appropriated images, borrowed and original text, inkjet and letterpress, spiral binding, sewn cloth case Edition of 2 30 page spreads 7 1/2 x 5 3/4 x 6 in open 7 1/2 x 5 3/4 x 1/2 in closed Book artists Lyall Harris and Patricia Silva began the collaborative project A Concise Encyclopedia of Unknown Things that Belong Together with a quote from Charles Simic’s book Dime-Store Alchemy — “Somewhere in the city of New York there are four or five still-unknown objects that belong together” — and found images from a 1968 illustrated, multi-volume Italian encyclopedia. Collaborations between these two artists are rooted in constraints they set for the process, both of materials and time, which force them to respond and work in an immediate, intuitive and exploratory way. Their process begins with one artist providing the inspiration and starting materials. These should come from the artist’s studio, such as saved remnants or quotes and ideas previously set aside. The receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided. The project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). The collaborations often address issues and experiences from their shared and multifaceted point of view as mother/wife/artist/teacher/expat. This project is based in the artists’ intuitive response to the images, in selecting which to use, how to pair and order them, and in composing the accompanying text. Borrowing from an encyclopedic and dictionary format, the project presents unexpected text and image juxtapositions while taking the reader on a journey of overlapping and intersecting narratives. Technical/material description: Spiral-bound books housed in cloth cases, single-sheet papers include vellum, transparencies, gridded and lined paper, text and cardstock weight paper, and a few dimensional elements (flaps and removable Mylar discs). Images and text are inkjet printed, cover title is letterpress printed. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467427602-K153P9LQHLRX2L5GV5H7/mcba-prize-2015-lyall-harris-patricia-silva-a-concise-encyclopedia-of-unknown-things-that-belong-together-3.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com A Concise Encyclopedia of Unknown Things That Belong Together 2014 encyclopedia/dictionary format, paper flap elements, appropriated images, borrowed and original text, inkjet and letterpress, spiral binding, sewn cloth case Edition of 2 30 page spreads 7 1/2 x 5 3/4 x 6 in open 7 1/2 x 5 3/4 x 1/2 in closed Book artists Lyall Harris and Patricia Silva began the collaborative project A Concise Encyclopedia of Unknown Things that Belong Together with a quote from Charles Simic’s book Dime-Store Alchemy — “Somewhere in the city of New York there are four or five still-unknown objects that belong together” — and found images from a 1968 illustrated, multi-volume Italian encyclopedia. Collaborations between these two artists are rooted in constraints they set for the process, both of materials and time, which force them to respond and work in an immediate, intuitive and exploratory way. Their process begins with one artist providing the inspiration and starting materials. These should come from the artist’s studio, such as saved remnants or quotes and ideas previously set aside. The receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided. The project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). The collaborations often address issues and experiences from their shared and multifaceted point of view as mother/wife/artist/teacher/expat. This project is based in the artists’ intuitive response to the images, in selecting which to use, how to pair and order them, and in composing the accompanying text. Borrowing from an encyclopedic and dictionary format, the project presents unexpected text and image juxtapositions while taking the reader on a journey of overlapping and intersecting narratives. Technical/material description: Spiral-bound books housed in cloth cases, single-sheet papers include vellum, transparencies, gridded and lined paper, text and cardstock weight paper, and a few dimensional elements (flaps and removable Mylar discs). Images and text are inkjet printed, cover title is letterpress printed. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467428653-0KQ5C5ATKBATR18C6SND/mcba-prize-2015-lyall-harris-patricia-silva-a-concise-encyclopedia-of-unknown-things-that-belong-together-4.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com A Concise Encyclopedia of Unknown Things That Belong Together 2014 encyclopedia/dictionary format, paper flap elements, appropriated images, borrowed and original text, inkjet and letterpress, spiral binding, sewn cloth case Edition of 2 30 page spreads 7 1/2 x 5 3/4 x 6 in open 7 1/2 x 5 3/4 x 1/2 in closed Book artists Lyall Harris and Patricia Silva began the collaborative project A Concise Encyclopedia of Unknown Things that Belong Together with a quote from Charles Simic’s book Dime-Store Alchemy — “Somewhere in the city of New York there are four or five still-unknown objects that belong together” — and found images from a 1968 illustrated, multi-volume Italian encyclopedia. Collaborations between these two artists are rooted in constraints they set for the process, both of materials and time, which force them to respond and work in an immediate, intuitive and exploratory way. Their process begins with one artist providing the inspiration and starting materials. These should come from the artist’s studio, such as saved remnants or quotes and ideas previously set aside. The receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided. The project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). The collaborations often address issues and experiences from their shared and multifaceted point of view as mother/wife/artist/teacher/expat. This project is based in the artists’ intuitive response to the images, in selecting which to use, how to pair and order them, and in composing the accompanying text. Borrowing from an encyclopedic and dictionary format, the project presents unexpected text and image juxtapositions while taking the reader on a journey of overlapping and intersecting narratives. Technical/material description: Spiral-bound books housed in cloth cases, single-sheet papers include vellum, transparencies, gridded and lined paper, text and cardstock weight paper, and a few dimensional elements (flaps and removable Mylar discs). Images and text are inkjet printed, cover title is letterpress printed. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467428851-ADBARQXOV6KVG78HLOQ1/mcba-prize-2015-lyall-harris-patricia-silva-a-concise-encyclopedia-of-unknown-things-that-belong-together-5.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com A Concise Encyclopedia of Unknown Things That Belong Together 2014 encyclopedia/dictionary format, paper flap elements, appropriated images, borrowed and original text, inkjet and letterpress, spiral binding, sewn cloth case Edition of 2 30 page spreads 7 1/2 x 5 3/4 x 6 in open 7 1/2 x 5 3/4 x 1/2 in closed Book artists Lyall Harris and Patricia Silva began the collaborative project A Concise Encyclopedia of Unknown Things that Belong Together with a quote from Charles Simic’s book Dime-Store Alchemy — “Somewhere in the city of New York there are four or five still-unknown objects that belong together” — and found images from a 1968 illustrated, multi-volume Italian encyclopedia. Collaborations between these two artists are rooted in constraints they set for the process, both of materials and time, which force them to respond and work in an immediate, intuitive and exploratory way. Their process begins with one artist providing the inspiration and starting materials. These should come from the artist’s studio, such as saved remnants or quotes and ideas previously set aside. The receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided. The project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). The collaborations often address issues and experiences from their shared and multifaceted point of view as mother/wife/artist/teacher/expat. This project is based in the artists’ intuitive response to the images, in selecting which to use, how to pair and order them, and in composing the accompanying text. Borrowing from an encyclopedic and dictionary format, the project presents unexpected text and image juxtapositions while taking the reader on a journey of overlapping and intersecting narratives. Technical/material description: Spiral-bound books housed in cloth cases, single-sheet papers include vellum, transparencies, gridded and lined paper, text and cardstock weight paper, and a few dimensional elements (flaps and removable Mylar discs). Images and text are inkjet printed, cover title is letterpress printed. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467578395-D2U7FZBENVT1CVIZOO48/mcba-prize-2015-lyall-harris-patricia-silva-the-dreamer-the-doer-1.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com The Dreamer The Doer 2014 vellum envelopes, decorative accordion spine, cutouts and silhouettes, housed in a box Edition of 2 6 pages Dimensions open: 7 1/4 x 14 1/8 x 14 1/8 in Dimensions closed: 7 1/4 x 14 1/8 x 5/8 in The Dreamer, The Doer takes inspiration from Molly Peacock’s book, The Paper Garden, about the botanical collages of 18th century British artist Mary Delany and from botanical woodcut prints of this same period. These literary and artistic sources were the starting point for book artists Patricia Silva and Lyall Harris. Their collaboration process begins with one artist providing the inspiration and starting materials; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). In this project botanical cutouts and silhouettes are equal protagonists to an excerpt from Peacock’s book interwoven with original text by the artists. Peacock’s writing addresses issues surrounding craft and perfectionism while the artists’ text, about a father and son, weighs a productive life against a poetic one. Technical/material description: The books are tied into a folded enclosure; text is inkjet printed on vellum paper envelope “pages” which contain silhouettes, 18th century botanical images, seeds, and paper cuttings; these pages are sewn into a accordion-folded spine; a decorative outer spine is made from layered collage elements inserted into the external accordion pleats, creating a sculptural effect. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467578378-IVTQ2M0BCELEUPQ1DLHG/mcba-prize-2015-lyall-harris-patricia-silva-the-dreamer-the-doer-2.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com The Dreamer The Doer 2014 vellum envelopes, decorative accordion spine, cutouts and silhouettes, housed in a box Edition of 2 6 pages Dimensions open: 7 1/4 x 14 1/8 x 14 1/8 in Dimensions closed: 7 1/4 x 14 1/8 x 5/8 in The Dreamer, The Doer takes inspiration from Molly Peacock’s book, The Paper Garden, about the botanical collages of 18th century British artist Mary Delany and from botanical woodcut prints of this same period. These literary and artistic sources were the starting point for book artists Patricia Silva and Lyall Harris. Their collaboration process begins with one artist providing the inspiration and starting materials; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). In this project botanical cutouts and silhouettes are equal protagonists to an excerpt from Peacock’s book interwoven with original text by the artists. Peacock’s writing addresses issues surrounding craft and perfectionism while the artists’ text, about a father and son, weighs a productive life against a poetic one. Technical/material description: The books are tied into a folded enclosure; text is inkjet printed on vellum paper envelope “pages” which contain silhouettes, 18th century botanical images, seeds, and paper cuttings; these pages are sewn into a accordion-folded spine; a decorative outer spine is made from layered collage elements inserted into the external accordion pleats, creating a sculptural effect. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467579307-B2SNCHE79FK0DY0ZDS3I/mcba-prize-2015-lyall-harris-patricia-silva-the-dreamer-the-doer-3.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com The Dreamer The Doer 2014 vellum envelopes, decorative accordion spine, cutouts and silhouettes, housed in a box Edition of 2 6 pages Dimensions open: 7 1/4 x 14 1/8 x 14 1/8 in Dimensions closed: 7 1/4 x 14 1/8 x 5/8 in The Dreamer, The Doer takes inspiration from Molly Peacock’s book, The Paper Garden, about the botanical collages of 18th century British artist Mary Delany and from botanical woodcut prints of this same period. These literary and artistic sources were the starting point for book artists Patricia Silva and Lyall Harris. Their collaboration process begins with one artist providing the inspiration and starting materials; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). In this project botanical cutouts and silhouettes are equal protagonists to an excerpt from Peacock’s book interwoven with original text by the artists. Peacock’s writing addresses issues surrounding craft and perfectionism while the artists’ text, about a father and son, weighs a productive life against a poetic one. Technical/material description: The books are tied into a folded enclosure; text is inkjet printed on vellum paper envelope “pages” which contain silhouettes, 18th century botanical images, seeds, and paper cuttings; these pages are sewn into a accordion-folded spine; a decorative outer spine is made from layered collage elements inserted into the external accordion pleats, creating a sculptural effect. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467579421-64AGOE0J7RI35BRAPSAV/mcba-prize-2015-lyall-harris-patricia-silva-the-dreamer-the-doer-4.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com The Dreamer The Doer 2014 vellum envelopes, decorative accordion spine, cutouts and silhouettes, housed in a box Edition of 2 6 pages Dimensions open: 7 1/4 x 14 1/8 x 14 1/8 in Dimensions closed: 7 1/4 x 14 1/8 x 5/8 in The Dreamer, The Doer takes inspiration from Molly Peacock’s book, The Paper Garden, about the botanical collages of 18th century British artist Mary Delany and from botanical woodcut prints of this same period. These literary and artistic sources were the starting point for book artists Patricia Silva and Lyall Harris. Their collaboration process begins with one artist providing the inspiration and starting materials; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). In this project botanical cutouts and silhouettes are equal protagonists to an excerpt from Peacock’s book interwoven with original text by the artists. Peacock’s writing addresses issues surrounding craft and perfectionism while the artists’ text, about a father and son, weighs a productive life against a poetic one. Technical/material description: The books are tied into a folded enclosure; text is inkjet printed on vellum paper envelope “pages” which contain silhouettes, 18th century botanical images, seeds, and paper cuttings; these pages are sewn into a accordion-folded spine; a decorative outer spine is made from layered collage elements inserted into the external accordion pleats, creating a sculptural effect. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467580384-YA4ZX4UOAJDUPBI5JDJY/mcba-prize-2015-lyall-harris-patricia-silva-the-dreamer-the-doer-5.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com The Dreamer The Doer 2014 vellum envelopes, decorative accordion spine, cutouts and silhouettes, housed in a box Edition of 2 6 pages Dimensions open: 7 1/4 x 14 1/8 x 14 1/8 in Dimensions closed: 7 1/4 x 14 1/8 x 5/8 in The Dreamer, The Doer takes inspiration from Molly Peacock’s book, The Paper Garden, about the botanical collages of 18th century British artist Mary Delany and from botanical woodcut prints of this same period. These literary and artistic sources were the starting point for book artists Patricia Silva and Lyall Harris. Their collaboration process begins with one artist providing the inspiration and starting materials; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). In this project botanical cutouts and silhouettes are equal protagonists to an excerpt from Peacock’s book interwoven with original text by the artists. Peacock’s writing addresses issues surrounding craft and perfectionism while the artists’ text, about a father and son, weighs a productive life against a poetic one. Technical/material description: The books are tied into a folded enclosure; text is inkjet printed on vellum paper envelope “pages” which contain silhouettes, 18th century botanical images, seeds, and paper cuttings; these pages are sewn into a accordion-folded spine; a decorative outer spine is made from layered collage elements inserted into the external accordion pleats, creating a sculptural effect. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467651028-B31IQ3WBWQAP51B5Q2WG/mcba-prize-2015-lyall-harris-patricia-silva-notes-from-overseas-1.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com Notes from Overseas 2014 dyed paper, folded pocket structure, drawing, pamphlet stitch, appropriated ephemera, housed in a sleeve Edition size: 2 Dimensions open: 6 7/8 x 19 1/2 x 9 7/8 in Dimensions closed: 6 7/8 x 9 7/8 x 1/4 in Book artists Lyall Harris and Patricia Silva used a folded pocket structure, old postage stamps, and a title label as the starting points for this collaborative project, Notes from Overseas. Their collaboration process begins with one artist providing the inspiration and starting materials; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). This project found further inspiration from diaries and travel journals, maps and other ephemera. A daughter’s reflections about inheriting her mother’s diary and letters serve as the primary writing while, elsewhere in the project, other autobiographical text is imbedded in research findings about memory. Amorphous patterns, created by initially dying the paper before folding, suggested topographical forms, which led to an exploration of map-related imagery. This contributed to the book’s themes of journeys, memory, and loss. Technical/material description: The folded books, housed in sleeves, were dyed in water-based paint and folded into pocket structures. The project contains maps, stamps, envelopes, drawings, photography, overlaying translucent sheets, sewn elements and removable sections. Images and text are inkjet printed, some drawn elements are original. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467650934-ZL6406SKGHZ2QV4708DT/mcba-prize-2015-lyall-harris-patricia-silva-notes-from-overseas-2.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com Notes from Overseas 2014 dyed paper, folded pocket structure, drawing, pamphlet stitch, appropriated ephemera, housed in a sleeve Edition size: 2 Dimensions open: 6 7/8 x 19 1/2 x 9 7/8 in Dimensions closed: 6 7/8 x 9 7/8 x 1/4 in Book artists Lyall Harris and Patricia Silva used a folded pocket structure, old postage stamps, and a title label as the starting points for this collaborative project, Notes from Overseas. Their collaboration process begins with one artist providing the inspiration and starting materials; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). This project found further inspiration from diaries and travel journals, maps and other ephemera. A daughter’s reflections about inheriting her mother’s diary and letters serve as the primary writing while, elsewhere in the project, other autobiographical text is imbedded in research findings about memory. Amorphous patterns, created by initially dying the paper before folding, suggested topographical forms, which led to an exploration of map-related imagery. This contributed to the book’s themes of journeys, memory, and loss. Technical/material description: The folded books, housed in sleeves, were dyed in water-based paint and folded into pocket structures. The project contains maps, stamps, envelopes, drawings, photography, overlaying translucent sheets, sewn elements and removable sections. Images and text are inkjet printed, some drawn elements are original. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467651925-TQTP6AGIJLH1ERCTEN4O/mcba-prize-2015-lyall-harris-patricia-silva-notes-from-overseas-3.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com Notes from Overseas 2014 dyed paper, folded pocket structure, drawing, pamphlet stitch, appropriated ephemera, housed in a sleeve Edition size: 2 Dimensions open: 6 7/8 x 19 1/2 x 9 7/8 in Dimensions closed: 6 7/8 x 9 7/8 x 1/4 in Book artists Lyall Harris and Patricia Silva used a folded pocket structure, old postage stamps, and a title label as the starting points for this collaborative project, Notes from Overseas. Their collaboration process begins with one artist providing the inspiration and starting materials; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). This project found further inspiration from diaries and travel journals, maps and other ephemera. A daughter’s reflections about inheriting her mother’s diary and letters serve as the primary writing while, elsewhere in the project, other autobiographical text is imbedded in research findings about memory. Amorphous patterns, created by initially dying the paper before folding, suggested topographical forms, which led to an exploration of map-related imagery. This contributed to the book’s themes of journeys, memory, and loss. Technical/material description: The folded books, housed in sleeves, were dyed in water-based paint and folded into pocket structures. The project contains maps, stamps, envelopes, drawings, photography, overlaying translucent sheets, sewn elements and removable sections. Images and text are inkjet printed, some drawn elements are original. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467652009-S232RKLG7CV9J5ORDT3M/mcba-prize-2015-lyall-harris-patricia-silva-notes-from-overseas-4.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com Notes from Overseas 2014 dyed paper, folded pocket structure, drawing, pamphlet stitch, appropriated ephemera, housed in a sleeve Edition size: 2 Dimensions open: 6 7/8 x 19 1/2 x 9 7/8 in Dimensions closed: 6 7/8 x 9 7/8 x 1/4 in Book artists Lyall Harris and Patricia Silva used a folded pocket structure, old postage stamps, and a title label as the starting points for this collaborative project, Notes from Overseas. Their collaboration process begins with one artist providing the inspiration and starting materials; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). This project found further inspiration from diaries and travel journals, maps and other ephemera. A daughter’s reflections about inheriting her mother’s diary and letters serve as the primary writing while, elsewhere in the project, other autobiographical text is imbedded in research findings about memory. Amorphous patterns, created by initially dying the paper before folding, suggested topographical forms, which led to an exploration of map-related imagery. This contributed to the book’s themes of journeys, memory, and loss. Technical/material description: The folded books, housed in sleeves, were dyed in water-based paint and folded into pocket structures. The project contains maps, stamps, envelopes, drawings, photography, overlaying translucent sheets, sewn elements and removable sections. Images and text are inkjet printed, some drawn elements are original. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467652923-CQ47C66CW3MYOS2BBEJA/mcba-prize-2015-lyall-harris-patricia-silva-notes-from-overseas-5.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com Notes from Overseas 2014 dyed paper, folded pocket structure, drawing, pamphlet stitch, appropriated ephemera, housed in a sleeve Edition size: 2 Dimensions open: 6 7/8 x 19 1/2 x 9 7/8 in Dimensions closed: 6 7/8 x 9 7/8 x 1/4 in Book artists Lyall Harris and Patricia Silva used a folded pocket structure, old postage stamps, and a title label as the starting points for this collaborative project, Notes from Overseas. Their collaboration process begins with one artist providing the inspiration and starting materials; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). This project found further inspiration from diaries and travel journals, maps and other ephemera. A daughter’s reflections about inheriting her mother’s diary and letters serve as the primary writing while, elsewhere in the project, other autobiographical text is imbedded in research findings about memory. Amorphous patterns, created by initially dying the paper before folding, suggested topographical forms, which led to an exploration of map-related imagery. This contributed to the book’s themes of journeys, memory, and loss. Technical/material description: The folded books, housed in sleeves, were dyed in water-based paint and folded into pocket structures. The project contains maps, stamps, envelopes, drawings, photography, overlaying translucent sheets, sewn elements and removable sections. Images and text are inkjet printed, some drawn elements are original. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467792726-VAYRCA4L0BWROFDI3ZXM/mcba-prize-2015-lyall-harris-patricia-silva-the-things-that-ride-out-time-1.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com The Things That Ride Out Time 2014 sewn fore-edge book, photography, various stitching, housed in a box Edition of 2 Pages: 7 Dimensions open: 8 3/8 x 12 1/8 x 6 in Dimensions closed: 8 3/8 x 6 x 3/8 in The Things That Ride Out Time is based on a description of an everyday object from Alice McDermott’s novel, Charming Billy. Book artists Lyall Harris and Patricia Silva used this to inaugurate the first in a series of ongoing collaborative projects, begun in 2014. Their collaboration process begins with one artist providing the inspiration and starting materials, in this case the McDermott passage and several pages with black and white photos; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). This project developed into a poetic and material exploration of the common threads among these two artists, both expats living in Italy, married to Florentines, and mothers of daughters, and the concrete and ephemeral elements of their shared histories and presumed futures, of what, for them, will “ride out time.” Technical/material description: The books, housed in a folded box, have sewn fore-edges and the page folds are sewn directly onto the covers. A poetic text (inkjet printed) on tissue paper is sewn into pages with black and white photos, color stitching, and semi-transparent elements. Other materials and techniques include: vintage wallpaper, Xerox transfers, piercing, and handwritten interventions. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467792599-1TN5M69G3GPHQ1KI8TS5/mcba-prize-2015-lyall-harris-patricia-silva-the-things-that-ride-out-time-2.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com The Things That Ride Out Time 2014 sewn fore-edge book, photography, various stitching, housed in a box Edition of 2 Pages: 7 Dimensions open: 8 3/8 x 12 1/8 x 6 in Dimensions closed: 8 3/8 x 6 x 3/8 in The Things That Ride Out Time is based on a description of an everyday object from Alice McDermott’s novel, Charming Billy. Book artists Lyall Harris and Patricia Silva used this to inaugurate the first in a series of ongoing collaborative projects, begun in 2014. Their collaboration process begins with one artist providing the inspiration and starting materials, in this case the McDermott passage and several pages with black and white photos; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). This project developed into a poetic and material exploration of the common threads among these two artists, both expats living in Italy, married to Florentines, and mothers of daughters, and the concrete and ephemeral elements of their shared histories and presumed futures, of what, for them, will “ride out time.” Technical/material description: The books, housed in a folded box, have sewn fore-edges and the page folds are sewn directly onto the covers. A poetic text (inkjet printed) on tissue paper is sewn into pages with black and white photos, color stitching, and semi-transparent elements. Other materials and techniques include: vintage wallpaper, Xerox transfers, piercing, and handwritten interventions. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467793628-GWFIEJM1SR3BZSHA095H/mcba-prize-2015-lyall-harris-patricia-silva-the-things-that-ride-out-time-3.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com The Things That Ride Out Time 2014 sewn fore-edge book, photography, various stitching, housed in a box Edition of 2 Pages: 7 Dimensions open: 8 3/8 x 12 1/8 x 6 in Dimensions closed: 8 3/8 x 6 x 3/8 in The Things That Ride Out Time is based on a description of an everyday object from Alice McDermott’s novel, Charming Billy. Book artists Lyall Harris and Patricia Silva used this to inaugurate the first in a series of ongoing collaborative projects, begun in 2014. Their collaboration process begins with one artist providing the inspiration and starting materials, in this case the McDermott passage and several pages with black and white photos; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). This project developed into a poetic and material exploration of the common threads among these two artists, both expats living in Italy, married to Florentines, and mothers of daughters, and the concrete and ephemeral elements of their shared histories and presumed futures, of what, for them, will “ride out time.” Technical/material description: The books, housed in a folded box, have sewn fore-edges and the page folds are sewn directly onto the covers. A poetic text (inkjet printed) on tissue paper is sewn into pages with black and white photos, color stitching, and semi-transparent elements. Other materials and techniques include: vintage wallpaper, Xerox transfers, piercing, and handwritten interventions. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467794415-E7D3HML6LF07KJCKTL5A/mcba-prize-2015-lyall-harris-patricia-silva-the-things-that-ride-out-time-4.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com The Things That Ride Out Time 2014 sewn fore-edge book, photography, various stitching, housed in a box Edition of 2 Pages: 7 Dimensions open: 8 3/8 x 12 1/8 x 6 in Dimensions closed: 8 3/8 x 6 x 3/8 in The Things That Ride Out Time is based on a description of an everyday object from Alice McDermott’s novel, Charming Billy. Book artists Lyall Harris and Patricia Silva used this to inaugurate the first in a series of ongoing collaborative projects, begun in 2014. Their collaboration process begins with one artist providing the inspiration and starting materials, in this case the McDermott passage and several pages with black and white photos; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). This project developed into a poetic and material exploration of the common threads among these two artists, both expats living in Italy, married to Florentines, and mothers of daughters, and the concrete and ephemeral elements of their shared histories and presumed futures, of what, for them, will “ride out time.” Technical/material description: The books, housed in a folded box, have sewn fore-edges and the page folds are sewn directly onto the covers. A poetic text (inkjet printed) on tissue paper is sewn into pages with black and white photos, color stitching, and semi-transparent elements. Other materials and techniques include: vintage wallpaper, Xerox transfers, piercing, and handwritten interventions. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467794639-TDH4SY8N7XZWYANZMTZ6/mcba-prize-2015-lyall-harris-patricia-silva-the-things-that-ride-out-time-5.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com The Things That Ride Out Time 2014 sewn fore-edge book, photography, various stitching, housed in a box Edition of 2 Pages: 7 Dimensions open: 8 3/8 x 12 1/8 x 6 in Dimensions closed: 8 3/8 x 6 x 3/8 in The Things That Ride Out Time is based on a description of an everyday object from Alice McDermott’s novel, Charming Billy. Book artists Lyall Harris and Patricia Silva used this to inaugurate the first in a series of ongoing collaborative projects, begun in 2014. Their collaboration process begins with one artist providing the inspiration and starting materials, in this case the McDermott passage and several pages with black and white photos; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). This project developed into a poetic and material exploration of the common threads among these two artists, both expats living in Italy, married to Florentines, and mothers of daughters, and the concrete and ephemeral elements of their shared histories and presumed futures, of what, for them, will “ride out time.” Technical/material description: The books, housed in a folded box, have sewn fore-edges and the page folds are sewn directly onto the covers. A poetic text (inkjet printed) on tissue paper is sewn into pages with black and white photos, color stitching, and semi-transparent elements. Other materials and techniques include: vintage wallpaper, Xerox transfers, piercing, and handwritten interventions. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467858941-WWAWUJFZJ2B8Z5MY76DK/mcba-prize-2015-lyall-harris-patricia-silva-without-faults-sans-defauts-1.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com Without Fault; Sans Defauts 2015 file format with various compiled materials, photography, appropriated imagery, stitching, housed in an envelope Edition of 2 Dimensions open: 11 3/4 x 16 3/4 x 1/4 in Dimensions closed: 11 3/4 x 8 3/8 x 1/2 in The starting inspiration for book artists Patricia Silva and Lyall Harris for the collaborative work, Without Fault; Sans Défauts, was a 1950s French fashion publication, which included clothing patterns and outdated beauty advertisements. Added to this was a found Italian book from 1979 about female beauty and cosmetic surgery. Silva and Harris’ collaboration process begins with one artist providing the inspiration and starting materials; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). This project employs a quasi-medical file format to present and explore issues around “ideal” female beauty and the role of women in the home and in society. The layers of data, commentary, and supporting materials brave difficult terrain while both formally and metaphorically suggesting a variety of connections between the personal and the public. Technical/material description: The books, housed in manila envelopes, are compilations with contents ranging from the scientific to the material: labeled photos of the artists’ and statistical data to a sampler of actual suturing techniques. Text is handwritten, typed, and inkjet printed; dress patterns and appropriated imagery are also included; plastic surgery procedures and historically accepted views about women are referenced. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467858693-VB8ML3UKP9GTTRNRXBF4/mcba-prize-2015-lyall-harris-patricia-silva-without-faults-sans-defauts-2.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com Without Fault; Sans Defauts 2015 file format with various compiled materials, photography, appropriated imagery, stitching, housed in an envelope Edition of 2 Dimensions open: 11 3/4 x 16 3/4 x 1/4 in Dimensions closed: 11 3/4 x 8 3/8 x 1/2 in The starting inspiration for book artists Patricia Silva and Lyall Harris for the collaborative work, Without Fault; Sans Défauts, was a 1950s French fashion publication, which included clothing patterns and outdated beauty advertisements. Added to this was a found Italian book from 1979 about female beauty and cosmetic surgery. Silva and Harris’ collaboration process begins with one artist providing the inspiration and starting materials; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). This project employs a quasi-medical file format to present and explore issues around “ideal” female beauty and the role of women in the home and in society. The layers of data, commentary, and supporting materials brave difficult terrain while both formally and metaphorically suggesting a variety of connections between the personal and the public. Technical/material description: The books, housed in manila envelopes, are compilations with contents ranging from the scientific to the material: labeled photos of the artists’ and statistical data to a sampler of actual suturing techniques. Text is handwritten, typed, and inkjet printed; dress patterns and appropriated imagery are also included; plastic surgery procedures and historically accepted views about women are referenced. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467860074-5WX13165NM5EB6EM50C2/mcba-prize-2015-lyall-harris-patricia-silva-without-faults-sans-defauts-3.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com Without Fault; Sans Defauts 2015 file format with various compiled materials, photography, appropriated imagery, stitching, housed in an envelope Edition of 2 Dimensions open: 11 3/4 x 16 3/4 x 1/4 in Dimensions closed: 11 3/4 x 8 3/8 x 1/2 in The starting inspiration for book artists Patricia Silva and Lyall Harris for the collaborative work, Without Fault; Sans Défauts, was a 1950s French fashion publication, which included clothing patterns and outdated beauty advertisements. Added to this was a found Italian book from 1979 about female beauty and cosmetic surgery. Silva and Harris’ collaboration process begins with one artist providing the inspiration and starting materials; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). This project employs a quasi-medical file format to present and explore issues around “ideal” female beauty and the role of women in the home and in society. The layers of data, commentary, and supporting materials brave difficult terrain while both formally and metaphorically suggesting a variety of connections between the personal and the public. Technical/material description: The books, housed in manila envelopes, are compilations with contents ranging from the scientific to the material: labeled photos of the artists’ and statistical data to a sampler of actual suturing techniques. Text is handwritten, typed, and inkjet printed; dress patterns and appropriated imagery are also included; plastic surgery procedures and historically accepted views about women are referenced. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467860265-IZMG9ZMD2KYVFRTS26CR/mcba-prize-2015-lyall-harris-patricia-silva-without-faults-sans-defauts-4.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com Without Fault; Sans Defauts 2015 file format with various compiled materials, photography, appropriated imagery, stitching, housed in an envelope Edition of 2 Dimensions open: 11 3/4 x 16 3/4 x 1/4 in Dimensions closed: 11 3/4 x 8 3/8 x 1/2 in The starting inspiration for book artists Patricia Silva and Lyall Harris for the collaborative work, Without Fault; Sans Défauts, was a 1950s French fashion publication, which included clothing patterns and outdated beauty advertisements. Added to this was a found Italian book from 1979 about female beauty and cosmetic surgery. Silva and Harris’ collaboration process begins with one artist providing the inspiration and starting materials; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). This project employs a quasi-medical file format to present and explore issues around “ideal” female beauty and the role of women in the home and in society. The layers of data, commentary, and supporting materials brave difficult terrain while both formally and metaphorically suggesting a variety of connections between the personal and the public. Technical/material description: The books, housed in manila envelopes, are compilations with contents ranging from the scientific to the material: labeled photos of the artists’ and statistical data to a sampler of actual suturing techniques. Text is handwritten, typed, and inkjet printed; dress patterns and appropriated imagery are also included; plastic surgery procedures and historically accepted views about women are referenced. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774467861103-KJ95FV7IIWMUEDRT9KYK/mcba-prize-2015-lyall-harris-patricia-silva-without-faults-sans-defauts-5.jpg Entries & Jurors - 2015 Entries - Lyall Harris and Patricia Silva Lyall Harris and Patricia Silva (San Francisco, CA) lyallharris.com Without Fault; Sans Defauts 2015 file format with various compiled materials, photography, appropriated imagery, stitching, housed in an envelope Edition of 2 Dimensions open: 11 3/4 x 16 3/4 x 1/4 in Dimensions closed: 11 3/4 x 8 3/8 x 1/2 in The starting inspiration for book artists Patricia Silva and Lyall Harris for the collaborative work, Without Fault; Sans Défauts, was a 1950s French fashion publication, which included clothing patterns and outdated beauty advertisements. Added to this was a found Italian book from 1979 about female beauty and cosmetic surgery. Silva and Harris’ collaboration process begins with one artist providing the inspiration and starting materials; the receiving artist then works for 2 weeks, bringing the project to a “halfway” point, materials may be added or edited during this phase without straying too far from the initial supplies provided; the project is then given back to the originating artist who finishes the books in two weeks time (edition size 2). This project employs a quasi-medical file format to present and explore issues around “ideal” female beauty and the role of women in the home and in society. The layers of data, commentary, and supporting materials brave difficult terrain while both formally and metaphorically suggesting a variety of connections between the personal and the public. Technical/material description: The books, housed in manila envelopes, are compilations with contents ranging from the scientific to the material: labeled photos of the artists’ and statistical data to a sampler of actual suturing techniques. Text is handwritten, typed, and inkjet printed; dress patterns and appropriated imagery are also included; plastic surgery procedures and historically accepted views about women are referenced. In all of the joint projects to date, the finished books seem rooted in a unified aesthetic and made by one hand. More than a set intention, this is a natural outcome of the collaboration between these two artists. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468022357-PNAKGSJBJD1DAW9S1TMU/mcba-prize-2015-kathy-t-hettinga-4-3-2-cry-fracking-in-northern-colorado1.jpg Entries & Jurors - 2015 Entries - Kathy T. Hettinga Kathy T. Hettinga (Dillsburg, PA) Vamp and Tramp 4 3 2 CRY: Fracking in Northern Colorado 2014 Aluminum compliance sign riveted to cover; Arrestox cloth covered book boards; Cialux cloth covered spine; Archival ink on Mohawk Superfine, eggshell, 70 lb. text; and Bugra endsheets. French fold, drum leaf structure with folded chapter pages. Fonts: Helvetica, Helvetica Neue, and Arbitrary. Edition of 46 48 pages 7.625 x 15.75 x 1.75″ open 7.625 x 7.75 x .75″ closed 4 3 2 CRY mediates parallel narratives of personal and environmental loss, exposing the effects of hydraulic fracturing for oil and gas upon families, land, air and water. It is a lament and a goodbye for both the material/ physical place that Hettinga dearly loved in Northern, Colorado, and the unspeakable loss of her beloved husband. The artist brings these immaterial/ incorporeal/ spiritual aspects into material presence. The book is a lament for a community transformed by drilling operations and leads to the author’s call to stop hydraulic fracturing in the USA. Looking at satellite maps during the summer of 2012, Hettinga became petrified by the intricate pattern of drilling scars formed across the open lands around Greeley, Colorado. The land is covered with five point X’s—roads crisscross from large well pads. The rich Niobrara shale field is permitted to be drilled twenty plus times per square mile. The land is pierced, perforated, gouged beyond comprehension. Northern Colorado is sitting on a pincushion of drilled and fractured earth. These intricate patterns of X’s form the endsheets of 4 3 2 CRY. Photographing the area where she lived, worked on a dairy farm, gave birth to her son, started an art gallery, worked as a designer at the Greeley Tribune and went to graduate school, Hettinga saw an agricultural landscape changed by decades of oil and gas drilling operations. Compliance signs, diamond shaped Mondrian-like, are affixed to thousands of condensate tanks. These innocuous signs consisting of primary colors and the numbers one through four are code for a chilling catalog of possible hazards ranging from fiery explosions to lethal health effects. The compliance signs became a design element for the front covers as well as the chapter countdown. Each chapter — 4, 3, 2, CRY — is folded into a diamond shape, some with hidden texts. Hettinga’s art/design work lies at the intersection of design, photography, digital prints, and book arts. Jenn Bratovich, WSW blogger, has this to say about her work: “Kathy has always been compelled to ask how we make sense of loss, grief, and fragility—these themes hum constantly underneath her interdisciplinary digital work. But it’s Kathy’s “activist radar” and her belief in the democratic nature of self-publishing that drives her to create projects that, like 4 3 2 CRY, use visual communication to call for justice.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468021553-1LPXIPHMF6ZAXDMKDT7R/mcba-prize-2015-kathy-t-hettinga-4-3-2-cry-fracking-in-northern-colorado2.jpg Entries & Jurors - 2015 Entries - Kathy T. Hettinga Kathy T. Hettinga (Dillsburg, PA) Vamp and Tramp 4 3 2 CRY: Fracking in Northern Colorado 2014 Aluminum compliance sign riveted to cover; Arrestox cloth covered book boards; Cialux cloth covered spine; Archival ink on Mohawk Superfine, eggshell, 70 lb. text; and Bugra endsheets. French fold, drum leaf structure with folded chapter pages. Fonts: Helvetica, Helvetica Neue, and Arbitrary. Edition of 46 48 pages 7.625 x 15.75 x 1.75″ open 7.625 x 7.75 x .75″ closed 4 3 2 CRY mediates parallel narratives of personal and environmental loss, exposing the effects of hydraulic fracturing for oil and gas upon families, land, air and water. It is a lament and a goodbye for both the material/ physical place that Hettinga dearly loved in Northern, Colorado, and the unspeakable loss of her beloved husband. The artist brings these immaterial/ incorporeal/ spiritual aspects into material presence. The book is a lament for a community transformed by drilling operations and leads to the author’s call to stop hydraulic fracturing in the USA. Looking at satellite maps during the summer of 2012, Hettinga became petrified by the intricate pattern of drilling scars formed across the open lands around Greeley, Colorado. The land is covered with five point X’s—roads crisscross from large well pads. The rich Niobrara shale field is permitted to be drilled twenty plus times per square mile. The land is pierced, perforated, gouged beyond comprehension. Northern Colorado is sitting on a pincushion of drilled and fractured earth. These intricate patterns of X’s form the endsheets of 4 3 2 CRY. Photographing the area where she lived, worked on a dairy farm, gave birth to her son, started an art gallery, worked as a designer at the Greeley Tribune and went to graduate school, Hettinga saw an agricultural landscape changed by decades of oil and gas drilling operations. Compliance signs, diamond shaped Mondrian-like, are affixed to thousands of condensate tanks. These innocuous signs consisting of primary colors and the numbers one through four are code for a chilling catalog of possible hazards ranging from fiery explosions to lethal health effects. The compliance signs became a design element for the front covers as well as the chapter countdown. Each chapter — 4, 3, 2, CRY — is folded into a diamond shape, some with hidden texts. Hettinga’s art/design work lies at the intersection of design, photography, digital prints, and book arts. Jenn Bratovich, WSW blogger, has this to say about her work: “Kathy has always been compelled to ask how we make sense of loss, grief, and fragility—these themes hum constantly underneath her interdisciplinary digital work. But it’s Kathy’s “activist radar” and her belief in the democratic nature of self-publishing that drives her to create projects that, like 4 3 2 CRY, use visual communication to call for justice.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468024544-ZUZKVK1M2M208JWVG2PJ/mcba-prize-2015-kathy-t-hettinga-4-3-2-cry-fracking-in-northern-colorado3.jpg Entries & Jurors - 2015 Entries - Kathy T. Hettinga Kathy T. Hettinga (Dillsburg, PA) Vamp and Tramp 4 3 2 CRY: Fracking in Northern Colorado 2014 Aluminum compliance sign riveted to cover; Arrestox cloth covered book boards; Cialux cloth covered spine; Archival ink on Mohawk Superfine, eggshell, 70 lb. text; and Bugra endsheets. French fold, drum leaf structure with folded chapter pages. Fonts: Helvetica, Helvetica Neue, and Arbitrary. Edition of 46 48 pages 7.625 x 15.75 x 1.75″ open 7.625 x 7.75 x .75″ closed 4 3 2 CRY mediates parallel narratives of personal and environmental loss, exposing the effects of hydraulic fracturing for oil and gas upon families, land, air and water. It is a lament and a goodbye for both the material/ physical place that Hettinga dearly loved in Northern, Colorado, and the unspeakable loss of her beloved husband. The artist brings these immaterial/ incorporeal/ spiritual aspects into material presence. The book is a lament for a community transformed by drilling operations and leads to the author’s call to stop hydraulic fracturing in the USA. Looking at satellite maps during the summer of 2012, Hettinga became petrified by the intricate pattern of drilling scars formed across the open lands around Greeley, Colorado. The land is covered with five point X’s—roads crisscross from large well pads. The rich Niobrara shale field is permitted to be drilled twenty plus times per square mile. The land is pierced, perforated, gouged beyond comprehension. Northern Colorado is sitting on a pincushion of drilled and fractured earth. These intricate patterns of X’s form the endsheets of 4 3 2 CRY. Photographing the area where she lived, worked on a dairy farm, gave birth to her son, started an art gallery, worked as a designer at the Greeley Tribune and went to graduate school, Hettinga saw an agricultural landscape changed by decades of oil and gas drilling operations. Compliance signs, diamond shaped Mondrian-like, are affixed to thousands of condensate tanks. These innocuous signs consisting of primary colors and the numbers one through four are code for a chilling catalog of possible hazards ranging from fiery explosions to lethal health effects. The compliance signs became a design element for the front covers as well as the chapter countdown. Each chapter — 4, 3, 2, CRY — is folded into a diamond shape, some with hidden texts. Hettinga’s art/design work lies at the intersection of design, photography, digital prints, and book arts. Jenn Bratovich, WSW blogger, has this to say about her work: “Kathy has always been compelled to ask how we make sense of loss, grief, and fragility—these themes hum constantly underneath her interdisciplinary digital work. But it’s Kathy’s “activist radar” and her belief in the democratic nature of self-publishing that drives her to create projects that, like 4 3 2 CRY, use visual communication to call for justice.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468023865-NZEYYFEGSH83VRQPV7PY/mcba-prize-2015-kathy-t-hettinga-4-3-2-cry-fracking-in-northern-colorado4.jpg Entries & Jurors - 2015 Entries - Kathy T. Hettinga Kathy T. Hettinga (Dillsburg, PA) Vamp and Tramp 4 3 2 CRY: Fracking in Northern Colorado 2014 Aluminum compliance sign riveted to cover; Arrestox cloth covered book boards; Cialux cloth covered spine; Archival ink on Mohawk Superfine, eggshell, 70 lb. text; and Bugra endsheets. French fold, drum leaf structure with folded chapter pages. Fonts: Helvetica, Helvetica Neue, and Arbitrary. Edition of 46 48 pages 7.625 x 15.75 x 1.75″ open 7.625 x 7.75 x .75″ closed 4 3 2 CRY mediates parallel narratives of personal and environmental loss, exposing the effects of hydraulic fracturing for oil and gas upon families, land, air and water. It is a lament and a goodbye for both the material/ physical place that Hettinga dearly loved in Northern, Colorado, and the unspeakable loss of her beloved husband. The artist brings these immaterial/ incorporeal/ spiritual aspects into material presence. The book is a lament for a community transformed by drilling operations and leads to the author’s call to stop hydraulic fracturing in the USA. Looking at satellite maps during the summer of 2012, Hettinga became petrified by the intricate pattern of drilling scars formed across the open lands around Greeley, Colorado. The land is covered with five point X’s—roads crisscross from large well pads. The rich Niobrara shale field is permitted to be drilled twenty plus times per square mile. The land is pierced, perforated, gouged beyond comprehension. Northern Colorado is sitting on a pincushion of drilled and fractured earth. These intricate patterns of X’s form the endsheets of 4 3 2 CRY. Photographing the area where she lived, worked on a dairy farm, gave birth to her son, started an art gallery, worked as a designer at the Greeley Tribune and went to graduate school, Hettinga saw an agricultural landscape changed by decades of oil and gas drilling operations. Compliance signs, diamond shaped Mondrian-like, are affixed to thousands of condensate tanks. These innocuous signs consisting of primary colors and the numbers one through four are code for a chilling catalog of possible hazards ranging from fiery explosions to lethal health effects. The compliance signs became a design element for the front covers as well as the chapter countdown. Each chapter — 4, 3, 2, CRY — is folded into a diamond shape, some with hidden texts. Hettinga’s art/design work lies at the intersection of design, photography, digital prints, and book arts. Jenn Bratovich, WSW blogger, has this to say about her work: “Kathy has always been compelled to ask how we make sense of loss, grief, and fragility—these themes hum constantly underneath her interdisciplinary digital work. But it’s Kathy’s “activist radar” and her belief in the democratic nature of self-publishing that drives her to create projects that, like 4 3 2 CRY, use visual communication to call for justice.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468024877-XZ0LLIIWFZVTUSOT90VZ/mcba-prize-2015-kathy-t-hettinga-4-3-2-cry-fracking-in-northern-colorado5.jpg Entries & Jurors - 2015 Entries - Kathy T. Hettinga Kathy T. Hettinga (Dillsburg, PA) Vamp and Tramp 4 3 2 CRY: Fracking in Northern Colorado 2014 Aluminum compliance sign riveted to cover; Arrestox cloth covered book boards; Cialux cloth covered spine; Archival ink on Mohawk Superfine, eggshell, 70 lb. text; and Bugra endsheets. French fold, drum leaf structure with folded chapter pages. Fonts: Helvetica, Helvetica Neue, and Arbitrary. Edition of 46 48 pages 7.625 x 15.75 x 1.75″ open 7.625 x 7.75 x .75″ closed 4 3 2 CRY mediates parallel narratives of personal and environmental loss, exposing the effects of hydraulic fracturing for oil and gas upon families, land, air and water. It is a lament and a goodbye for both the material/ physical place that Hettinga dearly loved in Northern, Colorado, and the unspeakable loss of her beloved husband. The artist brings these immaterial/ incorporeal/ spiritual aspects into material presence. The book is a lament for a community transformed by drilling operations and leads to the author’s call to stop hydraulic fracturing in the USA. Looking at satellite maps during the summer of 2012, Hettinga became petrified by the intricate pattern of drilling scars formed across the open lands around Greeley, Colorado. The land is covered with five point X’s—roads crisscross from large well pads. The rich Niobrara shale field is permitted to be drilled twenty plus times per square mile. The land is pierced, perforated, gouged beyond comprehension. Northern Colorado is sitting on a pincushion of drilled and fractured earth. These intricate patterns of X’s form the endsheets of 4 3 2 CRY. Photographing the area where she lived, worked on a dairy farm, gave birth to her son, started an art gallery, worked as a designer at the Greeley Tribune and went to graduate school, Hettinga saw an agricultural landscape changed by decades of oil and gas drilling operations. Compliance signs, diamond shaped Mondrian-like, are affixed to thousands of condensate tanks. These innocuous signs consisting of primary colors and the numbers one through four are code for a chilling catalog of possible hazards ranging from fiery explosions to lethal health effects. The compliance signs became a design element for the front covers as well as the chapter countdown. Each chapter — 4, 3, 2, CRY — is folded into a diamond shape, some with hidden texts. Hettinga’s art/design work lies at the intersection of design, photography, digital prints, and book arts. Jenn Bratovich, WSW blogger, has this to say about her work: “Kathy has always been compelled to ask how we make sense of loss, grief, and fragility—these themes hum constantly underneath her interdisciplinary digital work. But it’s Kathy’s “activist radar” and her belief in the democratic nature of self-publishing that drives her to create projects that, like 4 3 2 CRY, use visual communication to call for justice.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468097936-GMVU31N365KNUQEJ20FS/mcba-prize-2015-helen-hiebert-interluceo-1.jpg Entries & Jurors - 2015 Entries - Helen Hiebert Helen Hiebert (Edwards, CO) helenhiebertstudio.com Interluceo 2015 handmade paper, watermarking, paper cuts Edition of 25 72 pages Dimensions open: 9″ x 18.5″ x .75″ Dimensions closed: 9.25″ X 9.25″ The following text appears on the reflections page in the book: Interluceo: v [L] to shine or gleam between; to be transparent; to let light through gaps. Translucent paper has mesmerized me ever since I saw papered shoji screens during a brief trip to Japan in 1988. Inspired by that trip, I found a job at a hand paper mill in New York City that was dedicated to preserving the craft of Western papermaking. There, I was drawn to the luminosity of abaca – the banana plant fiber used to create the colored papers in this book – as well as the way in which a watermark could illuminate an otherwise opaque sheet of paper. Watermarks are mysterious, hidden within sheets of paper, often invisible until lifted to the light. An innovation as old as paper itself, watermarks originally were used as logos or symbols that identified the artisan or shop that made the sheet of paper. These maker’s marks embedded within paper result from differences in thicknesses produced by an object that is attached to the papermaking mould and protrudes into the sheet as it is formed. Historical watermarks were made with wire, and for this book I’ve used a thin rubber material. I drew a lot as a child and have long been fascinated with paper sculpture, architecture, and the way that two-dimensional objects or drawings can be rendered in three dimensions. This transformation – a triangle becomes a pyramid, a square expands into a cube – is part of my visual vocabulary. The Latin words for some of these shapes hold interesting meanings too: orbis means world, scriptus means letter, text, line, composition and norma stands for a carpenter’s square. Wabi-sabi, the Japanese aesthetic centered on the acceptance of transience and imperfection, allows me to accept, even welcome, imperfection in my work. The imperfections that occur during the papermaking process, hand cutting of the watermarks and illustrations, letterpress printing and fine binding represent uniqueness and character. The paper cut illustrations in this book, by Béatrice Coron, portray the mysteries of life: a baby in the womb, a couple, a child, the child gaining strength through maturity and running to embrace life, building a home (the pentagonal shape), exploring the world and finally settling with spiritual contemplation. Although I am not an expert on the science behind color and light, as a visual artist I explore and push the boundaries of my medium by conducting experiments and making visual associations with different materials and techniques. I continually ask myself questions like ‘How do abaca papers transmit or hold the light?’ and ‘What happens to the geometry in the paper when I turn a page in the book?’ The numbers 1-7 have many meanings: as the days of the week, as the notes in the musical scale, as the colors of the rainbow. The geometric shapes represented by these numbers progress from a point (the circle) to a seven-sided septagon; if this sequence were to continue ad infinitum, the resulting multi-sided figure with an infinite number of sides would approach the shape of the circle again, and we would either be at the beginning or the end. Edition details: Interluceo was designed and produced by Helen Hiebert Studio in Red Cliff, Colorado. There are twenty-five copies in the edition. Paper: a seventy-five percent cotton/twenty-five percent abaca blend paper was created to showcase the watermarks; pigmented abaca pulp created the rainbow spectrum of translucent papers. Illustrations: Cut paper illustrations by Béatrice Coron Letterpress printing by Tom Leech at the Press at the Palace of the Governors in Santa Fe, New Mexico from polymer plates made by Boxcar Press. Typeface: Dante. Binding and Box: Long stitch binding and clamshell box by Claudia Cohen, Seattle, WA. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468097264-KUQI4B36VL6N91EOJZ4T/mcba-prize-2015-helen-hiebert-interluceo-2.jpg Entries & Jurors - 2015 Entries - Helen Hiebert Helen Hiebert (Edwards, CO) helenhiebertstudio.com Interluceo 2015 handmade paper, watermarking, paper cuts Edition of 25 72 pages Dimensions open: 9″ x 18.5″ x .75″ Dimensions closed: 9.25″ X 9.25″ The following text appears on the reflections page in the book: Interluceo: v [L] to shine or gleam between; to be transparent; to let light through gaps. Translucent paper has mesmerized me ever since I saw papered shoji screens during a brief trip to Japan in 1988. Inspired by that trip, I found a job at a hand paper mill in New York City that was dedicated to preserving the craft of Western papermaking. There, I was drawn to the luminosity of abaca – the banana plant fiber used to create the colored papers in this book – as well as the way in which a watermark could illuminate an otherwise opaque sheet of paper. Watermarks are mysterious, hidden within sheets of paper, often invisible until lifted to the light. An innovation as old as paper itself, watermarks originally were used as logos or symbols that identified the artisan or shop that made the sheet of paper. These maker’s marks embedded within paper result from differences in thicknesses produced by an object that is attached to the papermaking mould and protrudes into the sheet as it is formed. Historical watermarks were made with wire, and for this book I’ve used a thin rubber material. I drew a lot as a child and have long been fascinated with paper sculpture, architecture, and the way that two-dimensional objects or drawings can be rendered in three dimensions. This transformation – a triangle becomes a pyramid, a square expands into a cube – is part of my visual vocabulary. The Latin words for some of these shapes hold interesting meanings too: orbis means world, scriptus means letter, text, line, composition and norma stands for a carpenter’s square. Wabi-sabi, the Japanese aesthetic centered on the acceptance of transience and imperfection, allows me to accept, even welcome, imperfection in my work. The imperfections that occur during the papermaking process, hand cutting of the watermarks and illustrations, letterpress printing and fine binding represent uniqueness and character. The paper cut illustrations in this book, by Béatrice Coron, portray the mysteries of life: a baby in the womb, a couple, a child, the child gaining strength through maturity and running to embrace life, building a home (the pentagonal shape), exploring the world and finally settling with spiritual contemplation. Although I am not an expert on the science behind color and light, as a visual artist I explore and push the boundaries of my medium by conducting experiments and making visual associations with different materials and techniques. I continually ask myself questions like ‘How do abaca papers transmit or hold the light?’ and ‘What happens to the geometry in the paper when I turn a page in the book?’ The numbers 1-7 have many meanings: as the days of the week, as the notes in the musical scale, as the colors of the rainbow. The geometric shapes represented by these numbers progress from a point (the circle) to a seven-sided septagon; if this sequence were to continue ad infinitum, the resulting multi-sided figure with an infinite number of sides would approach the shape of the circle again, and we would either be at the beginning or the end. Edition details: Interluceo was designed and produced by Helen Hiebert Studio in Red Cliff, Colorado. There are twenty-five copies in the edition. Paper: a seventy-five percent cotton/twenty-five percent abaca blend paper was created to showcase the watermarks; pigmented abaca pulp created the rainbow spectrum of translucent papers. Illustrations: Cut paper illustrations by Béatrice Coron Letterpress printing by Tom Leech at the Press at the Palace of the Governors in Santa Fe, New Mexico from polymer plates made by Boxcar Press. Typeface: Dante. Binding and Box: Long stitch binding and clamshell box by Claudia Cohen, Seattle, WA. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468098246-7D4CD9EBXPEA9STFCIP9/mcba-prize-2015-helen-hiebert-interluceo-3.jpg Entries & Jurors - 2015 Entries - Helen Hiebert Helen Hiebert (Edwards, CO) helenhiebertstudio.com Interluceo 2015 handmade paper, watermarking, paper cuts Edition of 25 72 pages Dimensions open: 9″ x 18.5″ x .75″ Dimensions closed: 9.25″ X 9.25″ The following text appears on the reflections page in the book: Interluceo: v [L] to shine or gleam between; to be transparent; to let light through gaps. Translucent paper has mesmerized me ever since I saw papered shoji screens during a brief trip to Japan in 1988. Inspired by that trip, I found a job at a hand paper mill in New York City that was dedicated to preserving the craft of Western papermaking. There, I was drawn to the luminosity of abaca – the banana plant fiber used to create the colored papers in this book – as well as the way in which a watermark could illuminate an otherwise opaque sheet of paper. Watermarks are mysterious, hidden within sheets of paper, often invisible until lifted to the light. An innovation as old as paper itself, watermarks originally were used as logos or symbols that identified the artisan or shop that made the sheet of paper. These maker’s marks embedded within paper result from differences in thicknesses produced by an object that is attached to the papermaking mould and protrudes into the sheet as it is formed. Historical watermarks were made with wire, and for this book I’ve used a thin rubber material. I drew a lot as a child and have long been fascinated with paper sculpture, architecture, and the way that two-dimensional objects or drawings can be rendered in three dimensions. This transformation – a triangle becomes a pyramid, a square expands into a cube – is part of my visual vocabulary. The Latin words for some of these shapes hold interesting meanings too: orbis means world, scriptus means letter, text, line, composition and norma stands for a carpenter’s square. Wabi-sabi, the Japanese aesthetic centered on the acceptance of transience and imperfection, allows me to accept, even welcome, imperfection in my work. The imperfections that occur during the papermaking process, hand cutting of the watermarks and illustrations, letterpress printing and fine binding represent uniqueness and character. The paper cut illustrations in this book, by Béatrice Coron, portray the mysteries of life: a baby in the womb, a couple, a child, the child gaining strength through maturity and running to embrace life, building a home (the pentagonal shape), exploring the world and finally settling with spiritual contemplation. Although I am not an expert on the science behind color and light, as a visual artist I explore and push the boundaries of my medium by conducting experiments and making visual associations with different materials and techniques. I continually ask myself questions like ‘How do abaca papers transmit or hold the light?’ and ‘What happens to the geometry in the paper when I turn a page in the book?’ The numbers 1-7 have many meanings: as the days of the week, as the notes in the musical scale, as the colors of the rainbow. The geometric shapes represented by these numbers progress from a point (the circle) to a seven-sided septagon; if this sequence were to continue ad infinitum, the resulting multi-sided figure with an infinite number of sides would approach the shape of the circle again, and we would either be at the beginning or the end. Edition details: Interluceo was designed and produced by Helen Hiebert Studio in Red Cliff, Colorado. There are twenty-five copies in the edition. Paper: a seventy-five percent cotton/twenty-five percent abaca blend paper was created to showcase the watermarks; pigmented abaca pulp created the rainbow spectrum of translucent papers. Illustrations: Cut paper illustrations by Béatrice Coron Letterpress printing by Tom Leech at the Press at the Palace of the Governors in Santa Fe, New Mexico from polymer plates made by Boxcar Press. Typeface: Dante. Binding and Box: Long stitch binding and clamshell box by Claudia Cohen, Seattle, WA. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468098950-RJVBCWQMTYGLN3ORNRBP/mcba-prize-2015-helen-hiebert-interluceo-4.jpg Entries & Jurors - 2015 Entries - Helen Hiebert Helen Hiebert (Edwards, CO) helenhiebertstudio.com Interluceo 2015 handmade paper, watermarking, paper cuts Edition of 25 72 pages Dimensions open: 9″ x 18.5″ x .75″ Dimensions closed: 9.25″ X 9.25″ The following text appears on the reflections page in the book: Interluceo: v [L] to shine or gleam between; to be transparent; to let light through gaps. Translucent paper has mesmerized me ever since I saw papered shoji screens during a brief trip to Japan in 1988. Inspired by that trip, I found a job at a hand paper mill in New York City that was dedicated to preserving the craft of Western papermaking. There, I was drawn to the luminosity of abaca – the banana plant fiber used to create the colored papers in this book – as well as the way in which a watermark could illuminate an otherwise opaque sheet of paper. Watermarks are mysterious, hidden within sheets of paper, often invisible until lifted to the light. An innovation as old as paper itself, watermarks originally were used as logos or symbols that identified the artisan or shop that made the sheet of paper. These maker’s marks embedded within paper result from differences in thicknesses produced by an object that is attached to the papermaking mould and protrudes into the sheet as it is formed. Historical watermarks were made with wire, and for this book I’ve used a thin rubber material. I drew a lot as a child and have long been fascinated with paper sculpture, architecture, and the way that two-dimensional objects or drawings can be rendered in three dimensions. This transformation – a triangle becomes a pyramid, a square expands into a cube – is part of my visual vocabulary. The Latin words for some of these shapes hold interesting meanings too: orbis means world, scriptus means letter, text, line, composition and norma stands for a carpenter’s square. Wabi-sabi, the Japanese aesthetic centered on the acceptance of transience and imperfection, allows me to accept, even welcome, imperfection in my work. The imperfections that occur during the papermaking process, hand cutting of the watermarks and illustrations, letterpress printing and fine binding represent uniqueness and character. The paper cut illustrations in this book, by Béatrice Coron, portray the mysteries of life: a baby in the womb, a couple, a child, the child gaining strength through maturity and running to embrace life, building a home (the pentagonal shape), exploring the world and finally settling with spiritual contemplation. Although I am not an expert on the science behind color and light, as a visual artist I explore and push the boundaries of my medium by conducting experiments and making visual associations with different materials and techniques. I continually ask myself questions like ‘How do abaca papers transmit or hold the light?’ and ‘What happens to the geometry in the paper when I turn a page in the book?’ The numbers 1-7 have many meanings: as the days of the week, as the notes in the musical scale, as the colors of the rainbow. The geometric shapes represented by these numbers progress from a point (the circle) to a seven-sided septagon; if this sequence were to continue ad infinitum, the resulting multi-sided figure with an infinite number of sides would approach the shape of the circle again, and we would either be at the beginning or the end. Edition details: Interluceo was designed and produced by Helen Hiebert Studio in Red Cliff, Colorado. There are twenty-five copies in the edition. Paper: a seventy-five percent cotton/twenty-five percent abaca blend paper was created to showcase the watermarks; pigmented abaca pulp created the rainbow spectrum of translucent papers. Illustrations: Cut paper illustrations by Béatrice Coron Letterpress printing by Tom Leech at the Press at the Palace of the Governors in Santa Fe, New Mexico from polymer plates made by Boxcar Press. Typeface: Dante. Binding and Box: Long stitch binding and clamshell box by Claudia Cohen, Seattle, WA. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468099117-O6D9VXHEUKWL1W6JDG23/mcba-prize-2015-helen-hiebert-interluceo-5.jpg Entries & Jurors - 2015 Entries - Helen Hiebert Helen Hiebert (Edwards, CO) helenhiebertstudio.com Interluceo 2015 handmade paper, watermarking, paper cuts Edition of 25 72 pages Dimensions open: 9″ x 18.5″ x .75″ Dimensions closed: 9.25″ X 9.25″ The following text appears on the reflections page in the book: Interluceo: v [L] to shine or gleam between; to be transparent; to let light through gaps. Translucent paper has mesmerized me ever since I saw papered shoji screens during a brief trip to Japan in 1988. Inspired by that trip, I found a job at a hand paper mill in New York City that was dedicated to preserving the craft of Western papermaking. There, I was drawn to the luminosity of abaca – the banana plant fiber used to create the colored papers in this book – as well as the way in which a watermark could illuminate an otherwise opaque sheet of paper. Watermarks are mysterious, hidden within sheets of paper, often invisible until lifted to the light. An innovation as old as paper itself, watermarks originally were used as logos or symbols that identified the artisan or shop that made the sheet of paper. These maker’s marks embedded within paper result from differences in thicknesses produced by an object that is attached to the papermaking mould and protrudes into the sheet as it is formed. Historical watermarks were made with wire, and for this book I’ve used a thin rubber material. I drew a lot as a child and have long been fascinated with paper sculpture, architecture, and the way that two-dimensional objects or drawings can be rendered in three dimensions. This transformation – a triangle becomes a pyramid, a square expands into a cube – is part of my visual vocabulary. The Latin words for some of these shapes hold interesting meanings too: orbis means world, scriptus means letter, text, line, composition and norma stands for a carpenter’s square. Wabi-sabi, the Japanese aesthetic centered on the acceptance of transience and imperfection, allows me to accept, even welcome, imperfection in my work. The imperfections that occur during the papermaking process, hand cutting of the watermarks and illustrations, letterpress printing and fine binding represent uniqueness and character. The paper cut illustrations in this book, by Béatrice Coron, portray the mysteries of life: a baby in the womb, a couple, a child, the child gaining strength through maturity and running to embrace life, building a home (the pentagonal shape), exploring the world and finally settling with spiritual contemplation. Although I am not an expert on the science behind color and light, as a visual artist I explore and push the boundaries of my medium by conducting experiments and making visual associations with different materials and techniques. I continually ask myself questions like ‘How do abaca papers transmit or hold the light?’ and ‘What happens to the geometry in the paper when I turn a page in the book?’ The numbers 1-7 have many meanings: as the days of the week, as the notes in the musical scale, as the colors of the rainbow. The geometric shapes represented by these numbers progress from a point (the circle) to a seven-sided septagon; if this sequence were to continue ad infinitum, the resulting multi-sided figure with an infinite number of sides would approach the shape of the circle again, and we would either be at the beginning or the end. Edition details: Interluceo was designed and produced by Helen Hiebert Studio in Red Cliff, Colorado. There are twenty-five copies in the edition. Paper: a seventy-five percent cotton/twenty-five percent abaca blend paper was created to showcase the watermarks; pigmented abaca pulp created the rainbow spectrum of translucent papers. Illustrations: Cut paper illustrations by Béatrice Coron Letterpress printing by Tom Leech at the Press at the Palace of the Governors in Santa Fe, New Mexico from polymer plates made by Boxcar Press. Typeface: Dante. Binding and Box: Long stitch binding and clamshell box by Claudia Cohen, Seattle, WA. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468191643-GHILEHQF77N5T4VSXLGB/mcba-prize-2015-carol-hill-wabi-sabi-aware1.jpg Entries & Jurors - 2015 Entries - Carol Hill Carol Hill (Wichita, KS) Wabi-Sabi Aware 2015 Cover hand dyed and lettered on pellon with monoprint and woven designs. Pages of brown craft paper, some with accordian folds and pockets to hold 5×7 photographs (up to 4 photographs per topic, e.s. “Handmade-Imperfect” and “Haiku”. Text computer printed on hand dyed paper. Decorated pages collaged with bits of handmade papers, fiber, and tiny decorative designs. Unique work 27 pages Dimensions open: 8 3/4 x 11 3/4 x 2 Dimensions closed: 8 3/4 x 5 3/4 x 2 Wabi-Sabi Aware is a personal exploration of the Japanese philosophy. What follows is an informal outline of the path this exploration has taken. A format is used that allows the subject to grow and encourages the active participation of the reader. Wabi-sabi is commonly understood to be a way of life, simplified, balanced, and enriched with quality handmade objects. It is a life lived close to nature which may grow more beautiful with age. Wabi-Sabi, with elements of Buddhism, can, however, be better understood through a knowledge of Japanese traditional arts, such as gardens, haiku poetry, flower arranging, brush painting, block prints, and the tea ceremony. This exploration leads to deeper questions: Is wabi-sabi ancient, only to be understood and practiced by Asians? How can wabi-sabi be both natural and handmade? Can it be defined? Exploration of these questions, leads to additional discoveries about wabi-sabi in Western and contemporary settings. Wabi-Sabi elements seem apparent in some Western art movements and the works and lives of individual artists such as William Morris, the Society of Shakers, and Frank Lloyd Wright. Wabi-Sabi develops as a guide to a life of increased awareness and as a learned discipline that can prepare an artist to capture a moment in his own art with such life force that an attentive viewer can participate in the experience. We come to understand that Wabi-Sabi is not to be defined in words but must be activily experienced, and the primary way is to be alive and aware. This book offers a path toward discovery of wabi-sabi for an individual new to the philosophy, but will perhaps be more meaningful for those who are already practicing elements of wabi sabi and had not yet recognized it. When the reader begins to ask questions, the subject becomes his own. The photographs reflect personal moments: quotations and notes written on the back add further reflections to the text. Pockets for pictures and notes allow the reader to add and subtract as exploration becomes their own personal journey toward Wabi-Sabi Aware. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468191165-XDFTATNLOZAM90WVQITM/mcba-prize-2015-carol-hill-wabi-sabi-aware2.jpg Entries & Jurors - 2015 Entries - Carol Hill Carol Hill (Wichita, KS) Wabi-Sabi Aware 2015 Cover hand dyed and lettered on pellon with monoprint and woven designs. Pages of brown craft paper, some with accordian folds and pockets to hold 5×7 photographs (up to 4 photographs per topic, e.s. “Handmade-Imperfect” and “Haiku”. Text computer printed on hand dyed paper. Decorated pages collaged with bits of handmade papers, fiber, and tiny decorative designs. Unique work 27 pages Dimensions open: 8 3/4 x 11 3/4 x 2 Dimensions closed: 8 3/4 x 5 3/4 x 2 Wabi-Sabi Aware is a personal exploration of the Japanese philosophy. What follows is an informal outline of the path this exploration has taken. A format is used that allows the subject to grow and encourages the active participation of the reader. Wabi-sabi is commonly understood to be a way of life, simplified, balanced, and enriched with quality handmade objects. It is a life lived close to nature which may grow more beautiful with age. Wabi-Sabi, with elements of Buddhism, can, however, be better understood through a knowledge of Japanese traditional arts, such as gardens, haiku poetry, flower arranging, brush painting, block prints, and the tea ceremony. This exploration leads to deeper questions: Is wabi-sabi ancient, only to be understood and practiced by Asians? How can wabi-sabi be both natural and handmade? Can it be defined? Exploration of these questions, leads to additional discoveries about wabi-sabi in Western and contemporary settings. Wabi-Sabi elements seem apparent in some Western art movements and the works and lives of individual artists such as William Morris, the Society of Shakers, and Frank Lloyd Wright. Wabi-Sabi develops as a guide to a life of increased awareness and as a learned discipline that can prepare an artist to capture a moment in his own art with such life force that an attentive viewer can participate in the experience. We come to understand that Wabi-Sabi is not to be defined in words but must be activily experienced, and the primary way is to be alive and aware. This book offers a path toward discovery of wabi-sabi for an individual new to the philosophy, but will perhaps be more meaningful for those who are already practicing elements of wabi sabi and had not yet recognized it. When the reader begins to ask questions, the subject becomes his own. The photographs reflect personal moments: quotations and notes written on the back add further reflections to the text. Pockets for pictures and notes allow the reader to add and subtract as exploration becomes their own personal journey toward Wabi-Sabi Aware. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468192309-BN05YI6PKCMQ2YNEFSD1/mcba-prize-2015-carol-hill-wabi-sabi-aware3.jpg Entries & Jurors - 2015 Entries - Carol Hill Carol Hill (Wichita, KS) Wabi-Sabi Aware 2015 Cover hand dyed and lettered on pellon with monoprint and woven designs. Pages of brown craft paper, some with accordian folds and pockets to hold 5×7 photographs (up to 4 photographs per topic, e.s. “Handmade-Imperfect” and “Haiku”. Text computer printed on hand dyed paper. Decorated pages collaged with bits of handmade papers, fiber, and tiny decorative designs. Unique work 27 pages Dimensions open: 8 3/4 x 11 3/4 x 2 Dimensions closed: 8 3/4 x 5 3/4 x 2 Wabi-Sabi Aware is a personal exploration of the Japanese philosophy. What follows is an informal outline of the path this exploration has taken. A format is used that allows the subject to grow and encourages the active participation of the reader. Wabi-sabi is commonly understood to be a way of life, simplified, balanced, and enriched with quality handmade objects. It is a life lived close to nature which may grow more beautiful with age. Wabi-Sabi, with elements of Buddhism, can, however, be better understood through a knowledge of Japanese traditional arts, such as gardens, haiku poetry, flower arranging, brush painting, block prints, and the tea ceremony. This exploration leads to deeper questions: Is wabi-sabi ancient, only to be understood and practiced by Asians? How can wabi-sabi be both natural and handmade? Can it be defined? Exploration of these questions, leads to additional discoveries about wabi-sabi in Western and contemporary settings. Wabi-Sabi elements seem apparent in some Western art movements and the works and lives of individual artists such as William Morris, the Society of Shakers, and Frank Lloyd Wright. Wabi-Sabi develops as a guide to a life of increased awareness and as a learned discipline that can prepare an artist to capture a moment in his own art with such life force that an attentive viewer can participate in the experience. We come to understand that Wabi-Sabi is not to be defined in words but must be activily experienced, and the primary way is to be alive and aware. This book offers a path toward discovery of wabi-sabi for an individual new to the philosophy, but will perhaps be more meaningful for those who are already practicing elements of wabi sabi and had not yet recognized it. When the reader begins to ask questions, the subject becomes his own. The photographs reflect personal moments: quotations and notes written on the back add further reflections to the text. Pockets for pictures and notes allow the reader to add and subtract as exploration becomes their own personal journey toward Wabi-Sabi Aware. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468192724-DQJZYA08Q3R98KR6QQU2/mcba-prize-2015-carol-hill-wabi-sabi-aware4.jpg Entries & Jurors - 2015 Entries - Carol Hill Carol Hill (Wichita, KS) Wabi-Sabi Aware 2015 Cover hand dyed and lettered on pellon with monoprint and woven designs. Pages of brown craft paper, some with accordian folds and pockets to hold 5×7 photographs (up to 4 photographs per topic, e.s. “Handmade-Imperfect” and “Haiku”. Text computer printed on hand dyed paper. Decorated pages collaged with bits of handmade papers, fiber, and tiny decorative designs. Unique work 27 pages Dimensions open: 8 3/4 x 11 3/4 x 2 Dimensions closed: 8 3/4 x 5 3/4 x 2 Wabi-Sabi Aware is a personal exploration of the Japanese philosophy. What follows is an informal outline of the path this exploration has taken. A format is used that allows the subject to grow and encourages the active participation of the reader. Wabi-sabi is commonly understood to be a way of life, simplified, balanced, and enriched with quality handmade objects. It is a life lived close to nature which may grow more beautiful with age. Wabi-Sabi, with elements of Buddhism, can, however, be better understood through a knowledge of Japanese traditional arts, such as gardens, haiku poetry, flower arranging, brush painting, block prints, and the tea ceremony. This exploration leads to deeper questions: Is wabi-sabi ancient, only to be understood and practiced by Asians? How can wabi-sabi be both natural and handmade? Can it be defined? Exploration of these questions, leads to additional discoveries about wabi-sabi in Western and contemporary settings. Wabi-Sabi elements seem apparent in some Western art movements and the works and lives of individual artists such as William Morris, the Society of Shakers, and Frank Lloyd Wright. Wabi-Sabi develops as a guide to a life of increased awareness and as a learned discipline that can prepare an artist to capture a moment in his own art with such life force that an attentive viewer can participate in the experience. We come to understand that Wabi-Sabi is not to be defined in words but must be activily experienced, and the primary way is to be alive and aware. This book offers a path toward discovery of wabi-sabi for an individual new to the philosophy, but will perhaps be more meaningful for those who are already practicing elements of wabi sabi and had not yet recognized it. When the reader begins to ask questions, the subject becomes his own. The photographs reflect personal moments: quotations and notes written on the back add further reflections to the text. Pockets for pictures and notes allow the reader to add and subtract as exploration becomes their own personal journey toward Wabi-Sabi Aware. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468195323-6E34NPHQO8Y4R1Z4BEP5/mcba-prize-2015-carol-hill-wabi-sabi-aware5.jpg Entries & Jurors - 2015 Entries - Carol Hill Carol Hill (Wichita, KS) Wabi-Sabi Aware 2015 Cover hand dyed and lettered on pellon with monoprint and woven designs. Pages of brown craft paper, some with accordian folds and pockets to hold 5×7 photographs (up to 4 photographs per topic, e.s. “Handmade-Imperfect” and “Haiku”. Text computer printed on hand dyed paper. Decorated pages collaged with bits of handmade papers, fiber, and tiny decorative designs. Unique work 27 pages Dimensions open: 8 3/4 x 11 3/4 x 2 Dimensions closed: 8 3/4 x 5 3/4 x 2 Wabi-Sabi Aware is a personal exploration of the Japanese philosophy. What follows is an informal outline of the path this exploration has taken. A format is used that allows the subject to grow and encourages the active participation of the reader. Wabi-sabi is commonly understood to be a way of life, simplified, balanced, and enriched with quality handmade objects. It is a life lived close to nature which may grow more beautiful with age. Wabi-Sabi, with elements of Buddhism, can, however, be better understood through a knowledge of Japanese traditional arts, such as gardens, haiku poetry, flower arranging, brush painting, block prints, and the tea ceremony. This exploration leads to deeper questions: Is wabi-sabi ancient, only to be understood and practiced by Asians? How can wabi-sabi be both natural and handmade? Can it be defined? Exploration of these questions, leads to additional discoveries about wabi-sabi in Western and contemporary settings. Wabi-Sabi elements seem apparent in some Western art movements and the works and lives of individual artists such as William Morris, the Society of Shakers, and Frank Lloyd Wright. Wabi-Sabi develops as a guide to a life of increased awareness and as a learned discipline that can prepare an artist to capture a moment in his own art with such life force that an attentive viewer can participate in the experience. We come to understand that Wabi-Sabi is not to be defined in words but must be activily experienced, and the primary way is to be alive and aware. This book offers a path toward discovery of wabi-sabi for an individual new to the philosophy, but will perhaps be more meaningful for those who are already practicing elements of wabi sabi and had not yet recognized it. When the reader begins to ask questions, the subject becomes his own. The photographs reflect personal moments: quotations and notes written on the back add further reflections to the text. Pockets for pictures and notes allow the reader to add and subtract as exploration becomes their own personal journey toward Wabi-Sabi Aware. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468263845-10LWGLOULJVL3K7RTPE0/mcba-prize-2015-shireen-holman-time1.jpeg Entries & Jurors - 2015 Entries - Shireen Holman Shireen Holman (Montgomery Village, MD) shireenholman.com Time 2013 woodcut prints on artist-made paper with pulp paintings; letterpress text Edition of 20 16 pages Dimensions, open: 19.25 x 23.75 x .75 Dimensions, closed: 19.25 x 13.75 x .75 My artist book, Time, explores how we think about time, from the perspectives of art, religion, literature, and science. Time can be fleeting or eternal or elastic. It is unstable. When you try to pinpoint a moment of time, it has already gone. A similar thing happens when you try to pinpoint the meaning of time. You think you know what it is – then, like time itself, your idea of it escapes your grasp. Because it is difficult to conceptualize time as separate from life, we ordinarily think of time in terms of ourselves, our own lifetime, with a beginning and an end. While we are all subject to the inevitability of time’s ravages, some people have tried to control time by creating great works that are to last long after their lifetimes. Time appears to be constantly moving in one direction, from past to present to future, so we try to make it concrete by creating ways of measuring it – with the sun and moon, with clocks and calendars. We read sundials by the shadows they create, and we speak of the longer shadows of time. In Hinduism time is not linear, but is cyclical and considered to be a necessary condition of all growth and decay. The blossoms of spring become the barren trees of winter; spring returns. Time is also seen as a manifestation of God. In order to illustrate the different perspectives of time, I have chosen texts from the writings of Shakespeare, Tagore, Einstein, Thoreau, Hawking, and others. The book consists of woodcuts printed onto pulp-painted handmade paper. The text was printed letterpress on gampi, which I then pasted onto the handmade sheets. I created part of the imagery within the paper (the pulp painting), and printed part of the imagery on the surface of the paper with oil-based inks (the woodcuts). This gives the images more of a sense of depth than just printing on plain paper would. It also makes it possible to create areas that look translucent and other areas that fade in and out of focus (as does our grasp of the meaning of time). The pages of the book are folded in such a way that one can see a little of each of the subsequent pages from the current page. Thus from the beginning to the end of the book one can see a little of the future from the present. I was born in Mumbai, India. Because I am half Indian and half American, much of my work involves the interaction of both cultures. I have been a printmaker for more than 35 years, and a book artist for more than 20. Collectors of my work include the National Gallery of Art, the National Museum of Women in the Arts, and many university special collections and libraries. My work has been shown in three Book As Art exhibits at the National Museum of Women in the Arts, and I have won several awards and grants for my artist books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468262977-E6I7YBWJCQ6041BP0PQS/mcba-prize-2015-shireen-holman-time2.jpg Entries & Jurors - 2015 Entries - Shireen Holman Shireen Holman (Montgomery Village, MD) shireenholman.com Time 2013 woodcut prints on artist-made paper with pulp paintings; letterpress text Edition of 20 16 pages Dimensions, open: 19.25 x 23.75 x .75 Dimensions, closed: 19.25 x 13.75 x .75 My artist book, Time, explores how we think about time, from the perspectives of art, religion, literature, and science. Time can be fleeting or eternal or elastic. It is unstable. When you try to pinpoint a moment of time, it has already gone. A similar thing happens when you try to pinpoint the meaning of time. You think you know what it is – then, like time itself, your idea of it escapes your grasp. Because it is difficult to conceptualize time as separate from life, we ordinarily think of time in terms of ourselves, our own lifetime, with a beginning and an end. While we are all subject to the inevitability of time’s ravages, some people have tried to control time by creating great works that are to last long after their lifetimes. Time appears to be constantly moving in one direction, from past to present to future, so we try to make it concrete by creating ways of measuring it – with the sun and moon, with clocks and calendars. We read sundials by the shadows they create, and we speak of the longer shadows of time. In Hinduism time is not linear, but is cyclical and considered to be a necessary condition of all growth and decay. The blossoms of spring become the barren trees of winter; spring returns. Time is also seen as a manifestation of God. In order to illustrate the different perspectives of time, I have chosen texts from the writings of Shakespeare, Tagore, Einstein, Thoreau, Hawking, and others. The book consists of woodcuts printed onto pulp-painted handmade paper. The text was printed letterpress on gampi, which I then pasted onto the handmade sheets. I created part of the imagery within the paper (the pulp painting), and printed part of the imagery on the surface of the paper with oil-based inks (the woodcuts). This gives the images more of a sense of depth than just printing on plain paper would. It also makes it possible to create areas that look translucent and other areas that fade in and out of focus (as does our grasp of the meaning of time). The pages of the book are folded in such a way that one can see a little of each of the subsequent pages from the current page. Thus from the beginning to the end of the book one can see a little of the future from the present. I was born in Mumbai, India. Because I am half Indian and half American, much of my work involves the interaction of both cultures. I have been a printmaker for more than 35 years, and a book artist for more than 20. Collectors of my work include the National Gallery of Art, the National Museum of Women in the Arts, and many university special collections and libraries. My work has been shown in three Book As Art exhibits at the National Museum of Women in the Arts, and I have won several awards and grants for my artist books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468264171-I6H37U70EURDCHHLBEU1/mcba-prize-2015-shireen-holman-time3.jpg Entries & Jurors - 2015 Entries - Shireen Holman Shireen Holman (Montgomery Village, MD) shireenholman.com Time 2013 woodcut prints on artist-made paper with pulp paintings; letterpress text Edition of 20 16 pages Dimensions, open: 19.25 x 23.75 x .75 Dimensions, closed: 19.25 x 13.75 x .75 My artist book, Time, explores how we think about time, from the perspectives of art, religion, literature, and science. Time can be fleeting or eternal or elastic. It is unstable. When you try to pinpoint a moment of time, it has already gone. A similar thing happens when you try to pinpoint the meaning of time. You think you know what it is – then, like time itself, your idea of it escapes your grasp. Because it is difficult to conceptualize time as separate from life, we ordinarily think of time in terms of ourselves, our own lifetime, with a beginning and an end. While we are all subject to the inevitability of time’s ravages, some people have tried to control time by creating great works that are to last long after their lifetimes. Time appears to be constantly moving in one direction, from past to present to future, so we try to make it concrete by creating ways of measuring it – with the sun and moon, with clocks and calendars. We read sundials by the shadows they create, and we speak of the longer shadows of time. In Hinduism time is not linear, but is cyclical and considered to be a necessary condition of all growth and decay. The blossoms of spring become the barren trees of winter; spring returns. Time is also seen as a manifestation of God. In order to illustrate the different perspectives of time, I have chosen texts from the writings of Shakespeare, Tagore, Einstein, Thoreau, Hawking, and others. The book consists of woodcuts printed onto pulp-painted handmade paper. The text was printed letterpress on gampi, which I then pasted onto the handmade sheets. I created part of the imagery within the paper (the pulp painting), and printed part of the imagery on the surface of the paper with oil-based inks (the woodcuts). This gives the images more of a sense of depth than just printing on plain paper would. It also makes it possible to create areas that look translucent and other areas that fade in and out of focus (as does our grasp of the meaning of time). The pages of the book are folded in such a way that one can see a little of each of the subsequent pages from the current page. Thus from the beginning to the end of the book one can see a little of the future from the present. I was born in Mumbai, India. Because I am half Indian and half American, much of my work involves the interaction of both cultures. I have been a printmaker for more than 35 years, and a book artist for more than 20. Collectors of my work include the National Gallery of Art, the National Museum of Women in the Arts, and many university special collections and libraries. My work has been shown in three Book As Art exhibits at the National Museum of Women in the Arts, and I have won several awards and grants for my artist books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468265175-B37GGUZCZ8AY6BH4QOCE/mcba-prize-2015-shireen-holman-time4.jpg Entries & Jurors - 2015 Entries - Shireen Holman Shireen Holman (Montgomery Village, MD) shireenholman.com Time 2013 woodcut prints on artist-made paper with pulp paintings; letterpress text Edition of 20 16 pages Dimensions, open: 19.25 x 23.75 x .75 Dimensions, closed: 19.25 x 13.75 x .75 My artist book, Time, explores how we think about time, from the perspectives of art, religion, literature, and science. Time can be fleeting or eternal or elastic. It is unstable. When you try to pinpoint a moment of time, it has already gone. A similar thing happens when you try to pinpoint the meaning of time. You think you know what it is – then, like time itself, your idea of it escapes your grasp. Because it is difficult to conceptualize time as separate from life, we ordinarily think of time in terms of ourselves, our own lifetime, with a beginning and an end. While we are all subject to the inevitability of time’s ravages, some people have tried to control time by creating great works that are to last long after their lifetimes. Time appears to be constantly moving in one direction, from past to present to future, so we try to make it concrete by creating ways of measuring it – with the sun and moon, with clocks and calendars. We read sundials by the shadows they create, and we speak of the longer shadows of time. In Hinduism time is not linear, but is cyclical and considered to be a necessary condition of all growth and decay. The blossoms of spring become the barren trees of winter; spring returns. Time is also seen as a manifestation of God. In order to illustrate the different perspectives of time, I have chosen texts from the writings of Shakespeare, Tagore, Einstein, Thoreau, Hawking, and others. The book consists of woodcuts printed onto pulp-painted handmade paper. The text was printed letterpress on gampi, which I then pasted onto the handmade sheets. I created part of the imagery within the paper (the pulp painting), and printed part of the imagery on the surface of the paper with oil-based inks (the woodcuts). This gives the images more of a sense of depth than just printing on plain paper would. It also makes it possible to create areas that look translucent and other areas that fade in and out of focus (as does our grasp of the meaning of time). The pages of the book are folded in such a way that one can see a little of each of the subsequent pages from the current page. Thus from the beginning to the end of the book one can see a little of the future from the present. I was born in Mumbai, India. Because I am half Indian and half American, much of my work involves the interaction of both cultures. I have been a printmaker for more than 35 years, and a book artist for more than 20. Collectors of my work include the National Gallery of Art, the National Museum of Women in the Arts, and many university special collections and libraries. My work has been shown in three Book As Art exhibits at the National Museum of Women in the Arts, and I have won several awards and grants for my artist books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468265387-Y8LC519CCES6OP7G34ZY/mcba-prize-2015-shireen-holman-time5.jpg Entries & Jurors - 2015 Entries - Shireen Holman Shireen Holman (Montgomery Village, MD) shireenholman.com Time 2013 woodcut prints on artist-made paper with pulp paintings; letterpress text Edition of 20 16 pages Dimensions, open: 19.25 x 23.75 x .75 Dimensions, closed: 19.25 x 13.75 x .75 My artist book, Time, explores how we think about time, from the perspectives of art, religion, literature, and science. Time can be fleeting or eternal or elastic. It is unstable. When you try to pinpoint a moment of time, it has already gone. A similar thing happens when you try to pinpoint the meaning of time. You think you know what it is – then, like time itself, your idea of it escapes your grasp. Because it is difficult to conceptualize time as separate from life, we ordinarily think of time in terms of ourselves, our own lifetime, with a beginning and an end. While we are all subject to the inevitability of time’s ravages, some people have tried to control time by creating great works that are to last long after their lifetimes. Time appears to be constantly moving in one direction, from past to present to future, so we try to make it concrete by creating ways of measuring it – with the sun and moon, with clocks and calendars. We read sundials by the shadows they create, and we speak of the longer shadows of time. In Hinduism time is not linear, but is cyclical and considered to be a necessary condition of all growth and decay. The blossoms of spring become the barren trees of winter; spring returns. Time is also seen as a manifestation of God. In order to illustrate the different perspectives of time, I have chosen texts from the writings of Shakespeare, Tagore, Einstein, Thoreau, Hawking, and others. The book consists of woodcuts printed onto pulp-painted handmade paper. The text was printed letterpress on gampi, which I then pasted onto the handmade sheets. I created part of the imagery within the paper (the pulp painting), and printed part of the imagery on the surface of the paper with oil-based inks (the woodcuts). This gives the images more of a sense of depth than just printing on plain paper would. It also makes it possible to create areas that look translucent and other areas that fade in and out of focus (as does our grasp of the meaning of time). The pages of the book are folded in such a way that one can see a little of each of the subsequent pages from the current page. Thus from the beginning to the end of the book one can see a little of the future from the present. I was born in Mumbai, India. Because I am half Indian and half American, much of my work involves the interaction of both cultures. I have been a printmaker for more than 35 years, and a book artist for more than 20. Collectors of my work include the National Gallery of Art, the National Museum of Women in the Arts, and many university special collections and libraries. My work has been shown in three Book As Art exhibits at the National Museum of Women in the Arts, and I have won several awards and grants for my artist books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468339465-AA5FUTFAA9YZJFY8N5GC/mcba-prize-2015-sarah-horowitz-lepidotera-the-death-of-the-moth-1.jpg Entries & Jurors - 2015 Entries - Sarah Horowitz Sarah Horowitz (Leavenworth, WA) sarahhorowitzartist.com Lepidoptera: The Death of the Moth 2014 handmade paper; intaglio: hard ground, aquatint, engraving; letterpress; sewn binding with limp vellum cover and gold stamping; cloth covered box Edition of 40 38 pages 11 x 15 x 1″ open 11 x 7.5 x 1″ closed My concept for an insect book took direction when I was introduced to Virginia Woolf’s non-fiction essay ‘The Death of the Moth’. In it she muses on the moth as both an insignificant creature and, as she says, “a tiny bead of pure life and decking it as lightly as possible with down and feathers”. Woolf’s writing helped me transcend what would be a book of specimens and instead form a meditation on life and fragility. I created my own person collection and gained insight into the ingenuity of evolution. Some of the moths I drew mimicked butterflies, wasps or hummingbirds, while others were toxic or major agricultural pests. Throughout my work, my images delve into the ephemeral nature of ourselves and the natural world around us in hopes of catching the ever-present transience and mortality. My drawings have their origins in a long lineage of botanical drawings and prints, from early medieval herbal books of primitive woodcuts, to the masterful engravings of insects and their host plants in the 17th century South American Dutch colony of Surinam by Maria Sibylla Merian, and the contemporary artist Cornelia Hesse-Honegger who renders insects from areas surrounding nuclear facilities and their resulting deformities. Nature as chaotic and unpredictable with complex lines of right and wrong is not an inappropriate metaphor for the human condition of struggle, violence, and unexpected beauty. Woolf’s essay rises in a crescendo with the commotion of the day as the moth struggles for its life then finds quiet and peace in its cessation. I spent the winter of 2014 with a magnification visor carefully drawing onto copper the delicate specimens loaned to me by the Oregon State Arthropod Collection in Corvallis, Oregon. Their curator Christopher Marshall and their lepidoptera specialist Paul Hammond gave me a crash course in entomology collections, storage and handling, preserving, and the moths themselves. Thirty-two moth etchings, plus a thistle in the colophon, are accompanied by Virginia Woolf ’s non-fiction essay. The etchings were printed in the spring on handmade and custom-colored paper made for this book by Katie MacGregor from Maine. Michael Russem of Kat Ran Press lent a hand with some typesetting, and Art Larson of Horton Tank Graphics in Hadley, Massachusetts printed the text in Spectrum types. Each limp vellum binding by Claudia Cohen is stamped on the front with a gold moth, and cased in a box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468338866-FNQWS0A73JKOSWSWKMGD/mcba-prize-2015-sarah-horowitz-lepidotera-the-death-of-the-moth-2.jpg Entries & Jurors - 2015 Entries - Sarah Horowitz Sarah Horowitz (Leavenworth, WA) sarahhorowitzartist.com Lepidoptera: The Death of the Moth 2014 handmade paper; intaglio: hard ground, aquatint, engraving; letterpress; sewn binding with limp vellum cover and gold stamping; cloth covered box Edition of 40 38 pages 11 x 15 x 1″ open 11 x 7.5 x 1″ closed My concept for an insect book took direction when I was introduced to Virginia Woolf’s non-fiction essay ‘The Death of the Moth’. In it she muses on the moth as both an insignificant creature and, as she says, “a tiny bead of pure life and decking it as lightly as possible with down and feathers”. Woolf’s writing helped me transcend what would be a book of specimens and instead form a meditation on life and fragility. I created my own person collection and gained insight into the ingenuity of evolution. Some of the moths I drew mimicked butterflies, wasps or hummingbirds, while others were toxic or major agricultural pests. Throughout my work, my images delve into the ephemeral nature of ourselves and the natural world around us in hopes of catching the ever-present transience and mortality. My drawings have their origins in a long lineage of botanical drawings and prints, from early medieval herbal books of primitive woodcuts, to the masterful engravings of insects and their host plants in the 17th century South American Dutch colony of Surinam by Maria Sibylla Merian, and the contemporary artist Cornelia Hesse-Honegger who renders insects from areas surrounding nuclear facilities and their resulting deformities. Nature as chaotic and unpredictable with complex lines of right and wrong is not an inappropriate metaphor for the human condition of struggle, violence, and unexpected beauty. Woolf’s essay rises in a crescendo with the commotion of the day as the moth struggles for its life then finds quiet and peace in its cessation. I spent the winter of 2014 with a magnification visor carefully drawing onto copper the delicate specimens loaned to me by the Oregon State Arthropod Collection in Corvallis, Oregon. Their curator Christopher Marshall and their lepidoptera specialist Paul Hammond gave me a crash course in entomology collections, storage and handling, preserving, and the moths themselves. Thirty-two moth etchings, plus a thistle in the colophon, are accompanied by Virginia Woolf ’s non-fiction essay. The etchings were printed in the spring on handmade and custom-colored paper made for this book by Katie MacGregor from Maine. Michael Russem of Kat Ran Press lent a hand with some typesetting, and Art Larson of Horton Tank Graphics in Hadley, Massachusetts printed the text in Spectrum types. Each limp vellum binding by Claudia Cohen is stamped on the front with a gold moth, and cased in a box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468339868-87138EC5Z2PGVNVT959V/mcba-prize-2015-sarah-horowitz-lepidotera-the-death-of-the-moth-3.jpg Entries & Jurors - 2015 Entries - Sarah Horowitz Sarah Horowitz (Leavenworth, WA) sarahhorowitzartist.com Lepidoptera: The Death of the Moth 2014 handmade paper; intaglio: hard ground, aquatint, engraving; letterpress; sewn binding with limp vellum cover and gold stamping; cloth covered box Edition of 40 38 pages 11 x 15 x 1″ open 11 x 7.5 x 1″ closed My concept for an insect book took direction when I was introduced to Virginia Woolf’s non-fiction essay ‘The Death of the Moth’. In it she muses on the moth as both an insignificant creature and, as she says, “a tiny bead of pure life and decking it as lightly as possible with down and feathers”. Woolf’s writing helped me transcend what would be a book of specimens and instead form a meditation on life and fragility. I created my own person collection and gained insight into the ingenuity of evolution. Some of the moths I drew mimicked butterflies, wasps or hummingbirds, while others were toxic or major agricultural pests. Throughout my work, my images delve into the ephemeral nature of ourselves and the natural world around us in hopes of catching the ever-present transience and mortality. My drawings have their origins in a long lineage of botanical drawings and prints, from early medieval herbal books of primitive woodcuts, to the masterful engravings of insects and their host plants in the 17th century South American Dutch colony of Surinam by Maria Sibylla Merian, and the contemporary artist Cornelia Hesse-Honegger who renders insects from areas surrounding nuclear facilities and their resulting deformities. Nature as chaotic and unpredictable with complex lines of right and wrong is not an inappropriate metaphor for the human condition of struggle, violence, and unexpected beauty. Woolf’s essay rises in a crescendo with the commotion of the day as the moth struggles for its life then finds quiet and peace in its cessation. I spent the winter of 2014 with a magnification visor carefully drawing onto copper the delicate specimens loaned to me by the Oregon State Arthropod Collection in Corvallis, Oregon. Their curator Christopher Marshall and their lepidoptera specialist Paul Hammond gave me a crash course in entomology collections, storage and handling, preserving, and the moths themselves. Thirty-two moth etchings, plus a thistle in the colophon, are accompanied by Virginia Woolf ’s non-fiction essay. The etchings were printed in the spring on handmade and custom-colored paper made for this book by Katie MacGregor from Maine. Michael Russem of Kat Ran Press lent a hand with some typesetting, and Art Larson of Horton Tank Graphics in Hadley, Massachusetts printed the text in Spectrum types. Each limp vellum binding by Claudia Cohen is stamped on the front with a gold moth, and cased in a box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468340480-P7GV3HP8OF51B6I4G10Y/mcba-prize-2015-sarah-horowitz-lepidotera-the-death-of-the-moth-4.jpg Entries & Jurors - 2015 Entries - Sarah Horowitz Sarah Horowitz (Leavenworth, WA) sarahhorowitzartist.com Lepidoptera: The Death of the Moth 2014 handmade paper; intaglio: hard ground, aquatint, engraving; letterpress; sewn binding with limp vellum cover and gold stamping; cloth covered box Edition of 40 38 pages 11 x 15 x 1″ open 11 x 7.5 x 1″ closed My concept for an insect book took direction when I was introduced to Virginia Woolf’s non-fiction essay ‘The Death of the Moth’. In it she muses on the moth as both an insignificant creature and, as she says, “a tiny bead of pure life and decking it as lightly as possible with down and feathers”. Woolf’s writing helped me transcend what would be a book of specimens and instead form a meditation on life and fragility. I created my own person collection and gained insight into the ingenuity of evolution. Some of the moths I drew mimicked butterflies, wasps or hummingbirds, while others were toxic or major agricultural pests. Throughout my work, my images delve into the ephemeral nature of ourselves and the natural world around us in hopes of catching the ever-present transience and mortality. My drawings have their origins in a long lineage of botanical drawings and prints, from early medieval herbal books of primitive woodcuts, to the masterful engravings of insects and their host plants in the 17th century South American Dutch colony of Surinam by Maria Sibylla Merian, and the contemporary artist Cornelia Hesse-Honegger who renders insects from areas surrounding nuclear facilities and their resulting deformities. Nature as chaotic and unpredictable with complex lines of right and wrong is not an inappropriate metaphor for the human condition of struggle, violence, and unexpected beauty. Woolf’s essay rises in a crescendo with the commotion of the day as the moth struggles for its life then finds quiet and peace in its cessation. I spent the winter of 2014 with a magnification visor carefully drawing onto copper the delicate specimens loaned to me by the Oregon State Arthropod Collection in Corvallis, Oregon. Their curator Christopher Marshall and their lepidoptera specialist Paul Hammond gave me a crash course in entomology collections, storage and handling, preserving, and the moths themselves. Thirty-two moth etchings, plus a thistle in the colophon, are accompanied by Virginia Woolf ’s non-fiction essay. The etchings were printed in the spring on handmade and custom-colored paper made for this book by Katie MacGregor from Maine. Michael Russem of Kat Ran Press lent a hand with some typesetting, and Art Larson of Horton Tank Graphics in Hadley, Massachusetts printed the text in Spectrum types. Each limp vellum binding by Claudia Cohen is stamped on the front with a gold moth, and cased in a box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468341685-GCEGBOSCHVB1AGB9J61F/mcba-prize-2015-sarah-horowitz-lepidotera-the-death-of-the-moth-5.jpg Entries & Jurors - 2015 Entries - Sarah Horowitz Sarah Horowitz (Leavenworth, WA) sarahhorowitzartist.com Lepidoptera: The Death of the Moth 2014 handmade paper; intaglio: hard ground, aquatint, engraving; letterpress; sewn binding with limp vellum cover and gold stamping; cloth covered box Edition of 40 38 pages 11 x 15 x 1″ open 11 x 7.5 x 1″ closed My concept for an insect book took direction when I was introduced to Virginia Woolf’s non-fiction essay ‘The Death of the Moth’. In it she muses on the moth as both an insignificant creature and, as she says, “a tiny bead of pure life and decking it as lightly as possible with down and feathers”. Woolf’s writing helped me transcend what would be a book of specimens and instead form a meditation on life and fragility. I created my own person collection and gained insight into the ingenuity of evolution. Some of the moths I drew mimicked butterflies, wasps or hummingbirds, while others were toxic or major agricultural pests. Throughout my work, my images delve into the ephemeral nature of ourselves and the natural world around us in hopes of catching the ever-present transience and mortality. My drawings have their origins in a long lineage of botanical drawings and prints, from early medieval herbal books of primitive woodcuts, to the masterful engravings of insects and their host plants in the 17th century South American Dutch colony of Surinam by Maria Sibylla Merian, and the contemporary artist Cornelia Hesse-Honegger who renders insects from areas surrounding nuclear facilities and their resulting deformities. Nature as chaotic and unpredictable with complex lines of right and wrong is not an inappropriate metaphor for the human condition of struggle, violence, and unexpected beauty. Woolf’s essay rises in a crescendo with the commotion of the day as the moth struggles for its life then finds quiet and peace in its cessation. I spent the winter of 2014 with a magnification visor carefully drawing onto copper the delicate specimens loaned to me by the Oregon State Arthropod Collection in Corvallis, Oregon. Their curator Christopher Marshall and their lepidoptera specialist Paul Hammond gave me a crash course in entomology collections, storage and handling, preserving, and the moths themselves. Thirty-two moth etchings, plus a thistle in the colophon, are accompanied by Virginia Woolf ’s non-fiction essay. The etchings were printed in the spring on handmade and custom-colored paper made for this book by Katie MacGregor from Maine. Michael Russem of Kat Ran Press lent a hand with some typesetting, and Art Larson of Horton Tank Graphics in Hadley, Massachusetts printed the text in Spectrum types. Each limp vellum binding by Claudia Cohen is stamped on the front with a gold moth, and cased in a box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468405782-2XF3R9UJYF125IATQ1VN/mcba-prize-2015-terhi-hursti-ode-to-venice-1.jpg Entries & Jurors - 2015 Entries - Terhi Hursti Terhi Hursti (Tampere, Finland) bookart.fi Ode to Venice 2015 Accordion book, photos, mini-paintings with sumi-ink and acrylic paints, gold from Venice Unique work Pages: about 22 Dimensions open: 155 x 560 x 1600 mm Dimensions closed: 155 x 223 x 55 mm My first visit in Venice was 2011 and Venice stole my heart immediately. So next year I went back and now I was there three weeks in the residence of Scuola Internazionale di Grafica. Every day I walked around the city exploring for example Tintoretto and Tizian or looking architecture and the colours of the buildings. And every evening I spent hours in my studio at the school writing and drawing down all the things I discovered through that day. I wanted to find the soul of Venice. I felt like I was living in the painting where the time stands still. My artist’s book is ode to Venice. I took off almost all the colours and people so I can show what the spirit of Venice is like. The shape of the work is kind of Grand Canale with two entries and going (or looking) one entry to another you can feel that spirit (from the photos and mini-paintings). You may not feel it all at once, you need to stop for a moment and let Venice come to you. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468405897-TL2ZH644FNOLSAWWCSST/mcba-prize-2015-terhi-hursti-ode-to-venice-2.jpg Entries & Jurors - 2015 Entries - Terhi Hursti Terhi Hursti (Tampere, Finland) bookart.fi Ode to Venice 2015 Accordion book, photos, mini-paintings with sumi-ink and acrylic paints, gold from Venice Unique work Pages: about 22 Dimensions open: 155 x 560 x 1600 mm Dimensions closed: 155 x 223 x 55 mm My first visit in Venice was 2011 and Venice stole my heart immediately. So next year I went back and now I was there three weeks in the residence of Scuola Internazionale di Grafica. Every day I walked around the city exploring for example Tintoretto and Tizian or looking architecture and the colours of the buildings. And every evening I spent hours in my studio at the school writing and drawing down all the things I discovered through that day. I wanted to find the soul of Venice. I felt like I was living in the painting where the time stands still. My artist’s book is ode to Venice. I took off almost all the colours and people so I can show what the spirit of Venice is like. The shape of the work is kind of Grand Canale with two entries and going (or looking) one entry to another you can feel that spirit (from the photos and mini-paintings). You may not feel it all at once, you need to stop for a moment and let Venice come to you. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468407008-IKRSO0P0I9CNIQM6F2V8/mcba-prize-2015-terhi-hursti-ode-to-venice-3.jpg Entries & Jurors - 2015 Entries - Terhi Hursti Terhi Hursti (Tampere, Finland) bookart.fi Ode to Venice 2015 Accordion book, photos, mini-paintings with sumi-ink and acrylic paints, gold from Venice Unique work Pages: about 22 Dimensions open: 155 x 560 x 1600 mm Dimensions closed: 155 x 223 x 55 mm My first visit in Venice was 2011 and Venice stole my heart immediately. So next year I went back and now I was there three weeks in the residence of Scuola Internazionale di Grafica. Every day I walked around the city exploring for example Tintoretto and Tizian or looking architecture and the colours of the buildings. And every evening I spent hours in my studio at the school writing and drawing down all the things I discovered through that day. I wanted to find the soul of Venice. I felt like I was living in the painting where the time stands still. My artist’s book is ode to Venice. I took off almost all the colours and people so I can show what the spirit of Venice is like. The shape of the work is kind of Grand Canale with two entries and going (or looking) one entry to another you can feel that spirit (from the photos and mini-paintings). You may not feel it all at once, you need to stop for a moment and let Venice come to you. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468407155-DVXTS4IST77N18131S85/mcba-prize-2015-terhi-hursti-ode-to-venice-4.jpg Entries & Jurors - 2015 Entries - Terhi Hursti Terhi Hursti (Tampere, Finland) bookart.fi Ode to Venice 2015 Accordion book, photos, mini-paintings with sumi-ink and acrylic paints, gold from Venice Unique work Pages: about 22 Dimensions open: 155 x 560 x 1600 mm Dimensions closed: 155 x 223 x 55 mm My first visit in Venice was 2011 and Venice stole my heart immediately. So next year I went back and now I was there three weeks in the residence of Scuola Internazionale di Grafica. Every day I walked around the city exploring for example Tintoretto and Tizian or looking architecture and the colours of the buildings. And every evening I spent hours in my studio at the school writing and drawing down all the things I discovered through that day. I wanted to find the soul of Venice. I felt like I was living in the painting where the time stands still. My artist’s book is ode to Venice. I took off almost all the colours and people so I can show what the spirit of Venice is like. The shape of the work is kind of Grand Canale with two entries and going (or looking) one entry to another you can feel that spirit (from the photos and mini-paintings). You may not feel it all at once, you need to stop for a moment and let Venice come to you. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468408139-CROWPJW842PUCS8MO9ZP/mcba-prize-2015-terhi-hursti-ode-to-venice-5.jpg Entries & Jurors - 2015 Entries - Terhi Hursti Terhi Hursti (Tampere, Finland) bookart.fi Ode to Venice 2015 Accordion book, photos, mini-paintings with sumi-ink and acrylic paints, gold from Venice Unique work Pages: about 22 Dimensions open: 155 x 560 x 1600 mm Dimensions closed: 155 x 223 x 55 mm My first visit in Venice was 2011 and Venice stole my heart immediately. So next year I went back and now I was there three weeks in the residence of Scuola Internazionale di Grafica. Every day I walked around the city exploring for example Tintoretto and Tizian or looking architecture and the colours of the buildings. And every evening I spent hours in my studio at the school writing and drawing down all the things I discovered through that day. I wanted to find the soul of Venice. I felt like I was living in the painting where the time stands still. My artist’s book is ode to Venice. I took off almost all the colours and people so I can show what the spirit of Venice is like. The shape of the work is kind of Grand Canale with two entries and going (or looking) one entry to another you can feel that spirit (from the photos and mini-paintings). You may not feel it all at once, you need to stop for a moment and let Venice come to you. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468475320-5TSUSMNVH5TWRCDCIPCD/mcba-prize-2015-jane-hyslop-the-gardens-1.jpg Entries & Jurors - 2015 Entries - Jane Hyslop Jane Hyslop (Bonnyrigg, Midlothian, UK) janehyslop.com The Gardens I 2014 Box: card, ribbon, Murano paper and bookcloth Contents: various papers (Somerset Satin [some perforated], Somerset Book, BFK Rives); digital printing; pencil; pen and gouache; dye; silk thread edition of 5 with 1 artist’s proof Dimensions open: 80 x 705 x 150mm Dimensions closed: 87 x 306 x 150mm Jane Hyslop is an artist whose work is centred around the book. Hyslop explores this in a range of forms and uses drawing, photography, traditional printmaking techniques and digital printing. She is rooted in her native Midlothian and examines many aspects of this area combining interests in industrial history, architecture and the flora that is nurtured there alongside that which is, in her view, neglected – the native species, predominantly the weeds. The Gardens I is boxed set of objects made as part of a larger group of folios titled The Gardens | Edinburgh. This complete work was made when Jane Hyslop was an invited artist for the Visual Arts Scotland (VAS) annual exhibition held at the RSA Galleries, Edinburgh, during February 2015. The aim of the exhibition was to re-establish VAS’s role as supporter for art and craft in Scotland with an emphasis on the conversation between these areas. The Gardens | Edinburgh examines the site of the RSA Galleries alongside delving into the history of the building itself and its role as home for the Board of Manufacturers for Scotland who in the 18th century were tasked with improving Scotland’s economy by stimulating the linen industry. This led, in turn, to a development in the promotion of ‘good design’ and ultimately to the establishment of Edinburgh College of Art. The Gardens I focuses on Princes Street Gardens as location of the RSA Galleries and is concerned with the contrast between the formal nature of the planting within the gardens, which is taken to extreme in the famous floral clock, and the constant infiltration of unwanted species, the weeds, into the gardens. As detailed above the box itself represents The Mound – a man-made structure which was extremely controversial when it was built to enable movement between the Old and New Towns of Edinburgh. The grey at the hinge represents the grey stone of Auld Reekie’s Old Town, the green, the grass on The Mound itself. ‘one hour’ is a 3 dimensional segment, one 12th of the floral clock with perforations where plants may be inserted. The book of planting plans are inspired by diagrams in John Reid’s book ‘The Scots Gard’ner’ of 1683, the first book to be written specifically centred on gardening in Scotland that advocated a very measured, controlled manner of planting and laying out of a garden. The original drawing is made of weeds collected in Princes Street Gardens and The Nor Loch harks back to the Loch that once filled the valley at the base of the castle rock. It is a fragment in the sense of being a left over, reminder and is made of a literal left over fragment from paper dyed for an earlier book and print depicting the Nor Loch by Hyslop in 2007. A fuller explanation can be found here: Ruth Pelzer-Montada, “Knowing Her Place, the book work of Jane Hyslop”, vas:t 2015, visual arts Scotland: transforming, catalogue, (2015), 44-48, ISBN 978-0-9931810-0-9 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468475168-VEZR91BRAFBSDVV5PFKE/mcba-prize-2015-jane-hyslop-the-gardens-2.jpg Entries & Jurors - 2015 Entries - Jane Hyslop Jane Hyslop (Bonnyrigg, Midlothian, UK) janehyslop.com The Gardens I 2014 Box: card, ribbon, Murano paper and bookcloth Contents: various papers (Somerset Satin [some perforated], Somerset Book, BFK Rives); digital printing; pencil; pen and gouache; dye; silk thread edition of 5 with 1 artist’s proof Dimensions open: 80 x 705 x 150mm Dimensions closed: 87 x 306 x 150mm Jane Hyslop is an artist whose work is centred around the book. Hyslop explores this in a range of forms and uses drawing, photography, traditional printmaking techniques and digital printing. She is rooted in her native Midlothian and examines many aspects of this area combining interests in industrial history, architecture and the flora that is nurtured there alongside that which is, in her view, neglected – the native species, predominantly the weeds. The Gardens I is boxed set of objects made as part of a larger group of folios titled The Gardens | Edinburgh. This complete work was made when Jane Hyslop was an invited artist for the Visual Arts Scotland (VAS) annual exhibition held at the RSA Galleries, Edinburgh, during February 2015. The aim of the exhibition was to re-establish VAS’s role as supporter for art and craft in Scotland with an emphasis on the conversation between these areas. The Gardens | Edinburgh examines the site of the RSA Galleries alongside delving into the history of the building itself and its role as home for the Board of Manufacturers for Scotland who in the 18th century were tasked with improving Scotland’s economy by stimulating the linen industry. This led, in turn, to a development in the promotion of ‘good design’ and ultimately to the establishment of Edinburgh College of Art. The Gardens I focuses on Princes Street Gardens as location of the RSA Galleries and is concerned with the contrast between the formal nature of the planting within the gardens, which is taken to extreme in the famous floral clock, and the constant infiltration of unwanted species, the weeds, into the gardens. As detailed above the box itself represents The Mound – a man-made structure which was extremely controversial when it was built to enable movement between the Old and New Towns of Edinburgh. The grey at the hinge represents the grey stone of Auld Reekie’s Old Town, the green, the grass on The Mound itself. ‘one hour’ is a 3 dimensional segment, one 12th of the floral clock with perforations where plants may be inserted. The book of planting plans are inspired by diagrams in John Reid’s book ‘The Scots Gard’ner’ of 1683, the first book to be written specifically centred on gardening in Scotland that advocated a very measured, controlled manner of planting and laying out of a garden. The original drawing is made of weeds collected in Princes Street Gardens and The Nor Loch harks back to the Loch that once filled the valley at the base of the castle rock. It is a fragment in the sense of being a left over, reminder and is made of a literal left over fragment from paper dyed for an earlier book and print depicting the Nor Loch by Hyslop in 2007. A fuller explanation can be found here: Ruth Pelzer-Montada, “Knowing Her Place, the book work of Jane Hyslop”, vas:t 2015, visual arts Scotland: transforming, catalogue, (2015), 44-48, ISBN 978-0-9931810-0-9 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468476165-80O1J6CAJF2CS2LXO2UQ/mcba-prize-2015-jane-hyslop-the-gardens-3.jpg Entries & Jurors - 2015 Entries - Jane Hyslop Jane Hyslop (Bonnyrigg, Midlothian, UK) janehyslop.com The Gardens I 2014 Box: card, ribbon, Murano paper and bookcloth Contents: various papers (Somerset Satin [some perforated], Somerset Book, BFK Rives); digital printing; pencil; pen and gouache; dye; silk thread edition of 5 with 1 artist’s proof Dimensions open: 80 x 705 x 150mm Dimensions closed: 87 x 306 x 150mm Jane Hyslop is an artist whose work is centred around the book. Hyslop explores this in a range of forms and uses drawing, photography, traditional printmaking techniques and digital printing. She is rooted in her native Midlothian and examines many aspects of this area combining interests in industrial history, architecture and the flora that is nurtured there alongside that which is, in her view, neglected – the native species, predominantly the weeds. The Gardens I is boxed set of objects made as part of a larger group of folios titled The Gardens | Edinburgh. This complete work was made when Jane Hyslop was an invited artist for the Visual Arts Scotland (VAS) annual exhibition held at the RSA Galleries, Edinburgh, during February 2015. The aim of the exhibition was to re-establish VAS’s role as supporter for art and craft in Scotland with an emphasis on the conversation between these areas. The Gardens | Edinburgh examines the site of the RSA Galleries alongside delving into the history of the building itself and its role as home for the Board of Manufacturers for Scotland who in the 18th century were tasked with improving Scotland’s economy by stimulating the linen industry. This led, in turn, to a development in the promotion of ‘good design’ and ultimately to the establishment of Edinburgh College of Art. The Gardens I focuses on Princes Street Gardens as location of the RSA Galleries and is concerned with the contrast between the formal nature of the planting within the gardens, which is taken to extreme in the famous floral clock, and the constant infiltration of unwanted species, the weeds, into the gardens. As detailed above the box itself represents The Mound – a man-made structure which was extremely controversial when it was built to enable movement between the Old and New Towns of Edinburgh. The grey at the hinge represents the grey stone of Auld Reekie’s Old Town, the green, the grass on The Mound itself. ‘one hour’ is a 3 dimensional segment, one 12th of the floral clock with perforations where plants may be inserted. The book of planting plans are inspired by diagrams in John Reid’s book ‘The Scots Gard’ner’ of 1683, the first book to be written specifically centred on gardening in Scotland that advocated a very measured, controlled manner of planting and laying out of a garden. The original drawing is made of weeds collected in Princes Street Gardens and The Nor Loch harks back to the Loch that once filled the valley at the base of the castle rock. It is a fragment in the sense of being a left over, reminder and is made of a literal left over fragment from paper dyed for an earlier book and print depicting the Nor Loch by Hyslop in 2007. A fuller explanation can be found here: Ruth Pelzer-Montada, “Knowing Her Place, the book work of Jane Hyslop”, vas:t 2015, visual arts Scotland: transforming, catalogue, (2015), 44-48, ISBN 978-0-9931810-0-9 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468476254-RA658K6O7DUTDMB2X7AJ/mcba-prize-2015-jane-hyslop-the-gardens-4.jpg Entries & Jurors - 2015 Entries - Jane Hyslop Jane Hyslop (Bonnyrigg, Midlothian, UK) janehyslop.com The Gardens I 2014 Box: card, ribbon, Murano paper and bookcloth Contents: various papers (Somerset Satin [some perforated], Somerset Book, BFK Rives); digital printing; pencil; pen and gouache; dye; silk thread edition of 5 with 1 artist’s proof Dimensions open: 80 x 705 x 150mm Dimensions closed: 87 x 306 x 150mm Jane Hyslop is an artist whose work is centred around the book. Hyslop explores this in a range of forms and uses drawing, photography, traditional printmaking techniques and digital printing. She is rooted in her native Midlothian and examines many aspects of this area combining interests in industrial history, architecture and the flora that is nurtured there alongside that which is, in her view, neglected – the native species, predominantly the weeds. The Gardens I is boxed set of objects made as part of a larger group of folios titled The Gardens | Edinburgh. This complete work was made when Jane Hyslop was an invited artist for the Visual Arts Scotland (VAS) annual exhibition held at the RSA Galleries, Edinburgh, during February 2015. The aim of the exhibition was to re-establish VAS’s role as supporter for art and craft in Scotland with an emphasis on the conversation between these areas. The Gardens | Edinburgh examines the site of the RSA Galleries alongside delving into the history of the building itself and its role as home for the Board of Manufacturers for Scotland who in the 18th century were tasked with improving Scotland’s economy by stimulating the linen industry. This led, in turn, to a development in the promotion of ‘good design’ and ultimately to the establishment of Edinburgh College of Art. The Gardens I focuses on Princes Street Gardens as location of the RSA Galleries and is concerned with the contrast between the formal nature of the planting within the gardens, which is taken to extreme in the famous floral clock, and the constant infiltration of unwanted species, the weeds, into the gardens. As detailed above the box itself represents The Mound – a man-made structure which was extremely controversial when it was built to enable movement between the Old and New Towns of Edinburgh. The grey at the hinge represents the grey stone of Auld Reekie’s Old Town, the green, the grass on The Mound itself. ‘one hour’ is a 3 dimensional segment, one 12th of the floral clock with perforations where plants may be inserted. The book of planting plans are inspired by diagrams in John Reid’s book ‘The Scots Gard’ner’ of 1683, the first book to be written specifically centred on gardening in Scotland that advocated a very measured, controlled manner of planting and laying out of a garden. The original drawing is made of weeds collected in Princes Street Gardens and The Nor Loch harks back to the Loch that once filled the valley at the base of the castle rock. It is a fragment in the sense of being a left over, reminder and is made of a literal left over fragment from paper dyed for an earlier book and print depicting the Nor Loch by Hyslop in 2007. A fuller explanation can be found here: Ruth Pelzer-Montada, “Knowing Her Place, the book work of Jane Hyslop”, vas:t 2015, visual arts Scotland: transforming, catalogue, (2015), 44-48, ISBN 978-0-9931810-0-9 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468477252-KW9ZXXHIJUBRXB2WXEDI/mcba-prize-2015-jane-hyslop-the-gardens-5.jpg Entries & Jurors - 2015 Entries - Jane Hyslop Jane Hyslop (Bonnyrigg, Midlothian, UK) janehyslop.com The Gardens I 2014 Box: card, ribbon, Murano paper and bookcloth Contents: various papers (Somerset Satin [some perforated], Somerset Book, BFK Rives); digital printing; pencil; pen and gouache; dye; silk thread edition of 5 with 1 artist’s proof Dimensions open: 80 x 705 x 150mm Dimensions closed: 87 x 306 x 150mm Jane Hyslop is an artist whose work is centred around the book. Hyslop explores this in a range of forms and uses drawing, photography, traditional printmaking techniques and digital printing. She is rooted in her native Midlothian and examines many aspects of this area combining interests in industrial history, architecture and the flora that is nurtured there alongside that which is, in her view, neglected – the native species, predominantly the weeds. The Gardens I is boxed set of objects made as part of a larger group of folios titled The Gardens | Edinburgh. This complete work was made when Jane Hyslop was an invited artist for the Visual Arts Scotland (VAS) annual exhibition held at the RSA Galleries, Edinburgh, during February 2015. The aim of the exhibition was to re-establish VAS’s role as supporter for art and craft in Scotland with an emphasis on the conversation between these areas. The Gardens | Edinburgh examines the site of the RSA Galleries alongside delving into the history of the building itself and its role as home for the Board of Manufacturers for Scotland who in the 18th century were tasked with improving Scotland’s economy by stimulating the linen industry. This led, in turn, to a development in the promotion of ‘good design’ and ultimately to the establishment of Edinburgh College of Art. The Gardens I focuses on Princes Street Gardens as location of the RSA Galleries and is concerned with the contrast between the formal nature of the planting within the gardens, which is taken to extreme in the famous floral clock, and the constant infiltration of unwanted species, the weeds, into the gardens. As detailed above the box itself represents The Mound – a man-made structure which was extremely controversial when it was built to enable movement between the Old and New Towns of Edinburgh. The grey at the hinge represents the grey stone of Auld Reekie’s Old Town, the green, the grass on The Mound itself. ‘one hour’ is a 3 dimensional segment, one 12th of the floral clock with perforations where plants may be inserted. The book of planting plans are inspired by diagrams in John Reid’s book ‘The Scots Gard’ner’ of 1683, the first book to be written specifically centred on gardening in Scotland that advocated a very measured, controlled manner of planting and laying out of a garden. The original drawing is made of weeds collected in Princes Street Gardens and The Nor Loch harks back to the Loch that once filled the valley at the base of the castle rock. It is a fragment in the sense of being a left over, reminder and is made of a literal left over fragment from paper dyed for an earlier book and print depicting the Nor Loch by Hyslop in 2007. A fuller explanation can be found here: Ruth Pelzer-Montada, “Knowing Her Place, the book work of Jane Hyslop”, vas:t 2015, visual arts Scotland: transforming, catalogue, (2015), 44-48, ISBN 978-0-9931810-0-9 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468546697-PPCINSA32BWSZ74OBGRW/mcba-prize-2015-paul-johnson-mystery-garden-1.jpg Entries & Jurors - 2015 Entries Paul Johnson (Cheshire, England) bookart.co.uk Mystery Garden 2014 Unique pop-up carousel book 28 x 35 x 50 cm open 28 x 35 x 35 cm closed This unique carousel pop-up book is made from over two hundred single sections joined with dovetail hinges and interlocking units. There are no folds and so no spring action or paper fatigue. The accordion design swings into a circle so that the final spread touches the open back cover. The window covers are joined to the sculptural spine with paper piano hinges. As the whole book has hollow covers it is extremely light in weight. Various weights of Saunders Waterford watercolour paper are dyed with industrial textile dyes. These are overlaid with watercolour brushwork, pen line work and gold inlays. The whole process from dying the paper, through paper engineering to the final construction takes about one month (200 hours). Japanese multi-woodblock printing — especially the work of Hokusai — inspires its concept and design as well as Japanese gardens and tea houses. The meditative text meandering through the book is a reflection on the garden as a place of refuge and delight. It draws on ornamental gardens through the ages from those in medieval monasteries to those associated with 17th Century Persian palaces. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468545988-OX1G2R4S5ZCO399ANVBU/mcba-prize-2015-paul-johnson-mystery-garden-2.jpg Entries & Jurors - 2015 Entries Paul Johnson (Cheshire, England) bookart.co.uk Mystery Garden 2014 Unique pop-up carousel book 28 x 35 x 50 cm open 28 x 35 x 35 cm closed This unique carousel pop-up book is made from over two hundred single sections joined with dovetail hinges and interlocking units. There are no folds and so no spring action or paper fatigue. The accordion design swings into a circle so that the final spread touches the open back cover. The window covers are joined to the sculptural spine with paper piano hinges. As the whole book has hollow covers it is extremely light in weight. Various weights of Saunders Waterford watercolour paper are dyed with industrial textile dyes. These are overlaid with watercolour brushwork, pen line work and gold inlays. The whole process from dying the paper, through paper engineering to the final construction takes about one month (200 hours). Japanese multi-woodblock printing — especially the work of Hokusai — inspires its concept and design as well as Japanese gardens and tea houses. The meditative text meandering through the book is a reflection on the garden as a place of refuge and delight. It draws on ornamental gardens through the ages from those in medieval monasteries to those associated with 17th Century Persian palaces. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468548349-4XFXWI61KPSRKPIMGC05/mcba-prize-2015-paul-johnson-mystery-garden-3.jpg Entries & Jurors - 2015 Entries - Paul Johnson Paul Johnson (Cheshire, England) bookart.co.uk Mystery Garden 2014 Unique pop-up carousel book 28 x 35 x 50 cm open 28 x 35 x 35 cm closed This unique carousel pop-up book is made from over two hundred single sections joined with dovetail hinges and interlocking units. There are no folds and so no spring action or paper fatigue. The accordion design swings into a circle so that the final spread touches the open back cover. The window covers are joined to the sculptural spine with paper piano hinges. As the whole book has hollow covers it is extremely light in weight. Various weights of Saunders Waterford watercolour paper are dyed with industrial textile dyes. These are overlaid with watercolour brushwork, pen line work and gold inlays. The whole process from dying the paper, through paper engineering to the final construction takes about one month (200 hours). Japanese multi-woodblock printing — especially the work of Hokusai — inspires its concept and design as well as Japanese gardens and tea houses. The meditative text meandering through the book is a reflection on the garden as a place of refuge and delight. It draws on ornamental gardens through the ages from those in medieval monasteries to those associated with 17th Century Persian palaces. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468601206-RI9MH9U83TCT9S8BPPOM/mcba-prize-2015-Ravikumar-Kashi-I-will-not-make-a-mistake-Book-of-Errors-1.jpg Entries & Jurors - 2015 Entries Ravikumar Kashi (Bangalore, Karnataka, India) ravikashi.com ‘I will not make a mistake’, Book of Errors 2014 Ink on brown paper Unique work 82 pages H 42 cms x W 32 cms x D 2 cms H 21cms x W 16cms X D 2 cms I Will not make a mistake is a light heartde book about what we consiedr as eroor and how it cna lead to various interpretation. Many times in creative fields it is errors which laeds one to new pahts. It is also about deyfing expected notions about how something should loook or function. As a society we are afraid to make mitsakes at an individual level as well socieital level. Success is alwyays sought after and failure/ error is abhorrred. But mistakes do happen, whether one is intended or not gooff ups do happen, shucks. It can also be about how as a society we have failed to curb violence. We in fact harvest it, beacsue it is a profitalbe. It is a fialure which comes back to haunt us like a nightmare time and agagin. In thr begining of the book theer is an imposition writing which says ‘I will not mkae a miskate’ which itself is full of mistakes. That is the irony of life. Full video on book https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468601048-KSL60CE6LOCUILMEQ0HC/mcba-prize-2015-Ravikumar-Kashi-I-will-not-make-a-mistake-Book-of-Errors-2.jpg Entries & Jurors - 2015 Entries Ravikumar Kashi (Bangalore, Karnataka, India) ravikashi.com ‘I will not make a mistake’, Book of Errors 2014 Ink on brown paper Unique work 82 pages H 42 cms x W 32 cms x D 2 cms H 21cms x W 16cms X D 2 cms I Will not make a mistake is a light heartde book about what we consiedr as eroor and how it cna lead to various interpretation. Many times in creative fields it is errors which laeds one to new pahts. It is also about deyfing expected notions about how something should loook or function. As a society we are afraid to make mitsakes at an individual level as well socieital level. Success is alwyays sought after and failure/ error is abhorrred. But mistakes do happen, whether one is intended or not gooff ups do happen, shucks. It can also be about how as a society we have failed to curb violence. We in fact harvest it, beacsue it is a profitalbe. It is a fialure which comes back to haunt us like a nightmare time and agagin. In thr begining of the book theer is an imposition writing which says ‘I will not mkae a miskate’ which itself is full of mistakes. That is the irony of life. Full video on book https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468602478-XU4IWSV81ERLF1ZOF40I/mcba-prize-2015-Ravikumar-Kashi-I-will-not-make-a-mistake-Book-of-Errors-3.jpg Entries & Jurors - 2015 Entries Ravikumar Kashi (Bangalore, Karnataka, India) ravikashi.com ‘I will not make a mistake’, Book of Errors 2014 Ink on brown paper Unique work 82 pages H 42 cms x W 32 cms x D 2 cms H 21cms x W 16cms X D 2 cms I Will not make a mistake is a light heartde book about what we consiedr as eroor and how it cna lead to various interpretation. Many times in creative fields it is errors which laeds one to new pahts. It is also about deyfing expected notions about how something should loook or function. As a society we are afraid to make mitsakes at an individual level as well socieital level. Success is alwyays sought after and failure/ error is abhorrred. But mistakes do happen, whether one is intended or not gooff ups do happen, shucks. It can also be about how as a society we have failed to curb violence. We in fact harvest it, beacsue it is a profitalbe. It is a fialure which comes back to haunt us like a nightmare time and agagin. In thr begining of the book theer is an imposition writing which says ‘I will not mkae a miskate’ which itself is full of mistakes. That is the irony of life. Full video on book https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468602669-6C8081WLKIO8DHR90B34/mcba-prize-2015-Ravikumar-Kashi-I-will-not-make-a-mistake-Book-of-Errors-4.jpg Entries & Jurors - 2015 Entries Ravikumar Kashi (Bangalore, Karnataka, India) ravikashi.com ‘I will not make a mistake’, Book of Errors 2014 Ink on brown paper Unique work 82 pages H 42 cms x W 32 cms x D 2 cms H 21cms x W 16cms X D 2 cms I Will not make a mistake is a light heartde book about what we consiedr as eroor and how it cna lead to various interpretation. Many times in creative fields it is errors which laeds one to new pahts. It is also about deyfing expected notions about how something should loook or function. As a society we are afraid to make mitsakes at an individual level as well socieital level. Success is alwyays sought after and failure/ error is abhorrred. But mistakes do happen, whether one is intended or not gooff ups do happen, shucks. It can also be about how as a society we have failed to curb violence. We in fact harvest it, beacsue it is a profitalbe. It is a fialure which comes back to haunt us like a nightmare time and agagin. In thr begining of the book theer is an imposition writing which says ‘I will not mkae a miskate’ which itself is full of mistakes. That is the irony of life. Full video on book https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468684486-3BGKGO1OTC06SSZ45S1D/mcba-prize-2015-RAVIKUMAR-KASHI-RANDOM-DESTINY-1.jpg Entries & Jurors - 2015 Entries - Ravikumar Kashi Ravikumar Kashi (Bangalore, India) ravikashi.com Random Destiny 2015 Perforated card board, acrylic colour, thread. Unique work H 185 x W 9cms x D 0.5cms open H 43cms x W 9cms x D 7cms closed According to Indian religion and mythology our lives are predestined. Destiny written by gods or supreme powers decide who we will be or what we will do at any given moment and an individuals will has no power of changing this course. It is said that even a blade of grass will not sway without ‘his’ consent. We are told to submit ourselves to the given path because ‘what has to happen, will..’ and it will happen for a reason; there is nothing random about it and it is all controlled. The punched cards used in this work are from Jacquard weaving industry. The Jacquard process and the necessary loom attachment are named after their inventor Joseph Marie Jacquard (1752-1834). This mechanism made possible unlimited varieties of pattern weaving. The term Jacquard refers to the added control mechanism that automates the patterning. Similar punched cards were also used in mechanical industry. With the rising of magnetic disc storage and later digital wave these became obsolete. What I like about them is their finality and also visuality. For the ‘product’ that is being produced the punch card is like its ‘Destiny’, a parallel to the one proposed by the religion for humans. There can be no deviation from the given path. On a personal level I find it difficult to come to terms with the idea that each and every action of mine is predetermined. I do feel many things happen quite randomly though nobody has designed it. This is the classic debate between two views, one which sees the world as designed and the other which argues it is random. This punched card which I collected from weavers was an opportunity for me to assert randomness over predestined order. What I have done is to punch holes in these cards, randomly at various places to disturb the order. These are highlighted by red colour. It will be very interesting to feed these cards to the machine and see what kind of patterns will come out it. The act of punching the random hole is my individual defiance, intervention, my choice asserting its resolve on destiny. This work can be either displayed as an unveiled scroll on a wall, partly touching the ground or it can be arranged like an accordion. Of course in the accordion format it reminds one of the palm leaf manuscripts from ancient India. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468684644-J6M4VHX5PC2I90NBJCMS/mcba-prize-2015-RAVIKUMAR-KASHI-RANDOM-DESTINY-2.jpg Entries & Jurors - 2015 Entries - Ravikumar Kashi Ravikumar Kashi (Bangalore, India) ravikashi.com Random Destiny 2015 Perforated card board, acrylic colour, thread. Unique work H 185 x W 9cms x D 0.5cms open H 43cms x W 9cms x D 7cms closed According to Indian religion and mythology our lives are predestined. Destiny written by gods or supreme powers decide who we will be or what we will do at any given moment and an individuals will has no power of changing this course. It is said that even a blade of grass will not sway without ‘his’ consent. We are told to submit ourselves to the given path because ‘what has to happen, will..’ and it will happen for a reason; there is nothing random about it and it is all controlled. The punched cards used in this work are from Jacquard weaving industry. The Jacquard process and the necessary loom attachment are named after their inventor Joseph Marie Jacquard (1752-1834). This mechanism made possible unlimited varieties of pattern weaving. The term Jacquard refers to the added control mechanism that automates the patterning. Similar punched cards were also used in mechanical industry. With the rising of magnetic disc storage and later digital wave these became obsolete. What I like about them is their finality and also visuality. For the ‘product’ that is being produced the punch card is like its ‘Destiny’, a parallel to the one proposed by the religion for humans. There can be no deviation from the given path. On a personal level I find it difficult to come to terms with the idea that each and every action of mine is predetermined. I do feel many things happen quite randomly though nobody has designed it. This is the classic debate between two views, one which sees the world as designed and the other which argues it is random. This punched card which I collected from weavers was an opportunity for me to assert randomness over predestined order. What I have done is to punch holes in these cards, randomly at various places to disturb the order. These are highlighted by red colour. It will be very interesting to feed these cards to the machine and see what kind of patterns will come out it. The act of punching the random hole is my individual defiance, intervention, my choice asserting its resolve on destiny. This work can be either displayed as an unveiled scroll on a wall, partly touching the ground or it can be arranged like an accordion. Of course in the accordion format it reminds one of the palm leaf manuscripts from ancient India. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468686123-IUAYQPUDX9L95R8LD0E9/mcba-prize-2015-RAVIKUMAR-KASHI-RANDOM-DESTINY-3.jpg Entries & Jurors - 2015 Entries - Ravikumar Kashi Ravikumar Kashi (Bangalore, India) ravikashi.com Random Destiny 2015 Perforated card board, acrylic colour, thread. Unique work H 185 x W 9cms x D 0.5cms open H 43cms x W 9cms x D 7cms closed According to Indian religion and mythology our lives are predestined. Destiny written by gods or supreme powers decide who we will be or what we will do at any given moment and an individuals will has no power of changing this course. It is said that even a blade of grass will not sway without ‘his’ consent. We are told to submit ourselves to the given path because ‘what has to happen, will..’ and it will happen for a reason; there is nothing random about it and it is all controlled. The punched cards used in this work are from Jacquard weaving industry. The Jacquard process and the necessary loom attachment are named after their inventor Joseph Marie Jacquard (1752-1834). This mechanism made possible unlimited varieties of pattern weaving. The term Jacquard refers to the added control mechanism that automates the patterning. Similar punched cards were also used in mechanical industry. With the rising of magnetic disc storage and later digital wave these became obsolete. What I like about them is their finality and also visuality. For the ‘product’ that is being produced the punch card is like its ‘Destiny’, a parallel to the one proposed by the religion for humans. There can be no deviation from the given path. On a personal level I find it difficult to come to terms with the idea that each and every action of mine is predetermined. I do feel many things happen quite randomly though nobody has designed it. This is the classic debate between two views, one which sees the world as designed and the other which argues it is random. This punched card which I collected from weavers was an opportunity for me to assert randomness over predestined order. What I have done is to punch holes in these cards, randomly at various places to disturb the order. These are highlighted by red colour. It will be very interesting to feed these cards to the machine and see what kind of patterns will come out it. The act of punching the random hole is my individual defiance, intervention, my choice asserting its resolve on destiny. This work can be either displayed as an unveiled scroll on a wall, partly touching the ground or it can be arranged like an accordion. Of course in the accordion format it reminds one of the palm leaf manuscripts from ancient India. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468686329-4TX11HA5O6LQPQQIUKTL/mcba-prize-2015-RAVIKUMAR-KASHI-RANDOM-DESTINY-4.jpg Entries & Jurors - 2015 Entries - Ravikumar Kashi Ravikumar Kashi (Bangalore, India) ravikashi.com Random Destiny 2015 Perforated card board, acrylic colour, thread. Unique work H 185 x W 9cms x D 0.5cms open H 43cms x W 9cms x D 7cms closed According to Indian religion and mythology our lives are predestined. Destiny written by gods or supreme powers decide who we will be or what we will do at any given moment and an individuals will has no power of changing this course. It is said that even a blade of grass will not sway without ‘his’ consent. We are told to submit ourselves to the given path because ‘what has to happen, will..’ and it will happen for a reason; there is nothing random about it and it is all controlled. The punched cards used in this work are from Jacquard weaving industry. The Jacquard process and the necessary loom attachment are named after their inventor Joseph Marie Jacquard (1752-1834). This mechanism made possible unlimited varieties of pattern weaving. The term Jacquard refers to the added control mechanism that automates the patterning. Similar punched cards were also used in mechanical industry. With the rising of magnetic disc storage and later digital wave these became obsolete. What I like about them is their finality and also visuality. For the ‘product’ that is being produced the punch card is like its ‘Destiny’, a parallel to the one proposed by the religion for humans. There can be no deviation from the given path. On a personal level I find it difficult to come to terms with the idea that each and every action of mine is predetermined. I do feel many things happen quite randomly though nobody has designed it. This is the classic debate between two views, one which sees the world as designed and the other which argues it is random. This punched card which I collected from weavers was an opportunity for me to assert randomness over predestined order. What I have done is to punch holes in these cards, randomly at various places to disturb the order. These are highlighted by red colour. It will be very interesting to feed these cards to the machine and see what kind of patterns will come out it. The act of punching the random hole is my individual defiance, intervention, my choice asserting its resolve on destiny. This work can be either displayed as an unveiled scroll on a wall, partly touching the ground or it can be arranged like an accordion. Of course in the accordion format it reminds one of the palm leaf manuscripts from ancient India. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468687544-AKHK4ZAWOJKZYGYFDHKN/mcba-prize-2015-RAVIKUMAR-KASHI-RANDOM-DESTINY-5.jpg Entries & Jurors - 2015 Entries - Ravikumar Kashi Ravikumar Kashi (Bangalore, India) ravikashi.com Random Destiny 2015 Perforated card board, acrylic colour, thread. Unique work H 185 x W 9cms x D 0.5cms open H 43cms x W 9cms x D 7cms closed According to Indian religion and mythology our lives are predestined. Destiny written by gods or supreme powers decide who we will be or what we will do at any given moment and an individuals will has no power of changing this course. It is said that even a blade of grass will not sway without ‘his’ consent. We are told to submit ourselves to the given path because ‘what has to happen, will..’ and it will happen for a reason; there is nothing random about it and it is all controlled. The punched cards used in this work are from Jacquard weaving industry. The Jacquard process and the necessary loom attachment are named after their inventor Joseph Marie Jacquard (1752-1834). This mechanism made possible unlimited varieties of pattern weaving. The term Jacquard refers to the added control mechanism that automates the patterning. Similar punched cards were also used in mechanical industry. With the rising of magnetic disc storage and later digital wave these became obsolete. What I like about them is their finality and also visuality. For the ‘product’ that is being produced the punch card is like its ‘Destiny’, a parallel to the one proposed by the religion for humans. There can be no deviation from the given path. On a personal level I find it difficult to come to terms with the idea that each and every action of mine is predetermined. I do feel many things happen quite randomly though nobody has designed it. This is the classic debate between two views, one which sees the world as designed and the other which argues it is random. This punched card which I collected from weavers was an opportunity for me to assert randomness over predestined order. What I have done is to punch holes in these cards, randomly at various places to disturb the order. These are highlighted by red colour. It will be very interesting to feed these cards to the machine and see what kind of patterns will come out it. The act of punching the random hole is my individual defiance, intervention, my choice asserting its resolve on destiny. This work can be either displayed as an unveiled scroll on a wall, partly touching the ground or it can be arranged like an accordion. Of course in the accordion format it reminds one of the palm leaf manuscripts from ancient India. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468798165-KQJ4HO26SBWRV2US237B/mcba-prize-2015-MARKETA-KINTEROVA-BILLBOARD-BOOK-%232-1.jpeg Entries & Jurors - 2015 Entries - Marketa Kinterova Marketa Kinterova, (Prague, Czech Republic) marketakinterova.cz Billboard Book #2, from the project Off Limits 2014 billboard paper, bound 19,8 x 30 x 1 cm open 19,8 x 15 x 1 cm closed This project consist of a book created from founded part of a billboard, that is intentionally placed back to exterior – the public space. A problematic of billboard is thus rendered from its original form, which I consider as a visual smog, into the new and more abstract message – in the context and chamber scale of a book that acquire new meanings. The present project discusses the perception of visual messages in the public space, and the notion of book as an artifact. Using self-publishing and intervention, I test the conditions of the public space, practicing various alternative ways of presenting art, including utopian ways. Public space has become the vehicle of messages with a variety of motivations, which turned public space into a commodity – a thing bought and sold. One vast billboard, whose limits are tested with the engine running, so to speak. 
 The subject of my intermediate output is a response to the oversaturation and congestion of the space we share with both text and images. It represents a sort of “non-message”, turning both the meaning and the vehicle of information on their heads, and looking for information in the absence of message. My series of experimental print materials and interventions addresses the issues of communication with the viewer, reproduction and space, as well as the nature of distributing of art. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468798070-EIG0HB7QV3RRZVL2135N/mcba-prize-2015-MARKETA-KINTEROVA-BILLBOARD-BOOK-%232-2.jpeg Entries & Jurors - 2015 Entries - Marketa Kinterova Marketa Kinterova, (Prague, Czech Republic) marketakinterova.cz Billboard Book #2, from the project Off Limits 2014 billboard paper, bound 19,8 x 30 x 1 cm open 19,8 x 15 x 1 cm closed This project consist of a book created from founded part of a billboard, that is intentionally placed back to exterior – the public space. A problematic of billboard is thus rendered from its original form, which I consider as a visual smog, into the new and more abstract message – in the context and chamber scale of a book that acquire new meanings. The present project discusses the perception of visual messages in the public space, and the notion of book as an artifact. Using self-publishing and intervention, I test the conditions of the public space, practicing various alternative ways of presenting art, including utopian ways. Public space has become the vehicle of messages with a variety of motivations, which turned public space into a commodity – a thing bought and sold. One vast billboard, whose limits are tested with the engine running, so to speak. 
 The subject of my intermediate output is a response to the oversaturation and congestion of the space we share with both text and images. It represents a sort of “non-message”, turning both the meaning and the vehicle of information on their heads, and looking for information in the absence of message. My series of experimental print materials and interventions addresses the issues of communication with the viewer, reproduction and space, as well as the nature of distributing of art. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468799706-OGG18SWGG48RBQACGW8B/mcba-prize-2015-MARKETA-KINTEROVA-BILLBOARD-BOOK-%232-3.jpeg Entries & Jurors - 2015 Entries - Marketa Kinterova Marketa Kinterova, (Prague, Czech Republic) marketakinterova.cz Billboard Book #2, from the project Off Limits 2014 billboard paper, bound 19,8 x 30 x 1 cm open 19,8 x 15 x 1 cm closed This project consist of a book created from founded part of a billboard, that is intentionally placed back to exterior – the public space. A problematic of billboard is thus rendered from its original form, which I consider as a visual smog, into the new and more abstract message – in the context and chamber scale of a book that acquire new meanings. The present project discusses the perception of visual messages in the public space, and the notion of book as an artifact. Using self-publishing and intervention, I test the conditions of the public space, practicing various alternative ways of presenting art, including utopian ways. Public space has become the vehicle of messages with a variety of motivations, which turned public space into a commodity – a thing bought and sold. One vast billboard, whose limits are tested with the engine running, so to speak. 
 The subject of my intermediate output is a response to the oversaturation and congestion of the space we share with both text and images. It represents a sort of “non-message”, turning both the meaning and the vehicle of information on their heads, and looking for information in the absence of message. My series of experimental print materials and interventions addresses the issues of communication with the viewer, reproduction and space, as well as the nature of distributing of art. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468799805-IZUE9X015FI27UQWICVP/mcba-prize-2015-MARKETA-KINTEROVA-BILLBOARD-BOOK-%232-4.jpeg Entries & Jurors - 2015 Entries - Marketa Kinterova Marketa Kinterova, (Prague, Czech Republic) marketakinterova.cz Billboard Book #2, from the project Off Limits 2014 billboard paper, bound 19,8 x 30 x 1 cm open 19,8 x 15 x 1 cm closed This project consist of a book created from founded part of a billboard, that is intentionally placed back to exterior – the public space. A problematic of billboard is thus rendered from its original form, which I consider as a visual smog, into the new and more abstract message – in the context and chamber scale of a book that acquire new meanings. The present project discusses the perception of visual messages in the public space, and the notion of book as an artifact. Using self-publishing and intervention, I test the conditions of the public space, practicing various alternative ways of presenting art, including utopian ways. Public space has become the vehicle of messages with a variety of motivations, which turned public space into a commodity – a thing bought and sold. One vast billboard, whose limits are tested with the engine running, so to speak. 
 The subject of my intermediate output is a response to the oversaturation and congestion of the space we share with both text and images. It represents a sort of “non-message”, turning both the meaning and the vehicle of information on their heads, and looking for information in the absence of message. My series of experimental print materials and interventions addresses the issues of communication with the viewer, reproduction and space, as well as the nature of distributing of art. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468802053-TBCJBLIYCQLJ3LIX5NRH/mcba-prize-2015-MARKETA-KINTEROVA-BILLBOARD-BOOK-%232-5.jpeg Entries & Jurors - 2015 Entries - Marketa Kinterova Marketa Kinterova, (Prague, Czech Republic) marketakinterova.cz Billboard Book #2, from the project Off Limits 2014 billboard paper, bound 19,8 x 30 x 1 cm open 19,8 x 15 x 1 cm closed This project consist of a book created from founded part of a billboard, that is intentionally placed back to exterior -– the public space. A problematic of billboard is thus rendered from its original form, which I consider as a visual smog, into the new and more abstract message –- in the context and chamber scale of a book that acquire new meanings. This project consist of a book created from founded part of a billboard, that is intentionally placed back to exterior – the public space. A problematic of billboard is thus rendered from its original form, which I consider as a visual smog, into the new and more abstract message – in the context and chamber scale of a book that acquire new meanings. The present project discusses the perception of visual messages in the public space, and the notion of book as an artifact. Using self-publishing and intervention, I test the conditions of the public space, practicing various alternative ways of presenting art, including utopian ways. Public space has become the vehicle of messages with a variety of motivations, which turned public space into a commodity – a thing bought and sold. One vast billboard, whose limits are tested with the engine running, so to speak. 
 The subject of my intermediate output is a response to the oversaturation and congestion of the space we share with both text and images. It represents a sort of “non-message”, turning both the meaning and the vehicle of information on their heads, and looking for information in the absence of message. My series of experimental print materials and interventions addresses the issues of communication with the viewer, reproduction and space, as well as the nature of distributing of art. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468928391-OQWTKZPRE5LSO09MWPMA/mcba-prize-2015-VESNA-KITTELSON-MRS.-DARWIN%E2%80%99S-GARDEN-BOOK-FOUR-1.jpg Entries & Jurors - 2015 Entries - Vesna Kittelson Vesna Kittelson (Minneapolis, MN) Mrs. Darwin’s Garden, Book Four 2015 Collage Edition of 10 22 pages, accordion book, both sides to view open: 9 H x 7 W x 69 inches closed: 9 1/8 H x 7 1/8 x 1 inches Of the 22 pages in this book, 17 pages have unique collages made of drawing and poured paint on paper then cut into shapes, mounted. Collaged shapes are cut-outs made of poured paint on paper. Drawing is with lead, ink, color pencils. Charles Darwin wrote to Emma Wedgwood just before they married: “I think you will humanize me, and soon teach me there is greater happiness, than building theories and accumulating facts in silence and solitude.” 2009 was the 150th anniversary of the publication of Darwin’s “On the Origin of Species” and the 200th anniversary of his birth. During my stay at Cambridge University in 2009, I learned that his life with his wife Emma Wedgwood was one of great love and sacrifice. How to celebrate this love through art became a central question in my work together with questions of how to express alarming environmental concerns like pollution and climate change. As an interdisciplinary artist I created an imaginary garden for Mrs. Darwin. This garden features invented images of primitive seeming plants rendered in bright colors, collaged and presented in an accordion book as if these images were simultaneously showing, page after page, invention recording, and aesthetics. In this book I replaced traditional botanical drawing and coloring with a riskier contemporary approach of cutting up new and old works of poured paint on paper and collaging them into new images to experience surprising outcomes. The final gesture of selecting Latin names for these “specimens” in Book Four, was a playful way of finding a common ground for all the elements: concept, image, color, words, and letting them find their way into this artist book which was bound by my project collaborator Jana Pullman. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468928398-3R6JFARGW3AKP1TCNCE9/mcba-prize-2015-VESNA-KITTELSON-MRS.-DARWIN%E2%80%99S-GARDEN-BOOK-FOUR-2.jpg Entries & Jurors - 2015 Entries - Vesna Kittelson Vesna Kittelson (Minneapolis, MN) Mrs. Darwin’s Garden, Book Four 2015 Collage Edition of 10 22 pages, accordion book, both sides to view open: 9 H x 7 W x 69 inches closed: 9 1/8 H x 7 1/8 x 1 inches Of the 22 pages in this book, 17 pages have unique collages made of drawing and poured paint on paper then cut into shapes, mounted. Collaged shapes are cut-outs made of poured paint on paper. Drawing is with lead, ink, color pencils. Charles Darwin wrote to Emma Wedgwood just before they married: “I think you will humanize me, and soon teach me there is greater happiness, than building theories and accumulating facts in silence and solitude.” 2009 was the 150th anniversary of the publication of Darwin’s “On the Origin of Species” and the 200th anniversary of his birth. During my stay at Cambridge University in 2009, I learned that his life with his wife Emma Wedgwood was one of great love and sacrifice. How to celebrate this love through art became a central question in my work together with questions of how to express alarming environmental concerns like pollution and climate change. As an interdisciplinary artist I created an imaginary garden for Mrs. Darwin. This garden features invented images of primitive seeming plants rendered in bright colors, collaged and presented in an accordion book as if these images were simultaneously showing, page after page, invention recording, and aesthetics. In this book I replaced traditional botanical drawing and coloring with a riskier contemporary approach of cutting up new and old works of poured paint on paper and collaging them into new images to experience surprising outcomes. The final gesture of selecting Latin names for these “specimens” in Book Four, was a playful way of finding a common ground for all the elements: concept, image, color, words, and letting them find their way into this artist book which was bound by my project collaborator Jana Pullman. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468929879-ZWPIEBBK07Y1TM5VFBR1/mcba-prize-2015-VESNA-KITTELSON-MRS.-DARWIN%E2%80%99S-GARDEN-BOOK-FOUR-3.jpg Entries & Jurors - 2015 Entries - Vesna Kittelson Vesna Kittelson (Minneapolis, MN) Mrs. Darwin’s Garden, Book Four 2015 Collage Edition of 10 22 pages, accordion book, both sides to view open: 9 H x 7 W x 69 inches closed: 9 1/8 H x 7 1/8 x 1 inches Of the 22 pages in this book, 17 pages have unique collages made of drawing and poured paint on paper then cut into shapes, mounted. Collaged shapes are cut-outs made of poured paint on paper. Drawing is with lead, ink, color pencils. Charles Darwin wrote to Emma Wedgwood just before they married: “I think you will humanize me, and soon teach me there is greater happiness, than building theories and accumulating facts in silence and solitude.” 2009 was the 150th anniversary of the publication of Darwin’s “On the Origin of Species” and the 200th anniversary of his birth. During my stay at Cambridge University in 2009, I learned that his life with his wife Emma Wedgwood was one of great love and sacrifice. How to celebrate this love through art became a central question in my work together with questions of how to express alarming environmental concerns like pollution and climate change. As an interdisciplinary artist I created an imaginary garden for Mrs. Darwin. This garden features invented images of primitive seeming plants rendered in bright colors, collaged and presented in an accordion book as if these images were simultaneously showing, page after page, invention recording, and aesthetics. In this book I replaced traditional botanical drawing and coloring with a riskier contemporary approach of cutting up new and old works of poured paint on paper and collaging them into new images to experience surprising outcomes. The final gesture of selecting Latin names for these “specimens” in Book Four, was a playful way of finding a common ground for all the elements: concept, image, color, words, and letting them find their way into this artist book which was bound by my project collaborator Jana Pullman. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468931383-XIFXVZ273BAWCUM6AE33/mcba-prize-2015-VESNA-KITTELSON-MRS.-DARWIN%E2%80%99S-GARDEN-BOOK-FOUR-4.jpg Entries & Jurors - 2015 Entries - Vesna Kittelson Vesna Kittelson (Minneapolis, MN) Mrs. Darwin’s Garden, Book Four 2015 Collage Edition of 10 22 pages, accordion book, both sides to view open: 9 H x 7 W x 69 inches closed: 9 1/8 H x 7 1/8 x 1 inches Of the 22 pages in this book, 17 pages have unique collages made of drawing and poured paint on paper then cut into shapes, mounted. Collaged shapes are cut-outs made of poured paint on paper. Drawing is with lead, ink, color pencils. Charles Darwin wrote to Emma Wedgwood just before they married: “I think you will humanize me, and soon teach me there is greater happiness, than building theories and accumulating facts in silence and solitude.” 2009 was the 150th anniversary of the publication of Darwin’s “On the Origin of Species” and the 200th anniversary of his birth. During my stay at Cambridge University in 2009, I learned that his life with his wife Emma Wedgwood was one of great love and sacrifice. How to celebrate this love through art became a central question in my work together with questions of how to express alarming environmental concerns like pollution and climate change. As an interdisciplinary artist I created an imaginary garden for Mrs. Darwin. This garden features invented images of primitive seeming plants rendered in bright colors, collaged and presented in an accordion book as if these images were simultaneously showing, page after page, invention recording, and aesthetics. In this book I replaced traditional botanical drawing and coloring with a riskier contemporary approach of cutting up new and old works of poured paint on paper and collaging them into new images to experience surprising outcomes. The final gesture of selecting Latin names for these “specimens” in Book Four, was a playful way of finding a common ground for all the elements: concept, image, color, words, and letting them find their way into this artist book which was bound by my project collaborator Jana Pullman. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774468931557-LDPJ98PFTGDV77W5NRYJ/mcba-prize-2015-VESNA-KITTELSON-MRS.-DARWIN%E2%80%99S-GARDEN-BOOK-FOUR-5.jpg Entries & Jurors - 2015 Entries - Vesna Kittelson Vesna Kittelson (Minneapolis, MN) Mrs. Darwin’s Garden, Book Four 2015 Collage Edition of 10 22 pages, accordion book, both sides to view open: 9 H x 7 W x 69 inches closed: 9 1/8 H x 7 1/8 x 1 inches Of the 22 pages in this book, 17 pages have unique collages made of drawing and poured paint on paper then cut into shapes, mounted. Collaged shapes are cut-outs made of poured paint on paper. Drawing is with lead, ink, color pencils. Charles Darwin wrote to Emma Wedgwood just before they married: “I think you will humanize me, and soon teach me there is greater happiness, than building theories and accumulating facts in silence and solitude.” 2009 was the 150th anniversary of the publication of Darwin’s “On the Origin of Species” and the 200th anniversary of his birth. During my stay at Cambridge University in 2009, I learned that his life with his wife Emma Wedgwood was one of great love and sacrifice. How to celebrate this love through art became a central question in my work together with questions of how to express alarming environmental concerns like pollution and climate change. As an interdisciplinary artist I created an imaginary garden for Mrs. Darwin. This garden features invented images of primitive seeming plants rendered in bright colors, collaged and presented in an accordion book as if these images were simultaneously showing, page after page, invention recording, and aesthetics. In this book I replaced traditional botanical drawing and coloring with a riskier contemporary approach of cutting up new and old works of poured paint on paper and collaging them into new images to experience surprising outcomes. The final gesture of selecting Latin names for these “specimens” in Book Four, was a playful way of finding a common ground for all the elements: concept, image, color, words, and letting them find their way into this artist book which was bound by my project collaborator Jana Pullman. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469027509-OU7A56ZWVAZC7WYHXVY8/mcba-prize-2015-MICHELLE-KORENFELD-CREATIVE-CHILDREN-LIKE-THE-ANIMALS-OF-THE-WORLD-1.jpg Entries & Jurors - 2015 Entries - Michelle Korenfeld Michelle Korenfeld (Tel Aviv, Israel) raisingcreativethinkers.com/ Creative Children Like the Animals of the World 2014 printed book of acrilic and oil paintings and drawings 149 pages Dimensions open: H: 27.94 cm, W: 43 cm, D: 2 cm Dimensions closed: H: 27.94 cm, W: 21.59 cm, D: 1 cm I am a painter, poet, storyteller, and early childhood educator with a passion for nature and nurturing creativity and curiosity in children’s hearts and minds. I have more than twenty years’ experience introducing animals, art, and writing to young people in diverse settings, including public schools, museums, and institutes for gifted children. Over the years, I have developed my own interdisciplinary method of fostering creative thinking and appreciation for nature. Creative Children like the Animals of the World is the unique product of my research, childhood development work, and collaboration with my two daughters, who teach me lessons on creative thinking every single day. I believe much of children’s negative behavior derives from stifled or ignored creativity, and I hope this book provides them an opportunity to express their inner genius, which will help pave their way to a fulfilling and happy life. The book is packed with paintings, drawings, poems, and stories—but it isn’t finished yet! Now it’s the reader’s turn to fill in his or her own imaginative ideas and create a personal, one-of-a-kind book that reflects each child’s own unique personality. It’s imperative for the next generation of children to learn the responsibility that comes with living on such a vibrant, beautiful, and diverse planet. Each poem, story and painting in Creative Children Like the Animals of the World is based on scientific research. I believe that is the way to create a painting that powerfully present the beauty of nature and touches the viewer’s souls. What is science, if not discovering nature? What is art if not discovering the nature of our world and the nature of ourselves? I think that when a child connects to nature deeply, he or she is given the key to connect with him or herself. Thus, by the book I wish to connect children to nature and to inspire their unique personal creativity to come to life. Readers will meet two tiresome caterpillar brothers, who argue all day and night, and only by transforming into butterflies do they learn to cherish their time together. They’ll experience a Native American culture and identify with people who connect their bodies and souls to nature. Along the way the young collaborators will add original drawings, writings, and ideas in response to what is already on the page. Readers will discover interesting subjects that arise from the art, such as: Which animal can see more than seven colors in the rainbow?, complementing colors, additive and subtractive primaries, animals colors: courting, camouflage and warning, communication among animals, the senses, diversity in nature, and so much more… Ultimately, Creative Children like the Animals of the World is a journey toward broader horizons, where creative thinking, self-confidence, and open-mindedness pave the road for an innovative and fulfilling future. Its purpose is to open the heart of children to the art of creative thinking and to the world of art. My vision is a creativity inspiring installation that displays paintings and presents digitally and artistically the nature and science issues that arise from the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469027529-DES14X9PPPOHIL6VV3TH/mcba-prize-2015-MICHELLE-KORENFELD-CREATIVE-CHILDREN-LIKE-THE-ANIMALS-OF-THE-WORLD-2.jpg Entries & Jurors - 2015 Entries - Michelle Korenfeld Michelle Korenfeld (Tel Aviv, Israel) raisingcreativethinkers.com/ Creative Children Like the Animals of the World 2014 printed book of acrilic and oil paintings and drawings 149 pages Dimensions open: H: 27.94 cm, W: 43 cm, D: 2 cm Dimensions closed: H: 27.94 cm, W: 21.59 cm, D: 1 cm I am a painter, poet, storyteller, and early childhood educator with a passion for nature and nurturing creativity and curiosity in children’s hearts and minds. I have more than twenty years’ experience introducing animals, art, and writing to young people in diverse settings, including public schools, museums, and institutes for gifted children. Over the years, I have developed my own interdisciplinary method of fostering creative thinking and appreciation for nature. Creative Children like the Animals of the World is the unique product of my research, childhood development work, and collaboration with my two daughters, who teach me lessons on creative thinking every single day. I believe much of children’s negative behavior derives from stifled or ignored creativity, and I hope this book provides them an opportunity to express their inner genius, which will help pave their way to a fulfilling and happy life. The book is packed with paintings, drawings, poems, and stories—but it isn’t finished yet! Now it’s the reader’s turn to fill in his or her own imaginative ideas and create a personal, one-of-a-kind book that reflects each child’s own unique personality. It’s imperative for the next generation of children to learn the responsibility that comes with living on such a vibrant, beautiful, and diverse planet. Each poem, story and painting in Creative Children Like the Animals of the World is based on scientific research. I believe that is the way to create a painting that powerfully present the beauty of nature and touches the viewer’s souls. What is science, if not discovering nature? What is art if not discovering the nature of our world and the nature of ourselves? I think that when a child connects to nature deeply, he or she is given the key to connect with him or herself. Thus, by the book I wish to connect children to nature and to inspire their unique personal creativity to come to life. Readers will meet two tiresome caterpillar brothers, who argue all day and night, and only by transforming into butterflies do they learn to cherish their time together. They’ll experience a Native American culture and identify with people who connect their bodies and souls to nature. Along the way the young collaborators will add original drawings, writings, and ideas in response to what is already on the page. Readers will discover interesting subjects that arise from the art, such as: Which animal can see more than seven colors in the rainbow?, complementing colors, additive and subtractive primaries, animals colors: courting, camouflage and warning, communication among animals, the senses, diversity in nature, and so much more… Ultimately, Creative Children like the Animals of the World is a journey toward broader horizons, where creative thinking, self-confidence, and open-mindedness pave the road for an innovative and fulfilling future. Its purpose is to open the heart of children to the art of creative thinking and to the world of art. My vision is a creativity inspiring installation that displays paintings and presents digitally and artistically the nature and science issues that arise from the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469029067-BF0V4IYZXE37M1Z4RX71/mcba-prize-2015-MICHELLE-KORENFELD-CREATIVE-CHILDREN-LIKE-THE-ANIMALS-OF-THE-WORLD-3.jpg Entries & Jurors - 2015 Entries - Michelle Korenfeld Michelle Korenfeld (Tel Aviv, Israel) raisingcreativethinkers.com/ Creative Children Like the Animals of the World 2014 printed book of acrilic and oil paintings and drawings 149 pages Dimensions open: H: 27.94 cm, W: 43 cm, D: 2 cm Dimensions closed: H: 27.94 cm, W: 21.59 cm, D: 1 cm I am a painter, poet, storyteller, and early childhood educator with a passion for nature and nurturing creativity and curiosity in children’s hearts and minds. I have more than twenty years’ experience introducing animals, art, and writing to young people in diverse settings, including public schools, museums, and institutes for gifted children. Over the years, I have developed my own interdisciplinary method of fostering creative thinking and appreciation for nature. Creative Children like the Animals of the World is the unique product of my research, childhood development work, and collaboration with my two daughters, who teach me lessons on creative thinking every single day. I believe much of children’s negative behavior derives from stifled or ignored creativity, and I hope this book provides them an opportunity to express their inner genius, which will help pave their way to a fulfilling and happy life. The book is packed with paintings, drawings, poems, and stories—but it isn’t finished yet! Now it’s the reader’s turn to fill in his or her own imaginative ideas and create a personal, one-of-a-kind book that reflects each child’s own unique personality. It’s imperative for the next generation of children to learn the responsibility that comes with living on such a vibrant, beautiful, and diverse planet. Each poem, story and painting in Creative Children Like the Animals of the World is based on scientific research. I believe that is the way to create a painting that powerfully present the beauty of nature and touches the viewer’s souls. What is science, if not discovering nature? What is art if not discovering the nature of our world and the nature of ourselves? I think that when a child connects to nature deeply, he or she is given the key to connect with him or herself. Thus, by the book I wish to connect children to nature and to inspire their unique personal creativity to come to life. Readers will meet two tiresome caterpillar brothers, who argue all day and night, and only by transforming into butterflies do they learn to cherish their time together. They’ll experience a Native American culture and identify with people who connect their bodies and souls to nature. Along the way the young collaborators will add original drawings, writings, and ideas in response to what is already on the page. Readers will discover interesting subjects that arise from the art, such as: Which animal can see more than seven colors in the rainbow?, complementing colors, additive and subtractive primaries, animals colors: courting, camouflage and warning, communication among animals, the senses, diversity in nature, and so much more… Ultimately, Creative Children like the Animals of the World is a journey toward broader horizons, where creative thinking, self-confidence, and open-mindedness pave the road for an innovative and fulfilling future. Its purpose is to open the heart of children to the art of creative thinking and to the world of art. My vision is a creativity inspiring installation that displays paintings and presents digitally and artistically the nature and science issues that arise from the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469030044-RUHDIO07ANWDDAQEGUXC/mcba-prize-2015-MICHELLE-KORENFELD-CREATIVE-CHILDREN-LIKE-THE-ANIMALS-OF-THE-WORLD-4.jpg Entries & Jurors - 2015 Entries - Michelle Korenfeld Michelle Korenfeld (Tel Aviv, Israel) raisingcreativethinkers.com/ Creative Children Like the Animals of the World 2014 printed book of acrilic and oil paintings and drawings 149 pages Dimensions open: H: 27.94 cm, W: 43 cm, D: 2 cm Dimensions closed: H: 27.94 cm, W: 21.59 cm, D: 1 cm I am a painter, poet, storyteller, and early childhood educator with a passion for nature and nurturing creativity and curiosity in children’s hearts and minds. I have more than twenty years’ experience introducing animals, art, and writing to young people in diverse settings, including public schools, museums, and institutes for gifted children. Over the years, I have developed my own interdisciplinary method of fostering creative thinking and appreciation for nature. Creative Children like the Animals of the World is the unique product of my research, childhood development work, and collaboration with my two daughters, who teach me lessons on creative thinking every single day. I believe much of children’s negative behavior derives from stifled or ignored creativity, and I hope this book provides them an opportunity to express their inner genius, which will help pave their way to a fulfilling and happy life. The book is packed with paintings, drawings, poems, and stories—but it isn’t finished yet! Now it’s the reader’s turn to fill in his or her own imaginative ideas and create a personal, one-of-a-kind book that reflects each child’s own unique personality. It’s imperative for the next generation of children to learn the responsibility that comes with living on such a vibrant, beautiful, and diverse planet. Each poem, story and painting in Creative Children Like the Animals of the World is based on scientific research. I believe that is the way to create a painting that powerfully present the beauty of nature and touches the viewer’s souls. What is science, if not discovering nature? What is art if not discovering the nature of our world and the nature of ourselves? I think that when a child connects to nature deeply, he or she is given the key to connect with him or herself. Thus, by the book I wish to connect children to nature and to inspire their unique personal creativity to come to life. Readers will meet two tiresome caterpillar brothers, who argue all day and night, and only by transforming into butterflies do they learn to cherish their time together. They’ll experience a Native American culture and identify with people who connect their bodies and souls to nature. Along the way the young collaborators will add original drawings, writings, and ideas in response to what is already on the page. Readers will discover interesting subjects that arise from the art, such as: Which animal can see more than seven colors in the rainbow?, complementing colors, additive and subtractive primaries, animals colors: courting, camouflage and warning, communication among animals, the senses, diversity in nature, and so much more… Ultimately, Creative Children like the Animals of the World is a journey toward broader horizons, where creative thinking, self-confidence, and open-mindedness pave the road for an innovative and fulfilling future. Its purpose is to open the heart of children to the art of creative thinking and to the world of art. My vision is a creativity inspiring installation that displays paintings and presents digitally and artistically the nature and science issues that arise from the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469114861-U71K9YVUQPYCE08L2ZPO/mcba-prize-2015-ROB-KOVITZ-ACCORDING-TO-PLAN-1.jpg Entries & Jurors - 2015 Entries - Rob Kovitz Rob Kovitz (Winnipeg, MB, Canada) treyf.com According to Plan 2014 Digital POD, perfect binding 670 pages 8.3 x 12.5 x 2 inches open 8.3 x 5.8 x 1.3 inches closed “Clearly, someone had to have a plan, an idea, a beginning …” John McCabe, Stickleback “What’s the plan?” youtube.com, Battlestar Actors Lay Out the Plan I create artist books under the imprint Treyf Books that consist of texts and images compiled from various sources, usually obsessively related to one or more themes, and then recombined through a process of editing, ordering and juxtaposition to form montage-appropriation novels that are both polyphonic and surprisingly cohesive (even—maybe even especially—surprising to me). “Not, therefore, to raise expectation, but to repress it, I here lay before your Lordship the plan of my undertaking, that more may not be demanded than I intend; and that, before it is too far advanced to be thrown into a new method, I may be advertised of its defects or superfluities.” Samuel Johnson, The Plan of a Dictionary of the English Language My most recent bookwork, According to Plan, begins with an immoderate interest in the word “plan” and every text selection includes the word “plan” and generally explores the human obsession with making plans. “In the development of these inquiries into the subject of Architectural Composition, the greatest amount of space has been given to the study of the plan. This method has been employed because it is believed to be in accord with the opinion of the foremost teachers of Architecture who place the study of the plan at the head of instruction both in theory and practice. In respect to this point of view the reader will note that my study of the subject has led me to a position considerably different from that which has been generally followed by other English and American writers who, while they have not neglected the plan, have at least relegated it to a comparatively subordinate position.” Nathaniel Curtis, Architectural Composition “I had come this far and waited long enough. I had a plan. It might get me into trouble, but it was my concern, my responsibility, and nobody else’s …” Peter Plate, One Foot Off the Gutter “I immediately understood that there was nothing I could do to stop him. His mind was made up, and rather than try to talk him out of it, I did what I could to make his plan as safe as possible. It was a decent plan, I said …” Paul Auster, Moon Palace https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469114309-BYA9V6OREKDSP3Z0SXNG/mcba-prize-2015-ROB-KOVITZ-ACCORDING-TO-PLAN-2.jpg Entries & Jurors - 2015 Entries - Rob Kovitz Rob Kovitz (Winnipeg, MB, Canada) treyf.com According to Plan 2014 Digital POD, perfect binding 670 pages 8.3 x 12.5 x 2 inches open 8.3 x 5.8 x 1.3 inches closed “Clearly, someone had to have a plan, an idea, a beginning …” John McCabe, Stickleback “What’s the plan?” youtube.com, Battlestar Actors Lay Out the Plan I create artist books under the imprint Treyf Books that consist of texts and images compiled from various sources, usually obsessively related to one or more themes, and then recombined through a process of editing, ordering and juxtaposition to form montage-appropriation novels that are both polyphonic and surprisingly cohesive (even—maybe even especially—surprising to me). “Not, therefore, to raise expectation, but to repress it, I here lay before your Lordship the plan of my undertaking, that more may not be demanded than I intend; and that, before it is too far advanced to be thrown into a new method, I may be advertised of its defects or superfluities.” Samuel Johnson, The Plan of a Dictionary of the English Language My most recent bookwork, According to Plan, begins with an immoderate interest in the word “plan” and every text selection includes the word “plan” and generally explores the human obsession with making plans. “In the development of these inquiries into the subject of Architectural Composition, the greatest amount of space has been given to the study of the plan. This method has been employed because it is believed to be in accord with the opinion of the foremost teachers of Architecture who place the study of the plan at the head of instruction both in theory and practice. In respect to this point of view the reader will note that my study of the subject has led me to a position considerably different from that which has been generally followed by other English and American writers who, while they have not neglected the plan, have at least relegated it to a comparatively subordinate position.” Nathaniel Curtis, Architectural Composition “I had come this far and waited long enough. I had a plan. It might get me into trouble, but it was my concern, my responsibility, and nobody else’s …” Peter Plate, One Foot Off the Gutter “I immediately understood that there was nothing I could do to stop him. His mind was made up, and rather than try to talk him out of it, I did what I could to make his plan as safe as possible. It was a decent plan, I said …” Paul Auster, Moon Palace https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469115962-CR4NNQQ8N07EK2FB7ITS/mcba-prize-2015-ROB-KOVITZ-ACCORDING-TO-PLAN-3.jpg Entries & Jurors - 2015 Entries - Rob Kovitz Rob Kovitz (Winnipeg, MB, Canada) treyf.com According to Plan 2014 Digital POD, perfect binding 670 pages 8.3 x 12.5 x 2 inches open 8.3 x 5.8 x 1.3 inches closed “Clearly, someone had to have a plan, an idea, a beginning …” John McCabe, Stickleback “What’s the plan?” youtube.com, Battlestar Actors Lay Out the Plan I create artist books under the imprint Treyf Books that consist of texts and images compiled from various sources, usually obsessively related to one or more themes, and then recombined through a process of editing, ordering and juxtaposition to form montage-appropriation novels that are both polyphonic and surprisingly cohesive (even—maybe even especially—surprising to me). “Not, therefore, to raise expectation, but to repress it, I here lay before your Lordship the plan of my undertaking, that more may not be demanded than I intend; and that, before it is too far advanced to be thrown into a new method, I may be advertised of its defects or superfluities.” Samuel Johnson, The Plan of a Dictionary of the English Language My most recent bookwork, According to Plan, begins with an immoderate interest in the word “plan” and every text selection includes the word “plan” and generally explores the human obsession with making plans. “In the development of these inquiries into the subject of Architectural Composition, the greatest amount of space has been given to the study of the plan. This method has been employed because it is believed to be in accord with the opinion of the foremost teachers of Architecture who place the study of the plan at the head of instruction both in theory and practice. In respect to this point of view the reader will note that my study of the subject has led me to a position considerably different from that which has been generally followed by other English and American writers who, while they have not neglected the plan, have at least relegated it to a comparatively subordinate position.” Nathaniel Curtis, Architectural Composition “I had come this far and waited long enough. I had a plan. It might get me into trouble, but it was my concern, my responsibility, and nobody else’s …” Peter Plate, One Foot Off the Gutter “I immediately understood that there was nothing I could do to stop him. His mind was made up, and rather than try to talk him out of it, I did what I could to make his plan as safe as possible. It was a decent plan, I said …” Paul Auster, Moon Palace https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469116326-ENBQ4W5RKGSK0P3N02GD/mcba-prize-2015-ROB-KOVITZ-ACCORDING-TO-PLAN-4.jpg Entries & Jurors - 2015 Entries - Rob Kovitz Rob Kovitz (Winnipeg, MB, Canada) treyf.com According to Plan 2014 Digital POD, perfect binding 670 pages 8.3 x 12.5 x 2 inches open 8.3 x 5.8 x 1.3 inches closed “Clearly, someone had to have a plan, an idea, a beginning …” John McCabe, Stickleback “What’s the plan?” youtube.com, Battlestar Actors Lay Out the Plan I create artist books under the imprint Treyf Books that consist of texts and images compiled from various sources, usually obsessively related to one or more themes, and then recombined through a process of editing, ordering and juxtaposition to form montage-appropriation novels that are both polyphonic and surprisingly cohesive (even—maybe even especially—surprising to me). “Not, therefore, to raise expectation, but to repress it, I here lay before your Lordship the plan of my undertaking, that more may not be demanded than I intend; and that, before it is too far advanced to be thrown into a new method, I may be advertised of its defects or superfluities.” Samuel Johnson, The Plan of a Dictionary of the English Language My most recent bookwork, According to Plan, begins with an immoderate interest in the word “plan” and every text selection includes the word “plan” and generally explores the human obsession with making plans. “In the development of these inquiries into the subject of Architectural Composition, the greatest amount of space has been given to the study of the plan. This method has been employed because it is believed to be in accord with the opinion of the foremost teachers of Architecture who place the study of the plan at the head of instruction both in theory and practice. In respect to this point of view the reader will note that my study of the subject has led me to a position considerably different from that which has been generally followed by other English and American writers who, while they have not neglected the plan, have at least relegated it to a comparatively subordinate position.” Nathaniel Curtis, Architectural Composition “I had come this far and waited long enough. I had a plan. It might get me into trouble, but it was my concern, my responsibility, and nobody else’s …” Peter Plate, One Foot Off the Gutter “I immediately understood that there was nothing I could do to stop him. His mind was made up, and rather than try to talk him out of it, I did what I could to make his plan as safe as possible. It was a decent plan, I said …” Paul Auster, Moon Palace https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469203901-TUIK0O2W9CJL5D4A6190/mcba-prize-2015-DOROTHY-KRAUSE-ESOTERIC-TIME-1.jpg Entries & Jurors - 2015 Entries - Dorothy Krause Dorothy Krause (Ft. Lauderdale, Florida) DotKrause.com Esoteric Time 2014 Assemblage, printing Unique work 20″ x 11″ x 4.5″ I am a painter by training and collage-maker by nature who began to explore printing with early reprographic machines. Since being introduced to computers in the late 1960’s when working on my doctorate at Penn State, I have combined traditional and digital media. My work includes large scale mixed media pieces, artist books and book-like objects that bridge between these two forms. It embeds archetypal symbols and fragments of image and text in multiple layers of texture and meaning. It combines the humblest of materials, plaster, tar, wax and pigment, with the latest in technology to evoke the past and herald the future. My art-making is an integrated mode of inquiry that links concept and media in an ongoing dialogue – a visible means of exploring meaning. The book sculpture Esoteric Time began in 1914 with a 19th century New England steeple clock discovered while participating in a Guild of Bookworkers activity in Maine. The clock seemed an appropriate repository for one of Emily Dickinson’s untitled poems about time. Originally written on the back of an envelope, it celebrates nature’s clock with the song of the cricket announcing the summer and its cessation heralding its end. A symbol of good fortune, crickets were often kept in cages so that their song could be enjoyed, a fate Dickinson might have considered related to the subjugation of women in her time. I removed the face of the clock and visually integrated the exposed gears with the text of the poem and the only currently authenticated photograph of Dickinson, (from the Amherst College Archives & Special Collections). The brass pendulum in the lower half of the clock reflects the cricket hovering over a map of Amherst showing Dickinson’s home in the early 1800’s. The colophon, adhered to the back of the clock includes a replica of the envelope with Dickinson’s handwritten poem. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469204052-BBHBZYAKR9ULSM97FRNS/mcba-prize-2015-DOROTHY-KRAUSE-ESOTERIC-TIME-2.jpg Entries & Jurors - 2015 Entries - Dorothy Krause Dorothy Krause (Ft. Lauderdale, Florida) DotKrause.com Esoteric Time 2014 Assemblage, printing Unique work 20″ x 11″ x 4.5″ I am a painter by training and collage-maker by nature who began to explore printing with early reprographic machines. Since being introduced to computers in the late 1960’s when working on my doctorate at Penn State, I have combined traditional and digital media. My work includes large scale mixed media pieces, artist books and book-like objects that bridge between these two forms. It embeds archetypal symbols and fragments of image and text in multiple layers of texture and meaning. It combines the humblest of materials, plaster, tar, wax and pigment, with the latest in technology to evoke the past and herald the future. My art-making is an integrated mode of inquiry that links concept and media in an ongoing dialogue – a visible means of exploring meaning. The book sculpture Esoteric Time began in 1914 with a 19th century New England steeple clock discovered while participating in a Guild of Bookworkers activity in Maine. The clock seemed an appropriate repository for one of Emily Dickinson’s untitled poems about time. Originally written on the back of an envelope, it celebrates nature’s clock with the song of the cricket announcing the summer and its cessation heralding its end. A symbol of good fortune, crickets were often kept in cages so that their song could be enjoyed, a fate Dickinson might have considered related to the subjugation of women in her time. I removed the face of the clock and visually integrated the exposed gears with the text of the poem and the only currently authenticated photograph of Dickinson, (from the Amherst College Archives & Special Collections). The brass pendulum in the lower half of the clock reflects the cricket hovering over a map of Amherst showing Dickinson’s home in the early 1800’s. The colophon, adhered to the back of the clock includes a replica of the envelope with Dickinson’s handwritten poem. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469205418-B1TW68KZWFIBYIOMBFUS/mcba-prize-2015-DOROTHY-KRAUSE-ESOTERIC-TIME-3.jpg Entries & Jurors - 2015 Entries - Dorothy Krause Dorothy Krause (Ft. Lauderdale, Florida) DotKrause.com Esoteric Time 2014 Assemblage, printing Unique work 20″ x 11″ x 4.5″ I am a painter by training and collage-maker by nature who began to explore printing with early reprographic machines. Since being introduced to computers in the late 1960’s when working on my doctorate at Penn State, I have combined traditional and digital media. My work includes large scale mixed media pieces, artist books and book-like objects that bridge between these two forms. It embeds archetypal symbols and fragments of image and text in multiple layers of texture and meaning. It combines the humblest of materials, plaster, tar, wax and pigment, with the latest in technology to evoke the past and herald the future. My art-making is an integrated mode of inquiry that links concept and media in an ongoing dialogue – a visible means of exploring meaning. The book sculpture Esoteric Time began in 1914 with a 19th century New England steeple clock discovered while participating in a Guild of Bookworkers activity in Maine. The clock seemed an appropriate repository for one of Emily Dickinson’s untitled poems about time. Originally written on the back of an envelope, it celebrates nature’s clock with the song of the cricket announcing the summer and its cessation heralding its end. A symbol of good fortune, crickets were often kept in cages so that their song could be enjoyed, a fate Dickinson might have considered related to the subjugation of women in her time. I removed the face of the clock and visually integrated the exposed gears with the text of the poem and the only currently authenticated photograph of Dickinson, (from the Amherst College Archives & Special Collections). The brass pendulum in the lower half of the clock reflects the cricket hovering over a map of Amherst showing Dickinson’s home in the early 1800’s. The colophon, adhered to the back of the clock includes a replica of the envelope with Dickinson’s handwritten poem. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469205575-QQFV2S6ODS9TT6M6M4YY/mcba-prize-2015-DOROTHY-KRAUSE-ESOTERIC-TIME-4.jpg Entries & Jurors - 2015 Entries - Dorothy Krause Dorothy Krause (Ft. Lauderdale, Florida) DotKrause.com Esoteric Time 2014 Assemblage, printing Unique work 20″ x 11″ x 4.5″ I am a painter by training and collage-maker by nature who began to explore printing with early reprographic machines. Since being introduced to computers in the late 1960’s when working on my doctorate at Penn State, I have combined traditional and digital media. My work includes large scale mixed media pieces, artist books and book-like objects that bridge between these two forms. It embeds archetypal symbols and fragments of image and text in multiple layers of texture and meaning. It combines the humblest of materials, plaster, tar, wax and pigment, with the latest in technology to evoke the past and herald the future. My art-making is an integrated mode of inquiry that links concept and media in an ongoing dialogue – a visible means of exploring meaning. The book sculpture Esoteric Time began in 1914 with a 19th century New England steeple clock discovered while participating in a Guild of Bookworkers activity in Maine. The clock seemed an appropriate repository for one of Emily Dickinson’s untitled poems about time. Originally written on the back of an envelope, it celebrates nature’s clock with the song of the cricket announcing the summer and its cessation heralding its end. A symbol of good fortune, crickets were often kept in cages so that their song could be enjoyed, a fate Dickinson might have considered related to the subjugation of women in her time. I removed the face of the clock and visually integrated the exposed gears with the text of the poem and the only currently authenticated photograph of Dickinson, (from the Amherst College Archives & Special Collections). The brass pendulum in the lower half of the clock reflects the cricket hovering over a map of Amherst showing Dickinson’s home in the early 1800’s. The colophon, adhered to the back of the clock includes a replica of the envelope with Dickinson’s handwritten poem. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469206901-T2FLH0NFYM0S6B3Y7PHX/mcba-prize-2015-DOROTHY-KRAUSE-ESOTERIC-TIME-5.jpg Entries & Jurors - 2015 Entries - Dorothy Krause Dorothy Krause (Ft. Lauderdale, Florida) DotKrause.com Esoteric Time 2014 Assemblage, printing Unique work 20″ x 11″ x 4.5″ I am a painter by training and collage-maker by nature who began to explore printing with early reprographic machines. Since being introduced to computers in the late 1960’s when working on my doctorate at Penn State, I have combined traditional and digital media. My work includes large scale mixed media pieces, artist books and book-like objects that bridge between these two forms. It embeds archetypal symbols and fragments of image and text in multiple layers of texture and meaning. It combines the humblest of materials, plaster, tar, wax and pigment, with the latest in technology to evoke the past and herald the future. My art-making is an integrated mode of inquiry that links concept and media in an ongoing dialogue – a visible means of exploring meaning. The book sculpture Esoteric Time began in 1914 with a 19th century New England steeple clock discovered while participating in a Guild of Bookworkers activity in Maine. The clock seemed an appropriate repository for one of Emily Dickinson’s untitled poems about time. Originally written on the back of an envelope, it celebrates nature’s clock with the song of the cricket announcing the summer and its cessation heralding its end. A symbol of good fortune, crickets were often kept in cages so that their song could be enjoyed, a fate Dickinson might have considered related to the subjugation of women in her time. I removed the face of the clock and visually integrated the exposed gears with the text of the poem and the only currently authenticated photograph of Dickinson, (from the Amherst College Archives & Special Collections). The brass pendulum in the lower half of the clock reflects the cricket hovering over a map of Amherst showing Dickinson’s home in the early 1800’s. The colophon, adhered to the back of the clock includes a replica of the envelope with Dickinson’s handwritten poem. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469291261-DANXY29NLB0EP0ZLNTMU/mcba-prize-2015-KAREN-KUNC-COEFFICIENT-%26-POLYNOMIAL-1.jpg Entries & Jurors - 2015 Entries - Karen Kunc Karen Kunc (Avoca, NE) karen-kunc.com Coefficient & Polynomial 2015 letterpress on handmade watermarked paper, pochoir unique work 6.25″ x 40″ x .25″ open 6.25″ x 5″ x .25″ closed My idiosyncratic language of biomorphic abstraction inevitably refers to the natural world, our precious resources, and the powerful forces that shape our environment. I hope to make conceptually urgent statements that are relevant, visually memorable images as a response to the threat and benevolence of Nature and of human impact. My works are a reflection on immensities, methodical impulses, distance and depth, wandering into meanings of vulnerability, toxicity, and precarious balances. I focus on generating awareness of edgy natural order and the disasters we know of, or can imagine, in this critical time. My response is both intensely chromatic and gestural, generating a poetic tracking of observation and science through images and information that submerge, emerge, and tantalize, as graphically symbolized matter of the physical world and quasi-science principles. I intend to evoke the timeless sense of life’s ebb and flow, for a “sense of place” in our universe and in being. I am an artist who has found books to be a “fertile format.” I use many book-making methods, some learned at workshops, other methods developed on my own or adapted. I often follow principles that recognize possibilities for display of the work, self-publication abilities, plus knowledge of book and print technological problems. I am an advocate for the “experiential nature” of artist’s books – that one experiences the work on many sensual and spatial levels. Among the many reasons I make books is the recognition of the tactile qualities of work made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole, with evidence of craftsmanship; I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469290623-LMKUB0TGEA1UJUD5YEEE/mcba-prize-2015-KAREN-KUNC-COEFFICIENT-%26-POLYNOMIAL-2.jpg Entries & Jurors - 2015 Entries - Karen Kunc Karen Kunc (Avoca, NE) karen-kunc.com Coefficient & Polynomial 2015 letterpress on handmade watermarked paper, pochoir unique work 6.25″ x 40″ x .25″ open 6.25″ x 5″ x .25″ closed My idiosyncratic language of biomorphic abstraction inevitably refers to the natural world, our precious resources, and the powerful forces that shape our environment. I hope to make conceptually urgent statements that are relevant, visually memorable images as a response to the threat and benevolence of Nature and of human impact. My works are a reflection on immensities, methodical impulses, distance and depth, wandering into meanings of vulnerability, toxicity, and precarious balances. I focus on generating awareness of edgy natural order and the disasters we know of, or can imagine, in this critical time. My response is both intensely chromatic and gestural, generating a poetic tracking of observation and science through images and information that submerge, emerge, and tantalize, as graphically symbolized matter of the physical world and quasi-science principles. I intend to evoke the timeless sense of life’s ebb and flow, for a “sense of place” in our universe and in being. I am an artist who has found books to be a “fertile format.” I use many book-making methods, some learned at workshops, other methods developed on my own or adapted. I often follow principles that recognize possibilities for display of the work, self-publication abilities, plus knowledge of book and print technological problems. I am an advocate for the “experiential nature” of artist’s books – that one experiences the work on many sensual and spatial levels. Among the many reasons I make books is the recognition of the tactile qualities of work made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole, with evidence of craftsmanship; I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469292308-J4TS3FOEDNI61RR3KESH/mcba-prize-2015-KAREN-KUNC-COEFFICIENT-%26-POLYNOMIAL-3.jpg Entries & Jurors - 2015 Entries - Karen Kunc Karen Kunc (Avoca, NE) karen-kunc.com Coefficient & Polynomial 2015 letterpress on handmade watermarked paper, pochoir unique work 6.25″ x 40″ x .25″ open 6.25″ x 5″ x .25″ closed My idiosyncratic language of biomorphic abstraction inevitably refers to the natural world, our precious resources, and the powerful forces that shape our environment. I hope to make conceptually urgent statements that are relevant, visually memorable images as a response to the threat and benevolence of Nature and of human impact. My works are a reflection on immensities, methodical impulses, distance and depth, wandering into meanings of vulnerability, toxicity, and precarious balances. I focus on generating awareness of edgy natural order and the disasters we know of, or can imagine, in this critical time. My response is both intensely chromatic and gestural, generating a poetic tracking of observation and science through images and information that submerge, emerge, and tantalize, as graphically symbolized matter of the physical world and quasi-science principles. I intend to evoke the timeless sense of life’s ebb and flow, for a “sense of place” in our universe and in being. I am an artist who has found books to be a “fertile format.” I use many book-making methods, some learned at workshops, other methods developed on my own or adapted. I often follow principles that recognize possibilities for display of the work, self-publication abilities, plus knowledge of book and print technological problems. I am an advocate for the “experiential nature” of artist’s books – that one experiences the work on many sensual and spatial levels. Among the many reasons I make books is the recognition of the tactile qualities of work made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole, with evidence of craftsmanship; I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469292716-4PTRNJXIQYU1GHPXPIID/mcba-prize-2015-KAREN-KUNC-COEFFICIENT-%26-POLYNOMIAL-4.jpg Entries & Jurors - 2015 Entries - Karen Kunc Karen Kunc (Avoca, NE) karen-kunc.com Coefficient & Polynomial 2015 letterpress on handmade watermarked paper, pochoir unique work 6.25″ x 40″ x .25″ open 6.25″ x 5″ x .25″ closed My idiosyncratic language of biomorphic abstraction inevitably refers to the natural world, our precious resources, and the powerful forces that shape our environment. I hope to make conceptually urgent statements that are relevant, visually memorable images as a response to the threat and benevolence of Nature and of human impact. My works are a reflection on immensities, methodical impulses, distance and depth, wandering into meanings of vulnerability, toxicity, and precarious balances. I focus on generating awareness of edgy natural order and the disasters we know of, or can imagine, in this critical time. My response is both intensely chromatic and gestural, generating a poetic tracking of observation and science through images and information that submerge, emerge, and tantalize, as graphically symbolized matter of the physical world and quasi-science principles. I intend to evoke the timeless sense of life’s ebb and flow, for a “sense of place” in our universe and in being. I am an artist who has found books to be a “fertile format.” I use many book-making methods, some learned at workshops, other methods developed on my own or adapted. I often follow principles that recognize possibilities for display of the work, self-publication abilities, plus knowledge of book and print technological problems. I am an advocate for the “experiential nature” of artist’s books – that one experiences the work on many sensual and spatial levels. Among the many reasons I make books is the recognition of the tactile qualities of work made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole, with evidence of craftsmanship; I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469293907-PUPJKN5TZL7THPFQXJAQ/mcba-prize-2015-KAREN-KUNC-COEFFICIENT-%26-POLYNOMIAL-5.jpg Entries & Jurors - 2015 Entries - Karen Kunc Karen Kunc (Avoca, NE) karen-kunc.com Coefficient & Polynomial 2015 letterpress on handmade watermarked paper, pochoir unique work 6.25″ x 40″ x .25″ open 6.25″ x 5″ x .25″ closed My idiosyncratic language of biomorphic abstraction inevitably refers to the natural world, our precious resources, and the powerful forces that shape our environment. I hope to make conceptually urgent statements that are relevant, visually memorable images as a response to the threat and benevolence of Nature and of human impact. My works are a reflection on immensities, methodical impulses, distance and depth, wandering into meanings of vulnerability, toxicity, and precarious balances. I focus on generating awareness of edgy natural order and the disasters we know of, or can imagine, in this critical time. My response is both intensely chromatic and gestural, generating a poetic tracking of observation and science through images and information that submerge, emerge, and tantalize, as graphically symbolized matter of the physical world and quasi-science principles. I intend to evoke the timeless sense of life’s ebb and flow, for a “sense of place” in our universe and in being. I am an artist who has found books to be a “fertile format.” I use many book-making methods, some learned at workshops, other methods developed on my own or adapted. I often follow principles that recognize possibilities for display of the work, self-publication abilities, plus knowledge of book and print technological problems. I am an advocate for the “experiential nature” of artist’s books – that one experiences the work on many sensual and spatial levels. Among the many reasons I make books is the recognition of the tactile qualities of work made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole, with evidence of craftsmanship; I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469347202-MAMF3JPB7XRFEXGO978T/mcba-prize-2015-KAREN-KUNC-INCESSANT-WHITE-NOISE-1.jpg Entries & Jurors - 2015 Entries - Karen Kunc Karen Kunc (Avoca, NE) karen-kunc.com Incessant White Noise 2013 woodcut, letterpress Edition size: 10 deluxe Dimensions open: 11″ x 35″ x .25″ Dimensions closed: 11″ x 5″ x .25″ My idiosyncratic language of biomorphic abstraction inevitably refers to the natural world, our precious resources, and the powerful forces that shape our environment. I hope to make conceptually urgent statements that are relevant, visually memorable images as a response to the threat and benevolence of Nature and of human impact. My works are a reflection on immensities, methodical impulses, distance and depth, wandering into meanings of vulnerability, toxicity, and precarious balances. I focus on generating awareness of edgy natural order and the disasters we know of, or can imagine, in this critical time. My response is both intensely chromatic and gestural, generating a poetic tracking of observation and science through images and information that submerge, emerge, and tantalize, as graphically symbolized matter of the physical world and quasi-science principles. I intend to evoke the timeless sense of life’s ebb and flow, for a “sense of place” in our universe and in being. I am an artist who has found books to be a “fertile format.” I use many book-making methods, some learned at workshops, other methods developed on my own or adapted. I often follow principles that recognize possibilities for display of the work, self-publication abilities, plus knowledge of book and print technological problems. I am an advocate for the “experiential nature” of artist’s books – that one experiences the work on many sensual and spatial levels. Among the many reasons I make books is the recognition of the tactile qualities of work made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole, with evidence of craftsmanship; I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469346938-HCIVKVEY0PM0N1RWT7K0/mcba-prize-2015-KAREN-KUNC-INCESSANT-WHITE-NOISE-2.jpg Entries & Jurors - 2015 Entries - Karen Kunc Karen Kunc (Avoca, NE) karen-kunc.com Incessant White Noise 2013 woodcut, letterpress Edition size: 10 deluxe Dimensions open: 11″ x 35″ x .25″ Dimensions closed: 11″ x 5″ x .25″ My idiosyncratic language of biomorphic abstraction inevitably refers to the natural world, our precious resources, and the powerful forces that shape our environment. I hope to make conceptually urgent statements that are relevant, visually memorable images as a response to the threat and benevolence of Nature and of human impact. My works are a reflection on immensities, methodical impulses, distance and depth, wandering into meanings of vulnerability, toxicity, and precarious balances. I focus on generating awareness of edgy natural order and the disasters we know of, or can imagine, in this critical time. My response is both intensely chromatic and gestural, generating a poetic tracking of observation and science through images and information that submerge, emerge, and tantalize, as graphically symbolized matter of the physical world and quasi-science principles. I intend to evoke the timeless sense of life’s ebb and flow, for a “sense of place” in our universe and in being. I am an artist who has found books to be a “fertile format.” I use many book-making methods, some learned at workshops, other methods developed on my own or adapted. I often follow principles that recognize possibilities for display of the work, self-publication abilities, plus knowledge of book and print technological problems. I am an advocate for the “experiential nature” of artist’s books – that one experiences the work on many sensual and spatial levels. Among the many reasons I make books is the recognition of the tactile qualities of work made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole, with evidence of craftsmanship; I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469348497-T60R593I9KOW9DCVR7R8/mcba-prize-2015-KAREN-KUNC-INCESSANT-WHITE-NOISE-3.jpg Entries & Jurors - 2015 Entries - Karen Kunc Karen Kunc (Avoca, NE) karen-kunc.com Incessant White Noise 2013 woodcut, letterpress Edition size: 10 deluxe Dimensions open: 11″ x 35″ x .25″ Dimensions closed: 11″ x 5″ x .25″ My idiosyncratic language of biomorphic abstraction inevitably refers to the natural world, our precious resources, and the powerful forces that shape our environment. I hope to make conceptually urgent statements that are relevant, visually memorable images as a response to the threat and benevolence of Nature and of human impact. My works are a reflection on immensities, methodical impulses, distance and depth, wandering into meanings of vulnerability, toxicity, and precarious balances. I focus on generating awareness of edgy natural order and the disasters we know of, or can imagine, in this critical time. My response is both intensely chromatic and gestural, generating a poetic tracking of observation and science through images and information that submerge, emerge, and tantalize, as graphically symbolized matter of the physical world and quasi-science principles. I intend to evoke the timeless sense of life’s ebb and flow, for a “sense of place” in our universe and in being. I am an artist who has found books to be a “fertile format.” I use many book-making methods, some learned at workshops, other methods developed on my own or adapted. I often follow principles that recognize possibilities for display of the work, self-publication abilities, plus knowledge of book and print technological problems. I am an advocate for the “experiential nature” of artist’s books – that one experiences the work on many sensual and spatial levels. Among the many reasons I make books is the recognition of the tactile qualities of work made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole, with evidence of craftsmanship; I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469348705-B4ZDCIZO1JTQ67XHVSWZ/mcba-prize-2015-KAREN-KUNC-INCESSANT-WHITE-NOISE-4.jpg Entries & Jurors - 2015 Entries - Karen Kunc Karen Kunc (Avoca, NE) karen-kunc.com Incessant White Noise 2013 woodcut, letterpress Edition size: 10 deluxe Dimensions open: 11″ x 35″ x .25″ Dimensions closed: 11″ x 5″ x .25″ My idiosyncratic language of biomorphic abstraction inevitably refers to the natural world, our precious resources, and the powerful forces that shape our environment. I hope to make conceptually urgent statements that are relevant, visually memorable images as a response to the threat and benevolence of Nature and of human impact. My works are a reflection on immensities, methodical impulses, distance and depth, wandering into meanings of vulnerability, toxicity, and precarious balances. I focus on generating awareness of edgy natural order and the disasters we know of, or can imagine, in this critical time. My response is both intensely chromatic and gestural, generating a poetic tracking of observation and science through images and information that submerge, emerge, and tantalize, as graphically symbolized matter of the physical world and quasi-science principles. I intend to evoke the timeless sense of life’s ebb and flow, for a “sense of place” in our universe and in being. I am an artist who has found books to be a “fertile format.” I use many book-making methods, some learned at workshops, other methods developed on my own or adapted. I often follow principles that recognize possibilities for display of the work, self-publication abilities, plus knowledge of book and print technological problems. I am an advocate for the “experiential nature” of artist’s books – that one experiences the work on many sensual and spatial levels. Among the many reasons I make books is the recognition of the tactile qualities of work made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole, with evidence of craftsmanship; I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469349941-IFJY7G383IERDYRVZMEV/mcba-prize-2015-KAREN-KUNC-INCESSANT-WHITE-NOISE-5.jpg Entries & Jurors - 2015 Entries - Karen Kunc Karen Kunc (Avoca, NE) karen-kunc.com Incessant White Noise 2013 woodcut, letterpress Edition size: 10 deluxe Dimensions open: 11″ x 35″ x .25″ Dimensions closed: 11″ x 5″ x .25″ My idiosyncratic language of biomorphic abstraction inevitably refers to the natural world, our precious resources, and the powerful forces that shape our environment. I hope to make conceptually urgent statements that are relevant, visually memorable images as a response to the threat and benevolence of Nature and of human impact. My works are a reflection on immensities, methodical impulses, distance and depth, wandering into meanings of vulnerability, toxicity, and precarious balances. I focus on generating awareness of edgy natural order and the disasters we know of, or can imagine, in this critical time. My response is both intensely chromatic and gestural, generating a poetic tracking of observation and science through images and information that submerge, emerge, and tantalize, as graphically symbolized matter of the physical world and quasi-science principles. I intend to evoke the timeless sense of life’s ebb and flow, for a “sense of place” in our universe and in being. I am an artist who has found books to be a “fertile format.” I use many book-making methods, some learned at workshops, other methods developed on my own or adapted. I often follow principles that recognize possibilities for display of the work, self-publication abilities, plus knowledge of book and print technological problems. I am an advocate for the “experiential nature” of artist’s books – that one experiences the work on many sensual and spatial levels. Among the many reasons I make books is the recognition of the tactile qualities of work made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole, with evidence of craftsmanship; I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469586146-ZF479YRS90YQBZEUGKJG/mcba-prize-2015-KAREN-KUNC-VASTNESS-1.jpg Entries & Jurors - 2015 Entries - Karen Kunc Karen Kunc (Avoca, NE) karen-kunc.com Vastness 2013-14 woodcut, letterpress Edition of 20 Dimensions open: 5.25 x 37″ x .25″ Dimensions closed: 5.25″ x 4.25″ X .25″ My idiosyncratic language of biomorphic abstraction inevitably refers to the natural world, our precious resources, and the powerful forces that shape our environment. I hope to make conceptually urgent statements that are relevant, visually memorable images as a response to the threat and benevolence of Nature and of human impact. My works are a reflection on immensities, methodical impulses, distance and depth, wandering into meanings of vulnerability, toxicity, and precarious balances. I focus on generating awareness of edgy natural order and the disasters we know of, or can imagine, in this critical time. My response is both intensely chromatic and gestural, generating a poetic tracking of observation and science through images and information that submerge, emerge, and tantalize, as graphically symbolized matter of the physical world and quasi-science principles. I intend to evoke the timeless sense of life’s ebb and flow, for a “sense of place” in our universe and in being. I am an artist who has found books to be a “fertile format.” I use many book-making methods, some learned at workshops, other methods developed on my own or adapted. I often follow principles that recognize possibilities for display of the work, self-publication abilities, plus knowledge of book and print technological problems. I am an advocate for the “experiential nature” of artist’s books – that one experiences the work on many sensual and spatial levels. Among the many reasons I make books is the recognition of the tactile qualities of work made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole, with evidence of craftsmanship; I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469585153-VPW3AM9QWWYW5O8QPHJF/mcba-prize-2015-KAREN-KUNC-VASTNESS-2.jpg Entries & Jurors - 2015 Entries - Karen Kunc Karen Kunc (Avoca, NE) karen-kunc.com Vastness 2013-14 woodcut, letterpress Edition of 20 Dimensions open: 5.25 x 37″ x .25″ Dimensions closed: 5.25″ x 4.25″ X .25″ My idiosyncratic language of biomorphic abstraction inevitably refers to the natural world, our precious resources, and the powerful forces that shape our environment. I hope to make conceptually urgent statements that are relevant, visually memorable images as a response to the threat and benevolence of Nature and of human impact. My works are a reflection on immensities, methodical impulses, distance and depth, wandering into meanings of vulnerability, toxicity, and precarious balances. I focus on generating awareness of edgy natural order and the disasters we know of, or can imagine, in this critical time. My response is both intensely chromatic and gestural, generating a poetic tracking of observation and science through images and information that submerge, emerge, and tantalize, as graphically symbolized matter of the physical world and quasi-science principles. I intend to evoke the timeless sense of life’s ebb and flow, for a “sense of place” in our universe and in being. I am an artist who has found books to be a “fertile format.” I use many book-making methods, some learned at workshops, other methods developed on my own or adapted. I often follow principles that recognize possibilities for display of the work, self-publication abilities, plus knowledge of book and print technological problems. I am an advocate for the “experiential nature” of artist’s books – that one experiences the work on many sensual and spatial levels. Among the many reasons I make books is the recognition of the tactile qualities of work made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole, with evidence of craftsmanship; I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469586800-KUY2GEGJT89GI68V8WWE/mcba-prize-2015-KAREN-KUNC-VASTNESS-3.jpg Entries & Jurors - 2015 Entries - Karen Kunc Karen Kunc (Avoca, NE) karen-kunc.com Vastness 2013-14 woodcut, letterpress Edition of 20 Dimensions open: 5.25 x 37″ x .25″ Dimensions closed: 5.25″ x 4.25″ X .25″ My idiosyncratic language of biomorphic abstraction inevitably refers to the natural world, our precious resources, and the powerful forces that shape our environment. I hope to make conceptually urgent statements that are relevant, visually memorable images as a response to the threat and benevolence of Nature and of human impact. My works are a reflection on immensities, methodical impulses, distance and depth, wandering into meanings of vulnerability, toxicity, and precarious balances. I focus on generating awareness of edgy natural order and the disasters we know of, or can imagine, in this critical time. My response is both intensely chromatic and gestural, generating a poetic tracking of observation and science through images and information that submerge, emerge, and tantalize, as graphically symbolized matter of the physical world and quasi-science principles. I intend to evoke the timeless sense of life’s ebb and flow, for a “sense of place” in our universe and in being. I am an artist who has found books to be a “fertile format.” I use many book-making methods, some learned at workshops, other methods developed on my own or adapted. I often follow principles that recognize possibilities for display of the work, self-publication abilities, plus knowledge of book and print technological problems. I am an advocate for the “experiential nature” of artist’s books – that one experiences the work on many sensual and spatial levels. Among the many reasons I make books is the recognition of the tactile qualities of work made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole, with evidence of craftsmanship; I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469587953-RYO2ARG07228TMUWV3YP/mcba-prize-2015-KAREN-KUNC-VASTNESS-4.jpg Entries & Jurors - 2015 Entries - Karen Kunc Karen Kunc (Avoca, NE) karen-kunc.com Vastness 2013-14 woodcut, letterpress Edition of 20 Dimensions open: 5.25 x 37″ x .25″ Dimensions closed: 5.25″ x 4.25″ X .25″ My idiosyncratic language of biomorphic abstraction inevitably refers to the natural world, our precious resources, and the powerful forces that shape our environment. I hope to make conceptually urgent statements that are relevant, visually memorable images as a response to the threat and benevolence of Nature and of human impact. My works are a reflection on immensities, methodical impulses, distance and depth, wandering into meanings of vulnerability, toxicity, and precarious balances. I focus on generating awareness of edgy natural order and the disasters we know of, or can imagine, in this critical time. My response is both intensely chromatic and gestural, generating a poetic tracking of observation and science through images and information that submerge, emerge, and tantalize, as graphically symbolized matter of the physical world and quasi-science principles. I intend to evoke the timeless sense of life’s ebb and flow, for a “sense of place” in our universe and in being. I am an artist who has found books to be a “fertile format.” I use many book-making methods, some learned at workshops, other methods developed on my own or adapted. I often follow principles that recognize possibilities for display of the work, self-publication abilities, plus knowledge of book and print technological problems. I am an advocate for the “experiential nature” of artist’s books – that one experiences the work on many sensual and spatial levels. Among the many reasons I make books is the recognition of the tactile qualities of work made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole, with evidence of craftsmanship; I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469588569-IMZ2C5KY0DK0ZLL3GUMJ/mcba-prize-2015-KAREN-KUNC-VASTNESS-5.jpg Entries & Jurors - 2015 Entries - Karen Kunc Karen Kunc (Avoca, NE) karen-kunc.com Vastness 2013-14 woodcut, letterpress Edition of 20 Dimensions open: 5.25 x 37″ x .25″ Dimensions closed: 5.25″ x 4.25″ X .25″ My idiosyncratic language of biomorphic abstraction inevitably refers to the natural world, our precious resources, and the powerful forces that shape our environment. I hope to make conceptually urgent statements that are relevant, visually memorable images as a response to the threat and benevolence of Nature and of human impact. My works are a reflection on immensities, methodical impulses, distance and depth, wandering into meanings of vulnerability, toxicity, and precarious balances. I focus on generating awareness of edgy natural order and the disasters we know of, or can imagine, in this critical time. My response is both intensely chromatic and gestural, generating a poetic tracking of observation and science through images and information that submerge, emerge, and tantalize, as graphically symbolized matter of the physical world and quasi-science principles. I intend to evoke the timeless sense of life’s ebb and flow, for a “sense of place” in our universe and in being. I am an artist who has found books to be a “fertile format.” I use many book-making methods, some learned at workshops, other methods developed on my own or adapted. I often follow principles that recognize possibilities for display of the work, self-publication abilities, plus knowledge of book and print technological problems. I am an advocate for the “experiential nature” of artist’s books – that one experiences the work on many sensual and spatial levels. Among the many reasons I make books is the recognition of the tactile qualities of work made for the hand, the control of pacing and the “reading/viewing” as an experience, an interest in story-telling, and strong, important historical and cultural associations. For me, there is a love of materials as I make my book objects – an awareness of paper, ink, proportion, color, relationships, finish, detail, all parts to the whole, with evidence of craftsmanship; I am making an aesthetic object, even a beautiful one, as a carrier of important ideas. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469669120-9FAWRM1XX3LROWXQRCOD/mcba-prize-2015-CAROLE-P.-KUNSTADT-SACRED-POEM-LXXXIX-1.jpg Entries & Jurors - 2015 Entries - Carole P. Kunstadt Carole P. Kunstadt (West Hurley, NY) carolekunstadt.com Sacred Poem LXXXIX 2014 24 karat gold leaf, paper: pages from Parish Psalmody dated 1849; cut, altered & recombined; gilt. Unique Work 2.5 x 5 x 6.5 in. The Sacred Poem Series takes physical, material, and intellectual inspiration from Parish Psalmody, A Collection of Psalms and Hymns for Public Worship, published in 1849. The pages of psalms are manipulated and recombined, resulting in a presentation that evokes an ecumenical offering – poems of praise and gratitude. The disintegrating pages suggest the temporal quality of our lives and the vulnerability of memory and history. Visually there is a consistent and measured cadence to a page of psalms which is echoed in the often repetitive weaving or restructuring of the paper. In working with this aged text, embracing its inherent qualities while transforming the book’s pages, the paper itself gains significance through the process and merges with a new intent. Here the title page is the box’s cover which has a gilt underside. The oval box contains gilt spheres within — which are able to roll around suggesting playful possibilities. The gold leaf elevates and heightens the rich textural qualities presenting a sumptuous visual experience. The interplay alludes to the enticing presentation of illuminated texts historically. The intended use, as well as the nature of a psalm as spiritual repository, both imply a tradition of careful devotion and pious reverence. The physical text and the utilization of gold evocatively and powerfully serves as a gateway to an experience of the sacred and the realization of the latent power of the written word. This process of interaction is played out visually in the piece, mimicking the internal experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469667867-0GH6YBUF6369HWD1V870/mcba-prize-2015-CAROLE-P.-KUNSTADT-SACRED-POEM-LXXXIX-2.jpg Entries & Jurors - 2015 Entries - Carole P. Kunstadt Carole P. Kunstadt (West Hurley, NY) carolekunstadt.com Sacred Poem LXXXIX 2014 24 karat gold leaf, paper: pages from Parish Psalmody dated 1849; cut, altered & recombined; gilt. Unique Work 2.5 x 5 x 6.5 in. The Sacred Poem Series takes physical, material, and intellectual inspiration from Parish Psalmody, A Collection of Psalms and Hymns for Public Worship, published in 1849. The pages of psalms are manipulated and recombined, resulting in a presentation that evokes an ecumenical offering – poems of praise and gratitude. The disintegrating pages suggest the temporal quality of our lives and the vulnerability of memory and history. Visually there is a consistent and measured cadence to a page of psalms which is echoed in the often repetitive weaving or restructuring of the paper. In working with this aged text, embracing its inherent qualities while transforming the book’s pages, the paper itself gains significance through the process and merges with a new intent. Here the title page is the box’s cover which has a gilt underside. The oval box contains gilt spheres within — which are able to roll around suggesting playful possibilities. The gold leaf elevates and heightens the rich textural qualities presenting a sumptuous visual experience. The interplay alludes to the enticing presentation of illuminated texts historically. The intended use, as well as the nature of a psalm as spiritual repository, both imply a tradition of careful devotion and pious reverence. The physical text and the utilization of gold evocatively and powerfully serves as a gateway to an experience of the sacred and the realization of the latent power of the written word. This process of interaction is played out visually in the piece, mimicking the internal experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469669357-JE71I1JRR2Y4QQZIIMM7/mcba-prize-2015-CAROLE-P.-KUNSTADT-SACRED-POEM-LXXXIX-3.jpg Entries & Jurors - 2015 Entries - Carole P. Kunstadt Carole P. Kunstadt (West Hurley, NY) carolekunstadt.com Sacred Poem LXXXIX 2014 24 karat gold leaf, paper: pages from Parish Psalmody dated 1849; cut, altered & recombined; gilt. Unique Work 2.5 x 5 x 6.5 in. The Sacred Poem Series takes physical, material, and intellectual inspiration from Parish Psalmody, A Collection of Psalms and Hymns for Public Worship, published in 1849. The pages of psalms are manipulated and recombined, resulting in a presentation that evokes an ecumenical offering – poems of praise and gratitude. The disintegrating pages suggest the temporal quality of our lives and the vulnerability of memory and history. Visually there is a consistent and measured cadence to a page of psalms which is echoed in the often repetitive weaving or restructuring of the paper. In working with this aged text, embracing its inherent qualities while transforming the book’s pages, the paper itself gains significance through the process and merges with a new intent. Here the title page is the box’s cover which has a gilt underside. The oval box contains gilt spheres within — which are able to roll around suggesting playful possibilities. The gold leaf elevates and heightens the rich textural qualities presenting a sumptuous visual experience. The interplay alludes to the enticing presentation of illuminated texts historically. The intended use, as well as the nature of a psalm as spiritual repository, both imply a tradition of careful devotion and pious reverence. The physical text and the utilization of gold evocatively and powerfully serves as a gateway to an experience of the sacred and the realization of the latent power of the written word. This process of interaction is played out visually in the piece, mimicking the internal experience. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469737288-C4AFPF5C35133AVKDMO0/mcba-prize-2015-HILKE-KURZKE-ABSENCES-1.jpg Entries & Jurors - 2015 Entries - Hilke Kurzke Hilke Kurzke (Nottingham, UK) buechertiger.de Absences 2014 acrylics, ink open, varying edition accordion with 6 pages 15.5cm x 65cm x 0.2cm open 15.5cm x 11cm x 15.5cm x 0.5cm closed I am a mostly self trained book artist and artisan bookbinder. I am (was) a mathematician and theologian by training, and a lover of stories. Topics for my art come from where those three interests overlap: I am curious and ever again amazed by how books work and manage to conserve and teach knowledge and experiences, and I try to show and examine this magic with my work. My early pieces concentrated exclusively on structural elements of books, but soon I discovered the writing down of language as an important aspect. Consequently works in secret and fake script entered my body of work, and books where all or part of the text is concealed or erased. I like to experiment with printing methods, most prominently relief printing in different form and from different materials. Striving for simplicity and a more intimate encounter between artist and reader I moved from commonly used materials for printing blocks (linoleum, rubber, wood), to cardboard, and on to handwriting and -drawing and simple stencils for most recent work. Some of my books feature my own texts. Most of my writing is what I like to call “fragments”, very short pieces that seem to be fragments of a larger story. I am interested in small moments of clarity that can happen in the most banal situations, and am fascinated by how marks on paper can create an atmosphere, and strive to set a scene with words for my readers, leaving it to them to play the puppets. And so my fragments are written in a sparse style which often utilize the book, its structure, and imagery to complete the story in the reader’s head rather than on the paper. Absences is a short story in form of a dialogue between a woman and a police officer. The protagonist reports strange disappearances from her apartment: “Mostly small things of everyday life that might have been gone for a long time or maybe vanished just before I noticed they are missing. For most of them I couldn’t say when I last saw them.” In the end she has to realize that much more than just cutlery is missing. A surprising story — which I hope is funny in a bittersweet way — about estrangement in marriage, about how the comfort of daily routines can turn huge parts of a life into something ephemeral. In spirit with the ephemeral nature of the objects in the story, each book is made from scraps and materials made to look like leftover bits. The background (with missing objects) is stencilled with white gesso. To stress the simplicity and intimacy present within the story, the text is hand written upon this white holey page. On the cover I used stencils again, and gold coloured acrylic decorations hint at something more precious. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469735876-Q97G3QMYN48OZ5TVLD9M/mcba-prize-2015-HILKE-KURZKE-ABSENCES-2.jpg Entries & Jurors - 2015 Entries - Hilke Kurzke Hilke Kurzke (Nottingham, UK) buechertiger.de Absences 2014 acrylics, ink open, varying edition accordion with 6 pages 15.5cm x 65cm x 0.2cm open 15.5cm x 11cm x 15.5cm x 0.5cm closed I am a mostly self trained book artist and artisan bookbinder. I am (was) a mathematician and theologian by training, and a lover of stories. Topics for my art come from where those three interests overlap: I am curious and ever again amazed by how books work and manage to conserve and teach knowledge and experiences, and I try to show and examine this magic with my work. My early pieces concentrated exclusively on structural elements of books, but soon I discovered the writing down of language as an important aspect. Consequently works in secret and fake script entered my body of work, and books where all or part of the text is concealed or erased. I like to experiment with printing methods, most prominently relief printing in different form and from different materials. Striving for simplicity and a more intimate encounter between artist and reader I moved from commonly used materials for printing blocks (linoleum, rubber, wood), to cardboard, and on to handwriting and -drawing and simple stencils for most recent work. Some of my books feature my own texts. Most of my writing is what I like to call “fragments”, very short pieces that seem to be fragments of a larger story. I am interested in small moments of clarity that can happen in the most banal situations, and am fascinated by how marks on paper can create an atmosphere, and strive to set a scene with words for my readers, leaving it to them to play the puppets. And so my fragments are written in a sparse style which often utilize the book, its structure, and imagery to complete the story in the reader’s head rather than on the paper. Absences is a short story in form of a dialogue between a woman and a police officer. The protagonist reports strange disappearances from her apartment: “Mostly small things of everyday life that might have been gone for a long time or maybe vanished just before I noticed they are missing. For most of them I couldn’t say when I last saw them.” In the end she has to realize that much more than just cutlery is missing. A surprising story — which I hope is funny in a bittersweet way — about estrangement in marriage, about how the comfort of daily routines can turn huge parts of a life into something ephemeral. In spirit with the ephemeral nature of the objects in the story, each book is made from scraps and materials made to look like leftover bits. The background (with missing objects) is stencilled with white gesso. To stress the simplicity and intimacy present within the story, the text is hand written upon this white holey page. On the cover I used stencils again, and gold coloured acrylic decorations hint at something more precious. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469737643-FZBB69VOFG6LAOEGQSY0/mcba-prize-2015-HILKE-KURZKE-ABSENCES-3.jpg Entries & Jurors - 2015 Entries - Hilke Kurzke Hilke Kurzke (Nottingham, UK) buechertiger.de Absences 2014 acrylics, ink open, varying edition accordion with 6 pages 15.5cm x 65cm x 0.2cm open 15.5cm x 11cm x 15.5cm x 0.5cm closed I am a mostly self trained book artist and artisan bookbinder. I am (was) a mathematician and theologian by training, and a lover of stories. Topics for my art come from where those three interests overlap: I am curious and ever again amazed by how books work and manage to conserve and teach knowledge and experiences, and I try to show and examine this magic with my work. My early pieces concentrated exclusively on structural elements of books, but soon I discovered the writing down of language as an important aspect. Consequently works in secret and fake script entered my body of work, and books where all or part of the text is concealed or erased. I like to experiment with printing methods, most prominently relief printing in different form and from different materials. Striving for simplicity and a more intimate encounter between artist and reader I moved from commonly used materials for printing blocks (linoleum, rubber, wood), to cardboard, and on to handwriting and -drawing and simple stencils for most recent work. Some of my books feature my own texts. Most of my writing is what I like to call “fragments”, very short pieces that seem to be fragments of a larger story. I am interested in small moments of clarity that can happen in the most banal situations, and am fascinated by how marks on paper can create an atmosphere, and strive to set a scene with words for my readers, leaving it to them to play the puppets. And so my fragments are written in a sparse style which often utilize the book, its structure, and imagery to complete the story in the reader’s head rather than on the paper. Absences is a short story in form of a dialogue between a woman and a police officer. The protagonist reports strange disappearances from her apartment: “Mostly small things of everyday life that might have been gone for a long time or maybe vanished just before I noticed they are missing. For most of them I couldn’t say when I last saw them.” In the end she has to realize that much more than just cutlery is missing. A surprising story — which I hope is funny in a bittersweet way — about estrangement in marriage, about how the comfort of daily routines can turn huge parts of a life into something ephemeral. In spirit with the ephemeral nature of the objects in the story, each book is made from scraps and materials made to look like leftover bits. The background (with missing objects) is stencilled with white gesso. To stress the simplicity and intimacy present within the story, the text is hand written upon this white holey page. On the cover I used stencils again, and gold coloured acrylic decorations hint at something more precious. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469739377-WNCQQDJDY0ZXPNJ5XG72/mcba-prize-2015-HILKE-KURZKE-ABSENCES-4.jpg Entries & Jurors - 2015 Entries - Hilke Kurzke Hilke Kurzke (Nottingham, UK) buechertiger.de Absences 2014 acrylics, ink open, varying edition accordion with 6 pages 15.5cm x 65cm x 0.2cm open 15.5cm x 11cm x 15.5cm x 0.5cm closed I am a mostly self trained book artist and artisan bookbinder. I am (was) a mathematician and theologian by training, and a lover of stories. Topics for my art come from where those three interests overlap: I am curious and ever again amazed by how books work and manage to conserve and teach knowledge and experiences, and I try to show and examine this magic with my work. My early pieces concentrated exclusively on structural elements of books, but soon I discovered the writing down of language as an important aspect. Consequently works in secret and fake script entered my body of work, and books where all or part of the text is concealed or erased. I like to experiment with printing methods, most prominently relief printing in different form and from different materials. Striving for simplicity and a more intimate encounter between artist and reader I moved from commonly used materials for printing blocks (linoleum, rubber, wood), to cardboard, and on to handwriting and -drawing and simple stencils for most recent work. Some of my books feature my own texts. Most of my writing is what I like to call “fragments”, very short pieces that seem to be fragments of a larger story. I am interested in small moments of clarity that can happen in the most banal situations, and am fascinated by how marks on paper can create an atmosphere, and strive to set a scene with words for my readers, leaving it to them to play the puppets. And so my fragments are written in a sparse style which often utilize the book, its structure, and imagery to complete the story in the reader’s head rather than on the paper. Absences is a short story in form of a dialogue between a woman and a police officer. The protagonist reports strange disappearances from her apartment: “Mostly small things of everyday life that might have been gone for a long time or maybe vanished just before I noticed they are missing. For most of them I couldn’t say when I last saw them.” In the end she has to realize that much more than just cutlery is missing. A surprising story — which I hope is funny in a bittersweet way — about estrangement in marriage, about how the comfort of daily routines can turn huge parts of a life into something ephemeral. In spirit with the ephemeral nature of the objects in the story, each book is made from scraps and materials made to look like leftover bits. The background (with missing objects) is stencilled with white gesso. To stress the simplicity and intimacy present within the story, the text is hand written upon this white holey page. On the cover I used stencils again, and gold coloured acrylic decorations hint at something more precious. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469805423-B5L8V9UPNHKU3ULN56O6/mcba-prize-2015-HILKE-KURZKE-ERASED-1.jpg Entries & Jurors - 2015 Entries - Hilke Kurzke Hilke Kurzke (Nottingham, UK) buechertiger.de Erased 2014 acrylics, ink Unique work 5 pages 14.5cm x 23cm x 1cm open 14.5cm x 11.5cm x 1.2cm closed I am a mostly self trained book artist and artisan bookbinder. I am (was) a mathematician and theologian by training, and a lover of stories. Topics for my art come from where those three interests overlap: I am curious and ever again amazed by how books work and manage to conserve and teach knowledge and experiences, and I try to show and examine this magic with my work. My early pieces concentrated exclusively on structural elements of books, but soon I discovered the writing down of language as an important aspect. Consequently works in secret and fake script entered my body of work, and books where all or part of the text is concealed or erased. I like to experiment with printing methods, most prominently relief printing in different form and from different materials. Striving for simplicity and a more intimate encounter between artist and reader I moved from commonly used materials for printing blocks (linoleum, rubber, wood), to cardboard, and on to handwriting and -drawing and simple stencils for most recent work. Some of my books feature my own writing. Most of my writing is what I like to call “fragments”, very short pieces that seem to be fragments of a larger story. I am interested in small moments of clarity that can happen in the most banal situations, in atmosphere and setting a scene with words, leaving it to the reader to play the puppets. And so my fragments are written in a sparse style which often utilize the book, its structure, and imagery to complete the story in the reader’s head or through the reader’s action rather than on the paper. Erased is a poem, written by hand in ink and then crossed out, such that the ascenders and descenders remain visible. With some effort, squinting, and holding in a good angle the poem still can be read. It is self conscious and starts with a short introduction: “I am a poem, and I am erased”, it addresses the reader directly, and thanks him for the effort of reading. It ends with the expression of hope that, although it was erased, it might still be of some value, maybe inspire another poem und concludes with a final, not erased: “That would be worth it”. This poem is an homage to the creative process. And a declaration of love to readers who dig deeper. The text is written by hand with rubbing ink on Waterford watercolour paper which I gave a thin coating with gesso. The poem was then erased by painting over with gold colou red acrylic paint. The backsides of the pages are covered with an acrylic wash with it deliberately staining the front page, and here and there are golden fingerprints or water drops. I wanted to create an atmosphere between precious (the gold) and discarded rubbish (good paper, but looking like rough cut-offs). And I wanted the cover to reflect this by choosing a precious material (well, semi precious) but I wanted it to be not quite there. So I decided to stitch parchment pieces together to use for a limp cover. The loose sheets are held together by a brown cotton ribbon which is held into place within the parchment wrapper by parchment tackets. The whole constructions resembles a file fold er more than a solid book. The binding is completely non-adhesive. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469803677-NL8GOXCY4ZXAL44NREBZ/mcba-prize-2015-HILKE-KURZKE-ERASED-2.jpg Entries & Jurors - 2015 Entries - Hilke Kurzke Hilke Kurzke (Nottingham, UK) buechertiger.de Erased 2014 acrylics, ink Unique work 5 pages 14.5cm x 23cm x 1cm open 14.5cm x 11.5cm x 1.2cm closed I am a mostly self trained book artist and artisan bookbinder. I am (was) a mathematician and theologian by training, and a lover of stories. Topics for my art come from where those three interests overlap: I am curious and ever again amazed by how books work and manage to conserve and teach knowledge and experiences, and I try to show and examine this magic with my work. My early pieces concentrated exclusively on structural elements of books, but soon I discovered the writing down of language as an important aspect. Consequently works in secret and fake script entered my body of work, and books where all or part of the text is concealed or erased. I like to experiment with printing methods, most prominently relief printing in different form and from different materials. Striving for simplicity and a more intimate encounter between artist and reader I moved from commonly used materials for printing blocks (linoleum, rubber, wood), to cardboard, and on to handwriting and -drawing and simple stencils for most recent work. Some of my books feature my own writing. Most of my writing is what I like to call “fragments”, very short pieces that seem to be fragments of a larger story. I am interested in small moments of clarity that can happen in the most banal situations, in atmosphere and setting a scene with words, leaving it to the reader to play the puppets. And so my fragments are written in a sparse style which often utilize the book, its structure, and imagery to complete the story in the reader’s head or through the reader’s action rather than on the paper. Erased is a poem, written by hand in ink and then crossed out, such that the ascenders and descenders remain visible. With some effort, squinting, and holding in a good angle the poem still can be read. It is self conscious and starts with a short introduction: “I am a poem, and I am erased”, it addresses the reader directly, and thanks him for the effort of reading. It ends with the expression of hope that, although it was erased, it might still be of some value, maybe inspire another poem und concludes with a final, not erased: “That would be worth it”. This poem is an homage to the creative process. And a declaration of love to readers who dig deeper. The text is written by hand with rubbing ink on Waterford watercolour paper which I gave a thin coating with gesso. The poem was then erased by painting over with gold colou red acrylic paint. The backsides of the pages are covered with an acrylic wash with it deliberately staining the front page, and here and there are golden fingerprints or water drops. I wanted to create an atmosphere between precious (the gold) and discarded rubbish (good paper, but looking like rough cut-offs). And I wanted the cover to reflect this by choosing a precious material (well, semi precious) but I wanted it to be not quite there. So I decided to stitch parchment pieces together to use for a limp cover. The loose sheets are held together by a brown cotton ribbon which is held into place within the parchment wrapper by parchment tackets. The whole constructions resembles a file fold er more than a solid book. The binding is completely non-adhesive. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469805460-T93NRGS63XYF7KM6DIJ1/mcba-prize-2015-HILKE-KURZKE-ERASED-3.jpg Entries & Jurors - 2015 Entries - Hilke Kurzke Hilke Kurzke (Nottingham, UK) buechertiger.de Erased 2014 acrylics, ink Unique work 5 pages 14.5cm x 23cm x 1cm open 14.5cm x 11.5cm x 1.2cm closed I am a mostly self trained book artist and artisan bookbinder. I am (was) a mathematician and theologian by training, and a lover of stories. Topics for my art come from where those three interests overlap: I am curious and ever again amazed by how books work and manage to conserve and teach knowledge and experiences, and I try to show and examine this magic with my work. My early pieces concentrated exclusively on structural elements of books, but soon I discovered the writing down of language as an important aspect. Consequently works in secret and fake script entered my body of work, and books where all or part of the text is concealed or erased. I like to experiment with printing methods, most prominently relief printing in different form and from different materials. Striving for simplicity and a more intimate encounter between artist and reader I moved from commonly used materials for printing blocks (linoleum, rubber, wood), to cardboard, and on to handwriting and -drawing and simple stencils for most recent work. Some of my books feature my own writing. Most of my writing is what I like to call “fragments”, very short pieces that seem to be fragments of a larger story. I am interested in small moments of clarity that can happen in the most banal situations, in atmosphere and setting a scene with words, leaving it to the reader to play the puppets. And so my fragments are written in a sparse style which often utilize the book, its structure, and imagery to complete the story in the reader’s head or through the reader’s action rather than on the paper. Erased is a poem, written by hand in ink and then crossed out, such that the ascenders and descenders remain visible. With some effort, squinting, and holding in a good angle the poem still can be read. It is self conscious and starts with a short introduction: “I am a poem, and I am erased”, it addresses the reader directly, and thanks him for the effort of reading. It ends with the expression of hope that, although it was erased, it might still be of some value, maybe inspire another poem und concludes with a final, not erased: “That would be worth it”. This poem is an homage to the creative process. And a declaration of love to readers who dig deeper. The text is written by hand with rubbing ink on Waterford watercolour paper which I gave a thin coating with gesso. The poem was then erased by painting over with gold colou red acrylic paint. The backsides of the pages are covered with an acrylic wash with it deliberately staining the front page, and here and there are golden fingerprints or water drops. I wanted to create an atmosphere between precious (the gold) and discarded rubbish (good paper, but looking like rough cut-offs). And I wanted the cover to reflect this by choosing a precious material (well, semi precious) but I wanted it to be not quite there. So I decided to stitch parchment pieces together to use for a limp cover. The loose sheets are held together by a brown cotton ribbon which is held into place within the parchment wrapper by parchment tackets. The whole constructions resembles a file fold er more than a solid book. The binding is completely non-adhesive. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469807104-GBBE3UP5PU5216V08J1O/mcba-prize-2015-HILKE-KURZKE-ERASED-4.jpg Entries & Jurors - 2015 Entries - Hilke Kurzke Hilke Kurzke (Nottingham, UK) buechertiger.de Erased 2014 acrylics, ink Unique work 5 pages 14.5cm x 23cm x 1cm open 14.5cm x 11.5cm x 1.2cm closed I am a mostly self trained book artist and artisan bookbinder. I am (was) a mathematician and theologian by training, and a lover of stories. Topics for my art come from where those three interests overlap: I am curious and ever again amazed by how books work and manage to conserve and teach knowledge and experiences, and I try to show and examine this magic with my work. My early pieces concentrated exclusively on structural elements of books, but soon I discovered the writing down of language as an important aspect. Consequently works in secret and fake script entered my body of work, and books where all or part of the text is concealed or erased. I like to experiment with printing methods, most prominently relief printing in different form and from different materials. Striving for simplicity and a more intimate encounter between artist and reader I moved from commonly used materials for printing blocks (linoleum, rubber, wood), to cardboard, and on to handwriting and -drawing and simple stencils for most recent work. Some of my books feature my own writing. Most of my writing is what I like to call “fragments”, very short pieces that seem to be fragments of a larger story. I am interested in small moments of clarity that can happen in the most banal situations, in atmosphere and setting a scene with words, leaving it to the reader to play the puppets. And so my fragments are written in a sparse style which often utilize the book, its structure, and imagery to complete the story in the reader’s head or through the reader’s action rather than on the paper. Erased is a poem, written by hand in ink and then crossed out, such that the ascenders and descenders remain visible. With some effort, squinting, and holding in a good angle the poem still can be read. It is self conscious and starts with a short introduction: “I am a poem, and I am erased”, it addresses the reader directly, and thanks him for the effort of reading. It ends with the expression of hope that, although it was erased, it might still be of some value, maybe inspire another poem und concludes with a final, not erased: “That would be worth it”. This poem is an homage to the creative process. And a declaration of love to readers who dig deeper. The text is written by hand with rubbing ink on Waterford watercolour paper which I gave a thin coating with gesso. The poem was then erased by painting over with gold colou red acrylic paint. The backsides of the pages are covered with an acrylic wash with it deliberately staining the front page, and here and there are golden fingerprints or water drops. I wanted to create an atmosphere between precious (the gold) and discarded rubbish (good paper, but looking like rough cut-offs). And I wanted the cover to reflect this by choosing a precious material (well, semi precious) but I wanted it to be not quite there. So I decided to stitch parchment pieces together to use for a limp cover. The loose sheets are held together by a brown cotton ribbon which is held into place within the parchment wrapper by parchment tackets. The whole constructions resembles a file fold er more than a solid book. The binding is completely non-adhesive. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469807013-PK6G7P39NCLIK79VYEHJ/mcba-prize-2015-HILKE-KURZKE-ERASED-5.jpg Entries & Jurors - 2015 Entries - Hilke Kurzke Hilke Kurzke (Nottingham, UK) buechertiger.de Erased 2014 acrylics, ink Unique work 5 pages 14.5cm x 23cm x 1cm open 14.5cm x 11.5cm x 1.2cm closed I am a mostly self trained book artist and artisan bookbinder. I am (was) a mathematician and theologian by training, and a lover of stories. Topics for my art come from where those three interests overlap: I am curious and ever again amazed by how books work and manage to conserve and teach knowledge and experiences, and I try to show and examine this magic with my work. My early pieces concentrated exclusively on structural elements of books, but soon I discovered the writing down of language as an important aspect. Consequently works in secret and fake script entered my body of work, and books where all or part of the text is concealed or erased. I like to experiment with printing methods, most prominently relief printing in different form and from different materials. Striving for simplicity and a more intimate encounter between artist and reader I moved from commonly used materials for printing blocks (linoleum, rubber, wood), to cardboard, and on to handwriting and -drawing and simple stencils for most recent work. Some of my books feature my own writing. Most of my writing is what I like to call “fragments”, very short pieces that seem to be fragments of a larger story. I am interested in small moments of clarity that can happen in the most banal situations, in atmosphere and setting a scene with words, leaving it to the reader to play the puppets. And so my fragments are written in a sparse style which often utilize the book, its structure, and imagery to complete the story in the reader’s head or through the reader’s action rather than on the paper. Erased is a poem, written by hand in ink and then crossed out, such that the ascenders and descenders remain visible. With some effort, squinting, and holding in a good angle the poem still can be read. It is self conscious and starts with a short introduction: “I am a poem, and I am erased”, it addresses the reader directly, and thanks him for the effort of reading. It ends with the expression of hope that, although it was erased, it might still be of some value, maybe inspire another poem und concludes with a final, not erased: “That would be worth it”. This poem is an homage to the creative process. And a declaration of love to readers who dig deeper. The text is written by hand with rubbing ink on Waterford watercolour paper which I gave a thin coating with gesso. The poem was then erased by painting over with gold colou red acrylic paint. The backsides of the pages are covered with an acrylic wash with it deliberately staining the front page, and here and there are golden fingerprints or water drops. I wanted to create an atmosphere between precious (the gold) and discarded rubbish (good paper, but looking like rough cut-offs). And I wanted the cover to reflect this by choosing a precious material (well, semi precious) but I wanted it to be not quite there. So I decided to stitch parchment pieces together to use for a limp cover. The loose sheets are held together by a brown cotton ribbon which is held into place within the parchment wrapper by parchment tackets. The whole constructions resembles a file fold er more than a solid book. The binding is completely non-adhesive. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469933794-VABASJ8SK8SJRA3DWONJ/mcba-prize-2015-GEGEN-DEN-NACHTMAHR-1.jpg Entries & Jurors - 2015 Entries - Hilke Kurzke Hilke Kurzke (Nottingham, UK) buechertiger.de Gegen den Nachtmahr 2014 acrylics, graphite, collage Edition of 12 (varying) arguably 1, 2, or 3 pages Open: 15cm x 15cm x 5cm (varying) Closed: 4″* x 1.6″ x 1.2″ *(Height varies, as a stick is of varying length protudes from the 2″ box) I am a mostly self trained book artist and artisan bookbinder. I am (was) a mathematician and theologian by training, and a lover of stories. Topics for my art come from where those three interests overlap: I am curious and ever again amazed by how books work and manage to conserve and teach knowledge and experiences, and I try to show and examine this magic with my work. My early pieces concentrated exclusively on structural elements of books, but soon I discovered the writing down of language as an important aspect. Consequently works in secret and fake script entered my body of work, and books where all or part of the text is concealed or erased. I like to experiment with printing methods, most prominently relief printing in different form and from different materials. Striving for simplicity and a more intimate encounter between artist and reader I moved from commonly used materials for printing blocks (linoleum, rubber, wood), to cardboard, and on to handwriting and -drawing and simple stencils for most recent work. Gegen den Nachtmahr is the most recent, but not my first book about the broad topic of incantations and spells. While I do not believe in magic, I find it a fascinating and appealing aspect of religion. Magic combines the believe in the supernatural with the desire to make it rational and controllable, giving a well written spell this aura of reigned in force that I find inspiring. “Nachtmahr” is an old fashioned German word for both a nightmare and for the creature that was thought to cause nightmares by sitting on its victim’s chest during sleep. With this spell the caster would give Nightmare a series of impossible tasks (picking the leaves from all trees, counting all blades of grass, … ) which it has to complete before it can come to “torture [the caster] that night”. I first encountered a high German version of the spell in a wide-spread collection of German poems, and followed it to its roots. The version I used for this book is the oldest source I could find. Gegen den Nachtmahr is a varying, limited edition of 12 altered matchboxes, filled with a selection of found objects, some common to all (wood, grass, dried leaf, cherry stone) and some exclusively chosen for the each copy. On the bottom of the drawer is a pencil drawing, showing elements mentioned in the spell which is written by hand to the backside. The installation is meant to be put up on a nightstand, facing away from the user (and toward the potential nightmare) as a last barrier. The spell on the back of the box can then be read and recited while lying in bed. English Translation: The original is a German spell in a regional dialect, it rhymes and keeps a spoken rhythm. That makes it hard to translate to a different language. I decided to keep the meaning and give up the rhythm and rhyme of the original: Nightmare you evil creature don’t come here tonight. All waters you shall wade, All leaves from all trees you shall de-leaf, All blades of grass you shall count, don’t come torturing me in the night. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469932743-2A1SL5VGAV7G8C1N88HQ/mcba-prize-2015-GEGEN-DEN-NACHTMAHR-2.jpg Entries & Jurors - 2015 Entries - Hilke Kurzke Hilke Kurzke (Nottingham, UK) buechertiger.de Gegen den Nachtmahr 2014 acrylics, graphite, collage Edition of 12 (varying) arguably 1, 2, or 3 pages Open: 15cm x 15cm x 5cm (varying) Closed: 4″* x 1.6″ x 1.2″ *(Height varies, as a stick is of varying length protudes from the 2″ box) I am a mostly self trained book artist and artisan bookbinder. I am (was) a mathematician and theologian by training, and a lover of stories. Topics for my art come from where those three interests overlap: I am curious and ever again amazed by how books work and manage to conserve and teach knowledge and experiences, and I try to show and examine this magic with my work. My early pieces concentrated exclusively on structural elements of books, but soon I discovered the writing down of language as an important aspect. Consequently works in secret and fake script entered my body of work, and books where all or part of the text is concealed or erased. I like to experiment with printing methods, most prominently relief printing in different form and from different materials. Striving for simplicity and a more intimate encounter between artist and reader I moved from commonly used materials for printing blocks (linoleum, rubber, wood), to cardboard, and on to handwriting and -drawing and simple stencils for most recent work. Gegen den Nachtmahr is the most recent, but not my first book about the broad topic of incantations and spells. While I do not believe in magic, I find it a fascinating and appealing aspect of religion. Magic combines the believe in the supernatural with the desire to make it rational and controllable, giving a well written spell this aura of reigned in force that I find inspiring. “Nachtmahr” is an old fashioned German word for both a nightmare and for the creature that was thought to cause nightmares by sitting on its victim’s chest during sleep. With this spell the caster would give Nightmare a series of impossible tasks (picking the leaves from all trees, counting all blades of grass, … ) which it has to complete before it can come to “torture [the caster] that night”. I first encountered a high German version of the spell in a wide-spread collection of German poems, and followed it to its roots. The version I used for this book is the oldest source I could find. Gegen den Nachtmahr is a varying, limited edition of 12 altered matchboxes, filled with a selection of found objects, some common to all (wood, grass, dried leaf, cherry stone) and some exclusively chosen for the each copy. On the bottom of the drawer is a pencil drawing, showing elements mentioned in the spell which is written by hand to the backside. The installation is meant to be put up on a nightstand, facing away from the user (and toward the potential nightmare) as a last barrier. The spell on the back of the box can then be read and recited while lying in bed. English Translation: The original is a German spell in a regional dialect, it rhymes and keeps a spoken rhythm. That makes it hard to translate to a different language. I decided to keep the meaning and give up the rhythm and rhyme of the original: Nightmare you evil creature don’t come here tonight. All waters you shall wade, All leaves from all trees you shall de-leaf, All blades of grass you shall count, don’t come torturing me in the night. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469934231-SJQ8VCWV3CB9M8EUEZNO/mcba-prize-2015-GEGEN-DEN-NACHTMAHR-3.jpg Entries & Jurors - 2015 Entries - Hilke Kurzke Hilke Kurzke (Nottingham, UK) buechertiger.de Gegen den Nachtmahr 2014 acrylics, graphite, collage Edition of 12 (varying) arguably 1, 2, or 3 pages Open: 15cm x 15cm x 5cm (varying) Closed: 4″* x 1.6″ x 1.2″ *(Height varies, as a stick is of varying length protudes from the 2″ box) I am a mostly self trained book artist and artisan bookbinder. I am (was) a mathematician and theologian by training, and a lover of stories. Topics for my art come from where those three interests overlap: I am curious and ever again amazed by how books work and manage to conserve and teach knowledge and experiences, and I try to show and examine this magic with my work. My early pieces concentrated exclusively on structural elements of books, but soon I discovered the writing down of language as an important aspect. Consequently works in secret and fake script entered my body of work, and books where all or part of the text is concealed or erased. I like to experiment with printing methods, most prominently relief printing in different form and from different materials. Striving for simplicity and a more intimate encounter between artist and reader I moved from commonly used materials for printing blocks (linoleum, rubber, wood), to cardboard, and on to handwriting and -drawing and simple stencils for most recent work. Gegen den Nachtmahr is the most recent, but not my first book about the broad topic of incantations and spells. While I do not believe in magic, I find it a fascinating and appealing aspect of religion. Magic combines the believe in the supernatural with the desire to make it rational and controllable, giving a well written spell this aura of reigned in force that I find inspiring. “Nachtmahr” is an old fashioned German word for both a nightmare and for the creature that was thought to cause nightmares by sitting on its victim’s chest during sleep. With this spell the caster would give Nightmare a series of impossible tasks (picking the leaves from all trees, counting all blades of grass, … ) which it has to complete before it can come to “torture [the caster] that night”. I first encountered a high German version of the spell in a wide-spread collection of German poems, and followed it to its roots. The version I used for this book is the oldest source I could find. Gegen den Nachtmahr is a varying, limited edition of 12 altered matchboxes, filled with a selection of found objects, some common to all (wood, grass, dried leaf, cherry stone) and some exclusively chosen for the each copy. On the bottom of the drawer is a pencil drawing, showing elements mentioned in the spell which is written by hand to the backside. The installation is meant to be put up on a nightstand, facing away from the user (and toward the potential nightmare) as a last barrier. The spell on the back of the box can then be read and recited while lying in bed. English Translation: The original is a German spell in a regional dialect, it rhymes and keeps a spoken rhythm. That makes it hard to translate to a different language. I decided to keep the meaning and give up the rhythm and rhyme of the original: Nightmare you evil creature don’t come here tonight. All waters you shall wade, All leaves from all trees you shall de-leaf, All blades of grass you shall count, don’t come torturing me in the night. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469935375-IRTOXSB1US43EQEF9O6X/mcba-prize-2015-GEGEN-DEN-NACHTMAHR-4.jpg Entries & Jurors - 2015 Entries - Hilke Kurzke Hilke Kurzke (Nottingham, UK) buechertiger.de Gegen den Nachtmahr 2014 acrylics, graphite, collage Edition of 12 (varying) arguably 1, 2, or 3 pages Open: 15cm x 15cm x 5cm (varying) Closed: 4″* x 1.6″ x 1.2″ *(Height varies, as a stick is of varying length protudes from the 2″ box) I am a mostly self trained book artist and artisan bookbinder. I am (was) a mathematician and theologian by training, and a lover of stories. Topics for my art come from where those three interests overlap: I am curious and ever again amazed by how books work and manage to conserve and teach knowledge and experiences, and I try to show and examine this magic with my work. My early pieces concentrated exclusively on structural elements of books, but soon I discovered the writing down of language as an important aspect. Consequently works in secret and fake script entered my body of work, and books where all or part of the text is concealed or erased. I like to experiment with printing methods, most prominently relief printing in different form and from different materials. Striving for simplicity and a more intimate encounter between artist and reader I moved from commonly used materials for printing blocks (linoleum, rubber, wood), to cardboard, and on to handwriting and -drawing and simple stencils for most recent work. Gegen den Nachtmahr is the most recent, but not my first book about the broad topic of incantations and spells. While I do not believe in magic, I find it a fascinating and appealing aspect of religion. Magic combines the believe in the supernatural with the desire to make it rational and controllable, giving a well written spell this aura of reigned in force that I find inspiring. “Nachtmahr” is an old fashioned German word for both a nightmare and for the creature that was thought to cause nightmares by sitting on its victim’s chest during sleep. With this spell the caster would give Nightmare a series of impossible tasks (picking the leaves from all trees, counting all blades of grass, … ) which it has to complete before it can come to “torture [the caster] that night”. I first encountered a high German version of the spell in a wide-spread collection of German poems, and followed it to its roots. The version I used for this book is the oldest source I could find. Gegen den Nachtmahr is a varying, limited edition of 12 altered matchboxes, filled with a selection of found objects, some common to all (wood, grass, dried leaf, cherry stone) and some exclusively chosen for the each copy. On the bottom of the drawer is a pencil drawing, showing elements mentioned in the spell which is written by hand to the backside. The installation is meant to be put up on a nightstand, facing away from the user (and toward the potential nightmare) as a last barrier. The spell on the back of the box can then be read and recited while lying in bed. English Translation: The original is a German spell in a regional dialect, it rhymes and keeps a spoken rhythm. That makes it hard to translate to a different language. I decided to keep the meaning and give up the rhythm and rhyme of the original: Nightmare you evil creature don’t come here tonight. All waters you shall wade, All leaves from all trees you shall de-leaf, All blades of grass you shall count, don’t come torturing me in the night. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774469935582-SCDETAMBABXU9CHALLXG/mcba-prize-2015-GEGEN-DEN-NACHTMAHR-5.jpg Entries & Jurors - 2015 Entries - Hilke Kurzke Hilke Kurzke (Nottingham, UK) buechertiger.de Gegen den Nachtmahr 2014 acrylics, graphite, collage Edition of 12 (varying) arguably 1, 2, or 3 pages Open: 15cm x 15cm x 5cm (varying) Closed: 4″* x 1.6″ x 1.2″ *(Height varies, as a stick is of varying length protudes from the 2″ box) I am a mostly self trained book artist and artisan bookbinder. I am (was) a mathematician and theologian by training, and a lover of stories. Topics for my art come from where those three interests overlap: I am curious and ever again amazed by how books work and manage to conserve and teach knowledge and experiences, and I try to show and examine this magic with my work. My early pieces concentrated exclusively on structural elements of books, but soon I discovered the writing down of language as an important aspect. Consequently works in secret and fake script entered my body of work, and books where all or part of the text is concealed or erased. I like to experiment with printing methods, most prominently relief printing in different form and from different materials. Striving for simplicity and a more intimate encounter between artist and reader I moved from commonly used materials for printing blocks (linoleum, rubber, wood), to cardboard, and on to handwriting and -drawing and simple stencils for most recent work. Gegen den Nachtmahr is the most recent, but not my first book about the broad topic of incantations and spells. While I do not believe in magic, I find it a fascinating and appealing aspect of religion. Magic combines the believe in the supernatural with the desire to make it rational and controllable, giving a well written spell this aura of reigned in force that I find inspiring. “Nachtmahr” is an old fashioned German word for both a nightmare and for the creature that was thought to cause nightmares by sitting on its victim’s chest during sleep. With this spell the caster would give Nightmare a series of impossible tasks (picking the leaves from all trees, counting all blades of grass, … ) which it has to complete before it can come to “torture [the caster] that night”. I first encountered a high German version of the spell in a wide-spread collection of German poems, and followed it to its roots. The version I used for this book is the oldest source I could find. Gegen den Nachtmahr is a varying, limited edition of 12 altered matchboxes, filled with a selection of found objects, some common to all (wood, grass, dried leaf, cherry stone) and some exclusively chosen for the each copy. On the bottom of the drawer is a pencil drawing, showing elements mentioned in the spell which is written by hand to the backside. The installation is meant to be put up on a nightstand, facing away from the user (and toward the potential nightmare) as a last barrier. The spell on the back of the box can then be read and recited while lying in bed. English Translation: The original is a German spell in a regional dialect, it rhymes and keeps a spoken rhythm. That makes it hard to translate to a different language. I decided to keep the meaning and give up the rhythm and rhyme of the original: Nightmare you evil creature don’t come here tonight. All waters you shall wade, All leaves from all trees you shall de-leaf, All blades of grass you shall count, don’t come torturing me in the night. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470119576-4YMEPZAUJJCXCRIBR4UR/mcba-prize-2015-VICTORIA-LANSFORD-IMAGINATION-BODIES-FORTH-1.jpg Entries & Jurors - 2015 Entries - Victoria Lansford Victoria Lansford (Atlanta, GA) victorialansford.com Imagination Bodies Forth 2013 Eastern repousse and acid etched copper covers, long stitch book, hand lettering over giclee printed original collages, paper, stick inks, gouache Unique work 26 pages 6 x 13 x 1.5″ open 6 x 6 x 2″ closed There is something truly magical about creating, about making things. It makes me feel like a conjurer, summoning up an object from an idea. Of course between the inspiration and the manifestations can be ages of what is sometimes fun and sometimes grueling work. This one of a kind book took 14 months to complete. It encompasses perhaps my most involved Eastern repousse piece to date, the copper front cover portrait of my son, Skyler at age 11. I first drew the portrait with Prismacolor pencils on goatskin vellum. Before it was complete I knew had to hammer it in metal and create something intimate and interactive, a view to his thoughts on the inside via my perspective from the outside. Skyler had recently become a Shakespeare fan (no one does bawdy humor like The Bard), so I began researching passages that would fit my perspective of his thoughts and dreams as he stood on the edge of childhood, looking toward his teens. When I found Theseus’ speech from Midsummer Nights Dream, I knew it was perfect even if I did rip it out of context just a bit. The text was taken from the 1600 First Folio held by the Bodleian Library with contemporary English spelling applied. The breaking of the lines into this layout was inspired by the Bard but was, alas, subject to the whims of the artist. The calligraphic lettering is a broad edged hand that I began developing in 2012 and is inspired by a particular style of Arabic writing from antiquity. The images in the book block behind the hand lettering are original collages and drawings and a few NASA photos that I digitally manipulated into giclee prints to form a continuous set of pages. The Eastern repousse process on the copper front cover involves free hand hammering 24 gauge sheet metal alternately from the front and back with specialized tools. Eastern repousse dates back to the ancient Egyptians (such as Tutankhamun’s mask) and is a technique I’ve revived for contemporary use in jewelry and functional objects. The greatest challenge of the book was bringing together these rather disparate elements of Eastern repousse portraiture, timeless language, surreal images, and cryptic lettering to create a sense of visual depth worthy of Shakespeare’s text and equal to the literal technical height of the Eastern repousse. Together these elements of depth reflect my fathomless love for my son as I watch awestruck, his metamorphosis from child to teen to adult. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470118076-SKMXU5GLELRTBH3FM8S1/mcba-prize-2015-VICTORIA-LANSFORD-IMAGINATION-BODIES-FORTH-2.jpg Entries & Jurors - 2015 Entries - Victoria Lansford Victoria Lansford (Atlanta, GA) victorialansford.com Imagination Bodies Forth 2013 Eastern repousse and acid etched copper covers, long stitch book, hand lettering over giclee printed original collages, paper, stick inks, gouache Unique work 26 pages 6 x 13 x 1.5″ open 6 x 6 x 2″ closed There is something truly magical about creating, about making things. It makes me feel like a conjurer, summoning up an object from an idea. Of course between the inspiration and the manifestations can be ages of what is sometimes fun and sometimes grueling work. This one of a kind book took 14 months to complete. It encompasses perhaps my most involved Eastern repousse piece to date, the copper front cover portrait of my son, Skyler at age 11. I first drew the portrait with Prismacolor pencils on goatskin vellum. Before it was complete I knew had to hammer it in metal and create something intimate and interactive, a view to his thoughts on the inside via my perspective from the outside. Skyler had recently become a Shakespeare fan (no one does bawdy humor like The Bard), so I began researching passages that would fit my perspective of his thoughts and dreams as he stood on the edge of childhood, looking toward his teens. When I found Theseus’ speech from Midsummer Nights Dream, I knew it was perfect even if I did rip it out of context just a bit. The text was taken from the 1600 First Folio held by the Bodleian Library with contemporary English spelling applied. The breaking of the lines into this layout was inspired by the Bard but was, alas, subject to the whims of the artist. The calligraphic lettering is a broad edged hand that I began developing in 2012 and is inspired by a particular style of Arabic writing from antiquity. The images in the book block behind the hand lettering are original collages and drawings and a few NASA photos that I digitally manipulated into giclee prints to form a continuous set of pages. The Eastern repousse process on the copper front cover involves free hand hammering 24 gauge sheet metal alternately from the front and back with specialized tools. Eastern repousse dates back to the ancient Egyptians (such as Tutankhamun’s mask) and is a technique I’ve revived for contemporary use in jewelry and functional objects. The greatest challenge of the book was bringing together these rather disparate elements of Eastern repousse portraiture, timeless language, surreal images, and cryptic lettering to create a sense of visual depth worthy of Shakespeare’s text and equal to the literal technical height of the Eastern repousse. Together these elements of depth reflect my fathomless love for my son as I watch awestruck, his metamorphosis from child to teen to adult. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470119574-LYLEGGRRSHHMUZCORD5K/mcba-prize-2015-VICTORIA-LANSFORD-IMAGINATION-BODIES-FORTH-3.jpg Entries & Jurors - 2015 Entries - Victoria Lansford Victoria Lansford (Atlanta, GA) victorialansford.com Imagination Bodies Forth 2013 Eastern repousse and acid etched copper covers, long stitch book, hand lettering over giclee printed original collages, paper, stick inks, gouache Unique work 26 pages 6 x 13 x 1.5″ open 6 x 6 x 2″ closed There is something truly magical about creating, about making things. It makes me feel like a conjurer, summoning up an object from an idea. Of course between the inspiration and the manifestations can be ages of what is sometimes fun and sometimes grueling work. This one of a kind book took 14 months to complete. It encompasses perhaps my most involved Eastern repousse piece to date, the copper front cover portrait of my son, Skyler at age 11. I first drew the portrait with Prismacolor pencils on goatskin vellum. Before it was complete I knew had to hammer it in metal and create something intimate and interactive, a view to his thoughts on the inside via my perspective from the outside. Skyler had recently become a Shakespeare fan (no one does bawdy humor like The Bard), so I began researching passages that would fit my perspective of his thoughts and dreams as he stood on the edge of childhood, looking toward his teens. When I found Theseus’ speech from Midsummer Nights Dream, I knew it was perfect even if I did rip it out of context just a bit. The text was taken from the 1600 First Folio held by the Bodleian Library with contemporary English spelling applied. The breaking of the lines into this layout was inspired by the Bard but was, alas, subject to the whims of the artist. The calligraphic lettering is a broad edged hand that I began developing in 2012 and is inspired by a particular style of Arabic writing from antiquity. The images in the book block behind the hand lettering are original collages and drawings and a few NASA photos that I digitally manipulated into giclee prints to form a continuous set of pages. The Eastern repousse process on the copper front cover involves free hand hammering 24 gauge sheet metal alternately from the front and back with specialized tools. Eastern repousse dates back to the ancient Egyptians (such as Tutankhamun’s mask) and is a technique I’ve revived for contemporary use in jewelry and functional objects. The greatest challenge of the book was bringing together these rather disparate elements of Eastern repousse portraiture, timeless language, surreal images, and cryptic lettering to create a sense of visual depth worthy of Shakespeare’s text and equal to the literal technical height of the Eastern repousse. Together these elements of depth reflect my fathomless love for my son as I watch awestruck, his metamorphosis from child to teen to adult. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470120811-4HTJN7LKZVIS3JQ9Y677/mcba-prize-2015-VICTORIA-LANSFORD-IMAGINATION-BODIES-FORTH-4.jpg Entries & Jurors - 2015 Entries - Victoria Lansford Victoria Lansford (Atlanta, GA) victorialansford.com Imagination Bodies Forth 2013 Eastern repousse and acid etched copper covers, long stitch book, hand lettering over giclee printed original collages, paper, stick inks, gouache Unique work 26 pages 6 x 13 x 1.5″ open 6 x 6 x 2″ closed There is something truly magical about creating, about making things. It makes me feel like a conjurer, summoning up an object from an idea. Of course between the inspiration and the manifestations can be ages of what is sometimes fun and sometimes grueling work. This one of a kind book took 14 months to complete. It encompasses perhaps my most involved Eastern repousse piece to date, the copper front cover portrait of my son, Skyler at age 11. I first drew the portrait with Prismacolor pencils on goatskin vellum. Before it was complete I knew had to hammer it in metal and create something intimate and interactive, a view to his thoughts on the inside via my perspective from the outside. Skyler had recently become a Shakespeare fan (no one does bawdy humor like The Bard), so I began researching passages that would fit my perspective of his thoughts and dreams as he stood on the edge of childhood, looking toward his teens. When I found Theseus’ speech from Midsummer Nights Dream, I knew it was perfect even if I did rip it out of context just a bit. The text was taken from the 1600 First Folio held by the Bodleian Library with contemporary English spelling applied. The breaking of the lines into this layout was inspired by the Bard but was, alas, subject to the whims of the artist. The calligraphic lettering is a broad edged hand that I began developing in 2012 and is inspired by a particular style of Arabic writing from antiquity. The images in the book block behind the hand lettering are original collages and drawings and a few NASA photos that I digitally manipulated into giclee prints to form a continuous set of pages. The Eastern repousse process on the copper front cover involves free hand hammering 24 gauge sheet metal alternately from the front and back with specialized tools. Eastern repousse dates back to the ancient Egyptians (such as Tutankhamun’s mask) and is a technique I’ve revived for contemporary use in jewelry and functional objects. The greatest challenge of the book was bringing together these rather disparate elements of Eastern repousse portraiture, timeless language, surreal images, and cryptic lettering to create a sense of visual depth worthy of Shakespeare’s text and equal to the literal technical height of the Eastern repousse. Together these elements of depth reflect my fathomless love for my son as I watch awestruck, his metamorphosis from child to teen to adult. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470120958-CTG3JHVC3VDAJ4NZ1KW3/mcba-prize-2015-VICTORIA-LANSFORD-IMAGINATION-BODIES-FORTH-5.jpg Entries & Jurors - 2015 Entries - Victoria Lansford Victoria Lansford (Atlanta, GA) victorialansford.com Imagination Bodies Forth 2013 Eastern repousse and acid etched copper covers, long stitch book, hand lettering over giclee printed original collages, paper, stick inks, gouache Unique work 26 pages 6 x 13 x 1.5″ open 6 x 6 x 2″ closed There is something truly magical about creating, about making things. It makes me feel like a conjurer, summoning up an object from an idea. Of course between the inspiration and the manifestations can be ages of what is sometimes fun and sometimes grueling work. This one of a kind book took 14 months to complete. It encompasses perhaps my most involved Eastern repousse piece to date, the copper front cover portrait of my son, Skyler at age 11. I first drew the portrait with Prismacolor pencils on goatskin vellum. Before it was complete I knew had to hammer it in metal and create something intimate and interactive, a view to his thoughts on the inside via my perspective from the outside. Skyler had recently become a Shakespeare fan (no one does bawdy humor like The Bard), so I began researching passages that would fit my perspective of his thoughts and dreams as he stood on the edge of childhood, looking toward his teens. When I found Theseus’ speech from Midsummer Nights Dream, I knew it was perfect even if I did rip it out of context just a bit. The text was taken from the 1600 First Folio held by the Bodleian Library with contemporary English spelling applied. The breaking of the lines into this layout was inspired by the Bard but was, alas, subject to the whims of the artist. The calligraphic lettering is a broad edged hand that I began developing in 2012 and is inspired by a particular style of Arabic writing from antiquity. The images in the book block behind the hand lettering are original collages and drawings and a few NASA photos that I digitally manipulated into giclee prints to form a continuous set of pages. The Eastern repousse process on the copper front cover involves free hand hammering 24 gauge sheet metal alternately from the front and back with specialized tools. Eastern repousse dates back to the ancient Egyptians (such as Tutankhamun’s mask) and is a technique I’ve revived for contemporary use in jewelry and functional objects. The greatest challenge of the book was bringing together these rather disparate elements of Eastern repousse portraiture, timeless language, surreal images, and cryptic lettering to create a sense of visual depth worthy of Shakespeare’s text and equal to the literal technical height of the Eastern repousse. Together these elements of depth reflect my fathomless love for my son as I watch awestruck, his metamorphosis from child to teen to adult. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470261451-5S9DG3AXZQM23IPQVSIR/mcba-prize-2015-GIULI%3AGULLA-LARSEN-HOME-1.jpg Entries & Jurors - 2015 Entries - Giuli/Gulla Larsen Giuli/Gulla Larsen (Copenhagen, Denmark) HOME 2013 Mixed media Unique work 29 x 42 x 13 cm open 29 x 21 x 13 cm closed Living in Scandinavia with cold and snowy winters -– and being a passionate winter bather -– I have wanted to illustrate “my other home”: A tiny bathing hut with a tiny ladder leading to the big ocean. A place to refresh your body as well as your mind. I so enjoy this little breathing space. My work is a kind of a pop-up book based on a lot of photos, I have taken of the real place at the beach. The little bathing hut is a pretty accurate mini model –- whereas the long ladder leading is more fictional to give an impression of the diving into the big ocean, which I hope, you can imagine when looking into my work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470260627-MY945G6YP5KGVRORVFNK/mcba-prize-2015-GIULI%3AGULLA-LARSEN-HOME-2.jpg Entries & Jurors - 2015 Entries - Giuli/Gulla Larsen Giuli/Gulla Larsen (Copenhagen, Denmark) HOME 2013 Mixed media Unique work 29 x 42 x 13 cm open 29 x 21 x 13 cm closed Living in Scandinavia with cold and snowy winters -– and being a passionate winter bather -– I have wanted to illustrate “my other home”: A tiny bathing hut with a tiny ladder leading to the big ocean. A place to refresh your body as well as your mind. I so enjoy this little breathing space. My work is a kind of a pop-up book based on a lot of photos, I have taken of the real place at the beach. The little bathing hut is a pretty accurate mini model –- whereas the long ladder leading is more fictional to give an impression of the diving into the big ocean, which I hope, you can imagine when looking into my work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470262706-YI0FV1MWKFJ3NNBATPS9/mcba-prize-2015-GIULI%3AGULLA-LARSEN-HOME-3.jpg Entries & Jurors - 2015 Entries - Giuli/Gulla Larsen Giuli/Gulla Larsen (Copenhagen, Denmark) HOME 2013 Mixed media Unique work 29 x 42 x 13 cm open 29 x 21 x 13 cm closed Living in Scandinavia with cold and snowy winters -– and being a passionate winter bather -– I have wanted to illustrate “my other home”: A tiny bathing hut with a tiny ladder leading to the big ocean. A place to refresh your body as well as your mind. I so enjoy this little breathing space. My work is a kind of a pop-up book based on a lot of photos, I have taken of the real place at the beach. The little bathing hut is a pretty accurate mini model –- whereas the long ladder leading is more fictional to give an impression of the diving into the big ocean, which I hope, you can imagine when looking into my work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470264445-8YA1ZGL39Z1W39RMVQH6/mcba-prize-2015-GIULI%3AGULLA-LARSEN-HOME-4.jpg Entries & Jurors - 2015 Entries - Giuli/Gulla Larsen Giuli/Gulla Larsen (Copenhagen, Denmark) HOME 2013 Mixed media Unique work 29 x 42 x 13 cm open 29 x 21 x 13 cm closed Living in Scandinavia with cold and snowy winters -– and being a passionate winter bather -– I have wanted to illustrate “my other home”: A tiny bathing hut with a tiny ladder leading to the big ocean. A place to refresh your body as well as your mind. I so enjoy this little breathing space. My work is a kind of a pop-up book based on a lot of photos, I have taken of the real place at the beach. The little bathing hut is a pretty accurate mini model –- whereas the long ladder leading is more fictional to give an impression of the diving into the big ocean, which I hope, you can imagine when looking into my work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470264370-H42ATBGQI9N43JEY5JX8/mcba-prize-2015-GIULI%3AGULLA-LARSEN-HOME-5.jpg Entries & Jurors - 2015 Entries - Giuli/Gulla Larsen Giuli/Gulla Larsen (Copenhagen, Denmark) HOME 2013 Mixed media Unique work 29 x 42 x 13 cm open 29 x 21 x 13 cm closed Living in Scandinavia with cold and snowy winters -– and being a passionate winter bather -– I have wanted to illustrate “my other home”: A tiny bathing hut with a tiny ladder leading to the big ocean. A place to refresh your body as well as your mind. I so enjoy this little breathing space. My work is a kind of a pop-up book based on a lot of photos, I have taken of the real place at the beach. The little bathing hut is a pretty accurate mini model –- whereas the long ladder leading is more fictional to give an impression of the diving into the big ocean, which I hope, you can imagine when looking into my work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470382094-3WJQC1QHTOWACQEQ0HSG/mcba-prize-2015-JENN-LAW-ARTIFACT-1.jpg Entries & Jurors - 2015 Entries - Jenn Law Jenn Law (Toronto, Ontario) jennlaw.com Artifact 2014 3D printed book Edition 2 11″ x 7.5″ x 1.12″ Inspired in part by Jorge Luis Borge’s contention that a book is “an axis of innumerable relationships”, Jenn Law examines print culture, bibliophilia, and textuality through the close material readings of several key texts. Law’s practice centers on the artifacts of reading and writing, making hand-cut prints and sculptural paper works from found books, as well as using digital technologies to fabricate 3D printed ink bottles, fountain pens, books and printing presses. In the face of contemporary debates surrounding the purported crisis in print culture, Law contemplates the future of the book, our fetishization and attachment to its physical object-form, and our desire to collect and possess the knowledge contained therein. In Artifact, Law has created a book using the newest printing technology, 3D printing. The object is a ‘replica’ of a book by Edmund C. Berkeley, an American computer scientist who wrote one of the earliest popular publications on computers in 1949, called “Giant Brains or Machines That Think”. The volume is open to Chapter 11, in which Berkeley imagines what the social impact of computers will be for mankind. This 3D printed work is a carefully constructed illusion of a book. The pages are printed on the surface, but do not turn; the book is open, but cannot close. Although fabricated using the most advanced printing technology, it is in fact unreadable – it exists solely as an art object, an artifact of sorts. As a book, it is redundant. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470380976-BI55YJRT4QUMHFE3IPM3/mcba-prize-2015-JENN-LAW-ARTIFACT-2.jpg Entries & Jurors - 2015 Entries - Jenn Law https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470382362-T72XYSSVO7DWVZXFL9S5/mcba-prize-2015-JENN-LAW-ARTIFACT-3.jpg Entries & Jurors - 2015 Entries - Jenn Law https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470571735-LKCVNNY4YYZYB9R797EN/mcba-prize-2015-SAMMY-LEE-SHAHJAHANABAD-1.jpg Entries & Jurors - 2015 Entries - Sammy Lee Sammy Lee (Denver, CO) studiosmlk.com Shahjahanabad (Artist Edition) 2015 Archival digital printing, C-printing, accordion fold Edition of 15 vl.1: 60 pages; vl.2: 36 pages Dimensions open: 7” x 126” x 2.5” Dimensions closed: 7” x 10” x 4.25” A few months ago, I took on a project drawing from Indian culture based on my pre-existing longing and admiration for the country. Consequently, in preparation for this work, I had already spent a few delightful months in my imaginings of India, living vicariously through the visuals of books, the Internet, Bollywood movies, and local Indian restaurants. Around the time when this project was winding down, still unquenched and enamored with India’s exuberant charm, I ran across Josh Bergeron’s photos of Delhi, posted on his Facebook page. Having met Bergeron earlier in the year at my exhibition at the Boulder Museum of Contemporary Art, his photography for the museum had left a strong impression on me. Bergeron’s documentary-style photos capture quotidian scenes from the streets of Old Delhi, a modern day ghetto with a large refugee population. The images are alluring, powerful, and mysteriously captivating. He manages to capture residents’ private spaces – sleeping, bathing, cooking, working, playing, and searching resourcefully – with the transient eye of a complete stranger. I could easily imagine Bergeron losing himself in the tangled network of narrow alleys, diligently dragging his tired legs and snapping photos at every turn. The interior volume retraces photographer’s trail within Old Delhi through the book’s viewing sequence and binding structure. Photo panels unfold left, right or sometime both directions, reminding the viewer of his roundabout journey. Rather than a finished photo album or edition, the collapsed book also looks like a casual stack of loose prints, or a pile of raw experiences. The exterior volume, which cradles and interlocks the inner-book, depicts the life around train tracks of the dwellers of Old Delhi. The images on two books, viewed side by side, create a montage of harmony or tension. With no intention to filter the reality of Old Delhi, these immersive images often depict harsh or abject conditions, but with an honesty that is quite beautiful. One cannot help but visualize taking photographer’s place, negotiating the tight alleyways saturated with new textures, colors, smells, sounds, and tastes. As a student, I traveled extensively, desperately seeking my sense of identity in a broader context of the world. Now twenty years later, Bergeron’s photographs are a reminder of this search for the self—no longer through examining oneself against the world at large, but through introspection within the narrow confines of a maze. The work speaks to the virtue of willingly entering a labyrinth, not necessarily to find the way out, but to let go and find one’s own direction amidst chaos. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470570305-E23MO5BUIOZ4JK6Q656C/mcba-prize-2015-SAMMY-LEE-SHAHJAHANABAD-2.jpg Entries & Jurors - 2015 Entries - Sammy Lee Sammy Lee (Denver, CO) studiosmlk.com Shahjahanabad (Artist Edition) 2015 Archival digital printing, C-printing, accordion fold Edition of 15 vl.1: 60 pages; vl.2: 36 pages Dimensions open: 7” x 126” x 2.5” Dimensions closed: 7” x 10” x 4.25” A few months ago, I took on a project drawing from Indian culture based on my pre-existing longing and admiration for the country. Consequently, in preparation for this work, I had already spent a few delightful months in my imaginings of India, living vicariously through the visuals of books, the Internet, Bollywood movies, and local Indian restaurants. Around the time when this project was winding down, still unquenched and enamored with India’s exuberant charm, I ran across Josh Bergeron’s photos of Delhi, posted on his Facebook page. Having met Bergeron earlier in the year at my exhibition at the Boulder Museum of Contemporary Art, his photography for the museum had left a strong impression on me. Bergeron’s documentary-style photos capture quotidian scenes from the streets of Old Delhi, a modern day ghetto with a large refugee population. The images are alluring, powerful, and mysteriously captivating. He manages to capture residents’ private spaces – sleeping, bathing, cooking, working, playing, and searching resourcefully – with the transient eye of a complete stranger. I could easily imagine Bergeron losing himself in the tangled network of narrow alleys, diligently dragging his tired legs and snapping photos at every turn. The interior volume retraces photographer’s trail within Old Delhi through the book’s viewing sequence and binding structure. Photo panels unfold left, right or sometime both directions, reminding the viewer of his roundabout journey. Rather than a finished photo album or edition, the collapsed book also looks like a casual stack of loose prints, or a pile of raw experiences. The exterior volume, which cradles and interlocks the inner-book, depicts the life around train tracks of the dwellers of Old Delhi. The images on two books, viewed side by side, create a montage of harmony or tension. With no intention to filter the reality of Old Delhi, these immersive images often depict harsh or abject conditions, but with an honesty that is quite beautiful. One cannot help but visualize taking photographer’s place, negotiating the tight alleyways saturated with new textures, colors, smells, sounds, and tastes. As a student, I traveled extensively, desperately seeking my sense of identity in a broader context of the world. Now twenty years later, Bergeron’s photographs are a reminder of this search for the self—no longer through examining oneself against the world at large, but through introspection within the narrow confines of a maze. The work speaks to the virtue of willingly entering a labyrinth, not necessarily to find the way out, but to let go and find one’s own direction amidst chaos. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470571870-5W0NQU1XWJNRX78FXVJK/mcba-prize-2015-SAMMY-LEE-SHAHJAHANABAD-3.jpg Entries & Jurors - 2015 Entries - Sammy Lee Sammy Lee (Denver, CO) studiosmlk.com Shahjahanabad (Artist Edition) 2015 Archival digital printing, C-printing, accordion fold Edition of 15 vl.1: 60 pages; vl.2: 36 pages Dimensions open: 7” x 126” x 2.5” Dimensions closed: 7” x 10” x 4.25” A few months ago, I took on a project drawing from Indian culture based on my pre-existing longing and admiration for the country. Consequently, in preparation for this work, I had already spent a few delightful months in my imaginings of India, living vicariously through the visuals of books, the Internet, Bollywood movies, and local Indian restaurants. Around the time when this project was winding down, still unquenched and enamored with India’s exuberant charm, I ran across Josh Bergeron’s photos of Delhi, posted on his Facebook page. Having met Bergeron earlier in the year at my exhibition at the Boulder Museum of Contemporary Art, his photography for the museum had left a strong impression on me. Bergeron’s documentary-style photos capture quotidian scenes from the streets of Old Delhi, a modern day ghetto with a large refugee population. The images are alluring, powerful, and mysteriously captivating. He manages to capture residents’ private spaces – sleeping, bathing, cooking, working, playing, and searching resourcefully – with the transient eye of a complete stranger. I could easily imagine Bergeron losing himself in the tangled network of narrow alleys, diligently dragging his tired legs and snapping photos at every turn. The interior volume retraces photographer’s trail within Old Delhi through the book’s viewing sequence and binding structure. Photo panels unfold left, right or sometime both directions, reminding the viewer of his roundabout journey. Rather than a finished photo album or edition, the collapsed book also looks like a casual stack of loose prints, or a pile of raw experiences. The exterior volume, which cradles and interlocks the inner-book, depicts the life around train tracks of the dwellers of Old Delhi. The images on two books, viewed side by side, create a montage of harmony or tension. With no intention to filter the reality of Old Delhi, these immersive images often depict harsh or abject conditions, but with an honesty that is quite beautiful. One cannot help but visualize taking photographer’s place, negotiating the tight alleyways saturated with new textures, colors, smells, sounds, and tastes. As a student, I traveled extensively, desperately seeking my sense of identity in a broader context of the world. Now twenty years later, Bergeron’s photographs are a reminder of this search for the self—no longer through examining oneself against the world at large, but through introspection within the narrow confines of a maze. The work speaks to the virtue of willingly entering a labyrinth, not necessarily to find the way out, but to let go and find one’s own direction amidst chaos. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470573328-56TBWUNA58D88604UROL/mcba-prize-2015-SAMMY-LEE-SHAHJAHANABAD-4.jpg Entries & Jurors - 2015 Entries - Sammy Lee Sammy Lee (Denver, CO) studiosmlk.com Shahjahanabad (Artist Edition) 2015 Archival digital printing, C-printing, accordion fold Edition of 15 vl.1: 60 pages; vl.2: 36 pages Dimensions open: 7” x 126” x 2.5” Dimensions closed: 7” x 10” x 4.25” A few months ago, I took on a project drawing from Indian culture based on my pre-existing longing and admiration for the country. Consequently, in preparation for this work, I had already spent a few delightful months in my imaginings of India, living vicariously through the visuals of books, the Internet, Bollywood movies, and local Indian restaurants. Around the time when this project was winding down, still unquenched and enamored with India’s exuberant charm, I ran across Josh Bergeron’s photos of Delhi, posted on his Facebook page. Having met Bergeron earlier in the year at my exhibition at the Boulder Museum of Contemporary Art, his photography for the museum had left a strong impression on me. Bergeron’s documentary-style photos capture quotidian scenes from the streets of Old Delhi, a modern day ghetto with a large refugee population. The images are alluring, powerful, and mysteriously captivating. He manages to capture residents’ private spaces – sleeping, bathing, cooking, working, playing, and searching resourcefully – with the transient eye of a complete stranger. I could easily imagine Bergeron losing himself in the tangled network of narrow alleys, diligently dragging his tired legs and snapping photos at every turn. The interior volume retraces photographer’s trail within Old Delhi through the book’s viewing sequence and binding structure. Photo panels unfold left, right or sometime both directions, reminding the viewer of his roundabout journey. Rather than a finished photo album or edition, the collapsed book also looks like a casual stack of loose prints, or a pile of raw experiences. The exterior volume, which cradles and interlocks the inner-book, depicts the life around train tracks of the dwellers of Old Delhi. The images on two books, viewed side by side, create a montage of harmony or tension. With no intention to filter the reality of Old Delhi, these immersive images often depict harsh or abject conditions, but with an honesty that is quite beautiful. One cannot help but visualize taking photographer’s place, negotiating the tight alleyways saturated with new textures, colors, smells, sounds, and tastes. As a student, I traveled extensively, desperately seeking my sense of identity in a broader context of the world. Now twenty years later, Bergeron’s photographs are a reminder of this search for the self—no longer through examining oneself against the world at large, but through introspection within the narrow confines of a maze. The work speaks to the virtue of willingly entering a labyrinth, not necessarily to find the way out, but to let go and find one’s own direction amidst chaos. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470573533-CMDV1R9AKBOUNOGRT689/mcba-prize-2015-SAMMY-LEE-SHAHJAHANABAD-5.jpg Entries & Jurors - 2015 Entries - Warren Lehrer Sammy Lee (Denver, CO) studiosmlk.com Shahjahanabad (Artist Edition) 2015 Archival digital printing, C-printing, accordion fold Edition of 15 vl.1: 60 pages; vl.2: 36 pages Dimensions open: 7” x 126” x 2.5” Dimensions closed: 7” x 10” x 4.25” A few months ago, I took on a project drawing from Indian culture based on my pre-existing longing and admiration for the country. Consequently, in preparation for this work, I had already spent a few delightful months in my imaginings of India, living vicariously through the visuals of books, the Internet, Bollywood movies, and local Indian restaurants. Around the time when this project was winding down, still unquenched and enamored with India’s exuberant charm, I ran across Josh Bergeron’s photos of Delhi, posted on his Facebook page. Having met Bergeron earlier in the year at my exhibition at the Boulder Museum of Contemporary Art, his photography for the museum had left a strong impression on me. Bergeron’s documentary-style photos capture quotidian scenes from the streets of Old Delhi, a modern day ghetto with a large refugee population. The images are alluring, powerful, and mysteriously captivating. He manages to capture residents’ private spaces – sleeping, bathing, cooking, working, playing, and searching resourcefully – with the transient eye of a complete stranger. I could easily imagine Bergeron losing himself in the tangled network of narrow alleys, diligently dragging his tired legs and snapping photos at every turn. The interior volume retraces photographer’s trail within Old Delhi through the book’s viewing sequence and binding structure. Photo panels unfold left, right or sometime both directions, reminding the viewer of his roundabout journey. Rather than a finished photo album or edition, the collapsed book also looks like a casual stack of loose prints, or a pile of raw experiences. The exterior volume, which cradles and interlocks the inner-book, depicts the life around train tracks of the dwellers of Old Delhi. The images on two books, viewed side by side, create a montage of harmony or tension. With no intention to filter the reality of Old Delhi, these immersive images often depict harsh or abject conditions, but with an honesty that is quite beautiful. One cannot help but visualize taking photographer’s place, negotiating the tight alleyways saturated with new textures, colors, smells, sounds, and tastes. As a student, I traveled extensively, desperately seeking my sense of identity in a broader context of the world. Now twenty years later, Bergeron’s photographs are a reminder of this search for the self—no longer through examining oneself against the world at large, but through introspection within the narrow confines of a maze. The work speaks to the virtue of willingly entering a labyrinth, not necessarily to find the way out, but to let go and find one’s own direction amidst chaos. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470744422-MFE7SVBIDTW9WOHQJK42/mcba-prize-2015-WARREN-LEHRER-A-LIFE-IN-BOOKS-THE-RISE-AND-FALL-OF-BLEU-MOBLEY-1.jpg Entries & Jurors - 2015 Entries - Warren Lehrer Warren Lehrer (Sunnyside, NY) alifeinbooks.net A Life In Books: The Rise and Fall of Bleu Mobley November 2013 4 color offset Artist Book/Illuminated Novel, smythe sewn, case bound, writing, drawing, photography, assorted software applications, plus digital components that enhance the book (animation and video) Edition of 3,500 380 pages Open: 9.75” x 15” x 1⅛” Closed: 9.75” x 7.5” x 1⅛” A LIFE IN BOOKS: The Rise and Fall of Bleu Mobley is an artists’ book/illuminated novel containing 101 books within it, all written by a (fictional) protagonist who finds himself in prison looking back on his life and career. It is an exploration of one person’s use of books as a means of understanding himself, the people around him, and a half-century of American/global events. Over the course of one long night, in the darkness of his prison cell, the controversial author/artist Bleu Mobley whispers his life story into a microcassette recorder, tracing his obsessive journey from his junior high school letterpress shop, to a career as a journalist, then experimental novelist, book artist, college professor, accidental bestselling author, pop-culture pundit, and unindicted prisoner. In A LIFE IN BOOKS, Mobley’s reluctant autobiography is paired with a review of all 101 of his books. Each book is represented by its “first edition” cover design and catalogue copy, and more than a third of his books are excerpted. The resulting retrospective contrasts the published writings (which read like short stories) with the author’s confessional memoir—forming a portrait of a well-intentioned, obsessively inventive (if ethically challenged) visionary. Evidence of Mobley’s life in books is also illuminated with “reproductions” of his many book-like objects (book lamps, book toys, book clothing, flying books) as well as reviews, articles, letters, posters, even redacted FBI files. A LIFE IN BOOKS chronicles the mysteries and contradictions of the creative process as it grapples with the future of the book as a medium. Like many of my books, this work attempts to bridge the territories between artists’ books and trade publication, literature and art, humor and pathos, contemplative and performative experiences. The 4-color, offset printed 380 page novel is smythe sewn, case bound (paper over boards), printed on archival paper, and priced as affordably as possible. It was my aim to make a beautiful and meaningful book object/reading experience. I also made animations and short films that enhance the physical book and can be accessed online, in exhibitions, and in my multimedia performances. Full video on book The printed edition of A LIFE IN BOOKS is enhanced by animations, videos, and short films that can be accessed online, in exhibitions, and in my performance presentations. This animation features Bleu Mobley’s line of book lamps entitled Illuminated Manuscript book lamps. The lamps help light up a room and evoke a warm, literary feeling as they evoke a variety of metaphorical connections to the experience of reading, writing and sharing stories. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470743816-XD3VG1KNMIHU3GM6ZDXG/mcba-prize-2015-WARREN-LEHRER-A-LIFE-IN-BOOKS-THE-RISE-AND-FALL-OF-BLEU-MOBLEY-2.jpg Entries & Jurors - 2015 Entries - Warren Lehrer Warren Lehrer (Sunnyside, NY) alifeinbooks.net A Life In Books: The Rise and Fall of Bleu Mobley November 2013 4 color offset Artist Book/Illuminated Novel, smythe sewn, case bound, writing, drawing, photography, assorted software applications, plus digital components that enhance the book (animation and video) Edition of 3,500 380 pages Open: 9.75” x 15” x 1⅛” Closed: 9.75” x 7.5” x 1⅛” A LIFE IN BOOKS: The Rise and Fall of Bleu Mobley is an artists’ book/illuminated novel containing 101 books within it, all written by a (fictional) protagonist who finds himself in prison looking back on his life and career. It is an exploration of one person’s use of books as a means of understanding himself, the people around him, and a half-century of American/global events. Over the course of one long night, in the darkness of his prison cell, the controversial author/artist Bleu Mobley whispers his life story into a microcassette recorder, tracing his obsessive journey from his junior high school letterpress shop, to a career as a journalist, then experimental novelist, book artist, college professor, accidental bestselling author, pop-culture pundit, and unindicted prisoner. In A LIFE IN BOOKS, Mobley’s reluctant autobiography is paired with a review of all 101 of his books. Each book is represented by its “first edition” cover design and catalogue copy, and more than a third of his books are excerpted. The resulting retrospective contrasts the published writings (which read like short stories) with the author’s confessional memoir—forming a portrait of a well-intentioned, obsessively inventive (if ethically challenged) visionary. Evidence of Mobley’s life in books is also illuminated with “reproductions” of his many book-like objects (book lamps, book toys, book clothing, flying books) as well as reviews, articles, letters, posters, even redacted FBI files. A LIFE IN BOOKS chronicles the mysteries and contradictions of the creative process as it grapples with the future of the book as a medium. Like many of my books, this work attempts to bridge the territories between artists’ books and trade publication, literature and art, humor and pathos, contemplative and performative experiences. The 4-color, offset printed 380 page novel is smythe sewn, case bound (paper over boards), printed on archival paper, and priced as affordably as possible. It was my aim to make a beautiful and meaningful book object/reading experience. I also made animations and short films that enhance the physical book and can be accessed online, in exhibitions, and in my multimedia performances. Full video on book The printed edition of A LIFE IN BOOKS is enhanced by animations, videos, and short films that can be accessed online, in exhibitions, and in my performance presentations. This animation features Bleu Mobley’s line of book lamps entitled Illuminated Manuscript book lamps. The lamps help light up a room and evoke a warm, literary feeling as they evoke a variety of metaphorical connections to the experience of reading, writing and sharing stories. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470745509-P3XF9APDP5GFEA12B8AQ/mcba-prize-2015-WARREN-LEHRER-A-LIFE-IN-BOOKS-THE-RISE-AND-FALL-OF-BLEU-MOBLEY-3.jpg Entries & Jurors - 2015 Entries - Warren Lehrer Warren Lehrer (Sunnyside, NY) alifeinbooks.net A Life In Books: The Rise and Fall of Bleu Mobley November 2013 4 color offset Artist Book/Illuminated Novel, smythe sewn, case bound, writing, drawing, photography, assorted software applications, plus digital components that enhance the book (animation and video) Edition of 3,500 380 pages Open: 9.75” x 15” x 1⅛” Closed: 9.75” x 7.5” x 1⅛” A LIFE IN BOOKS: The Rise and Fall of Bleu Mobley is an artists’ book/illuminated novel containing 101 books within it, all written by a (fictional) protagonist who finds himself in prison looking back on his life and career. It is an exploration of one person’s use of books as a means of understanding himself, the people around him, and a half-century of American/global events. Over the course of one long night, in the darkness of his prison cell, the controversial author/artist Bleu Mobley whispers his life story into a microcassette recorder, tracing his obsessive journey from his junior high school letterpress shop, to a career as a journalist, then experimental novelist, book artist, college professor, accidental bestselling author, pop-culture pundit, and unindicted prisoner. In A LIFE IN BOOKS, Mobley’s reluctant autobiography is paired with a review of all 101 of his books. Each book is represented by its “first edition” cover design and catalogue copy, and more than a third of his books are excerpted. The resulting retrospective contrasts the published writings (which read like short stories) with the author’s confessional memoir—forming a portrait of a well-intentioned, obsessively inventive (if ethically challenged) visionary. Evidence of Mobley’s life in books is also illuminated with “reproductions” of his many book-like objects (book lamps, book toys, book clothing, flying books) as well as reviews, articles, letters, posters, even redacted FBI files. A LIFE IN BOOKS chronicles the mysteries and contradictions of the creative process as it grapples with the future of the book as a medium. Like many of my books, this work attempts to bridge the territories between artists’ books and trade publication, literature and art, humor and pathos, contemplative and performative experiences. The 4-color, offset printed 380 page novel is smythe sewn, case bound (paper over boards), printed on archival paper, and priced as affordably as possible. It was my aim to make a beautiful and meaningful book object/reading experience. I also made animations and short films that enhance the physical book and can be accessed online, in exhibitions, and in my multimedia performances. Full video on book The printed edition of A LIFE IN BOOKS is enhanced by animations, videos, and short films that can be accessed online, in exhibitions, and in my performance presentations. This animation features Bleu Mobley’s line of book lamps entitled Illuminated Manuscript book lamps. The lamps help light up a room and evoke a warm, literary feeling as they evoke a variety of metaphorical connections to the experience of reading, writing and sharing stories. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774470745979-92BNEIDXLG3HRHRASO2Q/mcba-prize-2015-WARREN-LEHRER-A-LIFE-IN-BOOKS-THE-RISE-AND-FALL-OF-BLEU-MOBLEY-4.jpg Entries & Jurors - 2015 Entries - Warren Lehrer Warren Lehrer (Sunnyside, NY) alifeinbooks.net A Life In Books: The Rise and Fall of Bleu Mobley November 2013 4 color offset Artist Book/Illuminated Novel, smythe sewn, case bound, writing, drawing, photography, assorted software applications, plus digital components that enhance the book (animation and video) Edition of 3,500 380 pages Open: 9.75” x 15” x 1⅛” Closed: 9.75” x 7.5” x 1⅛” A LIFE IN BOOKS: The Rise and Fall of Bleu Mobley is an artists’ book/illuminated novel containing 101 books within it, all written by a (fictional) protagonist who finds himself in prison looking back on his life and career. It is an exploration of one person’s use of books as a means of understanding himself, the people around him, and a half-century of American/global events. Over the course of one long night, in the darkness of his prison cell, the controversial author/artist Bleu Mobley whispers his life story into a microcassette recorder, tracing his obsessive journey from his junior high school letterpress shop, to a career as a journalist, then experimental novelist, book artist, college professor, accidental bestselling author, pop-culture pundit, and unindicted prisoner. In A LIFE IN BOOKS, Mobley’s reluctant autobiography is paired with a review of all 101 of his books. Each book is represented by its “first edition” cover design and catalogue copy, and more than a third of his books are excerpted. The resulting retrospective contrasts the published writings (which read like short stories) with the author’s confessional memoir—forming a portrait of a well-intentioned, obsessively inventive (if ethically challenged) visionary. Evidence of Mobley’s life in books is also illuminated with “reproductions” of his many book-like objects (book lamps, book toys, book clothing, flying books) as well as reviews, articles, letters, posters, even redacted FBI files. A LIFE IN BOOKS chronicles the mysteries and contradictions of the creative process as it grapples with the future of the book as a medium. Like many of my books, this work attempts to bridge the territories between artists’ books and trade publication, literature and art, humor and pathos, contemplative and performative experiences. The 4-color, offset printed 380 page novel is smythe sewn, case bound (paper over boards), printed on archival paper, and priced as affordably as possible. It was my aim to make a beautiful and meaningful book object/reading experience. I also made animations and short films that enhance the physical book and can be accessed online, in exhibitions, and in my multimedia performances. Full video on book The printed edition of A LIFE IN BOOKS is enhanced by animations, videos, and short films that can be accessed online, in exhibitions, and in my performance presentations. This animation features Bleu Mobley’s line of book lamps entitled Illuminated Manuscript book lamps. The lamps help light up a room and evoke a warm, literary feeling as they evoke a variety of metaphorical connections to the experience of reading, writing and sharing stories. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774540862625-Y6G3XXRWYLHV10CBMEOY/mcba-prize-2015-SUE-HUGGINS-LEOPARD-THANKS-WALT-1.jpg Entries & Jurors - 2015 Entries - Sue Huggins Leopard Sue Huggins Leopard (Rochester, NY) leopardstudioeditions.com Thanks, Walt 2014 inkjet images mounted on Moriki paper. Boards covered in Cave paper, inset with leather corners and leather spine,with ribbon ties. Clamshell box of Cave paper lined with paper by Pamela Smith Edition of 5 sets of 3 books each accordian structure each book opens to 30 inches long by 4 1/2 inches tall each book measures 2 1/2 inches x 4 1/2 inches. Clamshell box 3 !/4 x 5 1/4 inches A set of three miniature books titled, THANKS, WALT, is a tribute and thank you to the passionate Walt Whitman. The poems are taken from among his last which speak with a voice of longing, loss and astonishment. Lovingly created using inkjet images drawn from the artist’s photographs, drawings, paintings and collection of antique tintypes, as well as archival photos. An edition of 5 sets of 3 books each; The miniature volumes are inspired by an antique style ledger and are trimmed in leather with a ribbon tie. The miniature form encourages a closer look, influenced by Whitman’s line, “Now hold me close”…….. Each of the three volumes is stamped on the spine with a single word, KISS, WHISPER, SEPARATE to hint further at the content. Housed in a clamshell box, lined with shimmering marbled paper by Pamela Smith. A leather inset with the words, THANKS, WALT and W.W. blind stamped on the spine complete this little homage to the great American poet. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774540862128-RBRQOMVPFPHJ24QNLB5P/mcba-prize-2015-SUE-HUGGINS-LEOPARD-THANKS-WALT-3.jpg Entries & Jurors - 2015 Entries - Sue Huggins Leopard Sue Huggins Leopard (Rochester, NY) leopardstudioeditions.com Thanks, Walt 2014 inkjet images mounted on Moriki paper. Boards covered in Cave paper, inset with leather corners and leather spine,with ribbon ties. Clamshell box of Cave paper lined with paper by Pamela Smith Edition of 5 sets of 3 books each accordian structure each book opens to 30 inches long by 4 1/2 inches tall each book measures 2 1/2 inches x 4 1/2 inches. Clamshell box 3 !/4 x 5 1/4 inches A set of three miniature books titled, THANKS, WALT, is a tribute and thank you to the passionate Walt Whitman. The poems are taken from among his last which speak with a voice of longing, loss and astonishment. Lovingly created using inkjet images drawn from the artist’s photographs, drawings, paintings and collection of antique tintypes, as well as archival photos. An edition of 5 sets of 3 books each; The miniature volumes are inspired by an antique style ledger and are trimmed in leather with a ribbon tie. The miniature form encourages a closer look, influenced by Whitman’s line, “Now hold me close”…….. Each of the three volumes is stamped on the spine with a single word, KISS, WHISPER, SEPARATE to hint further at the content. Housed in a clamshell box, lined with shimmering marbled paper by Pamela Smith. A leather inset with the words, THANKS, WALT and W.W. blind stamped on the spine complete this little homage to the great American poet. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774540863824-HHCDQR95UHI3MUFGCMF1/mcba-prize-2015-SUE-HUGGINS-LEOPARD-THANKS-WALT-2.jpg Entries & Jurors - 2015 Entries - Sue Huggins Leopard Sue Huggins Leopard (Rochester, NY) leopardstudioeditions.com Thanks, Walt 2014 inkjet images mounted on Moriki paper. Boards covered in Cave paper, inset with leather corners and leather spine,with ribbon ties. Clamshell box of Cave paper lined with paper by Pamela Smith Edition of 5 sets of 3 books each accordian structure each book opens to 30 inches long by 4 1/2 inches tall each book measures 2 1/2 inches x 4 1/2 inches. Clamshell box 3 !/4 x 5 1/4 inches A set of three miniature books titled, THANKS, WALT, is a tribute and thank you to the passionate Walt Whitman. The poems are taken from among his last which speak with a voice of longing, loss and astonishment. Lovingly created using inkjet images drawn from the artist’s photographs, drawings, paintings and collection of antique tintypes, as well as archival photos. An edition of 5 sets of 3 books each; The miniature volumes are inspired by an antique style ledger and are trimmed in leather with a ribbon tie. The miniature form encourages a closer look, influenced by Whitman’s line, “Now hold me close”…….. Each of the three volumes is stamped on the spine with a single word, KISS, WHISPER, SEPARATE to hint further at the content. Housed in a clamshell box, lined with shimmering marbled paper by Pamela Smith. A leather inset with the words, THANKS, WALT and W.W. blind stamped on the spine complete this little homage to the great American poet. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541102213-KY2QJRFJOGNG09QR4NN9/mcba-prize-2015-LOUISE-LEVERGNEUX-A-DAY-FILLED-WITH-ONOMATOPOEIAS-1.jpg Entries & Jurors - 2015 Entries - Louise Levergneux Louise Levergneux (South Jordan, UT) louiselevergneux.biz A Day Filled with Onomatopoeias 2014 Produced in Photoshop and Comic Life; side stitched; digital inkjet prints on HP Bright White paper with an Epson Stylus Photo 2200; clamshell box covered in red and black cloth and inkjet prints; audio file on CD. Edition of 8 Pages: 18 Dimensions open: 10 x 16 x .25 inches Dimensions closed: 10 x 8.625 x .25 inches A Day Filled with Onomatopoeias is housed in a clamshell box covered with red and black cloth with an inkjet print over a CD. Entertained by the day-to-day events, I appreciate simple moments characterizing our lives, building our history, whether sensational or monotonous. I am fascinated by the concept of memory and identity. Concerned with the loss of childhood innocence, I want to re-acquaint the reader with mundane activities that link us together. Autobiographical references are characteristic of my work, which centers on the act of collecting and storing my memories, my self-identity, and my environment. I carefully study my surroundings with camera in hand. I collect photographs–eye catching photographs–from hundreds of chairs to the four basic elements that interpret the state of our world. I store these images/memories and continue my process of investigation as I manipulate, re-organize, write and plan my artist’s books. I publish my books when I am satisfied that my conceptual framework can be mutually experienced as a physical object. I manipulate images in Photoshop and iMovie. For a contemporary look, I execute a digital method of reproduction. I work with different binding structures depending on the concept of the book. The final product is a limited edition, self-published book representing the mundane in a unique, creative, and dynamic way for the reader to experience. A Day Filled with Onomatopoeias is an interactive book based on the artist’s fascination with the word onomatopoeia–words that imitate or suggest the source of a sound–and the word’s definition. The elements of this project, the book and the audio (CD), supplies the reader/listener multisensory experience. Sonic and visual materials incorporated in this book were sourced from a day in the artist’s life. The comic book style was an excellent way to represent this concept since comic books make extensive use of onomatopoeias. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541100751-52B92EA0GYY7WRNEL1FL/mcba-prize-2015-LOUISE-LEVERGNEUX-A-DAY-FILLED-WITH-ONOMATOPOEIAS-2.jpg Entries & Jurors - 2015 Entries - Louise Levergneux Louise Levergneux (South Jordan, UT) louiselevergneux.biz A Day Filled with Onomatopoeias 2014 Produced in Photoshop and Comic Life; side stitched; digital inkjet prints on HP Bright White paper with an Epson Stylus Photo 2200; clamshell box covered in red and black cloth and inkjet prints; audio file on CD. Edition of 8 Pages: 18 Dimensions open: 10 x 16 x .25 inches Dimensions closed: 10 x 8.625 x .25 inches Opened clamshell box showing the cover of the side stitched artists’ book and in the left tray the colophon can be read. Entertained by the day-to-day events, I appreciate simple moments characterizing our lives, building our history, whether sensational or monotonous. I am fascinated by the concept of memory and identity. Concerned with the loss of childhood innocence, I want to re-acquaint the reader with mundane activities that link us together. Autobiographical references are characteristic of my work, which centers on the act of collecting and storing my memories, my self-identity, and my environment. I carefully study my surroundings with camera in hand. I collect photographs–eye catching photographs–from hundreds of chairs to the four basic elements that interpret the state of our world. I store these images/memories and continue my process of investigation as I manipulate, re-organize, write and plan my artist’s books. I publish my books when I am satisfied that my conceptual framework can be mutually experienced as a physical object. I manipulate images in Photoshop and iMovie. For a contemporary look, I execute a digital method of reproduction. I work with different binding structures depending on the concept of the book. The final product is a limited edition, self-published book representing the mundane in a unique, creative, and dynamic way for the reader to experience. A Day Filled with Onomatopoeias is an interactive book based on the artist’s fascination with the word onomatopoeia–words that imitate or suggest the source of a sound–and the word’s definition. The elements of this project, the book and the audio (CD), supplies the reader/listener multisensory experience. Sonic and visual materials incorporated in this book were sourced from a day in the artist’s life. The comic book style was an excellent way to represent this concept since comic books make extensive use of onomatopoeias. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541100552-UCFSY9YMBJMOM6YP1OMJ/mcba-prize-2015-LOUISE-LEVERGNEUX-A-DAY-FILLED-WITH-ONOMATOPOEIAS-3.jpg Entries & Jurors - 2015 Entries - Louise Levergneux Louise Levergneux (South Jordan, UT) louiselevergneux.biz A Day Filled with Onomatopoeias 2014 Produced in Photoshop and Comic Life; side stitched; digital inkjet prints on HP Bright White paper with an Epson Stylus Photo 2200; clamshell box covered in red and black cloth and inkjet prints; audio file on CD. Edition of 8 Pages: 18 Dimensions open: 10 x 16 x .25 inches Dimensions closed: 10 x 8.625 x .25 inches The first couple of pages of the book show the comic book technique used to illustrate the concept of the book. The right tray of the clamshell box shows a printed image with instructions for the CD that is included: remove, play, follow, read and listen. Entertained by the day-to-day events, I appreciate simple moments characterizing our lives, building our history, whether sensational or monotonous. I am fascinated by the concept of memory and identity. Concerned with the loss of childhood innocence, I want to re-acquaint the reader with mundane activities that link us together. Autobiographical references are characteristic of my work, which centers on the act of collecting and storing my memories, my self-identity, and my environment. I carefully study my surroundings with camera in hand. I collect photographs–eye catching photographs–from hundreds of chairs to the four basic elements that interpret the state of our world. I store these images/memories and continue my process of investigation as I manipulate, re-organize, write and plan my artist’s books. I publish my books when I am satisfied that my conceptual framework can be mutually experienced as a physical object. I manipulate images in Photoshop and iMovie. For a contemporary look, I execute a digital method of reproduction. I work with different binding structures depending on the concept of the book. The final product is a limited edition, self-published book representing the mundane in a unique, creative, and dynamic way for the reader to experience. A Day Filled with Onomatopoeias is an interactive book based on the artist’s fascination with the word onomatopoeia–words that imitate or suggest the source of a sound–and the word’s definition. The elements of this project, the book and the audio (CD), supplies the reader/listener multisensory experience. Sonic and visual materials incorporated in this book were sourced from a day in the artist’s life. The comic book style was an excellent way to represent this concept since comic books make extensive use of onomatopoeias. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541099191-DOTMISKD9ECGE3IWNJGH/mcba-prize-2015-LOUISE-LEVERGNEUX-A-DAY-FILLED-WITH-ONOMATOPOEIAS-4.jpg Entries & Jurors - 2015 Entries - Louise Levergneux Louise Levergneux (South Jordan, UT) louiselevergneux.biz A Day Filled with Onomatopoeias 2014 Produced in Photoshop and Comic Life; side stitched; digital inkjet prints on HP Bright White paper with an Epson Stylus Photo 2200; clamshell box covered in red and black cloth and inkjet prints; audio file on CD. Edition of 8 Pages: 18 Dimensions open: 10 x 16 x .25 inches Dimensions closed: 10 x 8.625 x .25 inches A closer view of pages 12 and 13 of the book. Page 13 pictures a recurring image of the clock as the day proceeds. Entertained by the day-to-day events, I appreciate simple moments characterizing our lives, building our history, whether sensational or monotonous. I am fascinated by the concept of memory and identity. Concerned with the loss of childhood innocence, I want to re-acquaint the reader with mundane activities that link us together. Autobiographical references are characteristic of my work, which centers on the act of collecting and storing my memories, my self-identity, and my environment. I carefully study my surroundings with camera in hand. I collect photographs–eye catching photographs–from hundreds of chairs to the four basic elements that interpret the state of our world. I store these images/memories and continue my process of investigation as I manipulate, re-organize, write and plan my artist’s books. I publish my books when I am satisfied that my conceptual framework can be mutually experienced as a physical object. I manipulate images in Photoshop and iMovie. For a contemporary look, I execute a digital method of reproduction. I work with different binding structures depending on the concept of the book. The final product is a limited edition, self-published book representing the mundane in a unique, creative, and dynamic way for the reader to experience. A Day Filled with Onomatopoeias is an interactive book based on the artist’s fascination with the word onomatopoeia–words that imitate or suggest the source of a sound–and the word’s definition. The elements of this project, the book and the audio (CD), supplies the reader/listener multisensory experience. Sonic and visual materials incorporated in this book were sourced from a day in the artist’s life. The comic book style was an excellent way to represent this concept since comic books make extensive use of onomatopoeias. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541098967-F2FF3W4R8GKLXCH4ECL5/mcba-prize-2015-LOUISE-LEVERGNEUX-A-DAY-FILLED-WITH-ONOMATOPOEIAS-5.jpg Entries & Jurors - 2015 Entries - Louise Levergneux Louise Levergneux (South Jordan, UT) louiselevergneux.biz A Day Filled with Onomatopoeias 2014 Produced in Photoshop and Comic Life; side stitched; digital inkjet prints on HP Bright White paper with an Epson Stylus Photo 2200; clamshell box covered in red and black cloth and inkjet prints; audio file on CD. Edition of 8 Pages: 18 Dimensions open: 10 x 16 x .25 inches Dimensions closed: 10 x 8.625 x .25 inches A closer look at the included CD that is part of this interactive artists’ book. The reader can listen to the onomatopoeic sounds on the CD as he/she follows the narrative, the pace of this book is directed by the audio and the reader flipping the pages as the story unfolds from beginning to end. Entertained by the day-to-day events, I appreciate simple moments characterizing our lives, building our history, whether sensational or monotonous. I am fascinated by the concept of memory and identity. Concerned with the loss of childhood innocence, I want to re-acquaint the reader with mundane activities that link us together. Autobiographical references are characteristic of my work, which centers on the act of collecting and storing my memories, my self-identity, and my environment. I carefully study my surroundings with camera in hand. I collect photographs–eye catching photographs–from hundreds of chairs to the four basic elements that interpret the state of our world. I store these images/memories and continue my process of investigation as I manipulate, re-organize, write and plan my artist’s books. I publish my books when I am satisfied that my conceptual framework can be mutually experienced as a physical object. I manipulate images in Photoshop and iMovie. For a contemporary look, I execute a digital method of reproduction. I work with different binding structures depending on the concept of the book. The final product is a limited edition, self-published book representing the mundane in a unique, creative, and dynamic way for the reader to experience. A Day Filled with Onomatopoeias is an interactive book based on the artist’s fascination with the word onomatopoeia–words that imitate or suggest the source of a sound–and the word’s definition. The elements of this project, the book and the audio (CD), supplies the reader/listener multisensory experience. Sonic and visual materials incorporated in this book were sourced from a day in the artist’s life. The comic book style was an excellent way to represent this concept since comic books make extensive use of onomatopoeias. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541385616-LH54MFQY8WSBSCYLHKM6/mcba-prize-2015-TIM-LEWIS-TODAY--A-BOOK-OF-CHANGE-1.jpg Entries & Jurors - 2015 Entries - Tim Lewis Tim Lewis (Whittier, NC) tim-lewis.com Today: A Book of Change 2015 Cyanotype Edition of 12 Pages: 30 Dimensions open: 9″ x 18.5″ x 1″ 11″ x 9″ x 1″ [from the introduction…] “What day is it?” “It’s today,” squeaked Piglet “My favorite day,” said Pooh -AA Milne Web page content is ephemeral, it is there one moment and then replaced within minutes or hours. Millions of photographs produced each day create this constantly changing nature of the World Wide Web. Some of the web pages add a single new image each day but others, especially news sites, add or replace images in response to winds of local or world events. This book records this ephemeral world of the World Wide Web through Quick Response (QR) code technology. “Although initially used for tracking parts in vehicle manufacturing, QR codes now are used in a much broader context, including both commercial tracking applications and convenience-oriented applications aimed at mobile-phone users. QR codes may be used to display text to the user, to add a vCard contact to the user’s device, to open a Uniform Resource Identifier (URI), or to compose an e-mail or text message.” (Wikipedia) In this case each image of the QR Code printed on a page of the book represents a web page, and through QR technology each image is also an access point to the ever-changing daily content of the web pages they represent. As both the links to the web page’s content and the QR code technology inevitably change and disappear, the book becomes an artifact of the ephemeral world of the World Wide Web. It is a book of this time; of this day. The structure of the book refers to the history of books of photography, now commonly called photobooks. In 1843 Anna Atkins published the first photobook using cyanotype photograms in a similar 8” x 10” size. The pages of this book as well as the cover and liner of the box are cyanotype contact prints using digitally printed negatives. In addition this book is unbound in a folio-style wrapping presented in a drop-side box. The loose-leaf folio is a traditional presentation for collections of loose prints. The QR codes on each page link to digital pages containing photos created by individual photographers and a wide variety of other sources. Six of the twenty four codes are unique to each of the twelve books in the series. The content of the websites linked changes each day creating a completely new confluence of ideas. Though the structure and presentation is based on a traditional format, in fact the books’ content pages are as unbound as the internet itself: Loosely associated, disordered, unnumbered, untitled and ever-changing. Because of this an alphabetical list of the web sites is included so links lost over time will have historical references. Mobile devices with the appropriate application are necessary to access the photographs. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541385748-PUOX4NLTP7PKF4RXNHQS/mcba-prize-2015-TIM-LEWIS-TODAY--A-BOOK-OF-CHANGE-2.jpg Entries & Jurors - 2015 Entries - Tim Lewis Tim Lewis (Whittier, NC) tim-lewis.com Today: A Book of Change 2015 Cyanotype Edition of 12 Pages: 30 Dimensions open: 9″ x 18.5″ x 1″ 11″ x 9″ x 1″ [from the introduction…] “What day is it?” “It’s today,” squeaked Piglet “My favorite day,” said Pooh -AA Milne Web page content is ephemeral, it is there one moment and then replaced within minutes or hours. Millions of photographs produced each day create this constantly changing nature of the World Wide Web. Some of the web pages add a single new image each day but others, especially news sites, add or replace images in response to winds of local or world events. This book records this ephemeral world of the World Wide Web through Quick Response (QR) code technology. “Although initially used for tracking parts in vehicle manufacturing, QR codes now are used in a much broader context, including both commercial tracking applications and convenience-oriented applications aimed at mobile-phone users. QR codes may be used to display text to the user, to add a vCard contact to the user’s device, to open a Uniform Resource Identifier (URI), or to compose an e-mail or text message.” (Wikipedia) In this case each image of the QR Code printed on a page of the book represents a web page, and through QR technology each image is also an access point to the ever-changing daily content of the web pages they represent. As both the links to the web page’s content and the QR code technology inevitably change and disappear, the book becomes an artifact of the ephemeral world of the World Wide Web. It is a book of this time; of this day. The structure of the book refers to the history of books of photography, now commonly called photobooks. In 1843 Anna Atkins published the first photobook using cyanotype photograms in a similar 8” x 10” size. The pages of this book as well as the cover and liner of the box are cyanotype contact prints using digitally printed negatives. In addition this book is unbound in a folio-style wrapping presented in a drop-side box. The loose-leaf folio is a traditional presentation for collections of loose prints. The QR codes on each page link to digital pages containing photos created by individual photographers and a wide variety of other sources. Six of the twenty four codes are unique to each of the twelve books in the series. The content of the websites linked changes each day creating a completely new confluence of ideas. Though the structure and presentation is based on a traditional format, in fact the books’ content pages are as unbound as the internet itself: Loosely associated, disordered, unnumbered, untitled and ever-changing. Because of this an alphabetical list of the web sites is included so links lost over time will have historical references. Mobile devices with the appropriate application are necessary to access the photographs. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541387252-HQ9CG0OSUY6QN436BLAP/mcba-prize-2015-TIM-LEWIS-TODAY--A-BOOK-OF-CHANGE-3.jpg Entries & Jurors - 2015 Entries - Tim Lewis Tim Lewis (Whittier, NC) tim-lewis.com Today: A Book of Change 2015 Cyanotype Edition of 12 Pages: 30 Dimensions open: 9″ x 18.5″ x 1″ 11″ x 9″ x 1″ [from the introduction…] “What day is it?” “It’s today,” squeaked Piglet “My favorite day,” said Pooh -AA Milne Web page content is ephemeral, it is there one moment and then replaced within minutes or hours. Millions of photographs produced each day create this constantly changing nature of the World Wide Web. Some of the web pages add a single new image each day but others, especially news sites, add or replace images in response to winds of local or world events. This book records this ephemeral world of the World Wide Web through Quick Response (QR) code technology. “Although initially used for tracking parts in vehicle manufacturing, QR codes now are used in a much broader context, including both commercial tracking applications and convenience-oriented applications aimed at mobile-phone users. QR codes may be used to display text to the user, to add a vCard contact to the user’s device, to open a Uniform Resource Identifier (URI), or to compose an e-mail or text message.” (Wikipedia) In this case each image of the QR Code printed on a page of the book represents a web page, and through QR technology each image is also an access point to the ever-changing daily content of the web pages they represent. As both the links to the web page’s content and the QR code technology inevitably change and disappear, the book becomes an artifact of the ephemeral world of the World Wide Web. It is a book of this time; of this day. The structure of the book refers to the history of books of photography, now commonly called photobooks. In 1843 Anna Atkins published the first photobook using cyanotype photograms in a similar 8” x 10” size. The pages of this book as well as the cover and liner of the box are cyanotype contact prints using digitally printed negatives. In addition this book is unbound in a folio-style wrapping presented in a drop-side box. The loose-leaf folio is a traditional presentation for collections of loose prints. The QR codes on each page link to digital pages containing photos created by individual photographers and a wide variety of other sources. Six of the twenty four codes are unique to each of the twelve books in the series. The content of the websites linked changes each day creating a completely new confluence of ideas. Though the structure and presentation is based on a traditional format, in fact the books’ content pages are as unbound as the internet itself: Loosely associated, disordered, unnumbered, untitled and ever-changing. Because of this an alphabetical list of the web sites is included so links lost over time will have historical references. Mobile devices with the appropriate application are necessary to access the photographs. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541388394-WDKGMYTQ5H8VA50AP4UG/mcba-prize-2015-TIM-LEWIS-TODAY--A-BOOK-OF-CHANGE-4.jpg Entries & Jurors - 2015 Entries - Tim Lewis Tim Lewis (Whittier, NC) tim-lewis.com Today: A Book of Change 2015 Cyanotype Edition of 12 Pages: 30 Dimensions open: 9″ x 18.5″ x 1″ 11″ x 9″ x 1″ [from the introduction…] “What day is it?” “It’s today,” squeaked Piglet “My favorite day,” said Pooh -AA Milne Web page content is ephemeral, it is there one moment and then replaced within minutes or hours. Millions of photographs produced each day create this constantly changing nature of the World Wide Web. Some of the web pages add a single new image each day but others, especially news sites, add or replace images in response to winds of local or world events. This book records this ephemeral world of the World Wide Web through Quick Response (QR) code technology. “Although initially used for tracking parts in vehicle manufacturing, QR codes now are used in a much broader context, including both commercial tracking applications and convenience-oriented applications aimed at mobile-phone users. QR codes may be used to display text to the user, to add a vCard contact to the user’s device, to open a Uniform Resource Identifier (URI), or to compose an e-mail or text message.” (Wikipedia) In this case each image of the QR Code printed on a page of the book represents a web page, and through QR technology each image is also an access point to the ever-changing daily content of the web pages they represent. As both the links to the web page’s content and the QR code technology inevitably change and disappear, the book becomes an artifact of the ephemeral world of the World Wide Web. It is a book of this time; of this day. The structure of the book refers to the history of books of photography, now commonly called photobooks. In 1843 Anna Atkins published the first photobook using cyanotype photograms in a similar 8” x 10” size. The pages of this book as well as the cover and liner of the box are cyanotype contact prints using digitally printed negatives. In addition this book is unbound in a folio-style wrapping presented in a drop-side box. The loose-leaf folio is a traditional presentation for collections of loose prints. The QR codes on each page link to digital pages containing photos created by individual photographers and a wide variety of other sources. Six of the twenty four codes are unique to each of the twelve books in the series. The content of the websites linked changes each day creating a completely new confluence of ideas. Though the structure and presentation is based on a traditional format, in fact the books’ content pages are as unbound as the internet itself: Loosely associated, disordered, unnumbered, untitled and ever-changing. Because of this an alphabetical list of the web sites is included so links lost over time will have historical references. Mobile devices with the appropriate application are necessary to access the photographs. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541389707-LJQHIF7SSFRP2N9YOGLV/mcba-prize-2015-TIM-LEWIS-TODAY--A-BOOK-OF-CHANGE-5.jpg Entries & Jurors - 2015 Entries - Tim Lewis Tim Lewis (Whittier, NC) tim-lewis.com Today: A Book of Change 2015 Cyanotype Edition of 12 Pages: 30 Dimensions open: 9″ x 18.5″ x 1″ 11″ x 9″ x 1″ [from the introduction…] “What day is it?” “It’s today,” squeaked Piglet “My favorite day,” said Pooh -AA Milne Web page content is ephemeral, it is there one moment and then replaced within minutes or hours. Millions of photographs produced each day create this constantly changing nature of the World Wide Web. Some of the web pages add a single new image each day but others, especially news sites, add or replace images in response to winds of local or world events. This book records this ephemeral world of the World Wide Web through Quick Response (QR) code technology. “Although initially used for tracking parts in vehicle manufacturing, QR codes now are used in a much broader context, including both commercial tracking applications and convenience-oriented applications aimed at mobile-phone users. QR codes may be used to display text to the user, to add a vCard contact to the user’s device, to open a Uniform Resource Identifier (URI), or to compose an e-mail or text message.” (Wikipedia) In this case each image of the QR Code printed on a page of the book represents a web page, and through QR technology each image is also an access point to the ever-changing daily content of the web pages they represent. As both the links to the web page’s content and the QR code technology inevitably change and disappear, the book becomes an artifact of the ephemeral world of the World Wide Web. It is a book of this time; of this day. The structure of the book refers to the history of books of photography, now commonly called photobooks. In 1843 Anna Atkins published the first photobook using cyanotype photograms in a similar 8” x 10” size. The pages of this book as well as the cover and liner of the box are cyanotype contact prints using digitally printed negatives. In addition this book is unbound in a folio-style wrapping presented in a drop-side box. The loose-leaf folio is a traditional presentation for collections of loose prints. The QR codes on each page link to digital pages containing photos created by individual photographers and a wide variety of other sources. Six of the twenty four codes are unique to each of the twelve books in the series. The content of the websites linked changes each day creating a completely new confluence of ideas. Though the structure and presentation is based on a traditional format, in fact the books’ content pages are as unbound as the internet itself: Loosely associated, disordered, unnumbered, untitled and ever-changing. Because of this an alphabetical list of the web sites is included so links lost over time will have historical references. Mobile devices with the appropriate application are necessary to access the photographs. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541484965-SOAISFXWYSB227RCQHDC/mcba-prize-2015-BELA-LIMENES-NO-ME-OLVIDES-1.jpg Entries & Jurors - 2015 Entries - Bela Limenes Bela Limenes (Cuernavaca, Morelos Mexico) belalimenes.com No me olvides 2015 Digital photography unique work 17 pages 4.41 x 13.15 x 1.3 in open 4.41 x 6.57 x 1.3 in closed For me, the artist book has become the medium to contain and communicate my stories. It is a way of experimenting with the photographic language, record and memory. A piece where I combine space and time and allow the viewer into my narrative. According to needs and references each person will have different readings. The topics I generally work with are the body and representation of women at different times in the history of art and the relationship between human beings and their environment. The photographs for this book were taken in what was the home of Dr. Alvar Carrillo Gil in Mexico City. Collector of Mexican art in the first half of the twentieth century. The house was sold in 2014 and these are the last pictures taken in that space that was dismantled and about to be demolished. What remains is the memory of a wonderful house that was once full of life and art. The photographs are manipulated with solvents and paint to give the idea of abandonment (with fungus and residual cement) and the book is shaped like a brick. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541484718-7CDJZ77EKA6B1Y6GT60G/mcba-prize-2015-BELA-LIMENES-NO-ME-OLVIDES-2.jpg Entries & Jurors - 2015 Entries - Bela Limenes Bela Limenes (Cuernavaca, Morelos Mexico) belalimenes.com No me olvides 2015 Digital photography unique work 17 pages 4.41 x 13.15 x 1.3 in open 4.41 x 6.57 x 1.3 in closed For me, the artist book has become the medium to contain and communicate my stories. It is a way of experimenting with the photographic language, record and memory. A piece where I combine space and time and allow the viewer into my narrative. According to needs and references each person will have different readings. The topics I generally work with are the body and representation of women at different times in the history of art and the relationship between human beings and their environment. The photographs for this book were taken in what was the home of Dr. Alvar Carrillo Gil in Mexico City. Collector of Mexican art in the first half of the twentieth century. The house was sold in 2014 and these are the last pictures taken in that space that was dismantled and about to be demolished. What remains is the memory of a wonderful house that was once full of life and art. The photographs are manipulated with solvents and paint to give the idea of abandonment (with fungus and residual cement) and the book is shaped like a brick. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541486812-5FKFOO37ROUTEEMMQPD9/mcba-prize-2015-BELA-LIMENES-NO-ME-OLVIDES-3.jpg Entries & Jurors - 2015 Entries - Bela Limenes Bela Limenes (Cuernavaca, Morelos Mexico) belalimenes.com No me olvides 2015 Digital photography unique work 17 pages 4.41 x 13.15 x 1.3 in open 4.41 x 6.57 x 1.3 in closed For me, the artist book has become the medium to contain and communicate my stories. It is a way of experimenting with the photographic language, record and memory. A piece where I combine space and time and allow the viewer into my narrative. According to needs and references each person will have different readings. The topics I generally work with are the body and representation of women at different times in the history of art and the relationship between human beings and their environment. The photographs for this book were taken in what was the home of Dr. Alvar Carrillo Gil in Mexico City. Collector of Mexican art in the first half of the twentieth century. The house was sold in 2014 and these are the last pictures taken in that space that was dismantled and about to be demolished. What remains is the memory of a wonderful house that was once full of life and art. The photographs are manipulated with solvents and paint to give the idea of abandonment (with fungus and residual cement) and the book is shaped like a brick. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541487477-FQKJC7G8FLJN5SJ48PJV/mcba-prize-2015-BELA-LIMENES-NO-ME-OLVIDES-4.jpg Entries & Jurors - 2015 Entries - Bela Limenes Bela Limenes (Cuernavaca, Morelos Mexico) belalimenes.com No me olvides 2015 Digital photography unique work 17 pages 4.41 x 13.15 x 1.3 in open 4.41 x 6.57 x 1.3 in closed For me, the artist book has become the medium to contain and communicate my stories. It is a way of experimenting with the photographic language, record and memory. A piece where I combine space and time and allow the viewer into my narrative. According to needs and references each person will have different readings. The topics I generally work with are the body and representation of women at different times in the history of art and the relationship between human beings and their environment. The photographs for this book were taken in what was the home of Dr. Alvar Carrillo Gil in Mexico City. Collector of Mexican art in the first half of the twentieth century. The house was sold in 2014 and these are the last pictures taken in that space that was dismantled and about to be demolished. What remains is the memory of a wonderful house that was once full of life and art. The photographs are manipulated with solvents and paint to give the idea of abandonment (with fungus and residual cement) and the book is shaped like a brick. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541488735-XH7QJXJ0YDFW4CAXPKBA/mcba-prize-2015-BELA-LIMENES-NO-ME-OLVIDES-5.jpg Entries & Jurors - 2015 Entries - Bela Limenes Bela Limenes (Cuernavaca, Morelos Mexico) belalimenes.com No me olvides 2015 Digital photography unique work 17 pages 4.41 x 13.15 x 1.3 in open 4.41 x 6.57 x 1.3 in closed For me, the artist book has become the medium to contain and communicate my stories. It is a way of experimenting with the photographic language, record and memory. A piece where I combine space and time and allow the viewer into my narrative. According to needs and references each person will have different readings. The topics I generally work with are the body and representation of women at different times in the history of art and the relationship between human beings and their environment. The photographs for this book were taken in what was the home of Dr. Alvar Carrillo Gil in Mexico City. Collector of Mexican art in the first half of the twentieth century. The house was sold in 2014 and these are the last pictures taken in that space that was dismantled and about to be demolished. What remains is the memory of a wonderful house that was once full of life and art. The photographs are manipulated with solvents and paint to give the idea of abandonment (with fungus and residual cement) and the book is shaped like a brick. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541664802-FWJWK7PUZI50D4GTOUOD/mcba-prize-2015-JULIE-SHAW-LUTTS-HANDWRITING-ANALYSIS-1.jpg Entries & Jurors - 2015 Entries - Julie Shaw Lutts Julie Shaw Lutts (Salem, MA) julieshawlutts.com Handwriting Analysis 2015 Mixed media artist book unique work 20 pages 55 x 22″ open 8 x 6 x 5″ closed This image is the closed artist book which is housed in a metal trimmed glass box. I have long been interested in handwriting. It is such a personal part of each of us, unique like a figure print. But now I wonder what is being lost with the digital revolution. Many schools don’t teach handwriting anymore. Many young people today can’t read script. Handwriting Analysis is a work that brings together vintage photo booth photos and handwritten letters. I’ve created the narrative by choosing the photographs and matching them to the handwriting samples which I think their personality align with. Afterward with the help of an expert I analyzed their handwriting, and the outcome can be read on the back of each page. The 20 metal edged pages can be read individually or you can puzzle them together to build the story. While analyzing all these unique handwriting samples I learned many new terms including, Excessive Loops, Shrinking Words, Long Cradle, Slashing Strokes and Inflated Upper Zone. But my favorite is Shallow Garlands, which can suggest indifference. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541664348-H10UGXLCBYO9NJZMGYQH/mcba-prize-2015-JULIE-SHAW-LUTTS-HANDWRITING-ANALYSIS-2.jpg Entries & Jurors - 2015 Entries - Julie Shaw Lutts Julie Shaw Lutts (Salem, MA) julieshawlutts.com Handwriting Analysis 2015 Mixed media artist book unique work 20 pages 55 x 22″ open 8 x 6 x 5″ closed Here are the twenty metal edged pages played outside the box. I have long been interested in handwriting. It is such a personal part of each of us, unique like a figure print. But now I wonder what is being lost with the digital revolution. Many schools don’t teach handwriting anymore. Many young people today can’t read script. Handwriting Analysis is a work that brings together vintage photo booth photos and handwritten letters. I’ve created the narrative by choosing the photographs and matching them to the handwriting samples which I think their personality align with. Afterward with the help of an expert I analyzed their handwriting, and the outcome can be read on the back of each page. The 20 metal edged pages can be read individually or you can puzzle them together to build the story. While analyzing all these unique handwriting samples I learned many new terms including, Excessive Loops, Shrinking Words, Long Cradle, Slashing Strokes and Inflated Upper Zone. But my favorite is Shallow Garlands, which can suggest indifference. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541666161-VGDR5GDP19OF5QCXFNM9/mcba-prize-2015-JULIE-SHAW-LUTTS-HANDWRITING-ANALYSIS-3.jpg Entries & Jurors - 2015 Entries - Julie Shaw Lutts Julie Shaw Lutts (Salem, MA) julieshawlutts.com Handwriting Analysis 2015 Mixed media artist book unique work 20 pages 55 x 22″ open 8 x 6 x 5″ closed A close up of the pages. I have long been interested in handwriting. It is such a personal part of each of us, unique like a figure print. But now I wonder what is being lost with the digital revolution. Many schools don’t teach handwriting anymore. Many young people today can’t read script. Handwriting Analysis is a work that brings together vintage photo booth photos and handwritten letters. I’ve created the narrative by choosing the photographs and matching them to the handwriting samples which I think their personality align with. Afterward with the help of an expert I analyzed their handwriting, and the outcome can be read on the back of each page. The 20 metal edged pages can be read individually or you can puzzle them together to build the story. While analyzing all these unique handwriting samples I learned many new terms including, Excessive Loops, Shrinking Words, Long Cradle, Slashing Strokes and Inflated Upper Zone. But my favorite is Shallow Garlands, which can suggest indifference. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541667603-2RKT2EZ4S9QCIZJDS3NN/mcba-prize-2015-JULIE-SHAW-LUTTS-HANDWRITING-ANALYSIS-4.jpg Entries & Jurors - 2015 Entries - Julie Shaw Lutts Julie Shaw Lutts (Salem, MA) julieshawlutts.com Handwriting Analysis 2015 Mixed media artist book unique work 20 pages 55 x 22″ open 8 x 6 x 5″ closed I have long been interested in handwriting. It is such a personal part of each of us, unique like a figure print. But now I wonder what is being lost with the digital revolution. Many schools don’t teach handwriting anymore. Many young people today can’t read script. Handwriting Analysis is a work that brings together vintage photo booth photos and handwritten letters. I’ve created the narrative by choosing the photographs and matching them to the handwriting samples which I think their personality align with. Afterward with the help of an expert I analyzed their handwriting, and the outcome can be read on the back of each page. The 20 metal edged pages can be read individually or you can puzzle them together to build the story. While analyzing all these unique handwriting samples I learned many new terms including, Excessive Loops, Shrinking Words, Long Cradle, Slashing Strokes and Inflated Upper Zone. But my favorite is Shallow Garlands, which can suggest indifference. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541668735-2RIOWXEWT7GKPT7P1QRP/mcba-prize-2015-JULIE-SHAW-LUTTS-HANDWRITING-ANALYSIS-5.jpg Entries & Jurors - 2015 Entries - Julie Shaw Lutts Julie Shaw Lutts (Salem, MA) julieshawlutts.com Handwriting Analysis 2015 Mixed media artist book unique work 20 pages 55 x 22″ open 8 x 6 x 5″ closed The back of the pages which are puzzled together to view a handwriting practice sheet. Each page has the analysis on the back. I have long been interested in handwriting. It is such a personal part of each of us, unique like a figure print. But now I wonder what is being lost with the digital revolution. Many schools don’t teach handwriting anymore. Many young people today can’t read script. Handwriting Analysis is a work that brings together vintage photo booth photos and handwritten letters. I’ve created the narrative by choosing the photographs and matching them to the handwriting samples which I think their personality align with. Afterward with the help of an expert I analyzed their handwriting, and the outcome can be read on the back of each page. The 20 metal edged pages can be read individually or you can puzzle them together to build the story. While analyzing all these unique handwriting samples I learned many new terms including, Excessive Loops, Shrinking Words, Long Cradle, Slashing Strokes and Inflated Upper Zone. But my favorite is Shallow Garlands, which can suggest indifference. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541823106-7QI5OMS93DNRI83L7H5E/mcba-prize-2015-MARLENE-MACCALLUM-CORNER-1.jpg Entries & Jurors - 2015 Entries - Marlene MacCallum Marlene MacCallum (Corner Brook, Newfoundland and Labrador, Canada) marlenemaccallum.com Corner 2013 Hand bound accordion book work with slipcase. The book block structure is held closed into a codex form by sewing across the spine into the end pages. The soft pocket-structure cover is inkjet printed on coated tyvek. The book block was made from fifteen photogravure plates hand printed on somerset paper. Edition of 14 30 pages each page spread is 9 7/8 x 9 ¾ inches 10 ¼ x 5 1/8 x 7/8 inches closed (includes slipcase) Hand bound accordion book work with slipcase. The book block structure is held closed into a codex form by sewing across the spine into the end pages. The soft pocket-structure cover is inkjet printed on coated Tyvek. The book block is hand printed photogravures on Somerset paper. Observation and visual interpretation of the private or personal space is the underlying theme in my work. I begin with photographic records made within the oft-overlooked spaces that frame our daily routines. My attention is drawn to instances of incongruity, prompting a sense of the strangely familiar, startling us during our habituated perception of objects and mundane situations. Having grown up in a suburban housing development, my earliest memory of home is that of living in a space that is reminiscent of my neighbors’ and this remains a persistent fascination. Corner is the final bookwork in a series inspired by living in Corner Brook’s Townsite area on the west coast of Newfoundland. Between 1924-34 the pulp mill built 150 homes to house the mill management and skilled labourers. I have photographed in several Townsite homes, all the same type-4 model as the one I live in, allowing me the rare opportunity to record the evolution of interior aspects of these homes. This project has also been the context to explore the paradoxical phenomena of conformity and individualization that occurs in a company town. Each bookwork from the series explores variations on image memory, multiplicity and sequence as a means to generate the visual equivalence of the underlying theme of the domestic uncanny. The experience of Corner begins with the brick shaped slipcase containing the book. Slipping the book out, it rests comfortably within the hand. The images on the cover position the viewer outside the home. Turning to the end pages, the viewer moves inside the personal space. The first spaces are entryways and then the viewer is led deeper into the home; from sparsely furnished entrances the images gradually move us into more densely filled and layered living spaces. The perspective within each echoes the perspective of the book pages. The gutter coincides with the represented corner, creating interplay between the architecture of the book and of the imagery. Each page spread cradles an unoccupied space charged with implied conversations between absent inhabitants. The book block is loose within the pocket-structure cover allowing the viewer interplay with the interior window imagery nested within the exterior view. The entire book is printed using photogravure. The integration of ink and paper create a tactile and physical presence while simultaneously evoking a state of photographic memory. The images are printed on book weight Somerset paper and are hinged at the fore-edge. The book block is held into a codex structure by sewing the end pages, bridging across the spine. In this way the perspectival illusion of each image and page spread is not interrupted by sewing. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541823292-4F515IL18C7BUO6O2FM9/mcba-prize-2015-MARLENE-MACCALLUM-CORNER-2.jpg Entries & Jurors - 2015 Entries - Marlene MacCallum Marlene MacCallum (Corner Brook, Newfoundland and Labrador, Canada) marlenemaccallum.com Corner 2013 Hand bound accordion book work with slipcase. The book block structure is held closed into a codex form by sewing across the spine into the end pages. The soft pocket-structure cover is inkjet printed on coated tyvek. The book block was made from fifteen photogravure plates hand printed on somerset paper. Edition of 14 30 pages each page spread is 9 7/8 x 9 ¾ inches 10 ¼ x 5 1/8 x 7/8 inches closed (includes slipcase) Top view: expanded view of the first half of the book block. Bottom left: view of the book block removed from the cover to show the sewing structure bridging across the end pages. Bottom right: view of the book block slipping into the cover. Observation and visual interpretation of the private or personal space is the underlying theme in my work. I begin with photographic records made within the oft-overlooked spaces that frame our daily routines. My attention is drawn to instances of incongruity, prompting a sense of the strangely familiar, startling us during our habituated perception of objects and mundane situations. Having grown up in a suburban housing development, my earliest memory of home is that of living in a space that is reminiscent of my neighbors’ and this remains a persistent fascination. Corner is the final bookwork in a series inspired by living in Corner Brook’s Townsite area on the west coast of Newfoundland. Between 1924-34 the pulp mill built 150 homes to house the mill management and skilled labourers. I have photographed in several Townsite homes, all the same type-4 model as the one I live in, allowing me the rare opportunity to record the evolution of interior aspects of these homes. This project has also been the context to explore the paradoxical phenomena of conformity and individualization that occurs in a company town. Each bookwork from the series explores variations on image memory, multiplicity and sequence as a means to generate the visual equivalence of the underlying theme of the domestic uncanny. The experience of Corner begins with the brick shaped slipcase containing the book. Slipping the book out, it rests comfortably within the hand. The images on the cover position the viewer outside the home. Turning to the end pages, the viewer moves inside the personal space. The first spaces are entryways and then the viewer is led deeper into the home; from sparsely furnished entrances the images gradually move us into more densely filled and layered living spaces. The perspective within each echoes the perspective of the book pages. The gutter coincides with the represented corner, creating interplay between the architecture of the book and of the imagery. Each page spread cradles an unoccupied space charged with implied conversations between absent inhabitants. The book block is loose within the pocket-structure cover allowing the viewer interplay with the interior window imagery nested within the exterior view. The entire book is printed using photogravure. The integration of ink and paper create a tactile and physical presence while simultaneously evoking a state of photographic memory. The images are printed on book weight Somerset paper and are hinged at the fore-edge. The book block is held into a codex structure by sewing the end pages, bridging across the spine. In this way the perspectival illusion of each image and page spread is not interrupted by sewing. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541824901-0ECN8CV80P0RVY5RYZO5/mcba-prize-2015-MARLENE-MACCALLUM-CORNER-3.jpg Entries & Jurors - 2015 Entries - Marlene MacCallum Marlene MacCallum (Corner Brook, Newfoundland and Labrador, Canada) marlenemaccallum.com Corner 2013 Hand bound accordion book work with slipcase. The book block structure is held closed into a codex form by sewing across the spine into the end pages. The soft pocket-structure cover is inkjet printed on coated tyvek. The book block was made from fifteen photogravure plates hand printed on somerset paper. Edition of 14 30 pages each page spread is 9 7/8 x 9 ¾ inches 10 ¼ x 5 1/8 x 7/8 inches closed (includes slipcase) Pages fifteen and sixteen, the central image page spread in the book block, photogravure on Somerset paper. Observation and visual interpretation of the private or personal space is the underlying theme in my work. I begin with photographic records made within the oft-overlooked spaces that frame our daily routines. My attention is drawn to instances of incongruity, prompting a sense of the strangely familiar, startling us during our habituated perception of objects and mundane situations. Having grown up in a suburban housing development, my earliest memory of home is that of living in a space that is reminiscent of my neighbors’ and this remains a persistent fascination. Corner is the final bookwork in a series inspired by living in Corner Brook’s Townsite area on the west coast of Newfoundland. Between 1924-34 the pulp mill built 150 homes to house the mill management and skilled labourers. I have photographed in several Townsite homes, all the same type-4 model as the one I live in, allowing me the rare opportunity to record the evolution of interior aspects of these homes. This project has also been the context to explore the paradoxical phenomena of conformity and individualization that occurs in a company town. Each bookwork from the series explores variations on image memory, multiplicity and sequence as a means to generate the visual equivalence of the underlying theme of the domestic uncanny. The experience of Corner begins with the brick shaped slipcase containing the book. Slipping the book out, it rests comfortably within the hand. The images on the cover position the viewer outside the home. Turning to the end pages, the viewer moves inside the personal space. The first spaces are entryways and then the viewer is led deeper into the home; from sparsely furnished entrances the images gradually move us into more densely filled and layered living spaces. The perspective within each echoes the perspective of the book pages. The gutter coincides with the represented corner, creating interplay between the architecture of the book and of the imagery. Each page spread cradles an unoccupied space charged with implied conversations between absent inhabitants. The book block is loose within the pocket-structure cover allowing the viewer interplay with the interior window imagery nested within the exterior view. The entire book is printed using photogravure. The integration of ink and paper create a tactile and physical presence while simultaneously evoking a state of photographic memory. The images are printed on book weight Somerset paper and are hinged at the fore-edge. The book block is held into a codex structure by sewing the end pages, bridging across the spine. In this way the perspectival illusion of each image and page spread is not interrupted by sewing. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541825220-4JLKEGGALWPQJWWECE8F/mcba-prize-2015-MARLENE-MACCALLUM-CORNER-4.jpg Entries & Jurors - 2015 Entries - Marlene MacCallum Marlene MacCallum (Corner Brook, Newfoundland and Labrador, Canada) marlenemaccallum.com Corner 2013 Hand bound accordion book work with slipcase. The book block structure is held closed into a codex form by sewing across the spine into the end pages. The soft pocket-structure cover is inkjet printed on coated tyvek. The book block was made from fifteen photogravure plates hand printed on somerset paper. Edition of 14 30 pages each page spread is 9 7/8 x 9 ¾ inches 10 ¼ x 5 1/8 x 7/8 inches closed (includes slipcase) Pages twenty-one and twenty-two, photogravure on Somerset paper. Observation and visual interpretation of the private or personal space is the underlying theme in my work. I begin with photographic records made within the oft-overlooked spaces that frame our daily routines. My attention is drawn to instances of incongruity, prompting a sense of the strangely familiar, startling us during our habituated perception of objects and mundane situations. Having grown up in a suburban housing development, my earliest memory of home is that of living in a space that is reminiscent of my neighbors’ and this remains a persistent fascination. Corner is the final bookwork in a series inspired by living in Corner Brook’s Townsite area on the west coast of Newfoundland. Between 1924-34 the pulp mill built 150 homes to house the mill management and skilled labourers. I have photographed in several Townsite homes, all the same type-4 model as the one I live in, allowing me the rare opportunity to record the evolution of interior aspects of these homes. This project has also been the context to explore the paradoxical phenomena of conformity and individualization that occurs in a company town. Each bookwork from the series explores variations on image memory, multiplicity and sequence as a means to generate the visual equivalence of the underlying theme of the domestic uncanny. The experience of Corner begins with the brick shaped slipcase containing the book. Slipping the book out, it rests comfortably within the hand. The images on the cover position the viewer outside the home. Turning to the end pages, the viewer moves inside the personal space. The first spaces are entryways and then the viewer is led deeper into the home; from sparsely furnished entrances the images gradually move us into more densely filled and layered living spaces. The perspective within each echoes the perspective of the book pages. The gutter coincides with the represented corner, creating interplay between the architecture of the book and of the imagery. Each page spread cradles an unoccupied space charged with implied conversations between absent inhabitants. The book block is loose within the pocket-structure cover allowing the viewer interplay with the interior window imagery nested within the exterior view. The entire book is printed using photogravure. The integration of ink and paper create a tactile and physical presence while simultaneously evoking a state of photographic memory. The images are printed on book weight Somerset paper and are hinged at the fore-edge. The book block is held into a codex structure by sewing the end pages, bridging across the spine. In this way the perspectival illusion of each image and page spread is not interrupted by sewing. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774541826679-TONJAWTRQDVWODBCX0ZB/mcba-prize-2015-MARLENE-MACCALLUM-CORNER-5.jpg Entries & Jurors - 2015 Entries - Marlene MacCallum Marlene MacCallum (Corner Brook, Newfoundland and Labrador, Canada) marlenemaccallum.com Corner 2013 Hand bound accordion book work with slipcase. The book block structure is held closed into a codex form by sewing across the spine into the end pages. The soft pocket-structure cover is inkjet printed on coated tyvek. The book block was made from fifteen photogravure plates hand printed on somerset paper. Edition of 14 30 pages each page spread is 9 7/8 x 9 ¾ inches 10 ¼ x 5 1/8 x 7/8 inches closed (includes slipcase) Pages twenty-five and twenty-six, photogravure on Somerset paper. Observation and visual interpretation of the private or personal space is the underlying theme in my work. I begin with photographic records made within the oft-overlooked spaces that frame our daily routines. My attention is drawn to instances of incongruity, prompting a sense of the strangely familiar, startling us during our habituated perception of objects and mundane situations. Having grown up in a suburban housing development, my earliest memory of home is that of living in a space that is reminiscent of my neighbors’ and this remains a persistent fascination. Corner is the final bookwork in a series inspired by living in Corner Brook’s Townsite area on the west coast of Newfoundland. Between 1924-34 the pulp mill built 150 homes to house the mill management and skilled labourers. I have photographed in several Townsite homes, all the same type-4 model as the one I live in, allowing me the rare opportunity to record the evolution of interior aspects of these homes. This project has also been the context to explore the paradoxical phenomena of conformity and individualization that occurs in a company town. Each bookwork from the series explores variations on image memory, multiplicity and sequence as a means to generate the visual equivalence of the underlying theme of the domestic uncanny. The experience of Corner begins with the brick shaped slipcase containing the book. Slipping the book out, it rests comfortably within the hand. The images on the cover position the viewer outside the home. Turning to the end pages, the viewer moves inside the personal space. The first spaces are entryways and then the viewer is led deeper into the home; from sparsely furnished entrances the images gradually move us into more densely filled and layered living spaces. The perspective within each echoes the perspective of the book pages. The gutter coincides with the represented corner, creating interplay between the architecture of the book and of the imagery. Each page spread cradles an unoccupied space charged with implied conversations between absent inhabitants. The book block is loose within the pocket-structure cover allowing the viewer interplay with the interior window imagery nested within the exterior view. The entire book is printed using photogravure. The integration of ink and paper create a tactile and physical presence while simultaneously evoking a state of photographic memory. The images are printed on book weight Somerset paper and are hinged at the fore-edge. The book block is held into a codex structure by sewing the end pages, bridging across the spine. In this way the perspectival illusion of each image and page spread is not interrupted by sewing. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774542107282-77YT2IJW0R1YDZWSOBMD/mcba-prize-2015-PETER-MALUTZKI-LUCY-IN-THE-SKY-1.jpg Entries & Jurors - 2015 Entries - Peter Malutzki Peter Malutzki (Flörsheim, Germany) Lucy in the Sky 2013 Letterpress Edition of 60 94 pages 19 x 23 cm open 19 x 11.5 x 1 cm closed Images from the internet of girls taking photographs of themselves with their cell phones, mostly in front of a mirror. The images were made up in Photoshop, using the color separation process (adding some 19th century ornamental forms), and afterwards printed with polymer plates in letterpress (4 plates for each picture). Most of the images are printed several times using interchanged colors. The added text quotations come from the Beatles song “Lucy in the sky with diamonds”. The form and smallness of the book are a reference to the omnipresent mobil devices. Silver embossed black cardboard cover with cloth spine. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774542106790-GAIFSX3PWFQ2RM485T72/mcba-prize-2015-PETER-MALUTZKI-LUCY-IN-THE-SKY-2.jpg Entries & Jurors - 2015 Entries - Peter Malutzki Peter Malutzki (Flörsheim, Germany) Lucy in the Sky 2013 Letterpress Edition of 60 94 pages 19 x 23 cm open 19 x 11.5 x 1 cm closed Images from the internet of girls taking photographs of themselves with their cell phones, mostly in front of a mirror. The images were made up in Photoshop, using the color separation process (adding some 19th century ornamental forms), and afterwards printed with polymer plates in letterpress (4 plates for each picture). Most of the images are printed several times using interchanged colors. The added text quotations come from the Beatles song “Lucy in the sky with diamonds”. The form and smallness of the book are a reference to the omnipresent mobil devices. Silver embossed black cardboard cover with cloth spine. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774542108550-G5YGZIQ1TM56MB2ODK2L/mcba-prize-2015-PETER-MALUTZKI-LUCY-IN-THE-SKY-3.jpg Entries & Jurors - 2015 Entries - Peter Malutzki Peter Malutzki (Flörsheim, Germany) Lucy in the Sky 2013 Letterpress Edition of 60 94 pages 19 x 23 cm open 19 x 11.5 x 1 cm closed Images from the internet of girls taking photographs of themselves with their cell phones, mostly in front of a mirror. The images were made up in Photoshop, using the color separation process (adding some 19th century ornamental forms), and afterwards printed with polymer plates in letterpress (4 plates for each picture). Most of the images are printed several times using interchanged colors. The added text quotations come from the Beatles song “Lucy in the sky with diamonds”. The form and smallness of the book are a reference to the omnipresent mobil devices. Silver embossed black cardboard cover with cloth spine. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774542109167-9FEHSNJT4VL54NUE9J9Y/mcba-prize-2015-PETER-MALUTZKI-LUCY-IN-THE-SKY-4.jpg Entries & Jurors - 2015 Entries - Peter Malutzki Peter Malutzki (Flörsheim, Germany) Lucy in the Sky 2013 Letterpress Edition of 60 94 pages 19 x 23 cm open 19 x 11.5 x 1 cm closed Images from the internet of girls taking photographs of themselves with their cell phones, mostly in front of a mirror. The images were made up in Photoshop, using the color separation process (adding some 19th century ornamental forms), and afterwards printed with polymer plates in letterpress (4 plates for each picture). Most of the images are printed several times using interchanged colors. The added text quotations come from the Beatles song “Lucy in the sky with diamonds”. The form and smallness of the book are a reference to the omnipresent mobil devices. Silver embossed black cardboard cover with cloth spine. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774542110833-VCOXNDICKRRBPPJTA701/mcba-prize-2015-PETER-MALUTZKI-LUCY-IN-THE-SKY-5.jpg Entries & Jurors - 2015 Entries - Peter Malutzki Peter Malutzki (Flörsheim, Germany) Lucy in the Sky 2013 Letterpress Edition of 60 94 pages 19 x 23 cm open 19 x 11.5 x 1 cm closed Images from the internet of girls taking photographs of themselves with their cell phones, mostly in front of a mirror. The images were made up in Photoshop, using the color separation process (adding some 19th century ornamental forms), and afterwards printed with polymer plates in letterpress (4 plates for each picture). Most of the images are printed several times using interchanged colors. The added text quotations come from the Beatles song “Lucy in the sky with diamonds”. The form and smallness of the book are a reference to the omnipresent mobil devices. Silver embossed black cardboard cover with cloth spine. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774543035967-K5XE7CZCPW805AYWJ8ZP/mcba-prize-2015-LEE-MARCHALONIS-THE-MYSTERY-OF-THE-MUSTY-HIDE-1.jpg Entries & Jurors - 2015 Entries - Lee Marchalonis Lee Marchalonis (Detroit, MI) The Mystery of the Musty Hide 2014 copper-plate photogravure, linoleum, hand-set type, handmade flax paper treated with ink and beeswax Edition of 35 36 pages Dimensions, open: 8” x 10” x 3/8” Dimensions, closed: 8” x 5” x ¾” This book reflects the results of an investigation (research project) I undertook after viewing a particularly beautiful and emotionally-moving mounted zebra specimen at the University of Iowa’s Natural History Museum. Around the same time, I visited Chicago’s Field Museum and was struck by the quantity of taxidermy zebra on display. Surely one grouping of six or seven would say everything the museum needs to communicate to a viewer about the animal? I had the impression of multiple entire herds of zebra placidly standing in featureless plexiglass boxes. I wondered: how did the museum get all these zebras? Do they need them? Why are so many on display? And whose names are listed on the label? During a joint residency last summer at the Ora Lerman Charitable Trust Foundation, Alison K. Greene wrote the text that is presented here on the right hand side of the spreads. Greene’s text contextualizes and describes the theft of an Ivory-billed Woodpecker mount from an exhibition on extinction. I have presented her text in hand-set 8-point Century Schoolbook, surrounded by another text which has ben carved into linoleum and printed. The surrounding text is excerpted from Carl Akeley’s autobiography, and describes an elephant hunt and subsequent skinning of the animal in the field in order to prepare it for inclusion in the African Hall of Mammals at the American Museum of Natural History in New York. Included in the book are three images: a photogravure of a Grevy’s Zebra from the University of Iowa Museum of Natural History, collected and taxidermied by Akeley, the stoic expression of which led me to further research into Akeley and the early 20th century naturalists, a sheet of paper I made from flax fiber and treated with ink and beeswax to give the impression of elephant skin, and finally a photograph inkjet printed on Japanese lens tissue taken in the archive of the University of Iowa Museum of Natural History of the remaining two Ivory-billed Woodpecker skins mentioned in Greene’s text. The Mystery of the Musty Hide refers to the Nancy Drew books I read voraciously as a child. I have positioned myself as a “spunky girl detective” (as opposed to a high-level researcher), presenting a narrative concerning Carl Akeley’s life and work, in relation to my personal experiences and understanding of the natural and the museum world. The narrative is made up of six parts, beginning with a copperplate photogravure of the zebra that inspired this investigation. Two main texts are printed side by side, and make up most of the book. Excerpts from Carl Akeley’s ghostwritten autobiography create a framework for A. Kendra Greene’s text. Greene’s text presents a nuanced set of questions about extinction and the nature of possessive love. As both texts progress, Akeley’s text fades from prominence. The artist statement is titled, ‘Case Notes’ and is at the end of the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774543036112-8PR36GUR1PS26EQS3PM2/mcba-prize-2015-LEE-MARCHALONIS-THE-MYSTERY-OF-THE-MUSTY-HIDE-2.jpg Entries & Jurors - 2015 Entries - Lee Marchalonis Lee Marchalonis (Detroit, MI) The Mystery of the Musty Hide 2014 copper-plate photogravure, linoleum, hand-set type, handmade flax paper treated with ink and beeswax Edition of 35 36 pages Dimensions, open: 8” x 10” x 3/8” Dimensions, closed: 8” x 5” x ¾” This book reflects the results of an investigation (research project) I undertook after viewing a particularly beautiful and emotionally-moving mounted zebra specimen at the University of Iowa’s Natural History Museum. Around the same time, I visited Chicago’s Field Museum and was struck by the quantity of taxidermy zebra on display. Surely one grouping of six or seven would say everything the museum needs to communicate to a viewer about the animal? I had the impression of multiple entire herds of zebra placidly standing in featureless plexiglass boxes. I wondered: how did the museum get all these zebras? Do they need them? Why are so many on display? And whose names are listed on the label? During a joint residency last summer at the Ora Lerman Charitable Trust Foundation, Alison K. Greene wrote the text that is presented here on the right hand side of the spreads. Greene’s text contextualizes and describes the theft of an Ivory-billed Woodpecker mount from an exhibition on extinction. I have presented her text in hand-set 8-point Century Schoolbook, surrounded by another text which has ben carved into linoleum and printed. The surrounding text is excerpted from Carl Akeley’s autobiography, and describes an elephant hunt and subsequent skinning of the animal in the field in order to prepare it for inclusion in the African Hall of Mammals at the American Museum of Natural History in New York. Included in the book are three images: a photogravure of a Grevy’s Zebra from the University of Iowa Museum of Natural History, collected and taxidermied by Akeley, the stoic expression of which led me to further research into Akeley and the early 20th century naturalists, a sheet of paper I made from flax fiber and treated with ink and beeswax to give the impression of elephant skin, and finally a photograph inkjet printed on Japanese lens tissue taken in the archive of the University of Iowa Museum of Natural History of the remaining two Ivory-billed Woodpecker skins mentioned in Greene’s text. The Mystery of the Musty Hide refers to the Nancy Drew books I read voraciously as a child. I have positioned myself as a “spunky girl detective” (as opposed to a high-level researcher), presenting a narrative concerning Carl Akeley’s life and work, in relation to my personal experiences and understanding of the natural and the museum world. The narrative is made up of six parts, beginning with a copperplate photogravure of the zebra that inspired this investigation. Two main texts are printed side by side, and make up most of the book. Excerpts from Carl Akeley’s ghostwritten autobiography create a framework for A. Kendra Greene’s text. Greene’s text presents a nuanced set of questions about extinction and the nature of possessive love. As both texts progress, Akeley’s text fades from prominence. The artist statement is titled, ‘Case Notes’ and is at the end of the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774543037672-WYZOCBT2YFQ3WN8N91EQ/mcba-prize-2015-LEE-MARCHALONIS-THE-MYSTERY-OF-THE-MUSTY-HIDE-3.jpg Entries & Jurors - 2015 Entries - Lee Marchalonis Lee Marchalonis (Detroit, MI) The Mystery of the Musty Hide 2014 copper-plate photogravure, linoleum, hand-set type, handmade flax paper treated with ink and beeswax Edition of 35 36 pages Dimensions, open: 8” x 10” x 3/8” Dimensions, closed: 8” x 5” x ¾” This book reflects the results of an investigation (research project) I undertook after viewing a particularly beautiful and emotionally-moving mounted zebra specimen at the University of Iowa’s Natural History Museum. Around the same time, I visited Chicago’s Field Museum and was struck by the quantity of taxidermy zebra on display. Surely one grouping of six or seven would say everything the museum needs to communicate to a viewer about the animal? I had the impression of multiple entire herds of zebra placidly standing in featureless plexiglass boxes. I wondered: how did the museum get all these zebras? Do they need them? Why are so many on display? And whose names are listed on the label? During a joint residency last summer at the Ora Lerman Charitable Trust Foundation, Alison K. Greene wrote the text that is presented here on the right hand side of the spreads. Greene’s text contextualizes and describes the theft of an Ivory-billed Woodpecker mount from an exhibition on extinction. I have presented her text in hand-set 8-point Century Schoolbook, surrounded by another text which has ben carved into linoleum and printed. The surrounding text is excerpted from Carl Akeley’s autobiography, and describes an elephant hunt and subsequent skinning of the animal in the field in order to prepare it for inclusion in the African Hall of Mammals at the American Museum of Natural History in New York. Included in the book are three images: a photogravure of a Grevy’s Zebra from the University of Iowa Museum of Natural History, collected and taxidermied by Akeley, the stoic expression of which led me to further research into Akeley and the early 20th century naturalists, a sheet of paper I made from flax fiber and treated with ink and beeswax to give the impression of elephant skin, and finally a photograph inkjet printed on Japanese lens tissue taken in the archive of the University of Iowa Museum of Natural History of the remaining two Ivory-billed Woodpecker skins mentioned in Greene’s text. The Mystery of the Musty Hide refers to the Nancy Drew books I read voraciously as a child. I have positioned myself as a “spunky girl detective” (as opposed to a high-level researcher), presenting a narrative concerning Carl Akeley’s life and work, in relation to my personal experiences and understanding of the natural and the museum world. The narrative is made up of six parts, beginning with a copperplate photogravure of the zebra that inspired this investigation. Two main texts are printed side by side, and make up most of the book. Excerpts from Carl Akeley’s ghostwritten autobiography create a framework for A. Kendra Greene’s text. Greene’s text presents a nuanced set of questions about extinction and the nature of possessive love. As both texts progress, Akeley’s text fades from prominence. The artist statement is titled, ‘Case Notes’ and is at the end of the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774543037914-69VAJWF9QW28VMUE200U/mcba-prize-2015-LEE-MARCHALONIS-THE-MYSTERY-OF-THE-MUSTY-HIDE-4.jpg Entries & Jurors - 2015 Entries - Lee Marchalonis Lee Marchalonis (Detroit, MI) The Mystery of the Musty Hide 2014 copper-plate photogravure, linoleum, hand-set type, handmade flax paper treated with ink and beeswax Edition of 35 36 pages Dimensions, open: 8” x 10” x 3/8” Dimensions, closed: 8” x 5” x ¾” This book reflects the results of an investigation (research project) I undertook after viewing a particularly beautiful and emotionally-moving mounted zebra specimen at the University of Iowa’s Natural History Museum. Around the same time, I visited Chicago’s Field Museum and was struck by the quantity of taxidermy zebra on display. Surely one grouping of six or seven would say everything the museum needs to communicate to a viewer about the animal? I had the impression of multiple entire herds of zebra placidly standing in featureless plexiglass boxes. I wondered: how did the museum get all these zebras? Do they need them? Why are so many on display? And whose names are listed on the label? During a joint residency last summer at the Ora Lerman Charitable Trust Foundation, Alison K. Greene wrote the text that is presented here on the right hand side of the spreads. Greene’s text contextualizes and describes the theft of an Ivory-billed Woodpecker mount from an exhibition on extinction. I have presented her text in hand-set 8-point Century Schoolbook, surrounded by another text which has ben carved into linoleum and printed. The surrounding text is excerpted from Carl Akeley’s autobiography, and describes an elephant hunt and subsequent skinning of the animal in the field in order to prepare it for inclusion in the African Hall of Mammals at the American Museum of Natural History in New York. Included in the book are three images: a photogravure of a Grevy’s Zebra from the University of Iowa Museum of Natural History, collected and taxidermied by Akeley, the stoic expression of which led me to further research into Akeley and the early 20th century naturalists, a sheet of paper I made from flax fiber and treated with ink and beeswax to give the impression of elephant skin, and finally a photograph inkjet printed on Japanese lens tissue taken in the archive of the University of Iowa Museum of Natural History of the remaining two Ivory-billed Woodpecker skins mentioned in Greene’s text. The Mystery of the Musty Hide refers to the Nancy Drew books I read voraciously as a child. I have positioned myself as a “spunky girl detective” (as opposed to a high-level researcher), presenting a narrative concerning Carl Akeley’s life and work, in relation to my personal experiences and understanding of the natural and the museum world. The narrative is made up of six parts, beginning with a copperplate photogravure of the zebra that inspired this investigation. Two main texts are printed side by side, and make up most of the book. Excerpts from Carl Akeley’s ghostwritten autobiography create a framework for A. Kendra Greene’s text. Greene’s text presents a nuanced set of questions about extinction and the nature of possessive love. As both texts progress, Akeley’s text fades from prominence. The artist statement is titled, ‘Case Notes’ and is at the end of the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774543039484-QFHZJU4RMZ9BEPYRW1I9/mcba-prize-2015-LEE-MARCHALONIS-THE-MYSTERY-OF-THE-MUSTY-HIDE-5.jpg Entries & Jurors - 2015 Entries - Lee Marchalonis Lee Marchalonis (Detroit, MI) The Mystery of the Musty Hide 2014 copper-plate photogravure, linoleum, hand-set type, handmade flax paper treated with ink and beeswax Edition of 35 36 pages Dimensions, open: 8” x 10” x 3/8” Dimensions, closed: 8” x 5” x ¾” This book reflects the results of an investigation (research project) I undertook after viewing a particularly beautiful and emotionally-moving mounted zebra specimen at the University of Iowa’s Natural History Museum. Around the same time, I visited Chicago’s Field Museum and was struck by the quantity of taxidermy zebra on display. Surely one grouping of six or seven would say everything the museum needs to communicate to a viewer about the animal? I had the impression of multiple entire herds of zebra placidly standing in featureless plexiglass boxes. I wondered: how did the museum get all these zebras? Do they need them? Why are so many on display? And whose names are listed on the label? During a joint residency last summer at the Ora Lerman Charitable Trust Foundation, Alison K. Greene wrote the text that is presented here on the right hand side of the spreads. Greene’s text contextualizes and describes the theft of an Ivory-billed Woodpecker mount from an exhibition on extinction. I have presented her text in hand-set 8-point Century Schoolbook, surrounded by another text which has ben carved into linoleum and printed. The surrounding text is excerpted from Carl Akeley’s autobiography, and describes an elephant hunt and subsequent skinning of the animal in the field in order to prepare it for inclusion in the African Hall of Mammals at the American Museum of Natural History in New York. Included in the book are three images: a photogravure of a Grevy’s Zebra from the University of Iowa Museum of Natural History, collected and taxidermied by Akeley, the stoic expression of which led me to further research into Akeley and the early 20th century naturalists, a sheet of paper I made from flax fiber and treated with ink and beeswax to give the impression of elephant skin, and finally a photograph inkjet printed on Japanese lens tissue taken in the archive of the University of Iowa Museum of Natural History of the remaining two Ivory-billed Woodpecker skins mentioned in Greene’s text. The Mystery of the Musty Hide refers to the Nancy Drew books I read voraciously as a child. I have positioned myself as a “spunky girl detective” (as opposed to a high-level researcher), presenting a narrative concerning Carl Akeley’s life and work, in relation to my personal experiences and understanding of the natural and the museum world. The narrative is made up of six parts, beginning with a copperplate photogravure of the zebra that inspired this investigation. Two main texts are printed side by side, and make up most of the book. Excerpts from Carl Akeley’s ghostwritten autobiography create a framework for A. Kendra Greene’s text. Greene’s text presents a nuanced set of questions about extinction and the nature of possessive love. As both texts progress, Akeley’s text fades from prominence. The artist statement is titled, ‘Case Notes’ and is at the end of the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774543673192-THH38V062LVAPQ0KA00E/mcba-prize-2015-MAX-MAREK-GEDA%CC%88CHTNIS-PROTOKOLL-PROTOCOL-BY-MEMORY-1.jpg Entries & Jurors - 2015 Entries - Max Marek Max Marek (Berlin, Germany) maxmarek.de Gedächtnis Protokoll (Protocol by Memory) 2014 Paper-Cuts Unique Work Pages: 10 Dimensions open: 11 x 12 x 0.5 inches Dimensions closed: 11 x 6 x 0.5 inches A radio documentary about the daily routine of police in Berlin was the source of of inspiration for this book. When called to a crime scene in which shots have been fired, the police, wishing to interrogate witnesses, frequently come across people who say they heard the shots but could not see who did it. Frustrating as this is, the police are obliged to write up a protocol by memory of the incident, even if no witnesses are willing to talk. This led to my interest in wanting to show what remains behind once the crime scene is cleared by the police. Depicted on several sheets of paper, the shot reappears and seemingly shatters the pages in this book. As a mute witness of the incident, this last trace becomes a visible but hollow echo of what once took place. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774543672913-C0BSTE1NMT2RG1VZU6Z6/mcba-prize-2015-MAX-MAREK-GEDA%CC%88CHTNIS-PROTOKOLL-PROTOCOL-BY-MEMORY-2.jpg Entries & Jurors - 2015 Entries - Max Marek Max Marek (Berlin, Germany) maxmarek.de Gedächtnis Protokoll (Protocol by Memory) 2014 Paper-Cuts Unique Work Pages: 10 Dimensions open: 11 x 12 x 0.5 inches Dimensions closed: 11 x 6 x 0.5 inches A radio documentary about the daily routine of police in Berlin was the source of of inspiration for this book. When called to a crime scene in which shots have been fired, the police, wishing to interrogate witnesses, frequently come across people who say they heard the shots but could not see who did it. Frustrating as this is, the police are obliged to write up a protocol by memory of the incident, even if no witnesses are willing to talk. This led to my interest in wanting to show what remains behind once the crime scene is cleared by the police. Depicted on several sheets of paper, the shot reappears and seemingly shatters the pages in this book. As a mute witness of the incident, this last trace becomes a visible but hollow echo of what once took place. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774543674523-FCULD1XMFZR7S66PPTLY/mcba-prize-2015-MAX-MAREK-GEDA%CC%88CHTNIS-PROTOKOLL-PROTOCOL-BY-MEMORY-3.jpg Entries & Jurors - 2015 Entries - Max Marek Max Marek (Berlin, Germany) maxmarek.de Gedächtnis Protokoll (Protocol by Memory) 2014 Paper-Cuts Unique Work Pages: 10 Dimensions open: 11 x 12 x 0.5 inches Dimensions closed: 11 x 6 x 0.5 inches A radio documentary about the daily routine of police in Berlin was the source of of inspiration for this book. When called to a crime scene in which shots have been fired, the police, wishing to interrogate witnesses, frequently come across people who say they heard the shots but could not see who did it. Frustrating as this is, the police are obliged to write up a protocol by memory of the incident, even if no witnesses are willing to talk. This led to my interest in wanting to show what remains behind once the crime scene is cleared by the police. Depicted on several sheets of paper, the shot reappears and seemingly shatters the pages in this book. As a mute witness of the incident, this last trace becomes a visible but hollow echo of what once took place. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774543674835-VUQA16NNZX1PSBVGPJ43/mcba-prize-2015-MAX-MAREK-GEDA%CC%88CHTNIS-PROTOKOLL-PROTOCOL-BY-MEMORY-4.jpg Entries & Jurors - 2015 Entries - Max Marek Max Marek (Berlin, Germany) maxmarek.de Gedächtnis Protokoll (Protocol by Memory) 2014 Paper-Cuts Unique Work Pages: 10 Dimensions open: 11 x 12 x 0.5 inches Dimensions closed: 11 x 6 x 0.5 inches A radio documentary about the daily routine of police in Berlin was the source of of inspiration for this book. When called to a crime scene in which shots have been fired, the police, wishing to interrogate witnesses, frequently come across people who say they heard the shots but could not see who did it. Frustrating as this is, the police are obliged to write up a protocol by memory of the incident, even if no witnesses are willing to talk. This led to my interest in wanting to show what remains behind once the crime scene is cleared by the police. Depicted on several sheets of paper, the shot reappears and seemingly shatters the pages in this book. As a mute witness of the incident, this last trace becomes a visible but hollow echo of what once took place. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774543676094-W6ZKC0W5J0PYD2SHI825/mcba-prize-2015-MAX-MAREK-GEDA%CC%88CHTNIS-PROTOKOLL-PROTOCOL-BY-MEMORY-5.jpg Entries & Jurors - 2015 Entries - Max Marek Max Marek (Berlin, Germany) maxmarek.de Gedächtnis Protokoll (Protocol by Memory) 2014 Paper-Cuts Unique Work Pages: 10 Dimensions open: 11 x 12 x 0.5 inches Dimensions closed: 11 x 6 x 0.5 inches A radio documentary about the daily routine of police in Berlin was the source of of inspiration for this book. When called to a crime scene in which shots have been fired, the police, wishing to interrogate witnesses, frequently come across people who say they heard the shots but could not see who did it. Frustrating as this is, the police are obliged to write up a protocol by memory of the incident, even if no witnesses are willing to talk. This led to my interest in wanting to show what remains behind once the crime scene is cleared by the police. Depicted on several sheets of paper, the shot reappears and seemingly shatters the pages in this book. As a mute witness of the incident, this last trace becomes a visible but hollow echo of what once took place. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774543841527-JXIEUVEMJQEW6GMX92IM/mcba-prize-2015-EMILY-MARTIN-DESDEMONA-IN-HER-OWN-WORDS-1.jpg Entries & Jurors - 2015 Entries - Emily Martin Emily Martin (Iowa City, IA) emilymartin.com Desdemona In Her Own Words 2015 Letterpress and relief printing Edition of 14 Pages: 9 Dimensions open: 20 x 30 x 1 Dimensions closed: 20 x 14 x 1.5 Title page and end sheet in position in the clamshell box. Title page printed letterpress from a polymer plate on Arches text wove. End sheet of duplexed Bugra paper, blue on one side, green on the other. Sheet word magnets attached to a sheet metal liner inside both trays of the clamshell box. For the last 4 years I have been working with Shakespeare’s tragedies, reading and rereading the plays, distilling the themes. The first was The Tragedy of Romeo and Juliet, a carousel book exploring the futility of the circular conflicts rather than the star crossed romance. The second is Desdemona In Her Own Words, a book in pages from the play Othello with a particular interest in Desdemona. To me Desdemona was dismayingly passive. I isolated Desdemona’s lines and made a set of individual word magnets so I could arrange and rearrange her words to see what else she might say. While I cannot make Desdemona say some of the things I wished she would, she speaks for herself here, not as anyone’s pawn. And I found that in the time I have spent with Desdemona’s words I developed a greater appreciation for the language of the play. The result is this very short play consisting of a prelude, five acts and a coda. Some of the lines are addressed specifically to Othello, Iago or the supporting characters Emilia, Cassio and Brabantio whom I took to thinking of as a combined chorus figure and two lines are addressed to the world at large. This book is the second of a series of works examining the re-ordered lines for Desdemona. The writing of the re-ordered lines was completed in the fall of 2013. The images were begun during the 2014 winter residency at Penland School of Crafts. Preliminary drawings were done in advance of the residency. The images themselves were composed at the press using a variety of materials that allowed not only for spontaneous assembly, such as bent wire and collagraphs using adhesive foams, but these materials could also be altered and adjusted immediately as needed. The images were completed in my studio over the next year. I have always sought to match the format of my books to the content I am exploring. As a result, Desdemona In Her Own Words is a book of individual pages to allow each of Desdemona’s statements to be seen as stand-alone declarations, each page is contained in a folder to denote its place in this new play. The pages are printed in four colors of rubber based ink on two different SP15 Vandercook proof presses using handset type and wire, wonder foam, flexi-cut, hand made corn fiber paper from Andrea Peterson and grit from the grounds of Penland. The paper is Sakamoto lightweight. The title page, colophon page and the folder papers are Arches Text Wove. The end sheets are duplexed Bugra paper. The book pages are 19 inches tall and 13 inches wide. All is contained in a cloth covered clamshell box that is lined with sheet metal covered with Sakamoto paper to hold a complete set of Desdemona’s individual word magnets. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774543840961-ZLZOUJO7R5DGF3EBOTRQ/mcba-prize-2015-EMILY-MARTIN-DESDEMONA-IN-HER-OWN-WORDS-2.jpg Entries & Jurors - 2015 Entries - Emily Martin Emily Martin (Iowa City, IA) emilymartin.com Desdemona In Her Own Words 2015 Letterpress and relief printing Edition of 14 Pages: 9 Dimensions open: 20 x 30 x 1 Dimensions closed: 20 x 14 x 1.5 A detail view of the individual magnets for each of Desdemona’s words taken from the play Othello. When distilled to eliminate duplicates Desdemona’s words total 710. For the last 4 years I have been working with Shakespeare’s tragedies, reading and rereading the plays, distilling the themes. The first was The Tragedy of Romeo and Juliet, a carousel book exploring the futility of the circular conflicts rather than the star crossed romance. The second is Desdemona In Her Own Words, a book in pages from the play Othello with a particular interest in Desdemona. To me Desdemona was dismayingly passive. I isolated Desdemona’s lines and made a set of individual word magnets so I could arrange and rearrange her words to see what else she might say. While I cannot make Desdemona say some of the things I wished she would, she speaks for herself here, not as anyone’s pawn. And I found that in the time I have spent with Desdemona’s words I developed a greater appreciation for the language of the play. The result is this very short play consisting of a prelude, five acts and a coda. Some of the lines are addressed specifically to Othello, Iago or the supporting characters Emilia, Cassio and Brabantio whom I took to thinking of as a combined chorus figure and two lines are addressed to the world at large. This book is the second of a series of works examining the re-ordered lines for Desdemona. The writing of the re-ordered lines was completed in the fall of 2013. The images were begun during the 2014 winter residency at Penland School of Crafts. Preliminary drawings were done in advance of the residency. The images themselves were composed at the press using a variety of materials that allowed not only for spontaneous assembly, such as bent wire and collagraphs using adhesive foams, but these materials could also be altered and adjusted immediately as needed. The images were completed in my studio over the next year. I have always sought to match the format of my books to the content I am exploring. As a result, Desdemona In Her Own Words is a book of individual pages to allow each of Desdemona’s statements to be seen as stand-alone declarations, each page is contained in a folder to denote its place in this new play. The pages are printed in four colors of rubber based ink on two different SP15 Vandercook proof presses using handset type and wire, wonder foam, flexi-cut, hand made corn fiber paper from Andrea Peterson and grit from the grounds of Penland. The paper is Sakamoto lightweight. The title page, colophon page and the folder papers are Arches Text Wove. The end sheets are duplexed Bugra paper. The book pages are 19 inches tall and 13 inches wide. All is contained in a cloth covered clamshell box that is lined with sheet metal covered with Sakamoto paper to hold a complete set of Desdemona’s individual word magnets. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774543843939-7QS89OQ8K2AXK3JAQ4KH/mcba-prize-2015-EMILY-MARTIN-DESDEMONA-IN-HER-OWN-WORDS-3.jpg Entries & Jurors - 2015 Entries - Emily Martin Emily Martin (Iowa City, IA) emilymartin.com Desdemona In Her Own Words 2015 Letterpress and relief printing Edition of 14 Pages: 9 Dimensions open: 20 x 30 x 1 Dimensions closed: 20 x 14 x 1.5 A detail view of the image page for Act 1. The page is printed in four colors of rubber based ink on two different SP15 Vandercook proof presses using handset type and wire; and collagraphs using wonder foam, flexi-cut, hand made corn fiber paper from Andrea Peterson and grit from the grounds of Penland. For the last 4 years I have been working with Shakespeare’s tragedies, reading and rereading the plays, distilling the themes. The first was The Tragedy of Romeo and Juliet, a carousel book exploring the futility of the circular conflicts rather than the star crossed romance. The second is Desdemona In Her Own Words, a book in pages from the play Othello with a particular interest in Desdemona. To me Desdemona was dismayingly passive. I isolated Desdemona’s lines and made a set of individual word magnets so I could arrange and rearrange her words to see what else she might say. While I cannot make Desdemona say some of the things I wished she would, she speaks for herself here, not as anyone’s pawn. And I found that in the time I have spent with Desdemona’s words I developed a greater appreciation for the language of the play. The result is this very short play consisting of a prelude, five acts and a coda. Some of the lines are addressed specifically to Othello, Iago or the supporting characters Emilia, Cassio and Brabantio whom I took to thinking of as a combined chorus figure and two lines are addressed to the world at large. This book is the second of a series of works examining the re-ordered lines for Desdemona. The writing of the re-ordered lines was completed in the fall of 2013. The images were begun during the 2014 winter residency at Penland School of Crafts. Preliminary drawings were done in advance of the residency. The images themselves were composed at the press using a variety of materials that allowed not only for spontaneous assembly, such as bent wire and collagraphs using adhesive foams, but these materials could also be altered and adjusted immediately as needed. The images were completed in my studio over the next year. I have always sought to match the format of my books to the content I am exploring. As a result, Desdemona In Her Own Words is a book of individual pages to allow each of Desdemona’s statements to be seen as stand-alone declarations, each page is contained in a folder to denote its place in this new play. The pages are printed in four colors of rubber based ink on two different SP15 Vandercook proof presses using handset type and wire, wonder foam, flexi-cut, hand made corn fiber paper from Andrea Peterson and grit from the grounds of Penland. The paper is Sakamoto lightweight. The title page, colophon page and the folder papers are Arches Text Wove. The end sheets are duplexed Bugra paper. The book pages are 19 inches tall and 13 inches wide. All is contained in a cloth covered clamshell box that is lined with sheet metal covered with Sakamoto paper to hold a complete set of Desdemona’s individual word magnets. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774543844639-385I83GUOY8A1SOVLQP9/mcba-prize-2015-EMILY-MARTIN-DESDEMONA-IN-HER-OWN-WORDS-4.jpg Entries & Jurors - 2015 Entries - Emily Martin Emily Martin (Iowa City, IA) emilymartin.com Desdemona In Her Own Words 2015 Letterpress and relief printing Edition of 14 Pages: 9 Dimensions open: 20 x 30 x 1 Dimensions closed: 20 x 14 x 1.5 A detail view of the image page for Act 3. The page is printed in four colors of rubber based ink on two different SP15 Vandercook proof presses using handset type and wire; and collagraphs using wonder foam, flexi-cut, hand made corn fiber paper from Andrea Peterson and grit from the grounds of Penland. For the last 4 years I have been working with Shakespeare’s tragedies, reading and rereading the plays, distilling the themes. The first was The Tragedy of Romeo and Juliet, a carousel book exploring the futility of the circular conflicts rather than the star crossed romance. The second is Desdemona In Her Own Words, a book in pages from the play Othello with a particular interest in Desdemona. To me Desdemona was dismayingly passive. I isolated Desdemona’s lines and made a set of individual word magnets so I could arrange and rearrange her words to see what else she might say. While I cannot make Desdemona say some of the things I wished she would, she speaks for herself here, not as anyone’s pawn. And I found that in the time I have spent with Desdemona’s words I developed a greater appreciation for the language of the play. The result is this very short play consisting of a prelude, five acts and a coda. Some of the lines are addressed specifically to Othello, Iago or the supporting characters Emilia, Cassio and Brabantio whom I took to thinking of as a combined chorus figure and two lines are addressed to the world at large. This book is the second of a series of works examining the re-ordered lines for Desdemona. The writing of the re-ordered lines was completed in the fall of 2013. The images were begun during the 2014 winter residency at Penland School of Crafts. Preliminary drawings were done in advance of the residency. The images themselves were composed at the press using a variety of materials that allowed not only for spontaneous assembly, such as bent wire and collagraphs using adhesive foams, but these materials could also be altered and adjusted immediately as needed. The images were completed in my studio over the next year. I have always sought to match the format of my books to the content I am exploring. As a result, Desdemona In Her Own Words is a book of individual pages to allow each of Desdemona’s statements to be seen as stand-alone declarations, each page is contained in a folder to denote its place in this new play. The pages are printed in four colors of rubber based ink on two different SP15 Vandercook proof presses using handset type and wire, wonder foam, flexi-cut, hand made corn fiber paper from Andrea Peterson and grit from the grounds of Penland. The paper is Sakamoto lightweight. The title page, colophon page and the folder papers are Arches Text Wove. The end sheets are duplexed Bugra paper. The book pages are 19 inches tall and 13 inches wide. All is contained in a cloth covered clamshell box that is lined with sheet metal covered with Sakamoto paper to hold a complete set of Desdemona’s individual word magnets. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774543845653-RO7WZJ75K6D5AVFAV20D/mcba-prize-2015-EMILY-MARTIN-DESDEMONA-IN-HER-OWN-WORDS-5.jpg Entries & Jurors - 2015 Entries - Emily Martin Emily Martin (Iowa City, IA) emilymartin.com Desdemona In Her Own Words 2015 Letterpress and relief printing Edition of 14 Pages: 9 Dimensions open: 20 x 30 x 1 Dimensions closed: 20 x 14 x 1.5 The image page for Act 5 in position in the clamshell box. The page is printed in four colors of rubber based ink on two different SP15 Vandercook proof presses using handset type and wire; and collagraphs using wonder foam, flexi-cut, hand made corn fiber paper from Andrea Peterson and grit from the grounds of Penland. For the last 4 years I have been working with Shakespeare’s tragedies, reading and rereading the plays, distilling the themes. The first was The Tragedy of Romeo and Juliet, a carousel book exploring the futility of the circular conflicts rather than the star crossed romance. The second is Desdemona In Her Own Words, a book in pages from the play Othello with a particular interest in Desdemona. To me Desdemona was dismayingly passive. I isolated Desdemona’s lines and made a set of individual word magnets so I could arrange and rearrange her words to see what else she might say. While I cannot make Desdemona say some of the things I wished she would, she speaks for herself here, not as anyone’s pawn. And I found that in the time I have spent with Desdemona’s words I developed a greater appreciation for the language of the play. The result is this very short play consisting of a prelude, five acts and a coda. Some of the lines are addressed specifically to Othello, Iago or the supporting characters Emilia, Cassio and Brabantio whom I took to thinking of as a combined chorus figure and two lines are addressed to the world at large. This book is the second of a series of works examining the re-ordered lines for Desdemona. The writing of the re-ordered lines was completed in the fall of 2013. The images were begun during the 2014 winter residency at Penland School of Crafts. Preliminary drawings were done in advance of the residency. The images themselves were composed at the press using a variety of materials that allowed not only for spontaneous assembly, such as bent wire and collagraphs using adhesive foams, but these materials could also be altered and adjusted immediately as needed. The images were completed in my studio over the next year. I have always sought to match the format of my books to the content I am exploring. As a result, Desdemona In Her Own Words is a book of individual pages to allow each of Desdemona’s statements to be seen as stand-alone declarations, each page is contained in a folder to denote its place in this new play. The pages are printed in four colors of rubber based ink on two different SP15 Vandercook proof presses using handset type and wire, wonder foam, flexi-cut, hand made corn fiber paper from Andrea Peterson and grit from the grounds of Penland. The paper is Sakamoto lightweight. The title page, colophon page and the folder papers are Arches Text Wove. The end sheets are duplexed Bugra paper. The book pages are 19 inches tall and 13 inches wide. All is contained in a cloth covered clamshell box that is lined with sheet metal covered with Sakamoto paper to hold a complete set of Desdemona’s individual word magnets. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544059663-V7YMYGNH4NS48C5B9MYD/mcba-prize-2015-ANNA-MAVROMATIS-EVERBLOOMING-TALE-1.jpg Entries & Jurors - 2015 Entries - Anna Mavromatis Anna Mavromatis (Houston, Texas) annamavromatis.com Everblooming Tale 2015 repurposed book/monotypes on coffee filters Unique work 7 x 12.2 x 12.2” Standing tall! Cutouts on the folded pages giving glimpses of the unfolding tale… My works are similar to entries in a personal journal, where instead of written lines, emotions and thoughts are expressed through colors, shapes, gestural markings, folds; Patterns, textures, legends and places associated with my childhood and heritage form the vocabulary and fiber of my “stories”; by superimposing ancient and modern printmaking methods I sculpt, collage, handle paper and turn it into a kosmos where all I need, all I feel, all I want to revisit, re-examine, even forget, find a place to be expressed. My narrative is often about attempts to re-connect with people, situations, beliefs and roots long lost. It is a quest to revisit unresolved affairs, reach new understandings, bridge the gaps formed by my segmented life spent in different countries around the world. The use of found objects mirrors my need for holding on to heirloom pieces and my interest to have them present in my surroundings. Even mundane things like packing materials and everyday discarded items become objects of importance, reflecting the mood and aura of the time and place used, becoming part of my palette, thus soon to begin a second life embedded into new works. Everblooming Tale is a sculptured artists’ book, composed by a repurposed vintage book and monotypes pulled off an etching press on coffee filters, draped and inserted into the book’s folded pages. I shaped this structure as a flower in bloom, using its organic form as a symbol for my unfolding life tale. I have associated coffee scent with “family secrets” I overheard as a child, told by grown-ups during their socializing coffee rituals. By applying monotype techniques driven and charged by my thoughts and emotions on coffee filters, I am using this association as a starting point and symbol to the continuous quest for understanding the source of family troubling secrets. • Vintage book with pages folded, partial cutouts on the folds forming a pattern. • Monotypes on coffee filters as flower petals • Digitally generated imagery archival pigment prints on coffee filters lining the (monotype) petals. • PVA https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544059512-ZXCZCNWHCLULOI2BRT00/mcba-prize-2015-ANNA-MAVROMATIS-EVERBLOOMING-TALE-2.jpg Entries & Jurors - 2015 Entries - Anna Mavromatis Anna Mavromatis (Houston, Texas) annamavromatis.com Everblooming Tale 2015 repurposed book/monotypes on coffee filters Unique work 7 x 12.2 x 12.2” Pulled off the etching press, monotypes on coffee filters become petals of my story in bloom. My works are similar to entries in a personal journal, where instead of written lines, emotions and thoughts are expressed through colors, shapes, gestural markings, folds; Patterns, textures, legends and places associated with my childhood and heritage form the vocabulary and fiber of my “stories”; by superimposing ancient and modern printmaking methods I sculpt, collage, handle paper and turn it into a kosmos where all I need, all I feel, all I want to revisit, re-examine, even forget, find a place to be expressed. My narrative is often about attempts to re-connect with people, situations, beliefs and roots long lost. It is a quest to revisit unresolved affairs, reach new understandings, bridge the gaps formed by my segmented life spent in different countries around the world. The use of found objects mirrors my need for holding on to heirloom pieces and my interest to have them present in my surroundings. Even mundane things like packing materials and everyday discarded items become objects of importance, reflecting the mood and aura of the time and place used, becoming part of my palette, thus soon to begin a second life embedded into new works. Everblooming Tale is a sculptured artists’ book, composed by a repurposed vintage book and monotypes pulled off an etching press on coffee filters, draped and inserted into the book’s folded pages. I shaped this structure as a flower in bloom, using its organic form as a symbol for my unfolding life tale. I have associated coffee scent with “family secrets” I overheard as a child, told by grown-ups during their socializing coffee rituals. By applying monotype techniques driven and charged by my thoughts and emotions on coffee filters, I am using this association as a starting point and symbol to the continuous quest for understanding the source of family troubling secrets. • Vintage book with pages folded, partial cutouts on the folds forming a pattern. • Monotypes on coffee filters as flower petals • Digitally generated imagery archival pigment prints on coffee filters lining the (monotype) petals. • PVA https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544061142-MIK2J7QQVARDS9UD096H/mcba-prize-2015-ANNA-MAVROMATIS-EVERBLOOMING-TALE-3.jpg Entries & Jurors - 2015 Entries - Anna Mavromatis Anna Mavromatis (Houston, Texas) annamavromatis.com Everblooming Tale 2015 repurposed book/monotypes on coffee filters Unique work 7 x 12.2 x 12.2” It’s up to me! Sometimes I hold my story in one hand! My works are similar to entries in a personal journal, where instead of written lines, emotions and thoughts are expressed through colors, shapes, gestural markings, folds; Patterns, textures, legends and places associated with my childhood and heritage form the vocabulary and fiber of my “stories”; by superimposing ancient and modern printmaking methods I sculpt, collage, handle paper and turn it into a kosmos where all I need, all I feel, all I want to revisit, re-examine, even forget, find a place to be expressed. My narrative is often about attempts to re-connect with people, situations, beliefs and roots long lost. It is a quest to revisit unresolved affairs, reach new understandings, bridge the gaps formed by my segmented life spent in different countries around the world. The use of found objects mirrors my need for holding on to heirloom pieces and my interest to have them present in my surroundings. Even mundane things like packing materials and everyday discarded items become objects of importance, reflecting the mood and aura of the time and place used, becoming part of my palette, thus soon to begin a second life embedded into new works. Everblooming Tale is a sculptured artists’ book, composed by a repurposed vintage book and monotypes pulled off an etching press on coffee filters, draped and inserted into the book’s folded pages. I shaped this structure as a flower in bloom, using its organic form as a symbol for my unfolding life tale. I have associated coffee scent with “family secrets” I overheard as a child, told by grown-ups during their socializing coffee rituals. By applying monotype techniques driven and charged by my thoughts and emotions on coffee filters, I am using this association as a starting point and symbol to the continuous quest for understanding the source of family troubling secrets. • Vintage book with pages folded, partial cutouts on the folds forming a pattern. • Monotypes on coffee filters as flower petals • Digitally generated imagery archival pigment prints on coffee filters lining the (monotype) petals. • PVA https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544061332-B7BCQUPS0K6Z6HSMUGWK/mcba-prize-2015-ANNA-MAVROMATIS-EVERBLOOMING-TALE-4.jpg Entries & Jurors - 2015 Entries - Anna Mavromatis Anna Mavromatis (Houston, Texas) annamavromatis.com Everblooming Tale 2015 repurposed book/monotypes on coffee filters Unique work 7 x 12.2 x 12.2” Bloomed all the way! My works are similar to entries in a personal journal, where instead of written lines, emotions and thoughts are expressed through colors, shapes, gestural markings, folds; Patterns, textures, legends and places associated with my childhood and heritage form the vocabulary and fiber of my “stories”; by superimposing ancient and modern printmaking methods I sculpt, collage, handle paper and turn it into a kosmos where all I need, all I feel, all I want to revisit, re-examine, even forget, find a place to be expressed. My narrative is often about attempts to re-connect with people, situations, beliefs and roots long lost. It is a quest to revisit unresolved affairs, reach new understandings, bridge the gaps formed by my segmented life spent in different countries around the world. The use of found objects mirrors my need for holding on to heirloom pieces and my interest to have them present in my surroundings. Even mundane things like packing materials and everyday discarded items become objects of importance, reflecting the mood and aura of the time and place used, becoming part of my palette, thus soon to begin a second life embedded into new works. Everblooming Tale is a sculptured artists’ book, composed by a repurposed vintage book and monotypes pulled off an etching press on coffee filters, draped and inserted into the book’s folded pages. I shaped this structure as a flower in bloom, using its organic form as a symbol for my unfolding life tale. I have associated coffee scent with “family secrets” I overheard as a child, told by grown-ups during their socializing coffee rituals. By applying monotype techniques driven and charged by my thoughts and emotions on coffee filters, I am using this association as a starting point and symbol to the continuous quest for understanding the source of family troubling secrets. • Vintage book with pages folded, partial cutouts on the folds forming a pattern. • Monotypes on coffee filters as flower petals • Digitally generated imagery archival pigment prints on coffee filters lining the (monotype) petals. • PVA https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544062943-LY0GS17TJYRF1Y9D0QI5/mcba-prize-2015-ANNA-MAVROMATIS-EVERBLOOMING-TALE-5.jpg Entries & Jurors - 2015 Entries - Anna Mavromatis Anna Mavromatis (Houston, Texas) annamavromatis.com Everblooming Tale 2015 repurposed book/monotypes on coffee filters Unique work 7 x 12.2 x 12.2” Draped and inserted among the folded pages, my monotypes become the everblooming tale’s multicolored chapters. My works are similar to entries in a personal journal, where instead of written lines, emotions and thoughts are expressed through colors, shapes, gestural markings, folds; Patterns, textures, legends and places associated with my childhood and heritage form the vocabulary and fiber of my “stories”; by superimposing ancient and modern printmaking methods I sculpt, collage, handle paper and turn it into a kosmos where all I need, all I feel, all I want to revisit, re-examine, even forget, find a place to be expressed. My narrative is often about attempts to re-connect with people, situations, beliefs and roots long lost. It is a quest to revisit unresolved affairs, reach new understandings, bridge the gaps formed by my segmented life spent in different countries around the world. The use of found objects mirrors my need for holding on to heirloom pieces and my interest to have them present in my surroundings. Even mundane things like packing materials and everyday discarded items become objects of importance, reflecting the mood and aura of the time and place used, becoming part of my palette, thus soon to begin a second life embedded into new works. Everblooming Tale is a sculptured artists’ book, composed by a repurposed vintage book and monotypes pulled off an etching press on coffee filters, draped and inserted into the book’s folded pages. I shaped this structure as a flower in bloom, using its organic form as a symbol for my unfolding life tale. I have associated coffee scent with “family secrets” I overheard as a child, told by grown-ups during their socializing coffee rituals. By applying monotype techniques driven and charged by my thoughts and emotions on coffee filters, I am using this association as a starting point and symbol to the continuous quest for understanding the source of family troubling secrets. • Vintage book with pages folded, partial cutouts on the folds forming a pattern. • Monotypes on coffee filters as flower petals • Digitally generated imagery archival pigment prints on coffee filters lining the (monotype) petals. • PVA https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544319717-TXW1Y8LZ8GZYEPAZXZ3C/mcba-prize-2015-CHRISTINE-MCCAULEY-NAGALAND-BORDERS-BOUNDARIES-BELONGING-1.jpg Entries & Jurors - 2015 Entries - Christine McCauley Christine McCauley (London, U.K.) christinelmccauley.co.uk Nagaland borders boundaries belonging 2014 Spreads: Letterpress onto Zerkol paper. Gill type. Linocut, polymer, magnesium & flexible plate, mounted type high. Drum leaf binding. Cover: foil blocked book cloth. Edition of 20 32 pages including endpapers & cover 7.5 x 15” open 7.5 x 7.5” closed Book cover. Foil blocked book cloth. Motif taken from a Naga carving. I work as an artist/educator using a wide range of media: painting, drawing, printmaking, bookbinding, carving, casting & gilding. I have worked across disciplines including fine art, illustration & design. On-going themes in my personal practice are the impact the past has on the present, the relationship of time and place, memory and identity and my fascination with the trans-cultural connections and collisions caused by war, migration and colonisation. When making my finished work the material quality of the object and the processes by which it is made become very important, including the embedding of form and idea and the evocative and historical resonance of the medium. I research extensively on location, in museums and in archives drawing, collecting objects, taking photographs and making notes. I travel widely to various locations in order to fully engage with my subject-matter. My most recent work includes NAGALAND borders boundaries belonging. This work is based on my journey to the Angami area of Nagaland: Kohima, Kigwema and Khonoma in 2011. The journey was prompted by my father’s experiences during WW2 in the 14th, Forgotten Army during the Burma Campaign and my personal quest for understanding. The old Assam of the 1940s is now subdivided into the ‘Seven Sister’ states as a result of different tribal groups pushing for autonomy and is a politically sensitive region of disputed frontiers and borders, incursions and crossings. In 2011 a number of states that had been subject to Protected, Restricted Area status opened up to lone travellers enabling me to journey to this remote and diverse region of Asia. NAGALAND borders boundaries belonging explores time and the connection between the British and the Naga through the material exploration of letterpress printing. The historical resonance of the medium and the time consuming nature of the process reflect the embedding of form and idea, and pay homage to the material Culture of the Naga hill tribes. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544318346-J800CMZR339K2BBELUF6/mcba-prize-2015-CHRISTINE-MCCAULEY-NAGALAND-BORDERS-BOUNDARIES-BELONGING-2.jpg Entries & Jurors - 2015 Entries - Christine McCauley Christine McCauley (London, U.K.) christinelmccauley.co.uk Nagaland borders boundaries belonging 2014 Spreads: Letterpress onto Zerkol paper. Gill type. Linocut, polymer, magnesium & flexible plate, mounted type high. Drum leaf binding. Cover: foil blocked book cloth. Edition of 20 32 pages including endpapers & cover 7.5 x 15” open 7.5 x 7.5” closed Introductory spread. Type set in 14pt gill italic. Motif taken from a Naga carving, polymer plate. I work as an artist/educator using a wide range of media: painting, drawing, printmaking, bookbinding, carving, casting & gilding. I have worked across disciplines including fine art, illustration & design. On-going themes in my personal practice are the impact the past has on the present, the relationship of time and place, memory and identity and my fascination with the trans-cultural connections and collisions caused by war, migration and colonisation. When making my finished work the material quality of the object and the processes by which it is made become very important, including the embedding of form and idea and the evocative and historical resonance of the medium. I research extensively on location, in museums and in archives drawing, collecting objects, taking photographs and making notes. I travel widely to various locations in order to fully engage with my subject-matter. My most recent work includes NAGALAND borders boundaries belonging. This work is based on my journey to the Angami area of Nagaland: Kohima, Kigwema and Khonoma in 2011. The journey was prompted by my father’s experiences during WW2 in the 14th, Forgotten Army during the Burma Campaign and my personal quest for understanding. The old Assam of the 1940s is now subdivided into the ‘Seven Sister’ states as a result of different tribal groups pushing for autonomy and is a politically sensitive region of disputed frontiers and borders, incursions and crossings. In 2011 a number of states that had been subject to Protected, Restricted Area status opened up to lone travellers enabling me to journey to this remote and diverse region of Asia. NAGALAND borders boundaries belonging explores time and the connection between the British and the Naga through the material exploration of letterpress printing. The historical resonance of the medium and the time consuming nature of the process reflect the embedding of form and idea, and pay homage to the material Culture of the Naga hill tribes. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544319939-PIYHMXL4QXH6OBILCLSB/mcba-prize-2015-CHRISTINE-MCCAULEY-NAGALAND-BORDERS-BOUNDARIES-BELONGING-3.jpg Entries & Jurors - 2015 Entries - Christine McCauley Christine McCauley (London, U.K.) christinelmccauley.co.uk Nagaland borders boundaries belonging 2014 Spreads: Letterpress onto Zerkol paper. Gill type. Linocut, polymer, magnesium & flexible plate, mounted type high. Drum leaf binding. Cover: foil blocked book cloth. Edition of 20 32 pages including endpapers & cover 7.5 x 15” open 7.5 x 7.5” closed Signpost to Kohima & Imphal: the defining battles of the WW2 Burma Campaign. Writing on a wall in Kigwema. Six-colour reduction linocut developed from drawings made on location. I work as an artist/educator using a wide range of media: painting, drawing, printmaking, bookbinding, carving, casting & gilding. I have worked across disciplines including fine art, illustration & design. On-going themes in my personal practice are the impact the past has on the present, the relationship of time and place, memory and identity and my fascination with the trans-cultural connections and collisions caused by war, migration and colonisation. When making my finished work the material quality of the object and the processes by which it is made become very important, including the embedding of form and idea and the evocative and historical resonance of the medium. I research extensively on location, in museums and in archives drawing, collecting objects, taking photographs and making notes. I travel widely to various locations in order to fully engage with my subject-matter. My most recent work includes NAGALAND borders boundaries belonging. This work is based on my journey to the Angami area of Nagaland: Kohima, Kigwema and Khonoma in 2011. The journey was prompted by my father’s experiences during WW2 in the 14th, Forgotten Army during the Burma Campaign and my personal quest for understanding. The old Assam of the 1940s is now subdivided into the ‘Seven Sister’ states as a result of different tribal groups pushing for autonomy and is a politically sensitive region of disputed frontiers and borders, incursions and crossings. In 2011 a number of states that had been subject to Protected, Restricted Area status opened up to lone travellers enabling me to journey to this remote and diverse region of Asia. NAGALAND borders boundaries belonging explores time and the connection between the British and the Naga through the material exploration of letterpress printing. The historical resonance of the medium and the time consuming nature of the process reflect the embedding of form and idea, and pay homage to the material Culture of the Naga hill tribes. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544563775-8GFA5KZL4A3GBV2Y1K7P/mcba-prize-2015-CHRISTINE-MCCAULEY-NAGALAND-BORDERS-BOUNDARIES-BELONGING-5.jpg Entries & Jurors - 2015 Entries - Christine McCauley Christine McCauley (London, U.K.) christinelmccauley.co.uk Nagaland borders boundaries belonging 2014 Spreads: Letterpress onto Zerkol paper. Gill type. Linocut, polymer, magnesium & flexible plate, mounted type high. Drum leaf binding. Cover: foil blocked book cloth. Edition of 20 32 pages including endpapers & cover 7.5 x 15” open 7.5 x 7.5” closed Meeting place Khonoma, The entrance gate to the ‘village’. Three-color reduction linocuts developed from location drawings. I work as an artist/educator using a wide range of media: painting, drawing, printmaking, bookbinding, carving, casting & gilding. I have worked across disciplines including fine art, illustration & design. On-going themes in my personal practice are the impact the past has on the present, the relationship of time and place, memory and identity and my fascination with the trans-cultural connections and collisions caused by war, migration and colonisation. When making my finished work the material quality of the object and the processes by which it is made become very important, including the embedding of form and idea and the evocative and historical resonance of the medium. I research extensively on location, in museums and in archives drawing, collecting objects, taking photographs and making notes. I travel widely to various locations in order to fully engage with my subject-matter. My most recent work includes NAGALAND borders boundaries belonging. This work is based on my journey to the Angami area of Nagaland: Kohima, Kigwema and Khonoma in 2011. The journey was prompted by my father’s experiences during WW2 in the 14th, Forgotten Army during the Burma Campaign and my personal quest for understanding. The old Assam of the 1940s is now subdivided into the ‘Seven Sister’ states as a result of different tribal groups pushing for autonomy and is a politically sensitive region of disputed frontiers and borders, incursions and crossings. In 2011 a number of states that had been subject to Protected, Restricted Area status opened up to lone travellers enabling me to journey to this remote and diverse region of Asia. NAGALAND borders boundaries belonging explores time and the connection between the British and the Naga through the material exploration of letterpress printing. The historical resonance of the medium and the time consuming nature of the process reflect the embedding of form and idea, and pay homage to the material Culture of the Naga hill tribes. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544321408-1C56SU75209CNBDQBDZI/mcba-prize-2015-CHRISTINE-MCCAULEY-NAGALAND-BORDERS-BOUNDARIES-BELONGING-4.jpg Entries & Jurors - 2015 Entries - Christine McCauley Christine McCauley (London, U.K.) christinelmccauley.co.uk Nagaland borders boundaries belonging 2014 Spreads: Letterpress onto Zerkol paper. Gill type. Linocut, polymer, magnesium & flexible plate, mounted type high. Drum leaf binding. Cover: foil blocked book cloth. Edition of 20 32 pages including endpapers & cover 7.5 x 15” open 7.5 x 7.5” closed A Naga prophecy, type set in Gill. Memorial stones to the fallen in Khonoma. Gothic type set over 3-colour reduction linocut. On-going themes in my personal practice are the impact the past has on the present, the relationship of time and place, memory and identity and my fascination with the trans-cultural connections and collisions caused by war, migration and colonisation. When making my finished work the material quality of the object and the processes by which it is made become very important, including the embedding of form and idea and the evocative and historical resonance of the medium. I research extensively on location, in museums and in archives drawing, collecting objects, taking photographs and making notes. I travel widely to various locations in order to fully engage with my subject-matter. My most recent work includes NAGALAND borders boundaries belonging. This work is based on my journey to the Angami area of Nagaland: Kohima, Kigwema and Khonoma in 2011. The journey was prompted by my father’s experiences during WW2 in the 14th, Forgotten Army during the Burma Campaign and my personal quest for understanding. The old Assam of the 1940s is now subdivided into the ‘Seven Sister’ states as a result of different tribal groups pushing for autonomy and is a politically sensitive region of disputed frontiers and borders, incursions and crossings. In 2011 a number of states that had been subject to Protected, Restricted Area status opened up to lone travellers enabling me to journey to this remote and diverse region of Asia. NAGALAND borders boundaries belonging explores time and the connection between the British and the Naga through the material exploration of letterpress printing. The historical resonance of the medium and the time consuming nature of the process reflect the embedding of form and idea, and pay homage to the material Culture of the Naga hill tribes. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544697407-8BB5UUBKRXQV70N3G3G5/mcba-prize-2015-SARAH-MCDERMOTT-CHANNEL-AND-FLOW-1.jpg Entries & Jurors - 2015 Entries - Sarah McDermott Sarah McDermott (Arlington, VA) thekidneypress.com Channel and Flow 2014 Letterpress and screenprint, modified long-stitch binding Edition of 50 20 pages 6″ x 7.5″ x .5″ open 3.5″ x 6″ x .5″ closed My work centers on issues of power, exploring relations and dominations between people, between people and animals, and between people and their environment. Human interactions are necessarily filled with disorder and struggle; I observe and interpret the ways that people attempt to create order, with varying degrees of permanence, by manipulating and defining space within the built environment. I attempt to convey how these human geographies may then manifest at the most basic levels of psychology and embodiment. I often work within the medium of the book. I focus on the book as an object, thinking about transparency, accumulation and disintegration and how these impact the reading of a text or a set of images. I work out of a craft tradition, but I attempt to be conscious about the stages of craft and process, working with what is shown and what is hidden to discover, and then play with, the point at which the collection of parts become reified as a unitary object. Since book objects must be handled to be seen, I take into account the relationship of the visual surface to touch and bodily movement. I focus on materials and make many of the components by hand; fiber becomes paper, receives print, becomes book. My practice begins with research. At times, this has meant a close reading of a text, attuned to syntax and rhetoric. Of late, it begins with gathering information, reading within the body of knowledge surrounding the topic, and then closely observing physical places. I want to use this information to create visual imagery and objects that help us to think critically about our surroundings, make new connections between disparate disciplines, and encourage further inquiry. Channel and Flow documents an attempt to follow a stream on its path through a dense suburban neighborhood. It uses the structure of the book’s page turns and foldouts to represent how the stream has been contained and fragmented by the built environment. Bound in a modified long-stitch format. Letterpress printed and screenprinted with hand-made paper covers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544696852-X4F5CUOR99ECH602WQGP/mcba-prize-2015-SARAH-MCDERMOTT-CHANNEL-AND-FLOW-2.jpg Entries & Jurors - 2015 Entries - Sarah McDermott Sarah McDermott (Arlington, VA) thekidneypress.com Channel and Flow 2014 Letterpress and screenprint, modified long-stitch binding Edition of 50 20 pages 6″ x 7.5″ x .5″ open 3.5″ x 6″ x .5″ closed My work centers on issues of power, exploring relations and dominations between people, between people and animals, and between people and their environment. Human interactions are necessarily filled with disorder and struggle; I observe and interpret the ways that people attempt to create order, with varying degrees of permanence, by manipulating and defining space within the built environment. I attempt to convey how these human geographies may then manifest at the most basic levels of psychology and embodiment. I often work within the medium of the book. I focus on the book as an object, thinking about transparency, accumulation and disintegration and how these impact the reading of a text or a set of images. I work out of a craft tradition, but I attempt to be conscious about the stages of craft and process, working with what is shown and what is hidden to discover, and then play with, the point at which the collection of parts become reified as a unitary object. Since book objects must be handled to be seen, I take into account the relationship of the visual surface to touch and bodily movement. I focus on materials and make many of the components by hand; fiber becomes paper, receives print, becomes book. My practice begins with research. At times, this has meant a close reading of a text, attuned to syntax and rhetoric. Of late, it begins with gathering information, reading within the body of knowledge surrounding the topic, and then closely observing physical places. I want to use this information to create visual imagery and objects that help us to think critically about our surroundings, make new connections between disparate disciplines, and encourage further inquiry. Channel and Flow documents an attempt to follow a stream on its path through a dense suburban neighborhood. It uses the structure of the book’s page turns and foldouts to represent how the stream has been contained and fragmented by the built environment. Bound in a modified long-stitch format. Letterpress printed and screenprinted with hand-made paper covers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544698347-UB06YRHMDJPYXPSGPQBR/mcba-prize-2015-SARAH-MCDERMOTT-CHANNEL-AND-FLOW-3.jpg Entries & Jurors - 2015 Entries - Sarah McDermott Sarah McDermott (Arlington, VA) thekidneypress.com Channel and Flow 2014 Letterpress and screenprint, modified long-stitch binding Edition of 50 20 pages 6″ x 7.5″ x .5″ open 3.5″ x 6″ x .5″ closed My work centers on issues of power, exploring relations and dominations between people, between people and animals, and between people and their environment. Human interactions are necessarily filled with disorder and struggle; I observe and interpret the ways that people attempt to create order, with varying degrees of permanence, by manipulating and defining space within the built environment. I attempt to convey how these human geographies may then manifest at the most basic levels of psychology and embodiment. I often work within the medium of the book. I focus on the book as an object, thinking about transparency, accumulation and disintegration and how these impact the reading of a text or a set of images. I work out of a craft tradition, but I attempt to be conscious about the stages of craft and process, working with what is shown and what is hidden to discover, and then play with, the point at which the collection of parts become reified as a unitary object. Since book objects must be handled to be seen, I take into account the relationship of the visual surface to touch and bodily movement. I focus on materials and make many of the components by hand; fiber becomes paper, receives print, becomes book. My practice begins with research. At times, this has meant a close reading of a text, attuned to syntax and rhetoric. Of late, it begins with gathering information, reading within the body of knowledge surrounding the topic, and then closely observing physical places. I want to use this information to create visual imagery and objects that help us to think critically about our surroundings, make new connections between disparate disciplines, and encourage further inquiry. Channel and Flow documents an attempt to follow a stream on its path through a dense suburban neighborhood. It uses the structure of the book’s page turns and foldouts to represent how the stream has been contained and fragmented by the built environment. Bound in a modified long-stitch format. Letterpress printed and screenprinted with hand-made paper covers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544797835-MTAV3FPKLKARMYBRJB2F/mcba-prize-2015-SARAH-MCDERMOTT-CHANNEL-AND-FLOW-4.jpg Entries & Jurors - 2015 Entries - Sarah McDermott Sarah McDermott (Arlington, VA) thekidneypress.com Channel and Flow 2014 Letterpress and screenprint, modified long-stitch binding Edition of 50 20 pages 6″ x 7.5″ x .5″ open 3.5″ x 6″ x .5″ closed My work centers on issues of power, exploring relations and dominations between people, between people and animals, and between people and their environment. Human interactions are necessarily filled with disorder and struggle; I observe and interpret the ways that people attempt to create order, with varying degrees of permanence, by manipulating and defining space within the built environment. I attempt to convey how these human geographies may then manifest at the most basic levels of psychology and embodiment. I often work within the medium of the book. I focus on the book as an object, thinking about transparency, accumulation and disintegration and how these impact the reading of a text or a set of images. I work out of a craft tradition, but I attempt to be conscious about the stages of craft and process, working with what is shown and what is hidden to discover, and then play with, the point at which the collection of parts become reified as a unitary object. Since book objects must be handled to be seen, I take into account the relationship of the visual surface to touch and bodily movement. I focus on materials and make many of the components by hand; fiber becomes paper, receives print, becomes book. My practice begins with research. At times, this has meant a close reading of a text, attuned to syntax and rhetoric. Of late, it begins with gathering information, reading within the body of knowledge surrounding the topic, and then closely observing physical places. I want to use this information to create visual imagery and objects that help us to think critically about our surroundings, make new connections between disparate disciplines, and encourage further inquiry. Channel and Flow documents an attempt to follow a stream on its path through a dense suburban neighborhood. It uses the structure of the book’s page turns and foldouts to represent how the stream has been contained and fragmented by the built environment. Bound in a modified long-stitch format. Letterpress printed and screenprinted with hand-made paper covers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544797683-S4J0EYDE5E65Z00Z9FEC/mcba-prize-2015-SARAH-MCDERMOTT-CHANNEL-AND-FLOW-5.jpg Entries & Jurors - 2015 Entries - Sarah McDermott Sarah McDermott (Arlington, VA) thekidneypress.com Channel and Flow 2014 Letterpress and screenprint, modified long-stitch binding Edition of 50 20 pages 6″ x 7.5″ x .5″ open 3.5″ x 6″ x .5″ closed My work centers on issues of power, exploring relations and dominations between people, between people and animals, and between people and their environment. Human interactions are necessarily filled with disorder and struggle; I observe and interpret the ways that people attempt to create order, with varying degrees of permanence, by manipulating and defining space within the built environment. I attempt to convey how these human geographies may then manifest at the most basic levels of psychology and embodiment. I often work within the medium of the book. I focus on the book as an object, thinking about transparency, accumulation and disintegration and how these impact the reading of a text or a set of images. I work out of a craft tradition, but I attempt to be conscious about the stages of craft and process, working with what is shown and what is hidden to discover, and then play with, the point at which the collection of parts become reified as a unitary object. Since book objects must be handled to be seen, I take into account the relationship of the visual surface to touch and bodily movement. I focus on materials and make many of the components by hand; fiber becomes paper, receives print, becomes book. My practice begins with research. At times, this has meant a close reading of a text, attuned to syntax and rhetoric. Of late, it begins with gathering information, reading within the body of knowledge surrounding the topic, and then closely observing physical places. I want to use this information to create visual imagery and objects that help us to think critically about our surroundings, make new connections between disparate disciplines, and encourage further inquiry. Channel and Flow documents an attempt to follow a stream on its path through a dense suburban neighborhood. It uses the structure of the book’s page turns and foldouts to represent how the stream has been contained and fragmented by the built environment. Bound in a modified long-stitch format. Letterpress printed and screenprinted with hand-made paper covers. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544953727-GHN6SRBPJTWX7X0D6XJN/mcba-prize-2015-BARBARA-MILMAN-A-POCKET-LIST-1.jpg Entries & Jurors - 2015 Entries - Barbara Milman Barbara Milman (El Cerrito, CA) barbaramilman.com A Pocket List 2015 digital, linocut, colored pencil 5, varied edition 29 pages from 15x23x1 (open) to 15x300x1 (accordion fully extended) 15x11x1 I make artist books that combine digital and traditional printmaking techniques. Most of the books deal with issues of climate change. The books are either unique or made in very small editions. I design a format for each book that depends on the subject, the images and the materials I have at hand. A Pocket List (sounds like Apocalypse) is a tethered accordion book with linocuts printed on top of digital images, with added colored pencil. The digital images are based on illustrations in a 10th century Spanish illuminated manuscript of the Apocalypse, combined with photos taken in New York City and the San Francisco Bay Area. The introduction was written by me in the year 3491 after climate change had destroyed much of the world we know, and the center of the remaining civilization had moved to the northernmost reaches of Canada. The page text is loosely taken from the Bible. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544953967-8XPGRVM5XF0FE1VK4G2Q/mcba-prize-2015-BARBARA-MILMAN-A-POCKET-LIST-2.jpg Entries & Jurors - 2015 Entries - Barbara Milman Barbara Milman (El Cerrito, CA) barbaramilman.com A Pocket List 2015 digital, linocut, colored pencil 5, varied edition 29 pages from 15x23x1 (open) to 15x300x1 (accordion fully extended) 15x11x1 I make artist books that combine digital and traditional printmaking techniques. Most of the books deal with issues of climate change. The books are either unique or made in very small editions. I design a format for each book that depends on the subject, the images and the materials I have at hand. A Pocket List (sounds like Apocalypse) is a tethered accordion book with linocuts printed on top of digital images, with added colored pencil. The digital images are based on illustrations in a 10th century Spanish illuminated manuscript of the Apocalypse, combined with photos taken in New York City and the San Francisco Bay Area. The introduction was written by me in the year 3491 after climate change had destroyed much of the world we know, and the center of the remaining civilization had moved to the northernmost reaches of Canada. The page text is loosely taken from the Bible. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544955421-9EGJGD4U0RA4N8JDREH7/mcba-prize-2015-BARBARA-MILMAN-A-POCKET-LIST-3.jpg Entries & Jurors - 2015 Entries - Barbara Milman Barbara Milman (El Cerrito, CA) barbaramilman.com A Pocket List 2015 digital, linocut, colored pencil 5, varied edition 29 pages from 15x23x1 (open) to 15x300x1 (accordion fully extended) 15x11x1 I make artist books that combine digital and traditional printmaking techniques. Most of the books deal with issues of climate change. The books are either unique or made in very small editions. I design a format for each book that depends on the subject, the images and the materials I have at hand. A Pocket List (sounds like Apocalypse) is a tethered accordion book with linocuts printed on top of digital images, with added colored pencil. The digital images are based on illustrations in a 10th century Spanish illuminated manuscript of the Apocalypse, combined with photos taken in New York City and the San Francisco Bay Area. The introduction was written by me in the year 3491 after climate change had destroyed much of the world we know, and the center of the remaining civilization had moved to the northernmost reaches of Canada. The page text is loosely taken from the Bible. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544955843-4JGXC2G1YX2C7VW3V7ZU/mcba-prize-2015-BARBARA-MILMAN-A-POCKET-LIST-4.jpg Entries & Jurors - 2015 Entries - Barbara Milman Barbara Milman (El Cerrito, CA) barbaramilman.com A Pocket List 2015 digital, linocut, colored pencil 5, varied edition 29 pages from 15x23x1 (open) to 15x300x1 (accordion fully extended) 15x11x1 I make artist books that combine digital and traditional printmaking techniques. Most of the books deal with issues of climate change. The books are either unique or made in very small editions. I design a format for each book that depends on the subject, the images and the materials I have at hand. A Pocket List (sounds like Apocalypse) is a tethered accordion book with linocuts printed on top of digital images, with added colored pencil. The digital images are based on illustrations in a 10th century Spanish illuminated manuscript of the Apocalypse, combined with photos taken in New York City and the San Francisco Bay Area. The introduction was written by me in the year 3491 after climate change had destroyed much of the world we know, and the center of the remaining civilization had moved to the northernmost reaches of Canada. The page text is loosely taken from the Bible. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774544957373-RLJ9CA9SA2IEIBGBZLHT/mcba-prize-2015-BARBARA-MILMAN-A-POCKET-LIST-5.jpg Entries & Jurors - 2015 Entries - Barbara Milman Barbara Milman (El Cerrito, CA) barbaramilman.com A Pocket List 2015 digital, linocut, colored pencil 5, varied edition 29 pages from 15x23x1 (open) to 15x300x1 (accordion fully extended) 15x11x1 I make artist books that combine digital and traditional printmaking techniques. Most of the books deal with issues of climate change. The books are either unique or made in very small editions. I design a format for each book that depends on the subject, the images and the materials I have at hand. A Pocket List (sounds like Apocalypse) is a tethered accordion book with linocuts printed on top of digital images, with added colored pencil. The digital images are based on illustrations in a 10th century Spanish illuminated manuscript of the Apocalypse, combined with photos taken in New York City and the San Francisco Bay Area. The introduction was written by me in the year 3491 after climate change had destroyed much of the world we know, and the center of the remaining civilization had moved to the northernmost reaches of Canada. The page text is loosely taken from the Bible. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774545080517-71QJBZXF30V2KQOOK8HM/mcba-prize-2015-PAULETTE-MYERS-RICH-QUARTET-%232-RIVER-REVEAL-1.jpg Entries & Jurors - 2015 Entries - Paulette Myers-Rich Paulette Myers-Rich (New York, NY) paulettemyersrich.com Quartet #2, River Reveal 2014 Photogravure, letterpress, boxmaking Edition of 5 Dimensions open: variable sizes from 4×5″ to 8×10″; 20×16″ assembled Dimensions closed: 10.75 x 8.75 x 1.75″ boxed clamshell box with letterpress printed codex and double-sided gravure prints mounted on board in hand-made flax wrappers The Quartet series are interactive artist photo-bookworks comprised of four-4×5 inch photogravure prints that have been quartered from four-8×10 inch prints. The larger prints are references for assembly and can be joined to make a 16×20 inch panoramic image of the site. The viewer handles and repositions the 4×5 inch prints to either reassemble the larger images or create new arrangements. The conceptual basis underlying this work is an exploration of the activity of framing and the decisions made during the act of photography. The quartered prints allow new, visually dynamic compositions removed from the logic of representation. The prints are quartered – cut evenly and arbitrarily without regard to the composition of the image. Each of these cuts references the act of framing, yet the random result is contrary to the act of taking a photograph. When one is composing through the camera, many decisions are made. The selection process is deliberate or planned by the photographer and results in what is an aesthetic, as well as a representational, illustrative or documentary image. The size of this work corresponds to the dimensions of analog photography paper and film. The quartered 4×5 inch images reference the sheet film used in large format view cameras and the act of arranging and composing the photograph under a black cloth, deploying tilts and swings and various manipulations until satisfied with the resulting image. This framing and composing is a deliberate, selective process. In viewing Quartet #2, repositioning the quartered prints underscores the decision-making process inherent in analog photography. The variables in both are many and offer a multitude of possibilities. Quartet #2 is from the River Reveal series; an observation of a site once lived and worked upon, then demolished- resulting in abandoned rubble and dumped rubbish mounds buried by leaves, dirt and river silt sprouting weeds and trees mingling with vine later exhumed by storms, floods and the wake of boats upon the Mississippi River at Lilydale. Revisited from time-to-time as the seasons changed, 2005-2007. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774545080800-UA1K7E5SYPC84PTE0J1O/mcba-prize-2015-PAULETTE-MYERS-RICH-QUARTET-%232-RIVER-REVEAL-2.jpg Entries & Jurors - 2015 Entries - Paulette Myers-Rich Paulette Myers-Rich (New York, NY) paulettemyersrich.com Quartet #2, River Reveal 2014 Photogravure, letterpress, boxmaking Edition of 5 Dimensions open: variable sizes from 4×5″ to 8×10″; 20×16″ assembled Dimensions closed: 10.75 x 8.75 x 1.75″ boxed open codex, with box and double-sided gravure prints mounted on board in handmade flax wrappers The Quartet series are interactive artist photo-bookworks comprised of four-4×5 inch photogravure prints that have been quartered from four-8×10 inch prints. The larger prints are references for assembly and can be joined to make a 16×20 inch panoramic image of the site. The viewer handles and repositions the 4×5 inch prints to either reassemble the larger images or create new arrangements. The conceptual basis underlying this work is an exploration of the activity of framing and the decisions made during the act of photography. The quartered prints allow new, visually dynamic compositions removed from the logic of representation. The prints are quartered – cut evenly and arbitrarily without regard to the composition of the image. Each of these cuts references the act of framing, yet the random result is contrary to the act of taking a photograph. When one is composing through the camera, many decisions are made. The selection process is deliberate or planned by the photographer and results in what is an aesthetic, as well as a representational, illustrative or documentary image. The size of this work corresponds to the dimensions of analog photography paper and film. The quartered 4×5 inch images reference the sheet film used in large format view cameras and the act of arranging and composing the photograph under a black cloth, deploying tilts and swings and various manipulations until satisfied with the resulting image. This framing and composing is a deliberate, selective process. In viewing Quartet #2, repositioning the quartered prints underscores the decision-making process inherent in analog photography. The variables in both are many and offer a multitude of possibilities. Quartet #2 is from the River Reveal series; an observation of a site once lived and worked upon, then demolished- resulting in abandoned rubble and dumped rubbish mounds buried by leaves, dirt and river silt sprouting weeds and trees mingling with vine later exhumed by storms, floods and the wake of boats upon the Mississippi River at Lilydale. Revisited from time-to-time as the seasons changed, 2005-2007. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774545082122-X9HUG198H1ZCGXCGQXXB/mcba-prize-2015-PAULETTE-MYERS-RICH-QUARTET-%232-RIVER-REVEAL-3.jpg Entries & Jurors - 2015 Entries - Paulette Myers-Rich Paulette Myers-Rich (New York, NY) paulettemyersrich.com Quartet #2, River Reveal 2014 Photogravure, letterpress, boxmaking Edition of 5 Dimensions open: variable sizes from 4×5″ to 8×10″; 20×16″ assembled Dimensions closed: 10.75 x 8.75 x 1.75″ boxed 8×10” double-sided gravures mounted on board assembled as panorama, with 4×5” quarters in handmade flax wrappers The Quartet series are interactive artist photo-bookworks comprised of four-4×5 inch photogravure prints that have been quartered from four-8×10 inch prints. The larger prints are references for assembly and can be joined to make a 16×20 inch panoramic image of the site. The viewer handles and repositions the 4×5 inch prints to either reassemble the larger images or create new arrangements. The conceptual basis underlying this work is an exploration of the activity of framing and the decisions made during the act of photography. The quartered prints allow new, visually dynamic compositions removed from the logic of representation. The prints are quartered – cut evenly and arbitrarily without regard to the composition of the image. Each of these cuts references the act of framing, yet the random result is contrary to the act of taking a photograph. When one is composing through the camera, many decisions are made. The selection process is deliberate or planned by the photographer and results in what is an aesthetic, as well as a representational, illustrative or documentary image. The size of this work corresponds to the dimensions of analog photography paper and film. The quartered 4×5 inch images reference the sheet film used in large format view cameras and the act of arranging and composing the photograph under a black cloth, deploying tilts and swings and various manipulations until satisfied with the resulting image. This framing and composing is a deliberate, selective process. In viewing Quartet #2, repositioning the quartered prints underscores the decision-making process inherent in analog photography. The variables in both are many and offer a multitude of possibilities. Quartet #2 is from the River Reveal series; an observation of a site once lived and worked upon, then demolished- resulting in abandoned rubble and dumped rubbish mounds buried by leaves, dirt and river silt sprouting weeds and trees mingling with vine later exhumed by storms, floods and the wake of boats upon the Mississippi River at Lilydale. Revisited from time-to-time as the seasons changed, 2005-2007. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774545082486-8FY776WG0UJ0I0Z507KP/mcba-prize-2015-PAULETTE-MYERS-RICH-QUARTET-%232-RIVER-REVEAL-4.jpg Entries & Jurors - 2015 Entries - Paulette Myers-Rich Paulette Myers-Rich (New York, NY) paulettemyersrich.com Quartet #2, River Reveal 2014 Photogravure, letterpress, boxmaking Edition of 5 Dimensions open: variable sizes from 4×5″ to 8×10″; 20×16″ assembled Dimensions closed: 10.75 x 8.75 x 1.75″ boxed various gravures laid out for assembling with codex opened to instructions page The Quartet series are interactive artist photo-bookworks comprised of four-4×5 inch photogravure prints that have been quartered from four-8×10 inch prints. The larger prints are references for assembly and can be joined to make a 16×20 inch panoramic image of the site. The viewer handles and repositions the 4×5 inch prints to either reassemble the larger images or create new arrangements. The conceptual basis underlying this work is an exploration of the activity of framing and the decisions made during the act of photography. The quartered prints allow new, visually dynamic compositions removed from the logic of representation. The prints are quartered – cut evenly and arbitrarily without regard to the composition of the image. Each of these cuts references the act of framing, yet the random result is contrary to the act of taking a photograph. When one is composing through the camera, many decisions are made. The selection process is deliberate or planned by the photographer and results in what is an aesthetic, as well as a representational, illustrative or documentary image. The size of this work corresponds to the dimensions of analog photography paper and film. The quartered 4×5 inch images reference the sheet film used in large format view cameras and the act of arranging and composing the photograph under a black cloth, deploying tilts and swings and various manipulations until satisfied with the resulting image. This framing and composing is a deliberate, selective process. In viewing Quartet #2, repositioning the quartered prints underscores the decision-making process inherent in analog photography. The variables in both are many and offer a multitude of possibilities. Quartet #2 is from the River Reveal series; an observation of a site once lived and worked upon, then demolished- resulting in abandoned rubble and dumped rubbish mounds buried by leaves, dirt and river silt sprouting weeds and trees mingling with vine later exhumed by storms, floods and the wake of boats upon the Mississippi River at Lilydale. Revisited from time-to-time as the seasons changed, 2005-2007. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774545083998-QJWJYS3ZBDVB9L8GESPN/mcba-prize-2015-PAULETTE-MYERS-RICH-QUARTET-%232-RIVER-REVEAL-5.jpg Entries & Jurors - 2015 Entries - Paulette Myers-Rich Paulette Myers-Rich (New York, NY) paulettemyersrich.com Quartet #2, River Reveal 2014 Photogravure, letterpress, boxmaking Edition of 5 Dimensions open: variable sizes from 4×5″ to 8×10″; 20×16″ assembled Dimensions closed: 10.75 x 8.75 x 1.75″ boxed various gravure prints laid out in one of many possible configurations The Quartet series are interactive artist photo-bookworks comprised of four-4×5 inch photogravure prints that have been quartered from four-8×10 inch prints. The larger prints are references for assembly and can be joined to make a 16×20 inch panoramic image of the site. The viewer handles and repositions the 4×5 inch prints to either reassemble the larger images or create new arrangements. The conceptual basis underlying this work is an exploration of the activity of framing and the decisions made during the act of photography. The quartered prints allow new, visually dynamic compositions removed from the logic of representation. The prints are quartered – cut evenly and arbitrarily without regard to the composition of the image. Each of these cuts references the act of framing, yet the random result is contrary to the act of taking a photograph. When one is composing through the camera, many decisions are made. The selection process is deliberate or planned by the photographer and results in what is an aesthetic, as well as a representational, illustrative or documentary image. The size of this work corresponds to the dimensions of analog photography paper and film. The quartered 4×5 inch images reference the sheet film used in large format view cameras and the act of arranging and composing the photograph under a black cloth, deploying tilts and swings and various manipulations until satisfied with the resulting image. This framing and composing is a deliberate, selective process. In viewing Quartet #2, repositioning the quartered prints underscores the decision-making process inherent in analog photography. The variables in both are many and offer a multitude of possibilities. Quartet #2 is from the River Reveal series; an observation of a site once lived and worked upon, then demolished- resulting in abandoned rubble and dumped rubbish mounds buried by leaves, dirt and river silt sprouting weeds and trees mingling with vine later exhumed by storms, floods and the wake of boats upon the Mississippi River at Lilydale. Revisited from time-to-time as the seasons changed, 2005-2007. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774545353353-IAYC1IRSJUJSSGT31G4F/mcba-prize-2015-SARAH-NICHOLLS-A-FIELD-GUIDE-TO-EXTINCT-BIRDS-1.jpg Entries & Jurors - 2015 Entries - Sarah Nicholls Sarah Nicholls (Brooklyn, NY) sarahnicholls.com A Field Guide to Extinct Birds 2015 Letterpress and woodcut on Magnani Velata. Casebound drum-leaf binding. Edition of 25 88 pages 11” x 8 3/4” open 5 5/8” x 8 3/4” closed A Field Guide to Extinct Birds, cover view. The book is a drum-leaf case bound book of 30 extinct birds with accompanying text. The cover is letterpress printed on Zerkyll Ingres; the spine and back cover are covered in Japanese silk. The cover image is printed from a plate made from one of a series of drawings I made based on typical introductory diagrams in vintage field guides. This image shows a selection of typical head shapes of various species, originally used to teach birders how to visually recognize the various types. A Field Guide to Extinct Birds is a hand bound, letterpress printed collection of extinct birds from around the world. It is a consideration of the history of field guides, and the unique qualities that print brought to the field guide, and to bird books in general. It is also a celebration of the rich history of the bird book, a lament for many species we have lost, an examination of mistakes we have made, and a warning for the future. We live in a time of mass extinctions; over the last half a billion years there have been five major extinction events, time periods where the diversity of life suddenly and dramatically has decreased. We are living through the sixth major mass extinction. It is not guaranteed that humans will survive. We are also living in a time of technological transformation which seemingly affects all areas of life. Including, as it happens, the publishing of field guides. Field guides are a distinctly utilitarian subspecies of bird book, which are currently transitioning from printed language to digital media. I began this project with these two ideas in mind. I was interested in the relationship and the differences between obsolescence and extinction, in how we remember that which we lose, and what that process looks like. As the utilitarian book loses its place in the field, it opens up the opportunity for artistic speculation. Much of the book is concerned with what we don’t know, or what we guess to be the truth; the printed word carries with it a sense of authority that is undercut by the uncertainty of knowing what happened to many of these birds. In the course of researching extinction and the history of ornithology, I was led down many different paths: the history of exploration and the voyages of Captain James Cook. The development and the ethics of natural history collections. The publishing practices of Alexander Wilson and John James Audubon. The practice of island biogeography. Feathers and the hat trade, women bird enthusiasts and the professional ornithological community, rarity and scarcity, invasive species and isolated populations, the causes of extinctions: the list grew and grew. In order to keep my publishing project somewhat reasonably scaled, I decided to document the research portion through a website: www.fieldguidetoextinctbirds.com. There I could follow these various threads, and then condense the essential elements into a text to set by hand in metal type, and images to carve into wood. The project as a whole became an experiment in interdisciplinary research, expressed through digital information and metal type. The printed book is a container for the distilled essence of what I learned. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774545353295-8G2H5SRBUVL2PH0M34QB/mcba-prize-2015-SARAH-NICHOLLS-A-FIELD-GUIDE-TO-EXTINCT-BIRDS-2.jpg Entries & Jurors - 2015 Entries - Sarah Nicholls Sarah Nicholls (Brooklyn, NY) sarahnicholls.com A Field Guide to Extinct Birds 2015 Letterpress and woodcut on Magnani Velata. Casebound drum-leaf binding. Edition of 25 88 pages 11” x 8 3/4” open 5 5/8” x 8 3/4” closed Interior spread: The Dodo. This spread shows everyone’s favorite extinction celebrity, The Dodo. Each bird in the book is printed from a reductive woodcut, in three to seven different color runs, depending on the bird. The drum-leaf binding was chosen so I could include a full image of each bird across each spread. A Field Guide to Extinct Birds is a hand bound, letterpress printed collection of extinct birds from around the world. It is a consideration of the history of field guides, and the unique qualities that print brought to the field guide, and to bird books in general. It is also a celebration of the rich history of the bird book, a lament for many species we have lost, an examination of mistakes we have made, and a warning for the future. We live in a time of mass extinctions; over the last half a billion years there have been five major extinction events, time periods where the diversity of life suddenly and dramatically has decreased. We are living through the sixth major mass extinction. It is not guaranteed that humans will survive. We are also living in a time of technological transformation which seemingly affects all areas of life. Including, as it happens, the publishing of field guides. Field guides are a distinctly utilitarian subspecies of bird book, which are currently transitioning from printed language to digital media. I began this project with these two ideas in mind. I was interested in the relationship and the differences between obsolescence and extinction, in how we remember that which we lose, and what that process looks like. As the utilitarian book loses its place in the field, it opens up the opportunity for artistic speculation. Much of the book is concerned with what we don’t know, or what we guess to be the truth; the printed word carries with it a sense of authority that is undercut by the uncertainty of knowing what happened to many of these birds. In the course of researching extinction and the history of ornithology, I was led down many different paths: the history of exploration and the voyages of Captain James Cook. The development and the ethics of natural history collections. The publishing practices of Alexander Wilson and John James Audubon. The practice of island biogeography. Feathers and the hat trade, women bird enthusiasts and the professional ornithological community, rarity and scarcity, invasive species and isolated populations, the causes of extinctions: the list grew and grew. In order to keep my publishing project somewhat reasonably scaled, I decided to document the research portion through a website: www.fieldguidetoextinctbirds.com. There I could follow these various threads, and then condense the essential elements into a text to set by hand in metal type, and images to carve into wood. The project as a whole became an experiment in interdisciplinary research, expressed through digital information and metal type. The printed book is a container for the distilled essence of what I learned. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774545354997-PGL820UUUOA9DQEC5OCO/mcba-prize-2015-SARAH-NICHOLLS-A-FIELD-GUIDE-TO-EXTINCT-BIRDS-3.jpg Entries & Jurors - 2015 Entries - Sarah Nicholls Sarah Nicholls (Brooklyn, NY) sarahnicholls.com A Field Guide to Extinct Birds 2015 Letterpress and woodcut on Magnani Velata. Casebound drum-leaf binding. Edition of 25 88 pages 11” x 8 3/4” open 5 5/8” x 8 3/4” closed Interior spread: Wake Island Rail The text that accompanies each bird discusses where the bird lived, how the bird disappeared, what we know, or often don’t know about it. The entire book is handset in metal type; the body text is set in Consort Light with titles in Caslon Italic and Grotesque No. 9. A Field Guide to Extinct Birds is a hand bound, letterpress printed collection of extinct birds from around the world. It is a consideration of the history of field guides, and the unique qualities that print brought to the field guide, and to bird books in general. It is also a celebration of the rich history of the bird book, a lament for many species we have lost, an examination of mistakes we have made, and a warning for the future. We live in a time of mass extinctions; over the last half a billion years there have been five major extinction events, time periods where the diversity of life suddenly and dramatically has decreased. We are living through the sixth major mass extinction. It is not guaranteed that humans will survive. We are also living in a time of technological transformation which seemingly affects all areas of life. Including, as it happens, the publishing of field guides. Field guides are a distinctly utilitarian subspecies of bird book, which are currently transitioning from printed language to digital media. I began this project with these two ideas in mind. I was interested in the relationship and the differences between obsolescence and extinction, in how we remember that which we lose, and what that process looks like. As the utilitarian book loses its place in the field, it opens up the opportunity for artistic speculation. Much of the book is concerned with what we don’t know, or what we guess to be the truth; the printed word carries with it a sense of authority that is undercut by the uncertainty of knowing what happened to many of these birds. In the course of researching extinction and the history of ornithology, I was led down many different paths: the history of exploration and the voyages of Captain James Cook. The development and the ethics of natural history collections. The publishing practices of Alexander Wilson and John James Audubon. The practice of island biogeography. Feathers and the hat trade, women bird enthusiasts and the professional ornithological community, rarity and scarcity, invasive species and isolated populations, the causes of extinctions: the list grew and grew. In order to keep my publishing project somewhat reasonably scaled, I decided to document the research portion through a website: www.fieldguidetoextinctbirds.com. There I could follow these various threads, and then condense the essential elements into a text to set by hand in metal type, and images to carve into wood. The project as a whole became an experiment in interdisciplinary research, expressed through digital information and metal type. The printed book is a container for the distilled essence of what I learned. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774545356056-SDELSX2RLSQON0NSXF32/mcba-prize-2015-SARAH-NICHOLLS-A-FIELD-GUIDE-TO-EXTINCT-BIRDS-4.jpg Entries & Jurors - 2015 Entries - Sarah Nicholls Sarah Nicholls (Brooklyn, NY) sarahnicholls.com A Field Guide to Extinct Birds 2015 Letterpress and woodcut on Magnani Velata. Casebound drum-leaf binding. Edition of 25 88 pages 11” x 8 3/4” open 5 5/8” x 8 3/4” closed Interior Spread: Birdsong and behavior The book also includes information about the current role of the field guide, and other speculative information about birds books, extinction, and the history of birding. This spread talks about the kinds of printed language specific to printed guides: silhouettes to help beginners to recognize different species; transcriptions of sound to written language to describe birdsong; generalizations about the behavior of different species. I am interested in what is lost in the transition from paper reference book to multimedia application, and what kinds of visual and verbal language were specifically invented for the printed format. A Field Guide to Extinct Birds is a hand bound, letterpress printed collection of extinct birds from around the world. It is a consideration of the history of field guides, and the unique qualities that print brought to the field guide, and to bird books in general. It is also a celebration of the rich history of the bird book, a lament for many species we have lost, an examination of mistakes we have made, and a warning for the future. We live in a time of mass extinctions; over the last half a billion years there have been five major extinction events, time periods where the diversity of life suddenly and dramatically has decreased. We are living through the sixth major mass extinction. It is not guaranteed that humans will survive. We are also living in a time of technological transformation which seemingly affects all areas of life. Including, as it happens, the publishing of field guides. Field guides are a distinctly utilitarian subspecies of bird book, which are currently transitioning from printed language to digital media. I began this project with these two ideas in mind. I was interested in the relationship and the differences between obsolescence and extinction, in how we remember that which we lose, and what that process looks like. As the utilitarian book loses its place in the field, it opens up the opportunity for artistic speculation. Much of the book is concerned with what we don’t know, or what we guess to be the truth; the printed word carries with it a sense of authority that is undercut by the uncertainty of knowing what happened to many of these birds. In the course of researching extinction and the history of ornithology, I was led down many different paths: the history of exploration and the voyages of Captain James Cook. The development and the ethics of natural history collections. The publishing practices of Alexander Wilson and John James Audubon. The practice of island biogeography. Feathers and the hat trade, women bird enthusiasts and the professional ornithological community, rarity and scarcity, invasive species and isolated populations, the causes of extinctions: the list grew and grew. In order to keep my publishing project somewhat reasonably scaled, I decided to document the research portion through a website: www.fieldguidetoextinctbirds.com. There I could follow these various threads, and then condense the essential elements into a text to set by hand in metal type, and images to carve into wood. The project as a whole became an experiment in interdisciplinary research, expressed through digital information and metal type. The printed book is a container for the distilled essence of what I learned. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774545356854-511QJLT5N50R9SPEJ1OB/mcba-prize-2015-SARAH-NICHOLLS-A-FIELD-GUIDE-TO-EXTINCT-BIRDS-5.jpg Entries & Jurors - 2015 Entries - Sarah Nicholls Sarah Nicholls (Brooklyn, NY) sarahnicholls.com A Field Guide to Extinct Birds 2015 Letterpress and woodcut on Magnani Velata. Casebound drum-leaf binding. Edition of 25 88 pages 11” x 8 3/4” open 5 5/8” x 8 3/4” closed Interior Spread: Laughing Owl Many birds included in the book are only known through drawings made by amateur naturalists; their appearance, translated into a woodcut, is based on another artist’s interpretation of a bird they often knew little about. Evidence of where they lived, how they lived, and why they no longer exist is often scant, and based on incomplete or obviously fantastic contemporary accounts. This spread documents the supposed love of New Zealand’s Laughing Owl for the accordion. A Field Guide to Extinct Birds is a hand bound, letterpress printed collection of extinct birds from around the world. It is a consideration of the history of field guides, and the unique qualities that print brought to the field guide, and to bird books in general. It is also a celebration of the rich history of the bird book, a lament for many species we have lost, an examination of mistakes we have made, and a warning for the future. We live in a time of mass extinctions; over the last half a billion years there have been five major extinction events, time periods where the diversity of life suddenly and dramatically has decreased. We are living through the sixth major mass extinction. It is not guaranteed that humans will survive. We are also living in a time of technological transformation which seemingly affects all areas of life. Including, as it happens, the publishing of field guides. Field guides are a distinctly utilitarian subspecies of bird book, which are currently transitioning from printed language to digital media. I began this project with these two ideas in mind. I was interested in the relationship and the differences between obsolescence and extinction, in how we remember that which we lose, and what that process looks like. As the utilitarian book loses its place in the field, it opens up the opportunity for artistic speculation. Much of the book is concerned with what we don’t know, or what we guess to be the truth; the printed word carries with it a sense of authority that is undercut by the uncertainty of knowing what happened to many of these birds. In the course of researching extinction and the history of ornithology, I was led down many different paths: the history of exploration and the voyages of Captain James Cook. The development and the ethics of natural history collections. The publishing practices of Alexander Wilson and John James Audubon. The practice of island biogeography. Feathers and the hat trade, women bird enthusiasts and the professional ornithological community, rarity and scarcity, invasive species and isolated populations, the causes of extinctions: the list grew and grew. In order to keep my publishing project somewhat reasonably scaled, I decided to document the research portion through a website: www.fieldguidetoextinctbirds.com. There I could follow these various threads, and then condense the essential elements into a text to set by hand in metal type, and images to carve into wood. The project as a whole became an experiment in interdisciplinary research, expressed through digital information and metal type. The printed book is a container for the distilled essence of what I learned. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774545587607-RULNT33RYZXJ5R0Y144L/mcba-prize-2015-simona-noi-toby-martinez-de-las-rivas-12-1.jpg Entries & Jurors - 2015 Entries - Simona Noli &amp; Toby Martinez de las Rivas Simona Noli and Toby Martinez de las Rivas (Cordoba, Andalucia, Spain) 12 2014 Exterior: Oxidized iron with laser etched title. Interior: 4 sections of 3 signatures each of Ingres paper 130gr. printed with an ink jet printer. Each section is divided by a signature made of black Canson card 160gr. and Ingres paper130gr. with handmade paper cutting. Body of book bound in Coptic stitch with black cotton tread. 156 pages Open: 21cm x 44cm x 22.5 cm Closed: 21 cm x 20.7 cm x 4.6 cm https://www.youtube.com/watch?v=pAofh08bbYg The book is a collaboration between bookbinder Simona Noli and poet Toby Martinez de las Rivas. The main themes of the book are absence, loss, violence and commemoration. It features twelve sets of twelve sonnets (i.e.144 in total) – one set representing each of the tribes of Israel. These sonnets have been eviscerated of their semantic content: all that remains is a series of punctuation and diacritical marks. Each sonnet is numbered rather than named (using a system similar to that used in the concentration camps), further emphasising the bureaucratic and physical erasure of individuals and communities during the Holocaust. What remains are these ghosts, stripped of anything identifiable as content, but retaining a distinct individuality and personality. This erasure, however, is not necessarily hopeless – the sonnets are also intended to hold a theological meaning. If one could say that what we normally expect of a poem has been erased, one could also say that it has been transfigured. The meaning of these lives is lost to us, but the scaffold of meaning – the punctuation, the stress marks and so on, remain. This idea is prefaced for the reader by a quote from the poet Geoffrey Hill which begins ‘Whose lives are hidden in God? Whose?’ So while these poems are ambiguous and intended to mourn, they are not finally hopeless. Physically, the book is constructed from 21 signatures on hand-cut white Ingres 130 g paper and black Canson card. 12 of these signatures are divided into four groups, each group comprising the sonnets for three of the tribes of Israel. Each group is introduced and bookended by a further signature featuring a paper cutting, as can be seen on the video (a forest, a circle a series of lines reminiscent of barbed wire, a triangle and a flower). The cover is made of two sheets of iron 0.8 mm thick which were oxidised over two days using our own technique. The use of iron is intended to be strongly symbolic of the visual images which remain to us of many of the concentration camps – the gates, the helmets of the guards, and, most soberingly, the doors of the gas chambers. This iron sits around the poems, physically dominating them but not irrevocably closed. The entire book is bound using Coptic stitching which is visually beautiful, and also allows the book to be opened through 180 degrees, forming a fan. One final, important aspect of the book is that it has been designed to slowly decompose – the iron cover becoming more eroded over time, the title being eaten away, and the black card gradually bleeding into the stark white of the paper to create a small mirror of the physical reality of the camps, and the process of commemoration. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774545587607-Z20H24GJNZQ5ELOLZ1JG/mcba-prize-2015-simona-noi-toby-martinez-de-las-rivas-12-2.jpg Entries & Jurors - 2015 Entries - Simona Noli &amp; Toby Martinez de las Rivas Simona Noli and Toby Martinez de las Rivas (Cordoba, Andalucia, Spain) 12 2014 Exterior: Oxidized iron with laser etched title. Interior: 4 sections of 3 signatures each of Ingres paper 130gr. printed with an ink jet printer. Each section is divided by a signature made of black Canson card 160gr. and Ingres paper130gr. with handmade paper cutting. Body of book bound in Coptic stitch with black cotton tread. 156 pages Open: 21cm x 44cm x 22.5 cm Closed: 21 cm x 20.7 cm x 4.6 cm https://www.youtube.com/watch?v=pAofh08bbYg The book is a collaboration between bookbinder Simona Noli and poet Toby Martinez de las Rivas. The main themes of the book are absence, loss, violence and commemoration. It features twelve sets of twelve sonnets (i.e.144 in total) – one set representing each of the tribes of Israel. These sonnets have been eviscerated of their semantic content: all that remains is a series of punctuation and diacritical marks. Each sonnet is numbered rather than named (using a system similar to that used in the concentration camps), further emphasising the bureaucratic and physical erasure of individuals and communities during the Holocaust. What remains are these ghosts, stripped of anything identifiable as content, but retaining a distinct individuality and personality. This erasure, however, is not necessarily hopeless – the sonnets are also intended to hold a theological meaning. If one could say that what we normally expect of a poem has been erased, one could also say that it has been transfigured. The meaning of these lives is lost to us, but the scaffold of meaning – the punctuation, the stress marks and so on, remain. This idea is prefaced for the reader by a quote from the poet Geoffrey Hill which begins ‘Whose lives are hidden in God? Whose?’ So while these poems are ambiguous and intended to mourn, they are not finally hopeless. Physically, the book is constructed from 21 signatures on hand-cut white Ingres 130 g paper and black Canson card. 12 of these signatures are divided into four groups, each group comprising the sonnets for three of the tribes of Israel. Each group is introduced and bookended by a further signature featuring a paper cutting, as can be seen on the video (a forest, a circle a series of lines reminiscent of barbed wire, a triangle and a flower). The cover is made of two sheets of iron 0.8 mm thick which were oxidised over two days using our own technique. The use of iron is intended to be strongly symbolic of the visual images which remain to us of many of the concentration camps – the gates, the helmets of the guards, and, most soberingly, the doors of the gas chambers. This iron sits around the poems, physically dominating them but not irrevocably closed. The entire book is bound using Coptic stitching which is visually beautiful, and also allows the book to be opened through 180 degrees, forming a fan. One final, important aspect of the book is that it has been designed to slowly decompose – the iron cover becoming more eroded over time, the title being eaten away, and the black card gradually bleeding into the stark white of the paper to create a small mirror of the physical reality of the camps, and the process of commemoration. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774545590180-IR8JFBAWOSRMY87NA0UX/mcba-prize-2015-simona-noi-toby-martinez-de-las-rivas-12-3.jpg Entries & Jurors - 2015 Entries - Simona Noli &amp; Toby Martinez de las Rivas Simona Noli and Toby Martinez de las Rivas (Cordoba, Andalucia, Spain) 12 2014 Exterior: Oxidized iron with laser etched title. Interior: 4 sections of 3 signatures each of Ingres paper 130gr. printed with an ink jet printer. Each section is divided by a signature made of black Canson card 160gr. and Ingres paper130gr. with handmade paper cutting. Body of book bound in Coptic stitch with black cotton tread. 156 pages Open: 21cm x 44cm x 22.5 cm Closed: 21 cm x 20.7 cm x 4.6 cm https://www.youtube.com/watch?v=pAofh08bbYg The book is a collaboration between bookbinder Simona Noli and poet Toby Martinez de las Rivas. The main themes of the book are absence, loss, violence and commemoration. It features twelve sets of twelve sonnets (i.e.144 in total) – one set representing each of the tribes of Israel. These sonnets have been eviscerated of their semantic content: all that remains is a series of punctuation and diacritical marks. Each sonnet is numbered rather than named (using a system similar to that used in the concentration camps), further emphasising the bureaucratic and physical erasure of individuals and communities during the Holocaust. What remains are these ghosts, stripped of anything identifiable as content, but retaining a distinct individuality and personality. This erasure, however, is not necessarily hopeless – the sonnets are also intended to hold a theological meaning. If one could say that what we normally expect of a poem has been erased, one could also say that it has been transfigured. The meaning of these lives is lost to us, but the scaffold of meaning – the punctuation, the stress marks and so on, remain. This idea is prefaced for the reader by a quote from the poet Geoffrey Hill which begins ‘Whose lives are hidden in God? Whose?’ So while these poems are ambiguous and intended to mourn, they are not finally hopeless. Physically, the book is constructed from 21 signatures on hand-cut white Ingres 130 g paper and black Canson card. 12 of these signatures are divided into four groups, each group comprising the sonnets for three of the tribes of Israel. Each group is introduced and bookended by a further signature featuring a paper cutting, as can be seen on the video (a forest, a circle a series of lines reminiscent of barbed wire, a triangle and a flower). The cover is made of two sheets of iron 0.8 mm thick which were oxidised over two days using our own technique. The use of iron is intended to be strongly symbolic of the visual images which remain to us of many of the concentration camps – the gates, the helmets of the guards, and, most soberingly, the doors of the gas chambers. This iron sits around the poems, physically dominating them but not irrevocably closed. The entire book is bound using Coptic stitching which is visually beautiful, and also allows the book to be opened through 180 degrees, forming a fan. One final, important aspect of the book is that it has been designed to slowly decompose – the iron cover becoming more eroded over time, the title being eaten away, and the black card gradually bleeding into the stark white of the paper to create a small mirror of the physical reality of the camps, and the process of commemoration. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774545590084-9KPA8WDFB0H6ELQLK9S5/mcba-prize-2015-simona-noi-toby-martinez-de-las-rivas-12-4.jpg Entries & Jurors - 2015 Entries - Simona Noli &amp; Toby Martinez de las Rivas Simona Noli and Toby Martinez de las Rivas (Cordoba, Andalucia, Spain) 12 2014 Exterior: Oxidized iron with laser etched title. Interior: 4 sections of 3 signatures each of Ingres paper 130gr. printed with an ink jet printer. Each section is divided by a signature made of black Canson card 160gr. and Ingres paper130gr. with handmade paper cutting. Body of book bound in Coptic stitch with black cotton tread. 156 pages Open: 21cm x 44cm x 22.5 cm Closed: 21 cm x 20.7 cm x 4.6 cm https://www.youtube.com/watch?v=pAofh08bbYg The book is a collaboration between bookbinder Simona Noli and poet Toby Martinez de las Rivas. The main themes of the book are absence, loss, violence and commemoration. It features twelve sets of twelve sonnets (i.e.144 in total) – one set representing each of the tribes of Israel. These sonnets have been eviscerated of their semantic content: all that remains is a series of punctuation and diacritical marks. Each sonnet is numbered rather than named (using a system similar to that used in the concentration camps), further emphasising the bureaucratic and physical erasure of individuals and communities during the Holocaust. What remains are these ghosts, stripped of anything identifiable as content, but retaining a distinct individuality and personality. This erasure, however, is not necessarily hopeless – the sonnets are also intended to hold a theological meaning. If one could say that what we normally expect of a poem has been erased, one could also say that it has been transfigured. The meaning of these lives is lost to us, but the scaffold of meaning – the punctuation, the stress marks and so on, remain. This idea is prefaced for the reader by a quote from the poet Geoffrey Hill which begins ‘Whose lives are hidden in God? Whose?’ So while these poems are ambiguous and intended to mourn, they are not finally hopeless. Physically, the book is constructed from 21 signatures on hand-cut white Ingres 130 g paper and black Canson card. 12 of these signatures are divided into four groups, each group comprising the sonnets for three of the tribes of Israel. Each group is introduced and bookended by a further signature featuring a paper cutting, as can be seen on the video (a forest, a circle a series of lines reminiscent of barbed wire, a triangle and a flower). The cover is made of two sheets of iron 0.8 mm thick which were oxidised over two days using our own technique. The use of iron is intended to be strongly symbolic of the visual images which remain to us of many of the concentration camps – the gates, the helmets of the guards, and, most soberingly, the doors of the gas chambers. This iron sits around the poems, physically dominating them but not irrevocably closed. The entire book is bound using Coptic stitching which is visually beautiful, and also allows the book to be opened through 180 degrees, forming a fan. One final, important aspect of the book is that it has been designed to slowly decompose – the iron cover becoming more eroded over time, the title being eaten away, and the black card gradually bleeding into the stark white of the paper to create a small mirror of the physical reality of the camps, and the process of commemoration. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774551636874-G3VXCPRRKG1E3PD4FRXX/mcba-prize-2015-jan-owens-marginalia-1.jpg Entries & Jurors - 2015 Entries - Jan Owen Jan Owen (Belfast, Maine) JanOwenArt.com Marginalia 2014 Hand lettered with acrylic on handmade paper, painted Hollytex, painted woven Tyvek, coptic binding. Unique work 28 pages 14 x 22 x 1 inch open 14 x 11 x 2 inches closed On a clear night, the Maine sky is filled with stars. Looking up makes me feel small and also part of something immense and beautiful. Marginalia began as I folded Cave Paper’s black Galaxy paper; the book had to be about space. The pages alternate between brushstroke marks like planet rings or comet tails and those with hand lettered blocks of text. The text pages come from my memory of a 14th century French manuscript in which every page had a different arrangement of text blocks and lettering styles. Also included are several passages of binary code which makes possible new information and images. How can we grasp this universe, this life, imagine it? As I get older, I know more about who I’ve become and wonder more about why I am here. Am I just marginalia in the universe? Or do I treat the universe, this beautiful planet, as marginalia to my one, precious life? Marginalia contains words of seeking, praise and astonishment by poets, scientists and astronauts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774551637058-UZ067XZZGEQ620HHYTFZ/mcba-prize-2015-jan-owens-marginalia-2.jpg Entries & Jurors - 2015 Entries - Jan Owen Jan Owen (Belfast, Maine) JanOwenArt.com Marginalia 2014 Hand lettered with acrylic on handmade paper, painted Hollytex, painted woven Tyvek, coptic binding. Unique work 28 pages 14 x 22 x 1 inch open 14 x 11 x 2 inches closed On a clear night, the Maine sky is filled with stars. Looking up makes me feel small and also part of something immense and beautiful. Marginalia began as I folded Cave Paper’s black Galaxy paper; the book had to be about space. The pages alternate between brushstroke marks like planet rings or comet tails and those with hand lettered blocks of text. The text pages come from my memory of a 14th century French manuscript in which every page had a different arrangement of text blocks and lettering styles. Also included are several passages of binary code which makes possible new information and images. How can we grasp this universe, this life, imagine it? As I get older, I know more about who I’ve become and wonder more about why I am here. Am I just marginalia in the universe? Or do I treat the universe, this beautiful planet, as marginalia to my one, precious life? Marginalia contains words of seeking, praise and astonishment by poets, scientists and astronauts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774551638602-YPF52ETR1WB7X9WSJCAU/mcba-prize-2015-jan-owens-marginalia-3.jpg Entries & Jurors - 2015 Entries - Jan Owen Jan Owen (Belfast, Maine) JanOwenArt.com Marginalia 2014 Hand lettered with acrylic on handmade paper, painted Hollytex, painted woven Tyvek, coptic binding. Unique work 28 pages 14 x 22 x 1 inch open 14 x 11 x 2 inches closed On a clear night, the Maine sky is filled with stars. Looking up makes me feel small and also part of something immense and beautiful. Marginalia began as I folded Cave Paper’s black Galaxy paper; the book had to be about space. The pages alternate between brushstroke marks like planet rings or comet tails and those with hand lettered blocks of text. The text pages come from my memory of a 14th century French manuscript in which every page had a different arrangement of text blocks and lettering styles. Also included are several passages of binary code which makes possible new information and images. How can we grasp this universe, this life, imagine it? As I get older, I know more about who I’ve become and wonder more about why I am here. Am I just marginalia in the universe? Or do I treat the universe, this beautiful planet, as marginalia to my one, precious life? Marginalia contains words of seeking, praise and astonishment by poets, scientists and astronauts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774551639580-CDYO5U24JGFMT4VHH08M/mcba-prize-2015-jan-owens-marginalia-4.jpg Entries & Jurors - 2015 Entries - Jan Owen Jan Owen (Belfast, Maine) JanOwenArt.com Marginalia 2014 Hand lettered with acrylic on handmade paper, painted Hollytex, painted woven Tyvek, coptic binding. Unique work 28 pages 14 x 22 x 1 inch open 14 x 11 x 2 inches closed On a clear night, the Maine sky is filled with stars. Looking up makes me feel small and also part of something immense and beautiful. Marginalia began as I folded Cave Paper’s black Galaxy paper; the book had to be about space. The pages alternate between brushstroke marks like planet rings or comet tails and those with hand lettered blocks of text. The text pages come from my memory of a 14th century French manuscript in which every page had a different arrangement of text blocks and lettering styles. Also included are several passages of binary code which makes possible new information and images. How can we grasp this universe, this life, imagine it? As I get older, I know more about who I’ve become and wonder more about why I am here. Am I just marginalia in the universe? Or do I treat the universe, this beautiful planet, as marginalia to my one, precious life? Marginalia contains words of seeking, praise and astonishment by poets, scientists and astronauts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774551640166-21FWJRNAZV0XQEYP2TVR/mcba-prize-2015-jan-owens-marginalia-5.jpg Entries & Jurors - 2015 Entries - Jan Owen Jan Owen (Belfast, Maine) JanOwenArt.com Marginalia 2014 Hand lettered with acrylic on handmade paper, painted Hollytex, painted woven Tyvek, coptic binding. Unique work 28 pages 14 x 22 x 1 inch open 14 x 11 x 2 inches closed On a clear night, the Maine sky is filled with stars. Looking up makes me feel small and also part of something immense and beautiful. Marginalia began as I folded Cave Paper’s black Galaxy paper; the book had to be about space. The pages alternate between brushstroke marks like planet rings or comet tails and those with hand lettered blocks of text. The text pages come from my memory of a 14th century French manuscript in which every page had a different arrangement of text blocks and lettering styles. Also included are several passages of binary code which makes possible new information and images. How can we grasp this universe, this life, imagine it? As I get older, I know more about who I’ve become and wonder more about why I am here. Am I just marginalia in the universe? Or do I treat the universe, this beautiful planet, as marginalia to my one, precious life? Marginalia contains words of seeking, praise and astonishment by poets, scientists and astronauts. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774552864597-8Y8OK2TR0STDLCT8PXY4/mcba-prize-2015-chiara-passigli-paper-symmetry-1.jpg Entries & Jurors - 2015 Entries - Chiara Passigli Chiara Passigli (Milano, Italy) chiarapassigli.com Paper symmetry 2015 Mixed media Unique work 38 x 52 x 6 cm Books are paper. Books are words. Books are stories. Sometimes books are art. Or become art. I am very interested in the transformation of things, how they shift from their original purpose to a new existence with a new meaning. To do this a new point of view is needed: one which preserves/features/expresses the essence of the object and makes it speak with a new language. The countless words in books tell us stories, facts, theories, concepts. But all of this is meaningless if they are abandoned on a shelf or locked in a closet. So I look for a new dimension/go further, focusing on the consistency of paper, the fonts, the hues of the pages – exploring the visual, tactile and aesthetic aspects of books. Books are evocative objects, and in my work their printed pages find new meaning in relation to other materials, calling forth memories, feelings, curiosities and mysteries. My work would not have the same poetic flavor without my love and use of books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774552863360-KR4OY1HFJGFS39UGP799/mcba-prize-2015-chiara-passigli-paper-symmetry-2.jpg Entries & Jurors - 2015 Entries - Chiara Passigli Chiara Passigli (Milano, Italy) chiarapassigli.com Paper symmetry 2015 Mixed media Unique work 38 x 52 x 6 cm Books are paper. Books are words. Books are stories. Sometimes books are art. Or become art. I am very interested in the transformation of things, how they shift from their original purpose to a new existence with a new meaning. To do this a new point of view is needed: one which preserves/features/expresses the essence of the object and makes it speak with a new language. The countless words in books tell us stories, facts, theories, concepts. But all of this is meaningless if they are abandoned on a shelf or locked in a closet. So I look for a new dimension/go further, focusing on the consistency of paper, the fonts, the hues of the pages – exploring the visual, tactile and aesthetic aspects of books. Books are evocative objects, and in my work their printed pages find new meaning in relation to other materials, calling forth memories, feelings, curiosities and mysteries. My work would not have the same poetic flavor without my love and use of books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774552865435-ZL8M0K3ZJQC4CDCO107Y/mcba-prize-2015-chiara-passigli-paper-symmetry-3.jpg Entries & Jurors - 2015 Entries - Chiara Passigli Chiara Passigli (Milano, Italy) chiarapassigli.com Paper symmetry 2015 Mixed media Unique work 38 x 52 x 6 cm Books are paper. Books are words. Books are stories. Sometimes books are art. Or become art. I am very interested in the transformation of things, how they shift from their original purpose to a new existence with a new meaning. To do this a new point of view is needed: one which preserves/features/expresses the essence of the object and makes it speak with a new language. The countless words in books tell us stories, facts, theories, concepts. But all of this is meaningless if they are abandoned on a shelf or locked in a closet. So I look for a new dimension/go further, focusing on the consistency of paper, the fonts, the hues of the pages – exploring the visual, tactile and aesthetic aspects of books. Books are evocative objects, and in my work their printed pages find new meaning in relation to other materials, calling forth memories, feelings, curiosities and mysteries. My work would not have the same poetic flavor without my love and use of books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774552866255-9K8S7ME87D9QL5Z0GZQ5/mcba-prize-2015-chiara-passigli-paper-symmetry-4.jpg Entries & Jurors - 2015 Entries - Chiara Passigli Chiara Passigli (Milano, Italy) chiarapassigli.com Paper symmetry 2015 Mixed media Unique work 38 x 52 x 6 cm Books are paper. Books are words. Books are stories. Sometimes books are art. Or become art. I am very interested in the transformation of things, how they shift from their original purpose to a new existence with a new meaning. To do this a new point of view is needed: one which preserves/features/expresses the essence of the object and makes it speak with a new language. The countless words in books tell us stories, facts, theories, concepts. But all of this is meaningless if they are abandoned on a shelf or locked in a closet. So I look for a new dimension/go further, focusing on the consistency of paper, the fonts, the hues of the pages – exploring the visual, tactile and aesthetic aspects of books. Books are evocative objects, and in my work their printed pages find new meaning in relation to other materials, calling forth memories, feelings, curiosities and mysteries. My work would not have the same poetic flavor without my love and use of books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774552867282-JH0YXGOMTFVMWF0ZCQ0G/mcba-prize-2015-chiara-passigli-paper-symmetry-5.jpg Entries & Jurors - 2015 Entries - Chiara Passigli Chiara Passigli (Milano, Italy) chiarapassigli.com Paper symmetry 2015 Mixed media Unique work 38 x 52 x 6 cm Books are paper. Books are words. Books are stories. Sometimes books are art. Or become art. I am very interested in the transformation of things, how they shift from their original purpose to a new existence with a new meaning. To do this a new point of view is needed: one which preserves/features/expresses the essence of the object and makes it speak with a new language. The countless words in books tell us stories, facts, theories, concepts. But all of this is meaningless if they are abandoned on a shelf or locked in a closet. So I look for a new dimension/go further, focusing on the consistency of paper, the fonts, the hues of the pages – exploring the visual, tactile and aesthetic aspects of books. Books are evocative objects, and in my work their printed pages find new meaning in relation to other materials, calling forth memories, feelings, curiosities and mysteries. My work would not have the same poetic flavor without my love and use of books. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553056512-KUV12QV8TMGOKAVS3MH8/mcba-prize-2015-sumi-perera-top-10-wcc-white-color-crime-1.jpg Entries & Jurors - 2015 Entries - Sumi Perera Sumi Perera (Redhill, Surrey, U.K.) saatchionline.com TOP 10 WCC [White Collar Crime] 2014 open-bite acid etching, embossing, mezzotint, inkjet & stitch Edition of 10 10 pages and 40 tags to cut up and insert 21.5 x 14.75 x 1.5 cm Who selects the Top 10? Ten loose pages depicting ten vintage white collars can be arranged to form a book of white-collar crimes (WCC). Lists of ten prosecuted criminals, ten prosecutors, and ten cinematic (both fictional and non-fictional) criminals are provided as ‘tags’ to cut up and re-insert so that the editorial control is handed to the reader to re-sequence the criminals, their sentences and prosecutors. In rearranging these crimes, the reader is asked to speculate on different outcomes in alternative circumstances. DIY kit to complete the book with dust jacket [etched embossed sleeve on black Somerset paper 300g 
with a mezzotint print stitched in a red thread].
 Loose unbound pages of mezzotints depicting ten vintage white collars & fragments of text on white Somerset paper 300g. The black ink from the sleeve (dust jacket) rubs off on the inner white envelope with embossed raised text each time the book is withdrawn. This is a serendipitous intervention, where the dust jacket is unable to protect the book, but instead tarnishes the pristine white book. An appropriate transference as it is symbolic of the phrase: ‘if you lie with dogs, you rise with fleas’ =[if you associate with evil people their habits are bound to rub off on you.] Most White Collars Criminals justify their actions, find legal loopholes and blur boundaries. Crime is often neither black nor white, but shades of grey. [Copies acquired for the Tate Britain Special Collections (2015) & the Leeds Library Artist Book Collection (2014)] https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553056643-PA3GJ8XST6Q85YV4LL2V/mcba-prize-2015-sumi-perera-top-10-wcc-white-color-crime-2.jpg Entries & Jurors - 2015 Entries - Sumi Perera Sumi Perera (Redhill, Surrey, U.K.) saatchionline.com TOP 10 WCC [White Collar Crime] 2014 open-bite acid etching, embossing, mezzotint, inkjet & stitch Edition of 10 10 pages and 40 tags to cut up and insert 21.5 x 14.75 x 1.5 cm Who selects the Top 10? Ten loose pages depicting ten vintage white collars can be arranged to form a book of white-collar crimes (WCC). Lists of ten prosecuted criminals, ten prosecutors, and ten cinematic (both fictional and non-fictional) criminals are provided as ‘tags’ to cut up and re-insert so that the editorial control is handed to the reader to re-sequence the criminals, their sentences and prosecutors. In rearranging these crimes, the reader is asked to speculate on different outcomes in alternative circumstances. DIY kit to complete the book with dust jacket [etched embossed sleeve on black Somerset paper 300g 
with a mezzotint print stitched in a red thread].
 Loose unbound pages of mezzotints depicting ten vintage white collars & fragments of text on white Somerset paper 300g. The black ink from the sleeve (dust jacket) rubs off on the inner white envelope with embossed raised text each time the book is withdrawn. This is a serendipitous intervention, where the dust jacket is unable to protect the book, but instead tarnishes the pristine white book. An appropriate transference as it is symbolic of the phrase: ‘if you lie with dogs, you rise with fleas’ =[if you associate with evil people their habits are bound to rub off on you.] Most White Collars Criminals justify their actions, find legal loopholes and blur boundaries. Crime is often neither black nor white, but shades of grey. [Copies acquired for the Tate Britain Special Collections (2015) & the Leeds Library Artist Book Collection (2014)] https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553058058-3BLB61T53EQM6QL71OC5/mcba-prize-2015-sumi-perera-top-10-wcc-white-color-crime-3.jpg Entries & Jurors - 2015 Entries - Sumi Perera Sumi Perera (Redhill, Surrey, U.K.) saatchionline.com TOP 10 WCC [White Collar Crime] 2014 open-bite acid etching, embossing, mezzotint, inkjet & stitch Edition of 10 10 pages and 40 tags to cut up and insert 21.5 x 14.75 x 1.5 cm Who selects the Top 10? Ten loose pages depicting ten vintage white collars can be arranged to form a book of white-collar crimes (WCC). Lists of ten prosecuted criminals, ten prosecutors, and ten cinematic (both fictional and non-fictional) criminals are provided as ‘tags’ to cut up and re-insert so that the editorial control is handed to the reader to re-sequence the criminals, their sentences and prosecutors. In rearranging these crimes, the reader is asked to speculate on different outcomes in alternative circumstances. DIY kit to complete the book with dust jacket [etched embossed sleeve on black Somerset paper 300g 
with a mezzotint print stitched in a red thread].
 Loose unbound pages of mezzotints depicting ten vintage white collars & fragments of text on white Somerset paper 300g. The black ink from the sleeve (dust jacket) rubs off on the inner white envelope with embossed raised text each time the book is withdrawn. This is a serendipitous intervention, where the dust jacket is unable to protect the book, but instead tarnishes the pristine white book. An appropriate transference as it is symbolic of the phrase: ‘if you lie with dogs, you rise with fleas’ =[if you associate with evil people their habits are bound to rub off on you.] Most White Collars Criminals justify their actions, find legal loopholes and blur boundaries. Crime is often neither black nor white, but shades of grey. [Copies acquired for the Tate Britain Special Collections (2015) & the Leeds Library Artist Book Collection (2014)] https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553058253-WADHTWNTAB4RAA4WMJF0/mcba-prize-2015-sumi-perera-top-10-wcc-white-color-crime-4.jpg Entries & Jurors - 2015 Entries - Sumi Perera Sumi Perera (Redhill, Surrey, U.K.) saatchionline.com TOP 10 WCC [White Collar Crime] 2014 open-bite acid etching, embossing, mezzotint, inkjet & stitch Edition of 10 10 pages and 40 tags to cut up and insert 21.5 x 14.75 x 1.5 cm Who selects the Top 10? Ten loose pages depicting ten vintage white collars can be arranged to form a book of white-collar crimes (WCC). Lists of ten prosecuted criminals, ten prosecutors, and ten cinematic (both fictional and non-fictional) criminals are provided as ‘tags’ to cut up and re-insert so that the editorial control is handed to the reader to re-sequence the criminals, their sentences and prosecutors. In rearranging these crimes, the reader is asked to speculate on different outcomes in alternative circumstances. DIY kit to complete the book with dust jacket [etched embossed sleeve on black Somerset paper 300g 
with a mezzotint print stitched in a red thread].
 Loose unbound pages of mezzotints depicting ten vintage white collars & fragments of text on white Somerset paper 300g. The black ink from the sleeve (dust jacket) rubs off on the inner white envelope with embossed raised text each time the book is withdrawn. This is a serendipitous intervention, where the dust jacket is unable to protect the book, but instead tarnishes the pristine white book. An appropriate transference as it is symbolic of the phrase: ‘if you lie with dogs, you rise with fleas’ =[if you associate with evil people their habits are bound to rub off on you.] Most White Collars Criminals justify their actions, find legal loopholes and blur boundaries. Crime is often neither black nor white, but shades of grey. [Copies acquired for the Tate Britain Special Collections (2015) & the Leeds Library Artist Book Collection (2014)] https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553059762-4VL3RP545SARZQ0A98P0/mcba-prize-2015-sumi-perera-top-10-wcc-white-color-crime-5.jpg Entries & Jurors - 2015 Entries - Sumi Perera Sumi Perera (Redhill, Surrey, U.K.) saatchionline.com TOP 10 WCC [White Collar Crime] 2014 open-bite acid etching, embossing, mezzotint, inkjet & stitch Edition of 10 10 pages and 40 tags to cut up and insert 21.5 x 14.75 x 1.5 cm Who selects the Top 10? Ten loose pages depicting ten vintage white collars can be arranged to form a book of white-collar crimes (WCC). Lists of ten prosecuted criminals, ten prosecutors, and ten cinematic (both fictional and non-fictional) criminals are provided as ‘tags’ to cut up and re-insert so that the editorial control is handed to the reader to re-sequence the criminals, their sentences and prosecutors. In rearranging these crimes, the reader is asked to speculate on different outcomes in alternative circumstances. DIY kit to complete the book with dust jacket [etched embossed sleeve on black Somerset paper 300g 
with a mezzotint print stitched in a red thread].
 Loose unbound pages of mezzotints depicting ten vintage white collars & fragments of text on white Somerset paper 300g. The black ink from the sleeve (dust jacket) rubs off on the inner white envelope with embossed raised text each time the book is withdrawn. This is a serendipitous intervention, where the dust jacket is unable to protect the book, but instead tarnishes the pristine white book. An appropriate transference as it is symbolic of the phrase: ‘if you lie with dogs, you rise with fleas’ =[if you associate with evil people their habits are bound to rub off on you.] Most White Collars Criminals justify their actions, find legal loopholes and blur boundaries. Crime is often neither black nor white, but shades of grey. [Copies acquired for the Tate Britain Special Collections (2015) & the Leeds Library Artist Book Collection (2014)] https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553498598-AL06NTA0YNBZ2398IQTE/mcba-prize-2015-sumi-perera-through-the-pinhole-iv-1.jpg Entries & Jurors - 2015 Entries - Sumi Perera Sumi Perera (Redhill, Surrey, U.K.) saatchionline.com Through the Pinhole IV 2013 Etching, embossing, photography, stitching Edition of 3 30 pages 13.5 x 300 open 14.5 x 11.5 x 4.5cm closed One of a series of artist books that pay tribute to the fading existence of photo-labs, print studios and photo albums. The embossed inverted pages allow a peep through the keyhole of Victorian photo studios. The verso of discarded photos extracted from Victorian family albums have been re-photographed, re-scaled and re-positioned to examine the status of the studio expressed through its advertising tactics. Like much of the artist’s work, the sequence of detachable photos can be rearranged to form different narratives. The reverse of both the photos and the pages have been left blank to express the void that will be created by the demise of the aforementioned print services. Each page is cut and stitched to the other, rather than being folded, to reflect on the loss of manual skills that are replaced by digital technology. The stitched pages are held together by a detachable spine, which allows a private reading of the double-spread within the ‘codex’ like structure. Once the spine is retracted outwards, the book unfolds and is converted to a leporello for a public communal reading. The album is housed within a box to optimize colour conservation. [Another variation on the theme of this book titled: THROUGH THE PINHOLE, an earlier prototype is held in the Yale Centre for British Art, purchased at the London Art Book Fair, Whitechapel Gallery, London 2009] https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553497515-AFBF0L6YIYQ065QW9YU4/mcba-prize-2015-sumi-perera-through-the-pinhole-iv-2.jpg Entries & Jurors - 2015 Entries - Sumi Perera Sumi Perera (Redhill, Surrey, U.K.) saatchionline.com Through the Pinhole IV 2013 Etching, embossing, photography, stitching Edition of 3 30 pages 13.5 x 300 open 14.5 x 11.5 x 4.5cm closed One of a series of artist books that pay tribute to the fading existence of photo-labs, print studios and photo albums. The embossed inverted pages allow a peep through the keyhole of Victorian photo studios. The verso of discarded photos extracted from Victorian family albums have been re-photographed, re-scaled and re-positioned to examine the status of the studio expressed through its advertising tactics. Like much of the artist’s work, the sequence of detachable photos can be rearranged to form different narratives. The reverse of both the photos and the pages have been left blank to express the void that will be created by the demise of the aforementioned print services. Each page is cut and stitched to the other, rather than being folded, to reflect on the loss of manual skills that are replaced by digital technology. The stitched pages are held together by a detachable spine, which allows a private reading of the double-spread within the ‘codex’ like structure. Once the spine is retracted outwards, the book unfolds and is converted to a leporello for a public communal reading. The album is housed within a box to optimize colour conservation. [Another variation on the theme of this book titled: THROUGH THE PINHOLE, an earlier prototype is held in the Yale Centre for British Art, purchased at the London Art Book Fair, Whitechapel Gallery, London 2009] https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553499242-KZJ0FXQ9TECQIFS0VDKA/mcba-prize-2015-sumi-perera-through-the-pinhole-iv-3.jpg Entries & Jurors - 2015 Entries - Sumi Perera Sumi Perera (Redhill, Surrey, U.K.) saatchionline.com Through the Pinhole IV 2013 Etching, embossing, photography, stitching Edition of 3 30 pages 13.5 x 300 open 14.5 x 11.5 x 4.5cm closed One of a series of artist books that pay tribute to the fading existence of photo-labs, print studios and photo albums. The embossed inverted pages allow a peep through the keyhole of Victorian photo studios. The verso of discarded photos extracted from Victorian family albums have been re-photographed, re-scaled and re-positioned to examine the status of the studio expressed through its advertising tactics. Like much of the artist’s work, the sequence of detachable photos can be rearranged to form different narratives. The reverse of both the photos and the pages have been left blank to express the void that will be created by the demise of the aforementioned print services. Each page is cut and stitched to the other, rather than being folded, to reflect on the loss of manual skills that are replaced by digital technology. The stitched pages are held together by a detachable spine, which allows a private reading of the double-spread within the ‘codex’ like structure. Once the spine is retracted outwards, the book unfolds and is converted to a leporello for a public communal reading. The album is housed within a box to optimize colour conservation. [Another variation on the theme of this book titled: THROUGH THE PINHOLE, an earlier prototype is held in the Yale Centre for British Art, purchased at the London Art Book Fair, Whitechapel Gallery, London 2009] https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553500284-DWJMSA57W3T5TEETPYCS/mcba-prize-2015-sumi-perera-through-the-pinhole-iv-4.jpg Entries & Jurors - 2015 Entries - Sumi Perera Sumi Perera (Redhill, Surrey, U.K.) saatchionline.com Through the Pinhole IV 2013 Etching, embossing, photography, stitching Edition of 3 30 pages 13.5 x 300 open 14.5 x 11.5 x 4.5cm closed One of a series of artist books that pay tribute to the fading existence of photo-labs, print studios and photo albums. The embossed inverted pages allow a peep through the keyhole of Victorian photo studios. The verso of discarded photos extracted from Victorian family albums have been re-photographed, re-scaled and re-positioned to examine the status of the studio expressed through its advertising tactics. Like much of the artist’s work, the sequence of detachable photos can be rearranged to form different narratives. The reverse of both the photos and the pages have been left blank to express the void that will be created by the demise of the aforementioned print services. Each page is cut and stitched to the other, rather than being folded, to reflect on the loss of manual skills that are replaced by digital technology. The stitched pages are held together by a detachable spine, which allows a private reading of the double-spread within the ‘codex’ like structure. Once the spine is retracted outwards, the book unfolds and is converted to a leporello for a public communal reading. The album is housed within a box to optimize colour conservation. [Another variation on the theme of this book titled: THROUGH THE PINHOLE, an earlier prototype is held in the Yale Centre for British Art, purchased at the London Art Book Fair, Whitechapel Gallery, London 2009] https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553664986-UV4GHCRV8UQSFAZB62B9/mcba-prize-2015-sumi-perera-xxx-pcs-ag-iv-1.jpg Entries & Jurors - 2015 Entries - Sumi Perera Sumi Perera (Redhill, Surrey, U.K.) saatchionline.com XXX Pcs Ag [IV] 2013 Etching, embossing, digital printing, etched zinc sheet, stitching Edition of 3 30 pages 15 x 336 cm open 17 x 12.5 x 4 cm closed Ag is the chemical symbol for Silver (derived from Greek, árguros; and Latin argentum; both from the Indo European roots of ‘grey’ or ‘shining’). Thirty pieces of silver are featured in this coin album, a soon obsolete book-form with the decline in interest in both collecting and using coins. Coins in usage currently, may soon be replaced by virtual currency, bitcoins etc. in the future. This ‘codex’ like album converts to a leporello form by the retraction of a detachable spine, allowing the transition from a private to public reading. The embossed pages feature coins printed on paper & metallic foil, ranging from old to the new, i.e. shekels paid to Judas Iscariot for the betrayal of Christ, to modern day currency and futuristic coins. The album is housed within a box, the lid bearing an etched and aquatinted zinc plate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553665271-HWS7ZNDM4ZL06MRFSBWV/mcba-prize-2015-sumi-perera-xxx-pcs-ag-iv-2.jpg Entries & Jurors - 2015 Entries - Sumi Perera Sumi Perera (Redhill, Surrey, U.K.) saatchionline.com XXX Pcs Ag [IV] 2013 Etching, embossing, digital printing, etched zinc sheet, stitching Edition of 3 30 pages 15 x 336 cm open 17 x 12.5 x 4 cm closed Ag is the chemical symbol for Silver (derived from Greek, árguros; and Latin argentum; both from the Indo European roots of ‘grey’ or ‘shining’). Thirty pieces of silver are featured in this coin album, a soon obsolete book-form with the decline in interest in both collecting and using coins. Coins in usage currently, may soon be replaced by virtual currency, bitcoins etc. in the future. This ‘codex’ like album converts to a leporello form by the retraction of a detachable spine, allowing the transition from a private to public reading. The embossed pages feature coins printed on paper & metallic foil, ranging from old to the new, i.e. shekels paid to Judas Iscariot for the betrayal of Christ, to modern day currency and futuristic coins. The album is housed within a box, the lid bearing an etched and aquatinted zinc plate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553666592-A3XG1Z1V7S83E50J09F5/mcba-prize-2015-sumi-perera-xxx-pcs-ag-iv-3.jpg Entries & Jurors - 2015 Entries - Sumi Perera Sumi Perera (Redhill, Surrey, U.K.) saatchionline.com XXX Pcs Ag [IV] 2013 Etching, embossing, digital printing, etched zinc sheet, stitching Edition of 3 30 pages 15 x 336 cm open 17 x 12.5 x 4 cm closed Ag is the chemical symbol for Silver (derived from Greek, árguros; and Latin argentum; both from the Indo European roots of ‘grey’ or ‘shining’). Thirty pieces of silver are featured in this coin album, a soon obsolete book-form with the decline in interest in both collecting and using coins. Coins in usage currently, may soon be replaced by virtual currency, bitcoins etc. in the future. This ‘codex’ like album converts to a leporello form by the retraction of a detachable spine, allowing the transition from a private to public reading. The embossed pages feature coins printed on paper & metallic foil, ranging from old to the new, i.e. shekels paid to Judas Iscariot for the betrayal of Christ, to modern day currency and futuristic coins. The album is housed within a box, the lid bearing an etched and aquatinted zinc plate. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553753328-0IAJQKISPEVMK8EYXXNF/mcba-prize-2015-chris-perry-138-ripples-main-1.jpg Entries & Jurors - 2015 Entries - Chris Perry Chris Perry (Ridgefield, CT) chrisperrystudio.com 138 Ripples: main 2013 paper, fabric, gel acetate Unique work Pages: 4400 Dimensions open: 18H x 45W x 24D I use hand-made books to impart information without the use of words or images; the books themselves are the idea, the shape of the paper the information. The Ripples series started with a love of the flip-book with the difference that instead of flipping the pages to view the movie, the blank spaces were cut away so the entire “movie” could be seen when the cover of the book was open. They now tell of water, water structures and the effect of both on other things. These pieces represent man-made structures for handling water and/or natural water structures. They are abbreviations of the ideas presented. An ordinary book could have thousands of words describing the structures or many photographs and charts showing how the structures occur naturally or how they are made by man. These ideas instead are expressed both by the shape of the piece I’ve made and by what the viewer brings to the viewing through his knowledge of what the title means and their experience with that particular thing. I try to convey these ideas by selecting the number and size of the volumes, by how the filaments are employed and where and what if anything happens inside the assembled mass. Frequently there are voids created within the stack of books and these may be viewed with varying degrees of clarity with the use of a mirror reflecting the light back to the viewer. Other times the interior is so filled or the opening is too small to view what is occurring so that only by lifting blocks of pages can the interior be seen; just as not all sources or ends of water systems are always readily visible. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553754932-41TWXNAHUL57J2BOP2J6/mcba-prize-2015-chris-perry-138-ripples-main-2.jpg Entries & Jurors - 2015 Entries - Chris Perry Chris Perry (Ridgefield, CT) chrisperrystudio.com 138 Ripples: main 2013 paper, fabric, gel acetate Unique work Pages: 4400 Dimensions open: 18H x 45W x 24D I use hand-made books to impart information without the use of words or images; the books themselves are the idea, the shape of the paper the information. The Ripples series started with a love of the flip-book with the difference that instead of flipping the pages to view the movie, the blank spaces were cut away so the entire “movie” could be seen when the cover of the book was open. They now tell of water, water structures and the effect of both on other things. These pieces represent man-made structures for handling water and/or natural water structures. They are abbreviations of the ideas presented. An ordinary book could have thousands of words describing the structures or many photographs and charts showing how the structures occur naturally or how they are made by man. These ideas instead are expressed both by the shape of the piece I’ve made and by what the viewer brings to the viewing through his knowledge of what the title means and their experience with that particular thing. I try to convey these ideas by selecting the number and size of the volumes, by how the filaments are employed and where and what if anything happens inside the assembled mass. Frequently there are voids created within the stack of books and these may be viewed with varying degrees of clarity with the use of a mirror reflecting the light back to the viewer. Other times the interior is so filled or the opening is too small to view what is occurring so that only by lifting blocks of pages can the interior be seen; just as not all sources or ends of water systems are always readily visible. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553755793-VJAJVPUW0PK1RD92UBJ5/mcba-prize-2015-chris-perry-138-ripples-main-3.jpg Entries & Jurors - 2015 Entries - Chris Perry Chris Perry (Ridgefield, CT) chrisperrystudio.com 138 Ripples: main 2013 paper, fabric, gel acetate Unique work Pages: 4400 Dimensions open: 18H x 45W x 24D I use hand-made books to impart information without the use of words or images; the books themselves are the idea, the shape of the paper the information. The Ripples series started with a love of the flip-book with the difference that instead of flipping the pages to view the movie, the blank spaces were cut away so the entire “movie” could be seen when the cover of the book was open. They now tell of water, water structures and the effect of both on other things. These pieces represent man-made structures for handling water and/or natural water structures. They are abbreviations of the ideas presented. An ordinary book could have thousands of words describing the structures or many photographs and charts showing how the structures occur naturally or how they are made by man. These ideas instead are expressed both by the shape of the piece I’ve made and by what the viewer brings to the viewing through his knowledge of what the title means and their experience with that particular thing. I try to convey these ideas by selecting the number and size of the volumes, by how the filaments are employed and where and what if anything happens inside the assembled mass. Frequently there are voids created within the stack of books and these may be viewed with varying degrees of clarity with the use of a mirror reflecting the light back to the viewer. Other times the interior is so filled or the opening is too small to view what is occurring so that only by lifting blocks of pages can the interior be seen; just as not all sources or ends of water systems are always readily visible. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553757023-9TYKQL2ONUNMLTDZBLVJ/mcba-prize-2015-chris-perry-138-ripples-main-4.jpg Entries & Jurors - 2015 Entries - Chris Perry Chris Perry (Ridgefield, CT) chrisperrystudio.com 138 Ripples: main 2013 paper, fabric, gel acetate Unique work Pages: 4400 Dimensions open: 18H x 45W x 24D I use hand-made books to impart information without the use of words or images; the books themselves are the idea, the shape of the paper the information. The Ripples series started with a love of the flip-book with the difference that instead of flipping the pages to view the movie, the blank spaces were cut away so the entire “movie” could be seen when the cover of the book was open. They now tell of water, water structures and the effect of both on other things. These pieces represent man-made structures for handling water and/or natural water structures. They are abbreviations of the ideas presented. An ordinary book could have thousands of words describing the structures or many photographs and charts showing how the structures occur naturally or how they are made by man. These ideas instead are expressed both by the shape of the piece I’ve made and by what the viewer brings to the viewing through his knowledge of what the title means and their experience with that particular thing. I try to convey these ideas by selecting the number and size of the volumes, by how the filaments are employed and where and what if anything happens inside the assembled mass. Frequently there are voids created within the stack of books and these may be viewed with varying degrees of clarity with the use of a mirror reflecting the light back to the viewer. Other times the interior is so filled or the opening is too small to view what is occurring so that only by lifting blocks of pages can the interior be seen; just as not all sources or ends of water systems are always readily visible. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553847151-ZH8V56VBSYEBPVRDFVV7/mcba-prize-2015-pamela-petro-aftershadows-a-grand-canyon-narrative1.jpg Entries & Jurors - 2015 Entries - Pamela Petro Pamela Petro (Northampton, MA) petrographs.blogspot.com AfterShadows: A Grand Canyon Narrative 2014-15 Petrographs (silver gelatin images printed on stone); digital photography; photocopy on vellum; accordion pleating of text; box by Amy Borezo of Shelter Bookworks (acid free cardboard and mylar) Edition of 50 4 pages 9″ x 7.25″ This image shows the artist’s book with its blue-grey, cardboard cover partially removed. The title is blind-stamped on tan paper, glued to the front. “Petrograph” is a term I made up, referring to silver gelatin images printed on stone. My name — Petro — means rock in Greek. So I consider my work with petrographs to be a stroke of luck, or of fate. Nomadic tribesmen in Siberia memorably called view cameras, “three-legged devices that draw a man’s shadow to stone.” Petrographs do the same thing. By casting and briefly fixing our shadows to the bedrock, they juxtapose the “snapshot” span of mortal memories with the vastness of geological time. And that puts humans’ experience on earth back into perspective. We are not the planet’s masters. We’re just one of many species passing through deep time. After harvesting rocks from rivers, seabeds, and quarries, I coat them in photographic emulsion, print them, and return them to their original locations to let time, weather, and other environmental factors reclaim the rocks. Petrographs place the hours, days, and years of our lives in geological perspective, reminding us of the relativity of perception. AfterShadows grew out of my time as an Artist in Residence at the Grand Canyon in 2011. I was struck by the Canyon’s immense shadows, cast by its eroded rock formations. I took photos of the shadows and printed them on tiny white beach pebbles from the Bay of Fundy, with each shadow corresponding to the time of day it was cast. I then arranged the pebbles to tell chronological narratives of walks I took in the Canyon, or of places around the globe in different time zones at the same moment. In reference to the varied eons of the Canyon’s history, I digitally photographed the pebbles against different backdrops such as the tideline on a beach, mudflats, meadow grasses, or ash, and also at morning, noon and night. There are 26 original photographs printed as 4 x 6 postcards in the central well of the book, in addition to a title page, a signed and numbered colophon, and a page with a QR code to be scanned by anyone with a smartphone. The code leads to an 18-part weekly blog on my website, which ran from fall 2011 to winter 2012, and chronicled the idea of AfterShadows from its inception at the Grand Canyon. After I printed the images I wrote a four-part essay called “Erosion” (also published online in the literary journal Lumina in spring, 2015), which tells tales around the story of how they came to be. Because the images came first, and only later were conceptually framed by the text, I chose to literally recreate that experience for the reader/viewer of the book, which accounts for its design. The essay is ideally ready clockwise from the top, but may be approached in any order at all. Its four, accordion-pleated sheets of printed vellum slip into clear envelopes of mylar arranged around the images. To honor the fact that the Grand Canyon is a public monument, accessible to all, I chose to keep the cost as low as possible so that the book would be accessible as well, and not prohibitively expensive. Amy Borezo, of Shelter Bookworks in Orange, MA, built the box to my design using simple materials, and we kept the size small at 7.5” x 9.25”. I think of it as the “paperback” version of a “hardback” artist’s book yet to come. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553847090-CO43PYPZGFF46WE7BNDS/mcba-prize-2015-pamela-petro-aftershadows-a-grand-canyon-narrative2.jpg Entries & Jurors - 2015 Entries - Pamela Petro Pamela Petro (Northampton, MA) petrographs.blogspot.com AfterShadows: A Grand Canyon Narrative 2014-15 Petrographs (silver gelatin images printed on stone); digital photography; photocopy on vellum; accordion pleating of text; box by Amy Borezo of Shelter Bookworks (acid free cardboard and mylar) Edition of 50 4 pages 9″ x 7.25″ The book with its cover removed. Each segment of text is tucked into an acid-free mylar slot. The 29 image cards sit in a half-inch well in the center of the book; they’re easily removed by lifting the black ribbon. “Petrograph” is a term I made up, referring to silver gelatin images printed on stone. My name — Petro — means rock in Greek. So I consider my work with petrographs to be a stroke of luck, or of fate. Nomadic tribesmen in Siberia memorably called view cameras, “three-legged devices that draw a man’s shadow to stone.” Petrographs do the same thing. By casting and briefly fixing our shadows to the bedrock, they juxtapose the “snapshot” span of mortal memories with the vastness of geological time. And that puts humans’ experience on earth back into perspective. We are not the planet’s masters. We’re just one of many species passing through deep time. After harvesting rocks from rivers, seabeds, and quarries, I coat them in photographic emulsion, print them, and return them to their original locations to let time, weather, and other environmental factors reclaim the rocks. Petrographs place the hours, days, and years of our lives in geological perspective, reminding us of the relativity of perception. AfterShadows grew out of my time as an Artist in Residence at the Grand Canyon in 2011. I was struck by the Canyon’s immense shadows, cast by its eroded rock formations. I took photos of the shadows and printed them on tiny white beach pebbles from the Bay of Fundy, with each shadow corresponding to the time of day it was cast. I then arranged the pebbles to tell chronological narratives of walks I took in the Canyon, or of places around the globe in different time zones at the same moment. In reference to the varied eons of the Canyon’s history, I digitally photographed the pebbles against different backdrops such as the tideline on a beach, mudflats, meadow grasses, or ash, and also at morning, noon and night. There are 26 original photographs printed as 4 x 6 postcards in the central well of the book, in addition to a title page, a signed and numbered colophon, and a page with a QR code to be scanned by anyone with a smartphone. The code leads to an 18-part weekly blog on my website, which ran from fall 2011 to winter 2012, and chronicled the idea of AfterShadows from its inception at the Grand Canyon. After I printed the images I wrote a four-part essay called “Erosion” (also published online in the literary journal Lumina in spring, 2015), which tells tales around the story of how they came to be. Because the images came first, and only later were conceptually framed by the text, I chose to literally recreate that experience for the reader/viewer of the book, which accounts for its design. The essay is ideally ready clockwise from the top, but may be approached in any order at all. Its four, accordion-pleated sheets of printed vellum slip into clear envelopes of mylar arranged around the images. To honor the fact that the Grand Canyon is a public monument, accessible to all, I chose to keep the cost as low as possible so that the book would be accessible as well, and not prohibitively expensive. Amy Borezo, of Shelter Bookworks in Orange, MA, built the box to my design using simple materials, and we kept the size small at 7.5” x 9.25”. I think of it as the “paperback” version of a “hardback” artist’s book yet to come. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553848687-94N6K816J584VXTDHJ7A/mcba-prize-2015-pamela-petro-aftershadows-a-grand-canyon-narrative3.jpg Entries & Jurors - 2015 Entries - Pamela Petro Pamela Petro (Northampton, MA) petrographs.blogspot.com AfterShadows: A Grand Canyon Narrative 2014-15 Petrographs (silver gelatin images printed on stone); digital photography; photocopy on vellum; accordion pleating of text; box by Amy Borezo of Shelter Bookworks (acid free cardboard and mylar) Edition of 50 4 pages 9″ x 7.25″ This image shows the book with the first text segment removed. Each segment was printed on acid-free vellum; the first, titled one (only) consists of two pieces of 11 x 17 vellum spliced together with vellum tape, as it’s a bit longer than the others. After they were printed, I hand-folded each sheet of vellum to fit into the mylar slots, and angled the edges to suggest the look of a frame. I conceived the essay in four moveable parts, so it can be read in any order (though clockwise is best). “Petrograph” is a term I made up, referring to silver gelatin images printed on stone. My name — Petro — means rock in Greek. So I consider my work with petrographs to be a stroke of luck, or of fate. Nomadic tribesmen in Siberia memorably called view cameras, “three-legged devices that draw a man’s shadow to stone.” Petrographs do the same thing. By casting and briefly fixing our shadows to the bedrock, they juxtapose the “snapshot” span of mortal memories with the vastness of geological time. And that puts humans’ experience on earth back into perspective. We are not the planet’s masters. We’re just one of many species passing through deep time. After harvesting rocks from rivers, seabeds, and quarries, I coat them in photographic emulsion, print them, and return them to their original locations to let time, weather, and other environmental factors reclaim the rocks. Petrographs place the hours, days, and years of our lives in geological perspective, reminding us of the relativity of perception. AfterShadows grew out of my time as an Artist in Residence at the Grand Canyon in 2011. I was struck by the Canyon’s immense shadows, cast by its eroded rock formations. I took photos of the shadows and printed them on tiny white beach pebbles from the Bay of Fundy, with each shadow corresponding to the time of day it was cast. I then arranged the pebbles to tell chronological narratives of walks I took in the Canyon, or of places around the globe in different time zones at the same moment. In reference to the varied eons of the Canyon’s history, I digitally photographed the pebbles against different backdrops such as the tideline on a beach, mudflats, meadow grasses, or ash, and also at morning, noon and night. There are 26 original photographs printed as 4 x 6 postcards in the central well of the book, in addition to a title page, a signed and numbered colophon, and a page with a QR code to be scanned by anyone with a smartphone. The code leads to an 18-part weekly blog on my website, which ran from fall 2011 to winter 2012, and chronicled the idea of AfterShadows from its inception at the Grand Canyon. After I printed the images I wrote a four-part essay called “Erosion” (also published online in the literary journal Lumina in spring, 2015), which tells tales around the story of how they came to be. Because the images came first, and only later were conceptually framed by the text, I chose to literally recreate that experience for the reader/viewer of the book, which accounts for its design. The essay is ideally ready clockwise from the top, but may be approached in any order at all. Its four, accordion-pleated sheets of printed vellum slip into clear envelopes of mylar arranged around the images. To honor the fact that the Grand Canyon is a public monument, accessible to all, I chose to keep the cost as low as possible so that the book would be accessible as well, and not prohibitively expensive. Amy Borezo, of Shelter Bookworks in Orange, MA, built the box to my design using simple materials, and we kept the size small at 7.5” x 9.25”. I think of it as the “paperback” version of a “hardback” artist’s book yet to come. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553848925-XWMHKFOLAECC6KW4X7UT/mcba-prize-2015-pamela-petro-aftershadows-a-grand-canyon-narrative4.jpg Entries & Jurors - 2015 Entries - Pamela Petro Pamela Petro (Northampton, MA) petrographs.blogspot.com AfterShadows: A Grand Canyon Narrative 2014-15 Petrographs (silver gelatin images printed on stone); digital photography; photocopy on vellum; accordion pleating of text; box by Amy Borezo of Shelter Bookworks (acid free cardboard and mylar) Edition of 50 4 pages 9″ x 7.25″ In this photo several image cards have been removed. The highlighted image in the center is called “World Clock at Twilight with Seaweed.” The shadows printed on the pebbles (taken at 9:30 am, 1:30 pm, 3:30 pm and 4:30 pm) evoke the same moment in four different time zones, recalling the way my thoughts traveled as I hiked the Canyon one windy day in January, 2011. I later shot the printed pebbles at twilight on seagrass, which I then superimposed atop seaweed on a Maine beach, suggesting the layers of the Canyon’s strata, particularly the eon in which Arizona was covered by a warm, shallow sea. “Petrograph” is a term I made up, referring to silver gelatin images printed on stone. My name — Petro — means rock in Greek. So I consider my work with petrographs to be a stroke of luck, or of fate. Nomadic tribesmen in Siberia memorably called view cameras, “three-legged devices that draw a man’s shadow to stone.” Petrographs do the same thing. By casting and briefly fixing our shadows to the bedrock, they juxtapose the “snapshot” span of mortal memories with the vastness of geological time. And that puts humans’ experience on earth back into perspective. We are not the planet’s masters. We’re just one of many species passing through deep time. After harvesting rocks from rivers, seabeds, and quarries, I coat them in photographic emulsion, print them, and return them to their original locations to let time, weather, and other environmental factors reclaim the rocks. Petrographs place the hours, days, and years of our lives in geological perspective, reminding us of the relativity of perception. AfterShadows grew out of my time as an Artist in Residence at the Grand Canyon in 2011. I was struck by the Canyon’s immense shadows, cast by its eroded rock formations. I took photos of the shadows and printed them on tiny white beach pebbles from the Bay of Fundy, with each shadow corresponding to the time of day it was cast. I then arranged the pebbles to tell chronological narratives of walks I took in the Canyon, or of places around the globe in different time zones at the same moment. In reference to the varied eons of the Canyon’s history, I digitally photographed the pebbles against different backdrops such as the tideline on a beach, mudflats, meadow grasses, or ash, and also at morning, noon and night. There are 26 original photographs printed as 4 x 6 postcards in the central well of the book, in addition to a title page, a signed and numbered colophon, and a page with a QR code to be scanned by anyone with a smartphone. The code leads to an 18-part weekly blog on my website, which ran from fall 2011 to winter 2012, and chronicled the idea of AfterShadows from its inception at the Grand Canyon. After I printed the images I wrote a four-part essay called “Erosion” (also published online in the literary journal Lumina in spring, 2015), which tells tales around the story of how they came to be. Because the images came first, and only later were conceptually framed by the text, I chose to literally recreate that experience for the reader/viewer of the book, which accounts for its design. The essay is ideally ready clockwise from the top, but may be approached in any order at all. Its four, accordion-pleated sheets of printed vellum slip into clear envelopes of mylar arranged around the images. To honor the fact that the Grand Canyon is a public monument, accessible to all, I chose to keep the cost as low as possible so that the book would be accessible as well, and not prohibitively expensive. Amy Borezo, of Shelter Bookworks in Orange, MA, built the box to my design using simple materials, and we kept the size small at 7.5” x 9.25”. I think of it as the “paperback” version of a “hardback” artist’s book yet to come. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774553850488-VK5K1KD4PT7P52CZUCEH/mcba-prize-2015-pamela-petro-aftershadows-a-grand-canyon-narrative5.jpg Entries & Jurors - 2015 Entries - Pamela Petro Pamela Petro (Northampton, MA) petrographs.blogspot.com AfterShadows: A Grand Canyon Narrative 2014-15 Petrographs (silver gelatin images printed on stone); digital photography; photocopy on vellum; accordion pleating of text; box by Amy Borezo of Shelter Bookworks (acid free cardboard and mylar) Edition of 50 4 pages 9″ x 7.25″ This photo is a detail of just one of the 26 image cards. The work is called “AfterImage Evolution.” The backgrounds suggest different eons of the Canyon’s development (from grasslands to seaboard to volcanic ash), shot at different times of day. The boomerang design of the pebbles evokes not only Native American motifs, but an “after image” that I woke one day at the Canyon to find plastered on my field of vision. It looked just like the shapes depicted, but it wasn’t the after image of anything I’d seen. My best guess is that it resulted from sleep deprivation due to altitude sickness. The “AfterImage” became a motif in my petrograph installations. “Petrograph” is a term I made up, referring to silver gelatin images printed on stone. My name — Petro — means rock in Greek. So I consider my work with petrographs to be a stroke of luck, or of fate. Nomadic tribesmen in Siberia memorably called view cameras, “three-legged devices that draw a man’s shadow to stone.” Petrographs do the same thing. By casting and briefly fixing our shadows to the bedrock, they juxtapose the “snapshot” span of mortal memories with the vastness of geological time. And that puts humans’ experience on earth back into perspective. We are not the planet’s masters. We’re just one of many species passing through deep time. After harvesting rocks from rivers, seabeds, and quarries, I coat them in photographic emulsion, print them, and return them to their original locations to let time, weather, and other environmental factors reclaim the rocks. Petrographs place the hours, days, and years of our lives in geological perspective, reminding us of the relativity of perception. AfterShadows grew out of my time as an Artist in Residence at the Grand Canyon in 2011. I was struck by the Canyon’s immense shadows, cast by its eroded rock formations. I took photos of the shadows and printed them on tiny white beach pebbles from the Bay of Fundy, with each shadow corresponding to the time of day it was cast. I then arranged the pebbles to tell chronological narratives of walks I took in the Canyon, or of places around the globe in different time zones at the same moment. In reference to the varied eons of the Canyon’s history, I digitally photographed the pebbles against different backdrops such as the tideline on a beach, mudflats, meadow grasses, or ash, and also at morning, noon and night. There are 26 original photographs printed as 4 x 6 postcards in the central well of the book, in addition to a title page, a signed and numbered colophon, and a page with a QR code to be scanned by anyone with a smartphone. The code leads to an 18-part weekly blog on my website, which ran from fall 2011 to winter 2012, and chronicled the idea of AfterShadows from its inception at the Grand Canyon. After I printed the images I wrote a four-part essay called “Erosion” (also published online in the literary journal Lumina in spring, 2015), which tells tales around the story of how they came to be. Because the images came first, and only later were conceptually framed by the text, I chose to literally recreate that experience for the reader/viewer of the book, which accounts for its design. The essay is ideally ready clockwise from the top, but may be approached in any order at all. Its four, accordion-pleated sheets of printed vellum slip into clear envelopes of mylar arranged around the images. To honor the fact that the Grand Canyon is a public monument, accessible to all, I chose to keep the cost as low as possible so that the book would be accessible as well, and not prohibitively expensive. Amy Borezo, of Shelter Bookworks in Orange, MA, built the box to my design using simple materials, and we kept the size small at 7.5” x 9.25”. I think of it as the “paperback” version of a “hardback” artist’s book yet to come. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554019611-3HTKAYYZ9MA6FAZIS3VN/mcba-prize-2015-dietmar-pfister-modo-morandi-1.jpg Entries & Jurors - 2015 Entries - Dietmar Pfister Dietmar Pfister (Heroldsberg, Germany) dietmarpfister.de Modo Morandi 2013 chine-collé-etching,letterpress,case Edition of 21 25 pages 31 x 72 open (pl. case) 31 x 36 closed (pl. case) Modo Morandi: a portfolio of seven etchings by Dietmar Pfister and seven poems by Franz Mon, senior master of Concrete poetry, combining literature and art through the alliance of both artists. This artistic project forms a very special relationship between visual and language art. The images of books include concrete poetry, so the literal and pictorial, the spatial and typographical characteristics form one unity. The etchings / images reference the art of Giorgio Morandi (1890-1964) supplemented by book objects taken from the artist’s library. The lyrics were written in response and were placed into the picture areas as a truly singular creative collaboration between artist and poet. Each etching (20 x 28) is printed in chine-collé on Alt Berlin Bütten (31 x 36) (printer Joschi Josephski, Issing). They are interleaved with Zander transparent paper carrying the lyrics (letterpress by Germanisches Nationalmuseum Nürnberg). The etchings are signed and numbered by the artist. The whole portfolio (38 x 42 x 2) is signed and numbered by both artists. The case (with magnetic closures) and title embossing is hand made by Hilmar Wölfel (Nürnberg). Modo Morandi was most recently presented at Codex V in San Francisco. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554019519-IBQK42XI2PJ7U8Y2H4HP/mcba-prize-2015-dietmar-pfister-modo-morandi-2.jpg Entries & Jurors - 2015 Entries - Dietmar Pfister Dietmar Pfister (Heroldsberg, Germany) dietmarpfister.de Modo Morandi 2013 chine-collé-etching,letterpress,case Edition of 21 25 pages 31 x 72 open (pl. case) 31 x 36 closed (pl. case) Modo Morandi: a portfolio of seven etchings by Dietmar Pfister and seven poems by Franz Mon, senior master of Concrete poetry, combining literature and art through the alliance of both artists. This artistic project forms a very special relationship between visual and language art. The images of books include concrete poetry, so the literal and pictorial, the spatial and typographical characteristics form one unity. The etchings / images reference the art of Giorgio Morandi (1890-1964) supplemented by book objects taken from the artist’s library. The lyrics were written in response and were placed into the picture areas as a truly singular creative collaboration between artist and poet. Each etching (20 x 28) is printed in chine-collé on Alt Berlin Bütten (31 x 36) (printer Joschi Josephski, Issing). They are interleaved with Zander transparent paper carrying the lyrics (letterpress by Germanisches Nationalmuseum Nürnberg). The etchings are signed and numbered by the artist. The whole portfolio (38 x 42 x 2) is signed and numbered by both artists. The case (with magnetic closures) and title embossing is hand made by Hilmar Wölfel (Nürnberg). Modo Morandi was most recently presented at Codex V in San Francisco. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554020870-5FG4UEY0YFM6PPE4R3SZ/mcba-prize-2015-dietmar-pfister-modo-morandi-3.jpg Entries & Jurors - 2015 Entries - Dietmar Pfister Dietmar Pfister (Heroldsberg, Germany) dietmarpfister.de Modo Morandi 2013 chine-collé-etching,letterpress,case Edition of 21 25 pages 31 x 72 open (pl. case) 31 x 36 closed (pl. case) Modo Morandi: a portfolio of seven etchings by Dietmar Pfister and seven poems by Franz Mon, senior master of Concrete poetry, combining literature and art through the alliance of both artists. This artistic project forms a very special relationship between visual and language art. The images of books include concrete poetry, so the literal and pictorial, the spatial and typographical characteristics form one unity. The etchings / images reference the art of Giorgio Morandi (1890-1964) supplemented by book objects taken from the artist’s library. The lyrics were written in response and were placed into the picture areas as a truly singular creative collaboration between artist and poet. Each etching (20 x 28) is printed in chine-collé on Alt Berlin Bütten (31 x 36) (printer Joschi Josephski, Issing). They are interleaved with Zander transparent paper carrying the lyrics (letterpress by Germanisches Nationalmuseum Nürnberg). The etchings are signed and numbered by the artist. The whole portfolio (38 x 42 x 2) is signed and numbered by both artists. The case (with magnetic closures) and title embossing is hand made by Hilmar Wölfel (Nürnberg). Modo Morandi was most recently presented at Codex V in San Francisco. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554021105-GIWSSZEGNL7MNVANDHTI/mcba-prize-2015-dietmar-pfister-modo-morandi-4.jpg Entries & Jurors - 2015 Entries - Dietmar Pfister Dietmar Pfister (Heroldsberg, Germany) dietmarpfister.de Modo Morandi 2013 chine-collé-etching,letterpress,case Edition of 21 25 pages 31 x 72 open (pl. case) 31 x 36 closed (pl. case) Modo Morandi: a portfolio of seven etchings by Dietmar Pfister and seven poems by Franz Mon, senior master of Concrete poetry, combining literature and art through the alliance of both artists. This artistic project forms a very special relationship between visual and language art. The images of books include concrete poetry, so the literal and pictorial, the spatial and typographical characteristics form one unity. The etchings / images reference the art of Giorgio Morandi (1890-1964) supplemented by book objects taken from the artist’s library. The lyrics were written in response and were placed into the picture areas as a truly singular creative collaboration between artist and poet. Each etching (20 x 28) is printed in chine-collé on Alt Berlin Bütten (31 x 36) (printer Joschi Josephski, Issing). They are interleaved with Zander transparent paper carrying the lyrics (letterpress by Germanisches Nationalmuseum Nürnberg). The etchings are signed and numbered by the artist. The whole portfolio (38 x 42 x 2) is signed and numbered by both artists. The case (with magnetic closures) and title embossing is hand made by Hilmar Wölfel (Nürnberg). Modo Morandi was most recently presented at Codex V in San Francisco. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554022256-CO0U6M4XKU1JH6BWS7NU/mcba-prize-2015-dietmar-pfister-modo-morandi-5.jpg Entries & Jurors - 2015 Entries - Dietmar Pfister Dietmar Pfister (Heroldsberg, Germany) dietmarpfister.de Modo Morandi 2013 chine-collé-etching,letterpress,case Edition of 21 25 pages 31 x 72 open (pl. case) 31 x 36 closed (pl. case) Modo Morandi: a portfolio of seven etchings by Dietmar Pfister and seven poems by Franz Mon, senior master of Concrete poetry, combining literature and art through the alliance of both artists. This artistic project forms a very special relationship between visual and language art. The images of books include concrete poetry, so the literal and pictorial, the spatial and typographical characteristics form one unity. The etchings / images reference the art of Giorgio Morandi (1890-1964) supplemented by book objects taken from the artist’s library. The lyrics were written in response and were placed into the picture areas as a truly singular creative collaboration between artist and poet. Each etching (20 x 28) is printed in chine-collé on Alt Berlin Bütten (31 x 36) (printer Joschi Josephski, Issing). They are interleaved with Zander transparent paper carrying the lyrics (letterpress by Germanisches Nationalmuseum Nürnberg). The etchings are signed and numbered by the artist. The whole portfolio (38 x 42 x 2) is signed and numbered by both artists. The case (with magnetic closures) and title embossing is hand made by Hilmar Wölfel (Nürnberg). Modo Morandi was most recently presented at Codex V in San Francisco. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554128273-H1TSBUSC7XBF7VCW1TXB/mcba-prize-2015-nicole-pietrantoni-precipitous-1.jpg Entries & Jurors - 2015 Entries - Nicole Pietrantoni Nicole Pietrantoni (Walla Walla, WA) nicole-pietrantoni.com Precipitous 2014 Archival inkjet on Awagami Inbe Thick Japanese paper, folded and bound into 5 accordion books Edition size: 3 22 pages 14′ x 6′ x 1′, installation format 13″ x 9.5″ x 1/4″, each book Installation view. Precipitous is a series of five handbound accordion books that expand to create a life-sized panoramic image of a rising sea. As books, the works gesture to the authority of the encyclopedic; as an installation, they dismantle a sublime image through cuts, folds, and halftone dots. With a specific interest in print’s historic relationship to representation, my work draws attention to our active role in constructing and idealizing landscape. Referencing the encyclopedic, the 19th-century panorama, as well as the Romantic painting tradition, Precipitous nods to a period when humans’ relationship to landscape was rapidly transformed. Similarly, today’s changing landscape demands an examination of the tension between one’s enjoyment of beautiful, idealized landscapes and an awareness of their ecological complexity. To this end, my work is guided by the following questions: what stories shape my interaction with and understanding of landscape and nature? How have cultural and historical scripts, media, and technology disciplined me? How does art history and popular culture influence a particular way of making images? And finally, what stories do I contribute to this discourse in my work as an artist? Rather than a fixed site or a single image, I seek to engage nature as an accumulation of processes, perceptions, and narratives – a dynamic and shifting site open for interpretation. Precipitous is a collection of five handbound accordion books that expand to create a life-sized panoramic image of a rising sea. As books, the work gestures to the authority of the encyclopedic and the cataloging of natural specimens. As an installation, it dismantles a sublime image through cuts, folds, and halftone dots. The overlaid poems by Devon Wootten are excisions from a report issued by the Intergovernmental Panel on Climate Change titled “Climate Change and Water.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554129572-W6WBDRJ495ZXUKKMQ52V/mcba-prize-2015-nicole-pietrantoni-precipitous-2.jpg Entries & Jurors - 2015 Entries - Nicole Pietrantoni Nicole Pietrantoni (Walla Walla, WA) nicole-pietrantoni.com Precipitous 2014 Archival inkjet on Awagami Inbe Thick Japanese paper, folded and bound into 5 accordion books Edition size: 3 22 pages 14′ x 6′ x 1′, installation format 13″ x 9.5″ x 1/4″, each book Installation view. When presented as an installation, Precipitous is composed of five tall paper columns, which spill onto the floor like waves at the viewer’s feet. In this format, the text is broken and loses its meaning, privileging the massive image. With a specific interest in print’s historic relationship to representation, my work draws attention to our active role in constructing and idealizing landscape. Referencing the encyclopedic, the 19th-century panorama, as well as the Romantic painting tradition, Precipitous nods to a period when humans’ relationship to landscape was rapidly transformed. Similarly, today’s changing landscape demands an examination of the tension between one’s enjoyment of beautiful, idealized landscapes and an awareness of their ecological complexity. To this end, my work is guided by the following questions: what stories shape my interaction with and understanding of landscape and nature? How have cultural and historical scripts, media, and technology disciplined me? How does art history and popular culture influence a particular way of making images? And finally, what stories do I contribute to this discourse in my work as an artist? Rather than a fixed site or a single image, I seek to engage nature as an accumulation of processes, perceptions, and narratives – a dynamic and shifting site open for interpretation. Precipitous is a collection of five handbound accordion books that expand to create a life-sized panoramic image of a rising sea. As books, the work gestures to the authority of the encyclopedic and the cataloging of natural specimens. As an installation, it dismantles a sublime image through cuts, folds, and halftone dots. The overlaid poems by Devon Wootten are excisions from a report issued by the Intergovernmental Panel on Climate Change titled “Climate Change and Water.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554129761-GARRV9T3EA68CON3WXTX/mcba-prize-2015-nicole-pietrantoni-precipitous-3.jpg Entries & Jurors - 2015 Entries - Nicole Pietrantoni Nicole Pietrantoni (Walla Walla, WA) nicole-pietrantoni.com Precipitous 2014 Archival inkjet on Awagami Inbe Thick Japanese paper, folded and bound into 5 accordion books Edition size: 3 22 pages 14′ x 6′ x 1′, installation format 13″ x 9.5″ x 1/4″, each book Book format of all five books. Precipitous folds down into five thin accordion books. In this format, the text is legible, but the image becomes an abstract series of dizzying halftone dots. With a specific interest in print’s historic relationship to representation, my work draws attention to our active role in constructing and idealizing landscape. Referencing the encyclopedic, the 19th-century panorama, as well as the Romantic painting tradition, Precipitous nods to a period when humans’ relationship to landscape was rapidly transformed. Similarly, today’s changing landscape demands an examination of the tension between one’s enjoyment of beautiful, idealized landscapes and an awareness of their ecological complexity. To this end, my work is guided by the following questions: what stories shape my interaction with and understanding of landscape and nature? How have cultural and historical scripts, media, and technology disciplined me? How does art history and popular culture influence a particular way of making images? And finally, what stories do I contribute to this discourse in my work as an artist? Rather than a fixed site or a single image, I seek to engage nature as an accumulation of processes, perceptions, and narratives – a dynamic and shifting site open for interpretation. Precipitous is a collection of five handbound accordion books that expand to create a life-sized panoramic image of a rising sea. As books, the work gestures to the authority of the encyclopedic and the cataloging of natural specimens. As an installation, it dismantles a sublime image through cuts, folds, and halftone dots. The overlaid poems by Devon Wootten are excisions from a report issued by the Intergovernmental Panel on Climate Change titled “Climate Change and Water.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554131129-D5AEORHC3YPLTEHQ814R/mcba-prize-2015-nicole-pietrantoni-precipitous-4.jpg Entries & Jurors - 2015 Entries - Nicole Pietrantoni Nicole Pietrantoni (Walla Walla, WA) nicole-pietrantoni.com Precipitous 2014 Archival inkjet on Awagami Inbe Thick Japanese paper, folded and bound into 5 accordion books Edition size: 3 22 pages 14′ x 6′ x 1′, installation format 13″ x 9.5″ x 1/4″, each book Book format of a single open book. The overlaid poems by Devon Wootten are excisions from a report issued by the Intergovernmental Panel on Climate Change titled “Climate Change and Water.” Wootten takes this dense, scientific language and crafts an intimate poem about humanity’s relationship to nature. With a specific interest in print’s historic relationship to representation, my work draws attention to our active role in constructing and idealizing landscape. Referencing the encyclopedic, the 19th-century panorama, as well as the Romantic painting tradition, Precipitous nods to a period when humans’ relationship to landscape was rapidly transformed. Similarly, today’s changing landscape demands an examination of the tension between one’s enjoyment of beautiful, idealized landscapes and an awareness of their ecological complexity. To this end, my work is guided by the following questions: what stories shape my interaction with and understanding of landscape and nature? How have cultural and historical scripts, media, and technology disciplined me? How does art history and popular culture influence a particular way of making images? And finally, what stories do I contribute to this discourse in my work as an artist? Rather than a fixed site or a single image, I seek to engage nature as an accumulation of processes, perceptions, and narratives – a dynamic and shifting site open for interpretation. Precipitous is a collection of five handbound accordion books that expand to create a life-sized panoramic image of a rising sea. As books, the work gestures to the authority of the encyclopedic and the cataloging of natural specimens. As an installation, it dismantles a sublime image through cuts, folds, and halftone dots. The overlaid poems by Devon Wootten are excisions from a report issued by the Intergovernmental Panel on Climate Change titled “Climate Change and Water.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554126842-FCHJJIU31FJ1X6RHELEU/mcba-prize-2015-nicole-pietrantoni-precipitous-5.jpg Entries & Jurors - 2015 Entries - Nicole Pietrantoni Nicole Pietrantoni (Walla Walla, WA) nicole-pietrantoni.com Precipitous 2014 Archival inkjet on Awagami Inbe Thick Japanese paper, folded and bound into 5 accordion books Edition size: 3 22 pages 14′ x 6′ x 1′, installation format 13″ x 9.5″ x 1/4″, each book Stack of five closed books. With a specific interest in print’s historic relationship to representation, my work draws attention to our active role in constructing and idealizing landscape. Referencing the encyclopedic, the 19th-century panorama, as well as the Romantic painting tradition, Precipitous nods to a period when humans’ relationship to landscape was rapidly transformed. Similarly, today’s changing landscape demands an examination of the tension between one’s enjoyment of beautiful, idealized landscapes and an awareness of their ecological complexity. To this end, my work is guided by the following questions: what stories shape my interaction with and understanding of landscape and nature? How have cultural and historical scripts, media, and technology disciplined me? How does art history and popular culture influence a particular way of making images? And finally, what stories do I contribute to this discourse in my work as an artist? Rather than a fixed site or a single image, I seek to engage nature as an accumulation of processes, perceptions, and narratives – a dynamic and shifting site open for interpretation. Precipitous is a collection of five handbound accordion books that expand to create a life-sized panoramic image of a rising sea. As books, the work gestures to the authority of the encyclopedic and the cataloging of natural specimens. As an installation, it dismantles a sublime image through cuts, folds, and halftone dots. The overlaid poems by Devon Wootten are excisions from a report issued by the Intergovernmental Panel on Climate Change titled “Climate Change and Water.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554291329-U32F0YI65ACQHEPIDQNA/mcba-prize-2015-pia-pizzo-dream-1.jpg Entries & Jurors - 2015 Entries - Pia Pizzo Pia Pizzo (Long Beach, CA) Dream 2014 One-of-a-kind sculptural book Black Arches paper, 100% cotton, Old book covers, Nepalese hand made paper and Japanese rice paper, inks of China, Acrylics, Prismacolors and Prismalo watercolor pencils, 23 3/4 K. patent deep gold leaves, Velvet textile for the cover, bound by the artist. 30 pages Dimensions, open: 15” x 60-1/2″ x 2” Dimensions, closed: 15″ x 22″ Since the early seventies my research has led me to a continual exploration of the book as Art form. In my books or pages the tactile values of materials are found in each and every sheet of paper that is torn and worked upon with such patient care so as to lay bare the innermost fibers, to feel its textures, its porosity, the very tissue of its surface. The non-books or rather the non-readable books that I contemplate as extension of the perspective of both mind and memory, set out to recount a happening, a state of affairs or a journey within the page or through the pages. The page is therefore the chosen setting for any hypothetical adventure you may embark upon or any hypothetical message you may be seeking: the blank page thus represents the virgin void of mental space. In this way the progressive cutting, this virtual inter-framing between one page and another, opens up upon the perspective against which and within which the mind can roam at will. The sequence of the pages, which act as the filters/screens of an unidentifiable complex machinery, unfolds with kinetic rhythm as you turn the pages, so these books become the arena within which to unwind your mind rather than the stage for grasping codified messages. For a non-initiated person a page from a scientific magazine of contemporary physics is mysterious as a Tibetan Mandala. Both are registrations of investigation on Human Nature. My tearing the paper is never the outcome of an aggressive approach but occurs rather from studied feeling and touching, from physical contact with both the material and reality at the same time, as a step towards thinking once again in tactile terms. Symbols and diagrams are sometime used to explain, through the golden proportions and sacred geometry, the relationships that exist within Human Nature and the universe. The mythical representation of the Symbols represent the many complex aspects of reality . The Symbol is the psychological mechanism that goes beyond limitations, as a tool to transform Energy. C.G.Jung: On Psychic Energy. When I start a work of art, there is an empty space, a void, and I search how to balance form with emptiness, knowing when one has ” to says ” enough. The shapes are so integrally related to is empty space giving the feeling of marvelous Void. Because Void is a dynamic entity. My Non-Books and pages without words or images are focused only on the light and shadows created in the empty spaces of their construction. My works are composed with natural light, which cause the pieces to vibrate as the light change through the course of the day. As well as an awareness of the unknown phantoms of exploration, my work demands the music of silence. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554291102-KOQMV2KJPTEJ6AFVOSCL/mcba-prize-2015-pia-pizzo-dream-2.jpg Entries & Jurors - 2015 Entries - Pia Pizzo Pia Pizzo (Long Beach, CA) Dream 2014 One-of-a-kind sculptural book Black Arches paper, 100% cotton, Old book covers, Nepalese hand made paper and Japanese rice paper, inks of China, Acrylics, Prismacolors and Prismalo watercolor pencils, 23 3/4 K. patent deep gold leaves, Velvet textile for the cover, bound by the artist. 30 pages Dimensions, open: 15” x 60-1/2″ x 2” Dimensions, closed: 15″ x 22″ Since the early seventies my research has led me to a continual exploration of the book as Art form. In my books or pages the tactile values of materials are found in each and every sheet of paper that is torn and worked upon with such patient care so as to lay bare the innermost fibers, to feel its textures, its porosity, the very tissue of its surface. The non-books or rather the non-readable books that I contemplate as extension of the perspective of both mind and memory, set out to recount a happening, a state of affairs or a journey within the page or through the pages. The page is therefore the chosen setting for any hypothetical adventure you may embark upon or any hypothetical message you may be seeking: the blank page thus represents the virgin void of mental space. In this way the progressive cutting, this virtual inter-framing between one page and another, opens up upon the perspective against which and within which the mind can roam at will. The sequence of the pages, which act as the filters/screens of an unidentifiable complex machinery, unfolds with kinetic rhythm as you turn the pages, so these books become the arena within which to unwind your mind rather than the stage for grasping codified messages. For a non-initiated person a page from a scientific magazine of contemporary physics is mysterious as a Tibetan Mandala. Both are registrations of investigation on Human Nature. My tearing the paper is never the outcome of an aggressive approach but occurs rather from studied feeling and touching, from physical contact with both the material and reality at the same time, as a step towards thinking once again in tactile terms. Symbols and diagrams are sometime used to explain, through the golden proportions and sacred geometry, the relationships that exist within Human Nature and the universe. The mythical representation of the Symbols represent the many complex aspects of reality . The Symbol is the psychological mechanism that goes beyond limitations, as a tool to transform Energy. C.G.Jung: On Psychic Energy. When I start a work of art, there is an empty space, a void, and I search how to balance form with emptiness, knowing when one has ” to says ” enough. The shapes are so integrally related to is empty space giving the feeling of marvelous Void. Because Void is a dynamic entity. My Non-Books and pages without words or images are focused only on the light and shadows created in the empty spaces of their construction. My works are composed with natural light, which cause the pieces to vibrate as the light change through the course of the day. As well as an awareness of the unknown phantoms of exploration, my work demands the music of silence. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554369016-RE3J64W4O7NMQ0AFY2O8/mcba-prize-2015-lisa-rappoport-zane-grey-and-me-1.jpg Entries & Jurors - 2015 Entries - Lisa Rappoport Lisa Rappoport (Richmond, CA) littoralpress.com Zane Grey and Me 2015 letterpress printed from lead type, plus a couple of polymer plates Edition of 47 32 pages 8.25″x25″x.375″ open 8.25″x10.75″x.75″ closed The first five books in the edition come in a custom clamshell box, dimensions 9.75″x25″x1.5″ open/9.75″x11.5″x1.75″ closed. (Seen in image #1.) The leather-bound book along with its custom-made clamshell box. The two horses printed on the top of the clamshell (covered in Lokta paper) are from the herd galloping across the two-page spread of the frontispiece. Artist: Andrew Larkin. Zane Grey and Me juxtaposes excerpts from the 1917 novel, Wildfire, with my own autobiographical responses, obliquely addressing the roles of both romance and romance novels in modern life. This book grew out of my suburban childhood in New Jersey and my years working with horses in Europe and New Mexico. The underlying question is, how does reading romanticized versions of the American West affect an impressionable horse lover? The twin columns of text on each page, one derived from Zane Grey’s novel and one resonant passages from the author’s life, graphically echo the many binaries of the book’s themes: English vs. Western riding style; academic vs. experiential learning; literary writing or purple prose; idealized icons of womanhood or living, breathing feminists; the tension between fiction and reality, past and present. The wraparound cowhide cover and exposed longstitch binding, with leather lacing and silver concho closure, brings to mind journals kept by pioneers. The colors and the sculpting of the pages into canyon and mesa shapes, along with the horizontal layout, evoke the horizons and landscape of the Southwest. The rough-surfaced St. Armand paper conjures up the textures of the high desert: dirt, sandstone, sandy arroyos; low-growing vegetation like rabbit brush, snakeweed, cholla. For the binding I chose skins termed “distressed,” an apt description of the hard lives of many who live in the harsh environs of the Southwest, not least its ranch hands (and its cattle). Mr. Grey’s text is composed in Farmers Old Style, as it was in the original publication; my text is handset Centaur (designed by Bruce Rogers a few years before Wildfire was published). Zane Grey and Me is illustrated profusely with vintage dingbats and a couple of photopolymer plates. As a book artist and designer, I am interested in where form and content overlap or diverge. I want to delve into the substance and discover what format or structure will provide an organic home for it. It’s not entirely accidental that we refer to a book as being “housed” in its protective box: the book seeks its suitable abode, in several senses. This book’s house is covered in paper dappled like a pinto horse, and printed with two from the herd of horses (drawn by Andrew Larkin) that gallops across the frontispiece. But in some reversal of interior and exterior, it’s also the design choices which become a book’s home. What I try to do is to create an integrated entity. The various elements should amplify one another to work toward a whole greater, more coherent, than its parts. I spend a lot of time pondering the possible options for font, paper, ink colors, binding, format, structure. Sometimes a particular best choice is sacrificed for the success or harmony of the whole, or perhaps more precisely, for the betterment of the conversation among the various aspects, which is so much richer than any monologue. The viewers or readers are the ones whose responses inform me to what degree I’ve achieved my goal. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554367463-02RTIVA9OZPBY0J9ZDMC/mcba-prize-2015-lisa-rappoport-zane-grey-and-me-2.jpg Entries & Jurors - 2015 Entries - Lisa Rappoport Lisa Rappoport (Richmond, CA) littoralpress.com Zane Grey and Me 2015 letterpress printed from lead type, plus a couple of polymer plates Edition of 47 32 pages 8.25″x25″x.375″ open 8.25″x10.75″x.75″ closed The first five books in the edition come in a custom clamshell box, dimensions 9.75″x25″x1.5″ open/9.75″x11.5″x1.75″ closed. (Seen in image #1.) Title page, showing the silver concho-cum-leather lacing book closure; and a second copy of the book, showing the exposed longstitch binding. The title page introduces the use of vintage dingbats and the upcoming presentation of text in two columns. Also provides the first glimpse of the multiple colors of St. Armand paper, and shows the top edges of pages carved into the canyon and mesa Southwestern horizon. Zane Grey and Me juxtaposes excerpts from the 1917 novel, Wildfire, with my own autobiographical responses, obliquely addressing the roles of both romance and romance novels in modern life. This book grew out of my suburban childhood in New Jersey and my years working with horses in Europe and New Mexico. The underlying question is, how does reading romanticized versions of the American West affect an impressionable horse lover? The twin columns of text on each page, one derived from Zane Grey’s novel and one resonant passages from the author’s life, graphically echo the many binaries of the book’s themes: English vs. Western riding style; academic vs. experiential learning; literary writing or purple prose; idealized icons of womanhood or living, breathing feminists; the tension between fiction and reality, past and present. The wraparound cowhide cover and exposed longstitch binding, with leather lacing and silver concho closure, brings to mind journals kept by pioneers. The colors and the sculpting of the pages into canyon and mesa shapes, along with the horizontal layout, evoke the horizons and landscape of the Southwest. The rough-surfaced St. Armand paper conjures up the textures of the high desert: dirt, sandstone, sandy arroyos; low-growing vegetation like rabbit brush, snakeweed, cholla. For the binding I chose skins termed “distressed,” an apt description of the hard lives of many who live in the harsh environs of the Southwest, not least its ranch hands (and its cattle). Mr. Grey’s text is composed in Farmers Old Style, as it was in the original publication; my text is handset Centaur (designed by Bruce Rogers a few years before Wildfire was published). Zane Grey and Me is illustrated profusely with vintage dingbats and a couple of photopolymer plates. As a book artist and designer, I am interested in where form and content overlap or diverge. I want to delve into the substance and discover what format or structure will provide an organic home for it. It’s not entirely accidental that we refer to a book as being “housed” in its protective box: the book seeks its suitable abode, in several senses. This book’s house is covered in paper dappled like a pinto horse, and printed with two from the herd of horses (drawn by Andrew Larkin) that gallops across the frontispiece. But in some reversal of interior and exterior, it’s also the design choices which become a book’s home. What I try to do is to create an integrated entity. The various elements should amplify one another to work toward a whole greater, more coherent, than its parts. I spend a lot of time pondering the possible options for font, paper, ink colors, binding, format, structure. Sometimes a particular best choice is sacrificed for the success or harmony of the whole, or perhaps more precisely, for the betterment of the conversation among the various aspects, which is so much richer than any monologue. The viewers or readers are the ones whose responses inform me to what degree I’ve achieved my goal. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554369213-3PM7NW6964WOY56OJZEO/mcba-prize-2015-lisa-rappoport-zane-grey-and-me-3.jpg Entries & Jurors - 2015 Entries - Lisa Rappoport Lisa Rappoport (Richmond, CA) littoralpress.com Zane Grey and Me 2015 letterpress printed from lead type, plus a couple of polymer plates Edition of 47 32 pages 8.25″x25″x.375″ open 8.25″x10.75″x.75″ closed The first five books in the edition come in a custom clamshell box, dimensions 9.75″x25″x1.5″ open/9.75″x11.5″x1.75″ closed. (Seen in image #1.) Page spread with quotes from Zane Grey’s 1917 novel Wildfire in the lefthand columns (printed via monotype composition of Farmers Old Style), and writing by Rappoport in the righthand columns (handset Centaur). The book is illustrated chiefly with vintage dingbats. Zane Grey and Me juxtaposes excerpts from the 1917 novel, Wildfire, with my own autobiographical responses, obliquely addressing the roles of both romance and romance novels in modern life. This book grew out of my suburban childhood in New Jersey and my years working with horses in Europe and New Mexico. The underlying question is, how does reading romanticized versions of the American West affect an impressionable horse lover? The twin columns of text on each page, one derived from Zane Grey’s novel and one resonant passages from the author’s life, graphically echo the many binaries of the book’s themes: English vs. Western riding style; academic vs. experiential learning; literary writing or purple prose; idealized icons of womanhood or living, breathing feminists; the tension between fiction and reality, past and present. The wraparound cowhide cover and exposed longstitch binding, with leather lacing and silver concho closure, brings to mind journals kept by pioneers. The colors and the sculpting of the pages into canyon and mesa shapes, along with the horizontal layout, evoke the horizons and landscape of the Southwest. The rough-surfaced St. Armand paper conjures up the textures of the high desert: dirt, sandstone, sandy arroyos; low-growing vegetation like rabbit brush, snakeweed, cholla. For the binding I chose skins termed “distressed,” an apt description of the hard lives of many who live in the harsh environs of the Southwest, not least its ranch hands (and its cattle). Mr. Grey’s text is composed in Farmers Old Style, as it was in the original publication; my text is handset Centaur (designed by Bruce Rogers a few years before Wildfire was published). Zane Grey and Me is illustrated profusely with vintage dingbats and a couple of photopolymer plates. As a book artist and designer, I am interested in where form and content overlap or diverge. I want to delve into the substance and discover what format or structure will provide an organic home for it. It’s not entirely accidental that we refer to a book as being “housed” in its protective box: the book seeks its suitable abode, in several senses. This book’s house is covered in paper dappled like a pinto horse, and printed with two from the herd of horses (drawn by Andrew Larkin) that gallops across the frontispiece. But in some reversal of interior and exterior, it’s also the design choices which become a book’s home. What I try to do is to create an integrated entity. The various elements should amplify one another to work toward a whole greater, more coherent, than its parts. I spend a lot of time pondering the possible options for font, paper, ink colors, binding, format, structure. Sometimes a particular best choice is sacrificed for the success or harmony of the whole, or perhaps more precisely, for the betterment of the conversation among the various aspects, which is so much richer than any monologue. The viewers or readers are the ones whose responses inform me to what degree I’ve achieved my goal. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554370505-2E41ZKHHLTXPWRBUXRFO/mcba-prize-2015-lisa-rappoport-zane-grey-and-me-4.jpg Entries & Jurors - 2015 Entries - Lisa Rappoport Lisa Rappoport (Richmond, CA) littoralpress.com Zane Grey and Me 2015 letterpress printed from lead type, plus a couple of polymer plates Edition of 47 32 pages 8.25″x25″x.375″ open 8.25″x10.75″x.75″ closed The first five books in the edition come in a custom clamshell box, dimensions 9.75″x25″x1.5″ open/9.75″x11.5″x1.75″ closed. (Seen in image #1.) Zane Grey and Me juxtaposes excerpts from the 1917 novel, Wildfire, with my own autobiographical responses, obliquely addressing the roles of both romance and romance novels in modern life. This book grew out of my suburban childhood in New Jersey and my years working with horses in Europe and New Mexico. The underlying question is, how does reading romanticized versions of the American West affect an impressionable horse lover? The twin columns of text on each page, one derived from Zane Grey’s novel and one resonant passages from the author’s life, graphically echo the many binaries of the book’s themes: English vs. Western riding style; academic vs. experiential learning; literary writing or purple prose; idealized icons of womanhood or living, breathing feminists; the tension between fiction and reality, past and present. The wraparound cowhide cover and exposed longstitch binding, with leather lacing and silver concho closure, brings to mind journals kept by pioneers. The colors and the sculpting of the pages into canyon and mesa shapes, along with the horizontal layout, evoke the horizons and landscape of the Southwest. The rough-surfaced St. Armand paper conjures up the textures of the high desert: dirt, sandstone, sandy arroyos; low-growing vegetation like rabbit brush, snakeweed, cholla. For the binding I chose skins termed “distressed,” an apt description of the hard lives of many who live in the harsh environs of the Southwest, not least its ranch hands (and its cattle). Mr. Grey’s text is composed in Farmers Old Style, as it was in the original publication; my text is handset Centaur (designed by Bruce Rogers a few years before Wildfire was published). Zane Grey and Me is illustrated profusely with vintage dingbats and a couple of photopolymer plates. As a book artist and designer, I am interested in where form and content overlap or diverge. I want to delve into the substance and discover what format or structure will provide an organic home for it. It’s not entirely accidental that we refer to a book as being “housed” in its protective box: the book seeks its suitable abode, in several senses. This book’s house is covered in paper dappled like a pinto horse, and printed with two from the herd of horses (drawn by Andrew Larkin) that gallops across the frontispiece. But in some reversal of interior and exterior, it’s also the design choices which become a book’s home. What I try to do is to create an integrated entity. The various elements should amplify one another to work toward a whole greater, more coherent, than its parts. I spend a lot of time pondering the possible options for font, paper, ink colors, binding, format, structure. Sometimes a particular best choice is sacrificed for the success or harmony of the whole, or perhaps more precisely, for the betterment of the conversation among the various aspects, which is so much richer than any monologue. The viewers or readers are the ones whose responses inform me to what degree I’ve achieved my goal. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554370852-PJH668NNR3NLY1SZ8BH6/mcba-prize-2015-lisa-rappoport-zane-grey-and-me-5.jpg Entries & Jurors - 2015 Entries - Lisa Rappoport Lisa Rappoport (Richmond, CA) littoralpress.com Zane Grey and Me 2015 letterpress printed from lead type, plus a couple of polymer plates Edition of 47 32 pages 8.25″x25″x.375″ open 8.25″x10.75″x.75″ closed The first five books in the edition come in a custom clamshell box, dimensions 9.75″x25″x1.5″ open/9.75″x11.5″x1.75″ closed. (Seen in image #1.) Zane Grey and Me juxtaposes excerpts from the 1917 novel, Wildfire, with my own autobiographical responses, obliquely addressing the roles of both romance and romance novels in modern life. This book grew out of my suburban childhood in New Jersey and my years working with horses in Europe and New Mexico. The underlying question is, how does reading romanticized versions of the American West affect an impressionable horse lover? The twin columns of text on each page, one derived from Zane Grey’s novel and one resonant passages from the author’s life, graphically echo the many binaries of the book’s themes: English vs. Western riding style; academic vs. experiential learning; literary writing or purple prose; idealized icons of womanhood or living, breathing feminists; the tension between fiction and reality, past and present. The wraparound cowhide cover and exposed longstitch binding, with leather lacing and silver concho closure, brings to mind journals kept by pioneers. The colors and the sculpting of the pages into canyon and mesa shapes, along with the horizontal layout, evoke the horizons and landscape of the Southwest. The rough-surfaced St. Armand paper conjures up the textures of the high desert: dirt, sandstone, sandy arroyos; low-growing vegetation like rabbit brush, snakeweed, cholla. For the binding I chose skins termed “distressed,” an apt description of the hard lives of many who live in the harsh environs of the Southwest, not least its ranch hands (and its cattle). Mr. Grey’s text is composed in Farmers Old Style, as it was in the original publication; my text is handset Centaur (designed by Bruce Rogers a few years before Wildfire was published). Zane Grey and Me is illustrated profusely with vintage dingbats and a couple of photopolymer plates. As a book artist and designer, I am interested in where form and content overlap or diverge. I want to delve into the substance and discover what format or structure will provide an organic home for it. It’s not entirely accidental that we refer to a book as being “housed” in its protective box: the book seeks its suitable abode, in several senses. This book’s house is covered in paper dappled like a pinto horse, and printed with two from the herd of horses (drawn by Andrew Larkin) that gallops across the frontispiece. But in some reversal of interior and exterior, it’s also the design choices which become a book’s home. What I try to do is to create an integrated entity. The various elements should amplify one another to work toward a whole greater, more coherent, than its parts. I spend a lot of time pondering the possible options for font, paper, ink colors, binding, format, structure. Sometimes a particular best choice is sacrificed for the success or harmony of the whole, or perhaps more precisely, for the betterment of the conversation among the various aspects, which is so much richer than any monologue. The viewers or readers are the ones whose responses inform me to what degree I’ve achieved my goal. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554551866-LU1J55UMDER21WGTDEST/mcba-prize-2015-simon-redington-shake-the-ballad-of-the-blue-jean-bop1.jpg Entries & Jurors - 2015 Entries - Simon Redington Simon Redington (London, U.K.) SHAKE – The Ballad of the Blue Jean Bop 2014 Woodcut/Letterpress/Screenprint Edition of 30 48 pages Dimensions, open: 380mm x 604mm x 20mm Dimensions, closed: 380mm x 302mm x 20mm WHEN LEGENDS DIE THERE ARE NO MORE DREAMS AND WHEN THERE ARE NO MORE DREAMS THERE IS NO MORE GREATNESS The contorted figure in the black leather suit with one leg forward, knee bent, and the other, held rigid in a steel brace and thrust awkwardly out behind him. The stance was unnatural, you could maybe call it unholy. His body seemed twisted, almost tortured. At peaks in the act his whole frame would vibrate as he clutched the microphone stand with his gloved hands, desperately, as though it was all that prevented him from being born away by the rage and passion of the moment. Gene Vincent was the original and legendary black-leather bad boy of rock’n’roll. His records were banned and censored, his live shows incited riots, his private life was a combat zone of booze, pills, guns, and women, and he ultimately died for the blue jean bop. THE BALLAD OF THE BLUE JEAN BOP Drawn from the mist of nostalgia, a slice of early Rock & Roll history that possibly existed only in the playground section of a young, impressionable mind. Late 50’s and early 60’s rebellion, seaside dance halls on the South coast of England. Early impressions of Brighton Pier; the abduction by a desperate woman with a beehive haircut, the street corner, the police station. Milkshakes, Candyfloss and the R.Wights secret lemonade drinker. The relentless bubble-gum smell of fairground arcadia next to the raw energy of unrequited adolescent sexual fantasy. A youthful vision of immortality all focused in Punch and Judy technicolor. Victorian memorabilia, holiday resort picture postcards, and then the Peabody Estate… and the sin of Auntie Dot’s daughter and bastard baby; a shadow lived next door. Yeah, there’s a smoke cloud rising, Mama… All to a four four rhythm and a slap back beat! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554551681-VLXN9NWCADGI0J6SE5E9/mcba-prize-2015-simon-redington-shake-the-ballad-of-the-blue-jean-bop2.jpg Entries & Jurors - 2015 Entries - Simon Redington Simon Redington (London, U.K.) SHAKE – The Ballad of the Blue Jean Bop 2014 Woodcut/Letterpress/Screenprint Edition of 30 48 pages Dimensions, open: 380mm x 604mm x 20mm Dimensions, closed: 380mm x 302mm x 20mm WHEN LEGENDS DIE THERE ARE NO MORE DREAMS AND WHEN THERE ARE NO MORE DREAMS THERE IS NO MORE GREATNESS The contorted figure in the black leather suit with one leg forward, knee bent, and the other, held rigid in a steel brace and thrust awkwardly out behind him. The stance was unnatural, you could maybe call it unholy. His body seemed twisted, almost tortured. At peaks in the act his whole frame would vibrate as he clutched the microphone stand with his gloved hands, desperately, as though it was all that prevented him from being born away by the rage and passion of the moment. Gene Vincent was the original and legendary black-leather bad boy of rock’n’roll. His records were banned and censored, his live shows incited riots, his private life was a combat zone of booze, pills, guns, and women, and he ultimately died for the blue jean bop. THE BALLAD OF THE BLUE JEAN BOP Drawn from the mist of nostalgia, a slice of early Rock & Roll history that possibly existed only in the playground section of a young, impressionable mind. Late 50’s and early 60’s rebellion, seaside dance halls on the South coast of England. Early impressions of Brighton Pier; the abduction by a desperate woman with a beehive haircut, the street corner, the police station. Milkshakes, Candyfloss and the R.Wights secret lemonade drinker. The relentless bubble-gum smell of fairground arcadia next to the raw energy of unrequited adolescent sexual fantasy. A youthful vision of immortality all focused in Punch and Judy technicolor. Victorian memorabilia, holiday resort picture postcards, and then the Peabody Estate… and the sin of Auntie Dot’s daughter and bastard baby; a shadow lived next door. Yeah, there’s a smoke cloud rising, Mama… All to a four four rhythm and a slap back beat! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554553918-SM2G813EINJZIQ31I7BK/mcba-prize-2015-simon-redington-shake-the-ballad-of-the-blue-jean-bop3.jpg Entries & Jurors - 2015 Entries - Simon Redington Simon Redington (London, U.K.) SHAKE – The Ballad of the Blue Jean Bop 2014 Woodcut/Letterpress/Screenprint Edition of 30 48 pages Dimensions, open: 380mm x 604mm x 20mm Dimensions, closed: 380mm x 302mm x 20mm WHEN LEGENDS DIE THERE ARE NO MORE DREAMS AND WHEN THERE ARE NO MORE DREAMS THERE IS NO MORE GREATNESS The contorted figure in the black leather suit with one leg forward, knee bent, and the other, held rigid in a steel brace and thrust awkwardly out behind him. The stance was unnatural, you could maybe call it unholy. His body seemed twisted, almost tortured. At peaks in the act his whole frame would vibrate as he clutched the microphone stand with his gloved hands, desperately, as though it was all that prevented him from being born away by the rage and passion of the moment. Gene Vincent was the original and legendary black-leather bad boy of rock’n’roll. His records were banned and censored, his live shows incited riots, his private life was a combat zone of booze, pills, guns, and women, and he ultimately died for the blue jean bop. THE BALLAD OF THE BLUE JEAN BOP Drawn from the mist of nostalgia, a slice of early Rock & Roll history that possibly existed only in the playground section of a young, impressionable mind. Late 50’s and early 60’s rebellion, seaside dance halls on the South coast of England. Early impressions of Brighton Pier; the abduction by a desperate woman with a beehive haircut, the street corner, the police station. Milkshakes, Candyfloss and the R.Wights secret lemonade drinker. The relentless bubble-gum smell of fairground arcadia next to the raw energy of unrequited adolescent sexual fantasy. A youthful vision of immortality all focused in Punch and Judy technicolor. Victorian memorabilia, holiday resort picture postcards, and then the Peabody Estate… and the sin of Auntie Dot’s daughter and bastard baby; a shadow lived next door. Yeah, there’s a smoke cloud rising, Mama… All to a four four rhythm and a slap back beat! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554554685-HUWGJTHUAV8BNV330DY6/mcba-prize-2015-simon-redington-shake-the-ballad-of-the-blue-jean-bop4.jpg Entries & Jurors - 2015 Entries - Simon Redington Simon Redington (London, U.K.) SHAKE – The Ballad of the Blue Jean Bop 2014 Woodcut/Letterpress/Screenprint Edition of 30 48 pages Dimensions, open: 380mm x 604mm x 20mm Dimensions, closed: 380mm x 302mm x 20mm WHEN LEGENDS DIE THERE ARE NO MORE DREAMS AND WHEN THERE ARE NO MORE DREAMS THERE IS NO MORE GREATNESS The contorted figure in the black leather suit with one leg forward, knee bent, and the other, held rigid in a steel brace and thrust awkwardly out behind him. The stance was unnatural, you could maybe call it unholy. His body seemed twisted, almost tortured. At peaks in the act his whole frame would vibrate as he clutched the microphone stand with his gloved hands, desperately, as though it was all that prevented him from being born away by the rage and passion of the moment. Gene Vincent was the original and legendary black-leather bad boy of rock’n’roll. His records were banned and censored, his live shows incited riots, his private life was a combat zone of booze, pills, guns, and women, and he ultimately died for the blue jean bop. THE BALLAD OF THE BLUE JEAN BOP Drawn from the mist of nostalgia, a slice of early Rock & Roll history that possibly existed only in the playground section of a young, impressionable mind. Late 50’s and early 60’s rebellion, seaside dance halls on the South coast of England. Early impressions of Brighton Pier; the abduction by a desperate woman with a beehive haircut, the street corner, the police station. Milkshakes, Candyfloss and the R.Wights secret lemonade drinker. The relentless bubble-gum smell of fairground arcadia next to the raw energy of unrequited adolescent sexual fantasy. A youthful vision of immortality all focused in Punch and Judy technicolor. Victorian memorabilia, holiday resort picture postcards, and then the Peabody Estate… and the sin of Auntie Dot’s daughter and bastard baby; a shadow lived next door. Yeah, there’s a smoke cloud rising, Mama… All to a four four rhythm and a slap back beat! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774554556076-J7KUPAAKFKHLSXBU6BRF/mcba-prize-2015-simon-redington-shake-the-ballad-of-the-blue-jean-bop5.jpg Entries & Jurors - 2015 Entries - Simon Redington Simon Redington (London, U.K.) SHAKE – The Ballad of the Blue Jean Bop 2014 Woodcut/Letterpress/Screenprint Edition of 30 48 pages Dimensions, open: 380mm x 604mm x 20mm Dimensions, closed: 380mm x 302mm x 20mm WHEN LEGENDS DIE THERE ARE NO MORE DREAMS AND WHEN THERE ARE NO MORE DREAMS THERE IS NO MORE GREATNESS The contorted figure in the black leather suit with one leg forward, knee bent, and the other, held rigid in a steel brace and thrust awkwardly out behind him. The stance was unnatural, you could maybe call it unholy. His body seemed twisted, almost tortured. At peaks in the act his whole frame would vibrate as he clutched the microphone stand with his gloved hands, desperately, as though it was all that prevented him from being born away by the rage and passion of the moment. Gene Vincent was the original and legendary black-leather bad boy of rock’n’roll. His records were banned and censored, his live shows incited riots, his private life was a combat zone of booze, pills, guns, and women, and he ultimately died for the blue jean bop. THE BALLAD OF THE BLUE JEAN BOP Drawn from the mist of nostalgia, a slice of early Rock & Roll history that possibly existed only in the playground section of a young, impressionable mind. Late 50’s and early 60’s rebellion, seaside dance halls on the South coast of England. Early impressions of Brighton Pier; the abduction by a desperate woman with a beehive haircut, the street corner, the police station. Milkshakes, Candyfloss and the R.Wights secret lemonade drinker. The relentless bubble-gum smell of fairground arcadia next to the raw energy of unrequited adolescent sexual fantasy. A youthful vision of immortality all focused in Punch and Judy technicolor. Victorian memorabilia, holiday resort picture postcards, and then the Peabody Estate… and the sin of Auntie Dot’s daughter and bastard baby; a shadow lived next door. Yeah, there’s a smoke cloud rising, Mama… All to a four four rhythm and a slap back beat! https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774555386456-HY05R2KBKOL9WCB5UE3F/mcba-prize-2015-bronwyn-rees-drive-1.jpg Entries & Jurors - 2015 Entries - Bronwyn Rees Bronwyn Rees (Melbourne, Victoria, Australia) bronwynrees.com Drive 2013 etching, collage, transfer lettering Unique work 5 double-sided pages 60 X 25 x 0.25 cm open 30x 25 x 0.5 cm closed A couple of years ago I bought a car after not owning one for about twelve years. I thought about all the not so good things about it – pollution, expenses, the stress of driving. But then I thought about the joy of not getting on public transport with people who were smelly, mad or shouty, and I thought about the joy of travelling along in a bubble, with the radio up loud singing my favourite songs, not having to answer to anyone else, free to be the smelly, mad shouty person, and nobody any the wiser. I googled a poem about driving and the first thing that popped up and to my mind was absolutely perfect, was Robert Bly’s beautiful poem “Driving toward the Lac Qui Parle River”. I had already made the book and the words fitted the imagery perfectly. When binding the book I thought it would be whimsical to imitate keyrings, reinforcing the car imagery. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774555386498-IQ1R0DJY2OS2YGE3QXZ9/mcba-prize-2015-bronwyn-rees-drive-2.jpg Entries & Jurors - 2015 Entries - Bronwyn Rees Bronwyn Rees (Melbourne, Victoria, Australia) bronwynrees.com Drive 2013 etching, collage, transfer lettering Unique work 5 double-sided pages 60 X 25 x 0.25 cm open 30x 25 x 0.5 cm closed A couple of years ago I bought a car after not owning one for about twelve years. I thought about all the not so good things about it – pollution, expenses, the stress of driving. But then I thought about the joy of not getting on public transport with people who were smelly, mad or shouty, and I thought about the joy of travelling along in a bubble, with the radio up loud singing my favourite songs, not having to answer to anyone else, free to be the smelly, mad shouty person, and nobody any the wiser. I googled a poem about driving and the first thing that popped up and to my mind was absolutely perfect, was Robert Bly’s beautiful poem “Driving toward the Lac Qui Parle River”. I had already made the book and the words fitted the imagery perfectly. When binding the book I thought it would be whimsical to imitate keyrings, reinforcing the car imagery. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774555388858-B0YMY0K43QR4AEC7L25R/mcba-prize-2015-bronwyn-rees-drive-3.jpg Entries & Jurors - 2015 Entries - Bronwyn Rees Bronwyn Rees (Melbourne, Victoria, Australia) bronwynrees.com Drive 2013 etching, collage, transfer lettering Unique work 5 double-sided pages 60 X 25 x 0.25 cm open 30x 25 x 0.5 cm closed A couple of years ago I bought a car after not owning one for about twelve years. I thought about all the not so good things about it – pollution, expenses, the stress of driving. But then I thought about the joy of not getting on public transport with people who were smelly, mad or shouty, and I thought about the joy of travelling along in a bubble, with the radio up loud singing my favourite songs, not having to answer to anyone else, free to be the smelly, mad shouty person, and nobody any the wiser. I googled a poem about driving and the first thing that popped up and to my mind was absolutely perfect, was Robert Bly’s beautiful poem “Driving toward the Lac Qui Parle River”. I had already made the book and the words fitted the imagery perfectly. When binding the book I thought it would be whimsical to imitate keyrings, reinforcing the car imagery. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774555388487-H3TONY9U3T8Q7ENX7DUL/mcba-prize-2015-bronwyn-rees-drive-4.jpg Entries & Jurors - 2015 Entries - Bronwyn Rees Bronwyn Rees (Melbourne, Victoria, Australia) bronwynrees.com Drive 2013 etching, collage, transfer lettering Unique work 5 double-sided pages 60 X 25 x 0.25 cm open 30x 25 x 0.5 cm closed A couple of years ago I bought a car after not owning one for about twelve years. I thought about all the not so good things about it – pollution, expenses, the stress of driving. But then I thought about the joy of not getting on public transport with people who were smelly, mad or shouty, and I thought about the joy of travelling along in a bubble, with the radio up loud singing my favourite songs, not having to answer to anyone else, free to be the smelly, mad shouty person, and nobody any the wiser. I googled a poem about driving and the first thing that popped up and to my mind was absolutely perfect, was Robert Bly’s beautiful poem “Driving toward the Lac Qui Parle River”. I had already made the book and the words fitted the imagery perfectly. When binding the book I thought it would be whimsical to imitate keyrings, reinforcing the car imagery. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774555390311-5QI37AAHJPXY2EZ3OMX9/mcba-prize-2015-bronwyn-rees-drive-5.jpg Entries & Jurors - 2015 Entries - Bronwyn Rees Bronwyn Rees (Melbourne, Victoria, Australia) bronwynrees.com Drive 2013 etching, collage, transfer lettering Unique work 5 double-sided pages 60 X 25 x 0.25 cm open 30x 25 x 0.5 cm closed A couple of years ago I bought a car after not owning one for about twelve years. I thought about all the not so good things about it – pollution, expenses, the stress of driving. But then I thought about the joy of not getting on public transport with people who were smelly, mad or shouty, and I thought about the joy of travelling along in a bubble, with the radio up loud singing my favourite songs, not having to answer to anyone else, free to be the smelly, mad shouty person, and nobody any the wiser. I googled a poem about driving and the first thing that popped up and to my mind was absolutely perfect, was Robert Bly’s beautiful poem “Driving toward the Lac Qui Parle River”. I had already made the book and the words fitted the imagery perfectly. When binding the book I thought it would be whimsical to imitate keyrings, reinforcing the car imagery. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774556374870-CISQ90EUCIEDRO037LLU/mcba-prize-2015-Margaret-Rhee-The-Kimchi-Poetry-Machine-1.jpg Entries & Jurors - 2015 Entries - Margaret Rhee Margaret Rhee (Los Angeles, CA) nectarinedreams.com / kimchipoetryproject.com The Kimchi Poetry Machine 2014 Glass, tangible computing, paper Unique work 8″x 6-1/2″ https://www.youtube.com/watch?v=wcRwJpcvpVo&t=1s Through my new media art, I utilize both digital and analog materials to construct a participatory praxis that engages with poetry, education, and equality. What began as a personal passion of encouraging public participation of creative expression has translated into large-scale participatory art workshops, installations, and inventions that promote interaction and collective storytelling. I have implemented participatory digital storytelling workshops in the San Francisco Jail, created a digital game based on an artificial intelligence book for the UC Berkeley campus, and invented a poetry machine that envisions how poetry can be tangible, feminist, and interactive in our near future. My work expands our imaginaries of how we read and interact with poetry in our digital age. My current project includes the Kimchi Poetry Machine, which is a different kind of jar. Instead of kimchi, there are small paper pieces of poetry. And when the jar is opened, instead of the pungent smells of fermented cabbage filling your nostrils, your eardrums are lulled by the luminous readings of poetry written by a variety of invited feminist poets. The machine is powered by open-source electronic prototyping platforms such as Arduino and Adafruit and reimagines how poetry can be written, listened to, and interacted with in the near future. I am also a poet, and a scholar of new media and literature. My conceptual and new media artwork draws from my scholarly and poetic writing and thinking. While my materials differ from project to project, my aim remains the same: to curate participatory avenues of creating and interacting with poetry and story collaboratively in our digital age and near future. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774556376502-NTVXF2TF870GTMQXW388/mcba-prize-2015-Margaret-Rhee-The-Kimchi-Poetry-Machine-4.jpg Entries & Jurors - 2015 Entries - Margaret Rhee Margaret Rhee (Los Angeles, CA) nectarinedreams.com / kimchipoetryproject.com The Kimchi Poetry Machine 2014 Glass, tangible computing, paper Unique work 8″x 6-1/2″ https://www.youtube.com/watch?v=wcRwJpcvpVo&t=1s Through my new media art, I utilize both digital and analog materials to construct a participatory praxis that engages with poetry, education, and equality. What began as a personal passion of encouraging public participation of creative expression has translated into large-scale participatory art workshops, installations, and inventions that promote interaction and collective storytelling. I have implemented participatory digital storytelling workshops in the San Francisco Jail, created a digital game based on an artificial intelligence book for the UC Berkeley campus, and invented a poetry machine that envisions how poetry can be tangible, feminist, and interactive in our near future. My work expands our imaginaries of how we read and interact with poetry in our digital age. My current project includes the Kimchi Poetry Machine, which is a different kind of jar. Instead of kimchi, there are small paper pieces of poetry. And when the jar is opened, instead of the pungent smells of fermented cabbage filling your nostrils, your eardrums are lulled by the luminous readings of poetry written by a variety of invited feminist poets. The machine is powered by open-source electronic prototyping platforms such as Arduino and Adafruit and reimagines how poetry can be written, listened to, and interacted with in the near future. I am also a poet, and a scholar of new media and literature. My conceptual and new media artwork draws from my scholarly and poetic writing and thinking. While my materials differ from project to project, my aim remains the same: to curate participatory avenues of creating and interacting with poetry and story collaboratively in our digital age and near future. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774556375795-EBEKKCFEAVFCK0XPDTHQ/mcba-prize-2015-Margaret-Rhee-The-Kimchi-Poetry-Machine-3.jpg Entries & Jurors - 2015 Entries - Margaret Rhee Margaret Rhee (Los Angeles, CA) nectarinedreams.com / kimchipoetryproject.com The Kimchi Poetry Machine 2014 Glass, tangible computing, paper Unique work 8″x 6-1/2″ https://www.youtube.com/watch?v=wcRwJpcvpVo&t=1s Through my new media art, I utilize both digital and analog materials to construct a participatory praxis that engages with poetry, education, and equality. What began as a personal passion of encouraging public participation of creative expression has translated into large-scale participatory art workshops, installations, and inventions that promote interaction and collective storytelling. I have implemented participatory digital storytelling workshops in the San Francisco Jail, created a digital game based on an artificial intelligence book for the UC Berkeley campus, and invented a poetry machine that envisions how poetry can be tangible, feminist, and interactive in our near future. My work expands our imaginaries of how we read and interact with poetry in our digital age. My current project includes the Kimchi Poetry Machine, which is a different kind of jar. Instead of kimchi, there are small paper pieces of poetry. And when the jar is opened, instead of the pungent smells of fermented cabbage filling your nostrils, your eardrums are lulled by the luminous readings of poetry written by a variety of invited feminist poets. The machine is powered by open-source electronic prototyping platforms such as Arduino and Adafruit and reimagines how poetry can be written, listened to, and interacted with in the near future. I am also a poet, and a scholar of new media and literature. My conceptual and new media artwork draws from my scholarly and poetic writing and thinking. While my materials differ from project to project, my aim remains the same: to curate participatory avenues of creating and interacting with poetry and story collaboratively in our digital age and near future. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774556375108-DBH6944D9RF4EAMCPW2T/mcba-prize-2015-Margaret-Rhee-The-Kimchi-Poetry-Machine-2.jpg Entries & Jurors - 2015 Entries - Margaret Rhee Margaret Rhee (Los Angeles, CA) nectarinedreams.com / kimchipoetryproject.com The Kimchi Poetry Machine 2014 Glass, tangible computing, paper Unique work 8″x 6-1/2″ https://www.youtube.com/watch?v=wcRwJpcvpVo&t=1s Through my new media art, I utilize both digital and analog materials to construct a participatory praxis that engages with poetry, education, and equality. What began as a personal passion of encouraging public participation of creative expression has translated into large-scale participatory art workshops, installations, and inventions that promote interaction and collective storytelling. I have implemented participatory digital storytelling workshops in the San Francisco Jail, created a digital game based on an artificial intelligence book for the UC Berkeley campus, and invented a poetry machine that envisions how poetry can be tangible, feminist, and interactive in our near future. My work expands our imaginaries of how we read and interact with poetry in our digital age. My current project includes the Kimchi Poetry Machine, which is a different kind of jar. Instead of kimchi, there are small paper pieces of poetry. And when the jar is opened, instead of the pungent smells of fermented cabbage filling your nostrils, your eardrums are lulled by the luminous readings of poetry written by a variety of invited feminist poets. The machine is powered by open-source electronic prototyping platforms such as Arduino and Adafruit and reimagines how poetry can be written, listened to, and interacted with in the near future. I am also a poet, and a scholar of new media and literature. My conceptual and new media artwork draws from my scholarly and poetic writing and thinking. While my materials differ from project to project, my aim remains the same: to curate participatory avenues of creating and interacting with poetry and story collaboratively in our digital age and near future. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774556623744-5TCM5L5NL4L52J2GAVBS/mcba-prize-2015-rose-rigley-lost-memories-1.jpg Entries & Jurors - 2015 Entries - Rose Rigley Rose Rigley (Cairns, Queensland, Australia) roserigley.com/ Lost memories 2015 mixed media on fabriano 290gsm paper, coptic binding Unique work 23 x 18 (diam) Rose Rigley is an emerging artist and community arts worker based in far north Queensland, Australia. Utilising sculptural assemblage, encaustic and artist books, her practice focuses on the human condition with a particular emphasis on memory and finding a narrative in the ordinary and mundane. In the personal, Rigley seeks to find the universal. ‘Lost memories’ explores the temporal and fragile nature of memory and becomes a symbolic vessel for holding and preserving her aging mother’s fading recollections. Drawing upon the ‘feminine’ act of sewing to recreate the threads of her mother’s previous experiences and stories, the artist attempts to hold back the effects of approaching Alzheimer disease. Thoughtless of location and indiscriminate in nature, this mental scourge slowly erodes the sum of the individual – taking their memories and experiences – and leaves behind a ‘light-weighted nothingness’ where once the person was. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774556522499-NVDMCBJH8HUD3PJO0YCG/mcba-prize-2015-rose-rigley-lost-memories-2.jpg Entries & Jurors - 2015 Entries - Rose Rigley Rose Rigley (Cairns, Queensland, Australia) roserigley.com/ Lost memories 2015 mixed media on fabriano 290gsm paper, coptic binding Unique work 23 x 18 (diam) Rose Rigley is an emerging artist and community arts worker based in far north Queensland, Australia. Utilising sculptural assemblage, encaustic and artist books, her practice focuses on the human condition with a particular emphasis on memory and finding a narrative in the ordinary and mundane. In the personal, Rigley seeks to find the universal. ‘Lost memories’ explores the temporal and fragile nature of memory and becomes a symbolic vessel for holding and preserving her aging mother’s fading recollections. Drawing upon the ‘feminine’ act of sewing to recreate the threads of her mother’s previous experiences and stories, the artist attempts to hold back the effects of approaching Alzheimer disease. Thoughtless of location and indiscriminate in nature, this mental scourge slowly erodes the sum of the individual – taking their memories and experiences – and leaves behind a ‘light-weighted nothingness’ where once the person was. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774556525658-JIJYOOZGDDM0T0UHKVPK/mcba-prize-2015-rose-rigley-lost-memories-3.jpg Entries & Jurors - 2015 Entries - Rose Rigley Rose Rigley (Cairns, Queensland, Australia) roserigley.com/ Lost memories 2015 mixed media on fabriano 290gsm paper, coptic binding Unique work 23 x 18 (diam) Rose Rigley is an emerging artist and community arts worker based in far north Queensland, Australia. Utilising sculptural assemblage, encaustic and artist books, her practice focuses on the human condition with a particular emphasis on memory and finding a narrative in the ordinary and mundane. In the personal, Rigley seeks to find the universal. ‘Lost memories’ explores the temporal and fragile nature of memory and becomes a symbolic vessel for holding and preserving her aging mother’s fading recollections. Drawing upon the ‘feminine’ act of sewing to recreate the threads of her mother’s previous experiences and stories, the artist attempts to hold back the effects of approaching Alzheimer disease. Thoughtless of location and indiscriminate in nature, this mental scourge slowly erodes the sum of the individual – taking their memories and experiences – and leaves behind a ‘light-weighted nothingness’ where once the person was. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774556526172-P1PR03E44DSAREB9C1UK/mcba-prize-2015-rose-rigley-lost-memories-4.jpg Entries & Jurors - 2015 Entries - Rose Rigley Rose Rigley (Cairns, Queensland, Australia) roserigley.com/ Lost memories 2015 mixed media on fabriano 290gsm paper, coptic binding Unique work 23 x 18 (diam) Rose Rigley is an emerging artist and community arts worker based in far north Queensland, Australia. Utilising sculptural assemblage, encaustic and artist books, her practice focuses on the human condition with a particular emphasis on memory and finding a narrative in the ordinary and mundane. In the personal, Rigley seeks to find the universal. ‘Lost memories’ explores the temporal and fragile nature of memory and becomes a symbolic vessel for holding and preserving her aging mother’s fading recollections. Drawing upon the ‘feminine’ act of sewing to recreate the threads of her mother’s previous experiences and stories, the artist attempts to hold back the effects of approaching Alzheimer disease. Thoughtless of location and indiscriminate in nature, this mental scourge slowly erodes the sum of the individual – taking their memories and experiences – and leaves behind a ‘light-weighted nothingness’ where once the person was. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774556757674-AJ6UNGR581W87KBKCC6V/mcba-prize-2015-pien-rotterdam-sea-of-things-1.jpg Entries & Jurors - 2015 Entries - Pien Rotterdam Pien Rotterdam (Assen, The Netherlands) waterleafpaperandwords.com Sea of Things 2014 handmade paper, pulp printing, letterpress Edition 14 4 quadrants with 12 text/image pages altogether, 4 inner text pages 20 x 30 x 1.3 cm open 10.5 x 11 x 1.3 cm closed Sea of Things reflects on the urge to collect and select small objects such as stones but also scraps of text and images. The book was made in the ancient tradition of commonplacing, which allowed Renaissance readers to choose appealing passages from their reading and collate them into new patterns of meaning in personal books. Sea of Things contains fragments of text (in this case not collected from outside sources but all written by the artist) about the nature of fragments, pattern, and rhythm, the relation between them, and how to read them. Thus it is itself a commonplace book. As one of the fragments explains, the title refers to the term Silva Rerum, Forest of Things, which Renaissance readers used to refer to their commonplace books. This book is a Mare Rerum, a Sea of Things, because of the liquid nature of the inner integration it makes visible: “I choose texts and take them in, letting them wash inside and slowly sink below consciousness. Sentences fall apart, dissolving out of recognition, merging with what is already down there into some loose dark sediment of meaning.” The book format chosen is an interpretation of Keith Smith’s border book, which allows readers to experience the building of pattern out of fragments as they unfold the four quadrants that make up the book. On the reverse side of the text, the reader sees, fragment by fragment, a detailed image of white corals in a turquoise sea appear as the text fragments disappear to the back of the book. In the end the reader is left with the coral/sea image as a border around the central text, which reflects on the experience of reading pattern and rhythm in the world and being part of them. Of course the text and image fragments can also be read and viewed in random order while opening and closing the four quadrants of the book. Handling the book and interacting with it is thus an essential part both of the reading process and of understanding its content. The handmade paper used is a double-sided mixture of kozo and cotton, and the delicate white image has been printed into the freshly made paper with very fine paper pulp in a hybrid silkscreen/papermaking technique called pulp printing. The flyleaves and pastedowns are handmade abaca paper with inclusions echoing the colour of the binding. The text and cell-like patterns have been handset in lead type (Atlas) and ornaments and printed letterpress. The binding is an interpretation of a historical twined binding. All materials used, as well as the small size of the book when closed, underline the tactile and intimate nature of the reading process. All text written by the artist. “Now let these words, slippery as fish, slide back into the Sea of Things, to be caught again some other time, to make up some pattern afresh.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774556757575-VHCZ5XFJY174I1R1YFEI/mcba-prize-2015-pien-rotterdam-sea-of-things-2.jpg Entries & Jurors - 2015 Entries - Pien Rotterdam Pien Rotterdam (Assen, The Netherlands) waterleafpaperandwords.com Sea of Things 2014 handmade paper, pulp printing, letterpress Edition 14 4 quadrants with 12 text/image pages altogether, 4 inner text pages 20 x 30 x 1.3 cm open 10.5 x 11 x 1.3 cm closed Sea of Things reflects on the urge to collect and select small objects such as stones but also scraps of text and images. The book was made in the ancient tradition of commonplacing, which allowed Renaissance readers to choose appealing passages from their reading and collate them into new patterns of meaning in personal books. Sea of Things contains fragments of text (in this case not collected from outside sources but all written by the artist) about the nature of fragments, pattern, and rhythm, the relation between them, and how to read them. Thus it is itself a commonplace book. As one of the fragments explains, the title refers to the term Silva Rerum, Forest of Things, which Renaissance readers used to refer to their commonplace books. This book is a Mare Rerum, a Sea of Things, because of the liquid nature of the inner integration it makes visible: “I choose texts and take them in, letting them wash inside and slowly sink below consciousness. Sentences fall apart, dissolving out of recognition, merging with what is already down there into some loose dark sediment of meaning.” The book format chosen is an interpretation of Keith Smith’s border book, which allows readers to experience the building of pattern out of fragments as they unfold the four quadrants that make up the book. On the reverse side of the text, the reader sees, fragment by fragment, a detailed image of white corals in a turquoise sea appear as the text fragments disappear to the back of the book. In the end the reader is left with the coral/sea image as a border around the central text, which reflects on the experience of reading pattern and rhythm in the world and being part of them. Of course the text and image fragments can also be read and viewed in random order while opening and closing the four quadrants of the book. Handling the book and interacting with it is thus an essential part both of the reading process and of understanding its content. The handmade paper used is a double-sided mixture of kozo and cotton, and the delicate white image has been printed into the freshly made paper with very fine paper pulp in a hybrid silkscreen/papermaking technique called pulp printing. The flyleaves and pastedowns are handmade abaca paper with inclusions echoing the colour of the binding. The text and cell-like patterns have been handset in lead type (Atlas) and ornaments and printed letterpress. The binding is an interpretation of a historical twined binding. All materials used, as well as the small size of the book when closed, underline the tactile and intimate nature of the reading process. All text written by the artist. “Now let these words, slippery as fish, slide back into the Sea of Things, to be caught again some other time, to make up some pattern afresh.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774556759061-KN2KFWMNHX2V7TUC7WOH/mcba-prize-2015-pien-rotterdam-sea-of-things-3.jpg Entries & Jurors - 2015 Entries - Pien Rotterdam Pien Rotterdam (Assen, The Netherlands) waterleafpaperandwords.com Sea of Things 2014 handmade paper, pulp printing, letterpress Edition 14 4 quadrants with 12 text/image pages altogether, 4 inner text pages 20 x 30 x 1.3 cm open 10.5 x 11 x 1.3 cm closed Sea of Things reflects on the urge to collect and select small objects such as stones but also scraps of text and images. The book was made in the ancient tradition of commonplacing, which allowed Renaissance readers to choose appealing passages from their reading and collate them into new patterns of meaning in personal books. Sea of Things contains fragments of text (in this case not collected from outside sources but all written by the artist) about the nature of fragments, pattern, and rhythm, the relation between them, and how to read them. Thus it is itself a commonplace book. As one of the fragments explains, the title refers to the term Silva Rerum, Forest of Things, which Renaissance readers used to refer to their commonplace books. This book is a Mare Rerum, a Sea of Things, because of the liquid nature of the inner integration it makes visible: “I choose texts and take them in, letting them wash inside and slowly sink below consciousness. Sentences fall apart, dissolving out of recognition, merging with what is already down there into some loose dark sediment of meaning.” The book format chosen is an interpretation of Keith Smith’s border book, which allows readers to experience the building of pattern out of fragments as they unfold the four quadrants that make up the book. On the reverse side of the text, the reader sees, fragment by fragment, a detailed image of white corals in a turquoise sea appear as the text fragments disappear to the back of the book. In the end the reader is left with the coral/sea image as a border around the central text, which reflects on the experience of reading pattern and rhythm in the world and being part of them. Of course the text and image fragments can also be read and viewed in random order while opening and closing the four quadrants of the book. Handling the book and interacting with it is thus an essential part both of the reading process and of understanding its content. The handmade paper used is a double-sided mixture of kozo and cotton, and the delicate white image has been printed into the freshly made paper with very fine paper pulp in a hybrid silkscreen/papermaking technique called pulp printing. The flyleaves and pastedowns are handmade abaca paper with inclusions echoing the colour of the binding. The text and cell-like patterns have been handset in lead type (Atlas) and ornaments and printed letterpress. The binding is an interpretation of a historical twined binding. All materials used, as well as the small size of the book when closed, underline the tactile and intimate nature of the reading process. All text written by the artist. “Now let these words, slippery as fish, slide back into the Sea of Things, to be caught again some other time, to make up some pattern afresh.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774556759247-MHQ9C9XDE26V27OSGWFD/mcba-prize-2015-pien-rotterdam-sea-of-things-4.jpg Entries & Jurors - 2015 Entries - Pien Rotterdam Pien Rotterdam (Assen, The Netherlands) waterleafpaperandwords.com Sea of Things 2014 handmade paper, pulp printing, letterpress Edition 14 4 quadrants with 12 text/image pages altogether, 4 inner text pages 20 x 30 x 1.3 cm open 10.5 x 11 x 1.3 cm closed Sea of Things reflects on the urge to collect and select small objects such as stones but also scraps of text and images. The book was made in the ancient tradition of commonplacing, which allowed Renaissance readers to choose appealing passages from their reading and collate them into new patterns of meaning in personal books. Sea of Things contains fragments of text (in this case not collected from outside sources but all written by the artist) about the nature of fragments, pattern, and rhythm, the relation between them, and how to read them. Thus it is itself a commonplace book. As one of the fragments explains, the title refers to the term Silva Rerum, Forest of Things, which Renaissance readers used to refer to their commonplace books. This book is a Mare Rerum, a Sea of Things, because of the liquid nature of the inner integration it makes visible: “I choose texts and take them in, letting them wash inside and slowly sink below consciousness. Sentences fall apart, dissolving out of recognition, merging with what is already down there into some loose dark sediment of meaning.” The book format chosen is an interpretation of Keith Smith’s border book, which allows readers to experience the building of pattern out of fragments as they unfold the four quadrants that make up the book. On the reverse side of the text, the reader sees, fragment by fragment, a detailed image of white corals in a turquoise sea appear as the text fragments disappear to the back of the book. In the end the reader is left with the coral/sea image as a border around the central text, which reflects on the experience of reading pattern and rhythm in the world and being part of them. Of course the text and image fragments can also be read and viewed in random order while opening and closing the four quadrants of the book. Handling the book and interacting with it is thus an essential part both of the reading process and of understanding its content. The handmade paper used is a double-sided mixture of kozo and cotton, and the delicate white image has been printed into the freshly made paper with very fine paper pulp in a hybrid silkscreen/papermaking technique called pulp printing. The flyleaves and pastedowns are handmade abaca paper with inclusions echoing the colour of the binding. The text and cell-like patterns have been handset in lead type (Atlas) and ornaments and printed letterpress. The binding is an interpretation of a historical twined binding. All materials used, as well as the small size of the book when closed, underline the tactile and intimate nature of the reading process. All text written by the artist. “Now let these words, slippery as fish, slide back into the Sea of Things, to be caught again some other time, to make up some pattern afresh.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774556761081-EYYZLMVPOXV8PHIG13NT/mcba-prize-2015-pien-rotterdam-sea-of-things-5.jpg Entries & Jurors - 2015 Entries - Pien Rotterdam Pien Rotterdam (Assen, The Netherlands) waterleafpaperandwords.com Sea of Things 2014 handmade paper, pulp printing, letterpress Edition 14 4 quadrants with 12 text/image pages altogether, 4 inner text pages 20 x 30 x 1.3 cm open 10.5 x 11 x 1.3 cm closed Sea of Things reflects on the urge to collect and select small objects such as stones but also scraps of text and images. The book was made in the ancient tradition of commonplacing, which allowed Renaissance readers to choose appealing passages from their reading and collate them into new patterns of meaning in personal books. Sea of Things contains fragments of text (in this case not collected from outside sources but all written by the artist) about the nature of fragments, pattern, and rhythm, the relation between them, and how to read them. Thus it is itself a commonplace book. As one of the fragments explains, the title refers to the term Silva Rerum, Forest of Things, which Renaissance readers used to refer to their commonplace books. This book is a Mare Rerum, a Sea of Things, because of the liquid nature of the inner integration it makes visible: “I choose texts and take them in, letting them wash inside and slowly sink below consciousness. Sentences fall apart, dissolving out of recognition, merging with what is already down there into some loose dark sediment of meaning.” The book format chosen is an interpretation of Keith Smith’s border book, which allows readers to experience the building of pattern out of fragments as they unfold the four quadrants that make up the book. On the reverse side of the text, the reader sees, fragment by fragment, a detailed image of white corals in a turquoise sea appear as the text fragments disappear to the back of the book. In the end the reader is left with the coral/sea image as a border around the central text, which reflects on the experience of reading pattern and rhythm in the world and being part of them. Of course the text and image fragments can also be read and viewed in random order while opening and closing the four quadrants of the book. Handling the book and interacting with it is thus an essential part both of the reading process and of understanding its content. The handmade paper used is a double-sided mixture of kozo and cotton, and the delicate white image has been printed into the freshly made paper with very fine paper pulp in a hybrid silkscreen/papermaking technique called pulp printing. The flyleaves and pastedowns are handmade abaca paper with inclusions echoing the colour of the binding. The text and cell-like patterns have been handset in lead type (Atlas) and ornaments and printed letterpress. The binding is an interpretation of a historical twined binding. All materials used, as well as the small size of the book when closed, underline the tactile and intimate nature of the reading process. All text written by the artist. “Now let these words, slippery as fish, slide back into the Sea of Things, to be caught again some other time, to make up some pattern afresh.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774556974789-XM9964TWIIO2CUF6YZ2L/mcba-prize-2015-john-sager-persephones-grotto-1.jpg Entries & Jurors - 2015 Entries - John Sager John Sager (Austin, TX) hooksepsteingalleries.com Persephone’s Grotto 2013 Altered book (Books, wood, cast iron pulley chamber, and sea lily stem fossils) Unique work 17 x 22.5 x 5″ When I acquire a book, it becomes art material. I hope to give unwanted books a new home in the world. I call my bookwork “altered books.” I guess I want to preserve the word “book” as much as I want to preserve the object. I glue the pages shut to seal their story, then create my own story. The book is an object — intimate and public at the same time. So it is with an artwork — a link between self and other. The artist’s job is to make new story out of old story. “What is the use of a book,” thought Alice, “without pictures or conversations?” Sometimes I find old books whose titles appeal to me, that trigger some response that might lead to a juxtaposition of ideas. Other times I collect worn books whose covers are different shades of a color, such as red. Distressed books can be resurrected and reimagined as building blocks to create new structure. I find my books at used bookstores, and they find me as hand-me-downs from friends and family. Though I see great fragmentation in the world today, I also see interdependence and the need to become one. Cross-pollination has always been a major factor in the arts. Literature, music, and architecture have seeded my artwork, sometimes blossoming into fruition, always leaving a trace of growth. Altered books can be seen as poem-objects. A form has been changed, a patina is present, an idea is on the morrow. I just happened to be around to catch the imagery and then release it as a bird into the wind. Persephone’s Grotto exposes the hidden majesty of the bookbinder’s art. The stitched spines open new vistas for our aged visual fields. An unfamiliar architecture arises: a fresh shape, an indigenous mass, a weathered patina. There is a certain stark beauty in remnants of adhesive, of each book’s binding agreement and promise that will never be broken. Beginning with the sheer splendor of a cast iron pulley chamber, I built a wooden armature with an opening to which I could fasten book shards and sea lily stem fossils. As collector, I find objects that want to be together, to be companions in a new life. In my role as joiner, I deal with surface and form, sequence and juxtaposition. I try to turn chaos into order by whatever means possible, sometimes by accident. Our black cat Persephone was my constant companion in the creative process. Persephone is the Greek goddess of both the underworld and spring growth. A grotto is a small picturesque natural or artificial cave often used for devotion. So Persephone’s Grotto can be seen a place where dying books have been transformed and venerated as new life. Through age objects acquire a maturity of surface. Like humans they have seasons. Assemble them in an artwork, and they are reborn. Once lost / now found. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774556975006-J6PWF5YN8M3UR8WEAZKF/mcba-prize-2015-john-sager-persephones-grotto-2.jpg Entries & Jurors - 2015 Entries - John Sager John Sager (Austin, TX) hooksepsteingalleries.com Persephone’s Grotto 2013 Altered book (Books, wood, cast iron pulley chamber, and sea lily stem fossils) Unique work 17 x 22.5 x 5″ When I acquire a book, it becomes art material. I hope to give unwanted books a new home in the world. I call my bookwork “altered books.” I guess I want to preserve the word “book” as much as I want to preserve the object. I glue the pages shut to seal their story, then create my own story. The book is an object — intimate and public at the same time. So it is with an artwork — a link between self and other. The artist’s job is to make new story out of old story. “What is the use of a book,” thought Alice, “without pictures or conversations?” Sometimes I find old books whose titles appeal to me, that trigger some response that might lead to a juxtaposition of ideas. Other times I collect worn books whose covers are different shades of a color, such as red. Distressed books can be resurrected and reimagined as building blocks to create new structure. I find my books at used bookstores, and they find me as hand-me-downs from friends and family. Though I see great fragmentation in the world today, I also see interdependence and the need to become one. Cross-pollination has always been a major factor in the arts. Literature, music, and architecture have seeded my artwork, sometimes blossoming into fruition, always leaving a trace of growth. Altered books can be seen as poem-objects. A form has been changed, a patina is present, an idea is on the morrow. I just happened to be around to catch the imagery and then release it as a bird into the wind. Persephone’s Grotto exposes the hidden majesty of the bookbinder’s art. The stitched spines open new vistas for our aged visual fields. An unfamiliar architecture arises: a fresh shape, an indigenous mass, a weathered patina. There is a certain stark beauty in remnants of adhesive, of each book’s binding agreement and promise that will never be broken. Beginning with the sheer splendor of a cast iron pulley chamber, I built a wooden armature with an opening to which I could fasten book shards and sea lily stem fossils. As collector, I find objects that want to be together, to be companions in a new life. In my role as joiner, I deal with surface and form, sequence and juxtaposition. I try to turn chaos into order by whatever means possible, sometimes by accident. Our black cat Persephone was my constant companion in the creative process. Persephone is the Greek goddess of both the underworld and spring growth. A grotto is a small picturesque natural or artificial cave often used for devotion. So Persephone’s Grotto can be seen a place where dying books have been transformed and venerated as new life. Through age objects acquire a maturity of surface. Like humans they have seasons. Assemble them in an artwork, and they are reborn. Once lost / now found. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774556976921-EFIK89LAWAIER9GB1QAR/mcba-prize-2015-john-sager-persephones-grotto-3.jpg Entries & Jurors - 2015 Entries - John Sager John Sager (Austin, TX) hooksepsteingalleries.com Persephone’s Grotto 2013 Altered book (Books, wood, cast iron pulley chamber, and sea lily stem fossils) Unique work 17 x 22.5 x 5″ When I acquire a book, it becomes art material. I hope to give unwanted books a new home in the world. I call my bookwork “altered books.” I guess I want to preserve the word “book” as much as I want to preserve the object. I glue the pages shut to seal their story, then create my own story. The book is an object — intimate and public at the same time. So it is with an artwork — a link between self and other. The artist’s job is to make new story out of old story. “What is the use of a book,” thought Alice, “without pictures or conversations?” Sometimes I find old books whose titles appeal to me, that trigger some response that might lead to a juxtaposition of ideas. Other times I collect worn books whose covers are different shades of a color, such as red. Distressed books can be resurrected and reimagined as building blocks to create new structure. I find my books at used bookstores, and they find me as hand-me-downs from friends and family. Though I see great fragmentation in the world today, I also see interdependence and the need to become one. Cross-pollination has always been a major factor in the arts. Literature, music, and architecture have seeded my artwork, sometimes blossoming into fruition, always leaving a trace of growth. Altered books can be seen as poem-objects. A form has been changed, a patina is present, an idea is on the morrow. I just happened to be around to catch the imagery and then release it as a bird into the wind. Persephone’s Grotto exposes the hidden majesty of the bookbinder’s art. The stitched spines open new vistas for our aged visual fields. An unfamiliar architecture arises: a fresh shape, an indigenous mass, a weathered patina. There is a certain stark beauty in remnants of adhesive, of each book’s binding agreement and promise that will never be broken. Beginning with the sheer splendor of a cast iron pulley chamber, I built a wooden armature with an opening to which I could fasten book shards and sea lily stem fossils. As collector, I find objects that want to be together, to be companions in a new life. In my role as joiner, I deal with surface and form, sequence and juxtaposition. I try to turn chaos into order by whatever means possible, sometimes by accident. Our black cat Persephone was my constant companion in the creative process. Persephone is the Greek goddess of both the underworld and spring growth. A grotto is a small picturesque natural or artificial cave often used for devotion. So Persephone’s Grotto can be seen a place where dying books have been transformed and venerated as new life. Through age objects acquire a maturity of surface. Like humans they have seasons. Assemble them in an artwork, and they are reborn. Once lost / now found. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774556976691-N603BO9TX8Z7PLXLIV7Z/mcba-prize-2015-john-sager-persephones-grotto-4.jpg Entries & Jurors - 2015 Entries - John Sager John Sager (Austin, TX) hooksepsteingalleries.com Persephone’s Grotto 2013 Altered book (Books, wood, cast iron pulley chamber, and sea lily stem fossils) Unique work 17 x 22.5 x 5″ When I acquire a book, it becomes art material. I hope to give unwanted books a new home in the world. I call my bookwork “altered books.” I guess I want to preserve the word “book” as much as I want to preserve the object. I glue the pages shut to seal their story, then create my own story. The book is an object — intimate and public at the same time. So it is with an artwork — a link between self and other. The artist’s job is to make new story out of old story. “What is the use of a book,” thought Alice, “without pictures or conversations?” Sometimes I find old books whose titles appeal to me, that trigger some response that might lead to a juxtaposition of ideas. Other times I collect worn books whose covers are different shades of a color, such as red. Distressed books can be resurrected and reimagined as building blocks to create new structure. I find my books at used bookstores, and they find me as hand-me-downs from friends and family. Though I see great fragmentation in the world today, I also see interdependence and the need to become one. Cross-pollination has always been a major factor in the arts. Literature, music, and architecture have seeded my artwork, sometimes blossoming into fruition, always leaving a trace of growth. Altered books can be seen as poem-objects. A form has been changed, a patina is present, an idea is on the morrow. I just happened to be around to catch the imagery and then release it as a bird into the wind. Persephone’s Grotto exposes the hidden majesty of the bookbinder’s art. The stitched spines open new vistas for our aged visual fields. An unfamiliar architecture arises: a fresh shape, an indigenous mass, a weathered patina. There is a certain stark beauty in remnants of adhesive, of each book’s binding agreement and promise that will never be broken. Beginning with the sheer splendor of a cast iron pulley chamber, I built a wooden armature with an opening to which I could fasten book shards and sea lily stem fossils. As collector, I find objects that want to be together, to be companions in a new life. In my role as joiner, I deal with surface and form, sequence and juxtaposition. I try to turn chaos into order by whatever means possible, sometimes by accident. Our black cat Persephone was my constant companion in the creative process. Persephone is the Greek goddess of both the underworld and spring growth. A grotto is a small picturesque natural or artificial cave often used for devotion. So Persephone’s Grotto can be seen a place where dying books have been transformed and venerated as new life. Through age objects acquire a maturity of surface. Like humans they have seasons. Assemble them in an artwork, and they are reborn. Once lost / now found. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774557104403-6U106ZFNLP5UOS55QE26/mcba-prize-2015-erin-k-schmidt-telling-time-1.jpg Entries & Jurors - 2015 Entries - Erin K. Schmidt Erin K. Schmidt (Rochester Hills, Michigan) erinkschmidt.tumblr.com Telling Time 2014 Inkjet printed silk, inkjet printed silk organza, vellum, Arches text wove 120, embossed Skivertex, hardcover, top bound Edition 12 12 pages 16 ½” x 5 ½” x 3/16” open 8 1/8” x 5 ½” x 5/16” closed Front cover: the book is covered in silk and embossed Skivertex. A black and white photograph of a beach house is printed onto the silk. In her artist books, Erin K. Schmidt explores the relationship between memory and identity. Her work is heavily influenced by the notion that identity is informed by memories and perceptions of passing moments in our lives. Personal photographs and writing play a key role in her work, and are often used in repetition in order to dwell on a particular event in the private swell of emotions that rises in the course of recall and reflection. But, what happens to identity when our defining memories perish? In her book Telling Time, Erin K. Schmidt focuses on her family history of Alzheimer’s disease. The loss of memory is evidenced as the repeated single image, a childhood photograph of the artist’s mother, the artist’s uncle, and their mother who had suffered from the disease for many years, slowly vanishes to white. The three are sitting in a boat on the beach at their summer home where the artist’s mother and her family spent summers while she was growing up. With the turn of each page, this special memory printed on sheer silk organza begins to fade from top to bottom. As it does so, the faces disappear first, one after another, taking with them the identities of the three figures. The cover image, printed on silk, is a picture of the summer home as viewed from the beach where the family photograph on the pages was taken. As the beach image fades, the context of the cover image is also lost. There is no longer a connection to the memory on the beach. It is just another house. The title of the book was chosen as a way to describe how Alzheimer’s disease effects the ways we perceive time. In addition to the way in which the loss of memory can alter remembered timelines, one of the first symptoms of Alzheimer’s disease is the inability to read time on an analog clock. The simply stated interior text references the early onset of the disease and a difficulty with telling time. The edition of twelve corresponds to the numbers on the face of a clock. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774557102894-B1OYJ4Y2HQ4MTGCENFMA/mcba-prize-2015-erin-k-schmidt-telling-time-2.jpg Entries & Jurors - 2015 Entries - Erin K. Schmidt Erin K. Schmidt (Rochester Hills, Michigan) erinkschmidt.tumblr.com Telling Time 2014 Inkjet printed silk, inkjet printed silk organza, vellum, Arches text wove 120, embossed Skivertex, hardcover, top bound Edition 12 12 pages 16 ½” x 5 ½” x 3/16” open 8 1/8” x 5 ½” x 5/16” closed The cover lifts up, opening with a top hinge. Single leaf pages are bound at the top. The text “it was telling time that had become so difficult” printed on vellum makes reference to what is commonly thought of as one of the first symptoms of Alzheimer’s disease, the inability to read time on an analog clock. A black and white photograph of three figures in a boat on the beach, which is printed on the silk organza pages beneath, is visible through the vellum and is viewed together with the text. In her artist books, Erin K. Schmidt explores the relationship between memory and identity. Her work is heavily influenced by the notion that identity is informed by memories and perceptions of passing moments in our lives. Personal photographs and writing play a key role in her work, and are often used in repetition in order to dwell on a particular event in the private swell of emotions that rises in the course of recall and reflection. But, what happens to identity when our defining memories perish? In her book Telling Time, Erin K. Schmidt focuses on her family history of Alzheimer’s disease. The loss of memory is evidenced as the repeated single image, a childhood photograph of the artist’s mother, the artist’s uncle, and their mother who had suffered from the disease for many years, slowly vanishes to white. The three are sitting in a boat on the beach at their summer home where the artist’s mother and her family spent summers while she was growing up. With the turn of each page, this special memory printed on sheer silk organza begins to fade from top to bottom. As it does so, the faces disappear first, one after another, taking with them the identities of the three figures. The cover image, printed on silk, is a picture of the summer home as viewed from the beach where the family photograph on the pages was taken. As the beach image fades, the context of the cover image is also lost. There is no longer a connection to the memory on the beach. It is just another house. The title of the book was chosen as a way to describe how Alzheimer’s disease effects the ways we perceive time. In addition to the way in which the loss of memory can alter remembered timelines, one of the first symptoms of Alzheimer’s disease is the inability to read time on an analog clock. The simply stated interior text references the early onset of the disease and a difficulty with telling time. The edition of twelve corresponds to the numbers on the face of a clock. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774557104561-YX20BGLRM2NLO0ZMWZFP/mcba-prize-2015-erin-k-schmidt-telling-time-3.jpg Entries & Jurors - 2015 Entries - Erin K. Schmidt Erin K. Schmidt (Rochester Hills, Michigan) erinkschmidt.tumblr.com Telling Time 2014 Inkjet printed silk, inkjet printed silk organza, vellum, Arches text wove 120, embossed Skivertex, hardcover, top bound Edition 12 12 pages 16 ½” x 5 ½” x 3/16” open 8 1/8” x 5 ½” x 5/16” closed As the pages of silk organza are lifted, the image begins to fade from the top down. The special memory of a day at the beach is slowly slipping away. In her artist books, Erin K. Schmidt explores the relationship between memory and identity. Her work is heavily influenced by the notion that identity is informed by memories and perceptions of passing moments in our lives. Personal photographs and writing play a key role in her work, and are often used in repetition in order to dwell on a particular event in the private swell of emotions that rises in the course of recall and reflection. But, what happens to identity when our defining memories perish? In her book Telling Time, Erin K. Schmidt focuses on her family history of Alzheimer’s disease. The loss of memory is evidenced as the repeated single image, a childhood photograph of the artist’s mother, the artist’s uncle, and their mother who had suffered from the disease for many years, slowly vanishes to white. The three are sitting in a boat on the beach at their summer home where the artist’s mother and her family spent summers while she was growing up. With the turn of each page, this special memory printed on sheer silk organza begins to fade from top to bottom. As it does so, the faces disappear first, one after another, taking with them the identities of the three figures. The cover image, printed on silk, is a picture of the summer home as viewed from the beach where the family photograph on the pages was taken. As the beach image fades, the context of the cover image is also lost. There is no longer a connection to the memory on the beach. It is just another house. The title of the book was chosen as a way to describe how Alzheimer’s disease effects the ways we perceive time. In addition to the way in which the loss of memory can alter remembered timelines, one of the first symptoms of Alzheimer’s disease is the inability to read time on an analog clock. The simply stated interior text references the early onset of the disease and a difficulty with telling time. The edition of twelve corresponds to the numbers on the face of a clock. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774557106008-XZ3CWICZORDZNWOYN423/mcba-prize-2015-erin-k-schmidt-telling-time-4.jpg Entries & Jurors - 2015 Entries - Erin K. Schmidt Erin K. Schmidt (Rochester Hills, Michigan) erinkschmidt.tumblr.com Telling Time 2014 Inkjet printed silk, inkjet printed silk organza, vellum, Arches text wove 120, embossed Skivertex, hardcover, top bound Edition 12 12 pages 16 ½” x 5 ½” x 3/16” open 8 1/8” x 5 ½” x 5/16” closed The identities of the figures is now completely gone. Only a fragment of the memory remains. In her artist books, Erin K. Schmidt explores the relationship between memory and identity. Her work is heavily influenced by the notion that identity is informed by memories and perceptions of passing moments in our lives. Personal photographs and writing play a key role in her work, and are often used in repetition in order to dwell on a particular event in the private swell of emotions that rises in the course of recall and reflection. But, what happens to identity when our defining memories perish? In her book Telling Time, Erin K. Schmidt focuses on her family history of Alzheimer’s disease. The loss of memory is evidenced as the repeated single image, a childhood photograph of the artist’s mother, the artist’s uncle, and their mother who had suffered from the disease for many years, slowly vanishes to white. The three are sitting in a boat on the beach at their summer home where the artist’s mother and her family spent summers while she was growing up. With the turn of each page, this special memory printed on sheer silk organza begins to fade from top to bottom. As it does so, the faces disappear first, one after another, taking with them the identities of the three figures. The cover image, printed on silk, is a picture of the summer home as viewed from the beach where the family photograph on the pages was taken. As the beach image fades, the context of the cover image is also lost. There is no longer a connection to the memory on the beach. It is just another house. The title of the book was chosen as a way to describe how Alzheimer’s disease effects the ways we perceive time. In addition to the way in which the loss of memory can alter remembered timelines, one of the first symptoms of Alzheimer’s disease is the inability to read time on an analog clock. The simply stated interior text references the early onset of the disease and a difficulty with telling time. The edition of twelve corresponds to the numbers on the face of a clock. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774557106143-Z42IMZ8DTF68MU9S3IBM/mcba-prize-2015-erin-k-schmidt-telling-time-5.jpg Entries & Jurors - 2015 Entries - Erin K. Schmidt Erin K. Schmidt (Rochester Hills, Michigan) erinkschmidt.tumblr.com Telling Time 2014 Inkjet printed silk, inkjet printed silk organza, vellum, Arches text wove 120, embossed Skivertex, hardcover, top bound Edition 12 12 pages 16 ½” x 5 ½” x 3/16” open 8 1/8” x 5 ½” x 5/16” closed On the last page of the book the text reads “and then there were the other things” suggesting the progression of Alzheimer’s disease. In her artist books, Erin K. Schmidt explores the relationship between memory and identity. Her work is heavily influenced by the notion that identity is informed by memories and perceptions of passing moments in our lives. Personal photographs and writing play a key role in her work, and are often used in repetition in order to dwell on a particular event in the private swell of emotions that rises in the course of recall and reflection. But, what happens to identity when our defining memories perish? In her book Telling Time, Erin K. Schmidt focuses on her family history of Alzheimer’s disease. The loss of memory is evidenced as the repeated single image, a childhood photograph of the artist’s mother, the artist’s uncle, and their mother who had suffered from the disease for many years, slowly vanishes to white. The three are sitting in a boat on the beach at their summer home where the artist’s mother and her family spent summers while she was growing up. With the turn of each page, this special memory printed on sheer silk organza begins to fade from top to bottom. As it does so, the faces disappear first, one after another, taking with them the identities of the three figures. The cover image, printed on silk, is a picture of the summer home as viewed from the beach where the family photograph on the pages was taken. As the beach image fades, the context of the cover image is also lost. There is no longer a connection to the memory on the beach. It is just another house. The title of the book was chosen as a way to describe how Alzheimer’s disease effects the ways we perceive time. In addition to the way in which the loss of memory can alter remembered timelines, one of the first symptoms of Alzheimer’s disease is the inability to read time on an analog clock. The simply stated interior text references the early onset of the disease and a difficulty with telling time. The edition of twelve corresponds to the numbers on the face of a clock. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774557820334-MDT54JV7BB62J2L70WF4/mcba-prize-2015-leonard-seastone-the-delicate-work-of-song-1.jpeg Entries & Jurors - 2015 Entries - Leonard Seastone Leonard Seastone (West Sayville, New York) The Delicate Work of Song 2013 Handset type and poly-plates letterpress printed onto handmade seikosan sewn with hand dyed linen thread through leather spine and over leather cords that are woven into red cedar boards (shellaced and waxed). The book block spine is without adhesive. Edition of 30 Pages: 48 Dimensions open: 7.562″ x 9.5″ x .625″ Dimensions closed: 7.562″ x 4.687″ x .625″ Spine Dyed linen thread, red and dark green leathers and red cedar boards. Titling in gold leaf. Hand dyed linen thread is sewn through a dark green leather spine, over red leather cord-tapes. The book’s paper would not react well to an interior glued spine so this method eliminates the adhesive. Oriental papers in an occidental binding can suffer from the use of an adhesive. The book may open flat for greater ease. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774557821080-SGXUKZV0XPXMEIM1HOKF/mcba-prize-2015-leonard-seastone-the-delicate-work-of-song-2.jpeg Entries & Jurors - 2015 Entries - Leonard Seastone Leonard Seastone (West Sayville, New York) The Delicate Work of Song 2013 Handset type and poly-plates letterpress printed onto handmade seikosan sewn with hand dyed linen thread through leather spine and over leather cords that are woven into red cedar boards (shellaced and waxed). The book block spine is without adhesive. Edition of 30 Pages: 48 Dimensions open: 7.562″ x 9.5″ x .625″ Dimensions closed: 7.562″ x 4.687″ x .625″ Cover Quarter-sawn red cedar shellac finished with leather tapes. Fabricated and bound by Leonard Seastone. The Red Cedar is 1/4 sawn from old growth trees. I have counted over 130 annual rings on some of the covers. Each cover is naturally very different. And extremely light. My use of the red cedar comes partially from my recent studies in building lapstrake and carvel-planked wooden boats. Exotic as this old growth wood is, I salvaged it from the damage bin of a local lumber yard: it is clap-board. I planed it to a uniform thickness and hand cut the slots and dadoe for the leather to weave through The inside cover also has dadoes cut so the leather may lie flush with the wood. The finish is 7 coats of thinned shellac buffed with 0000 steel wool, and a micro-crystalline wax. The first response to the book is its lightness. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774557822724-4WIIMLYIORIAG3YZ9V2R/mcba-prize-2015-leonard-seastone-the-delicate-work-of-song-3.jpeg Entries & Jurors - 2015 Entries - Leonard Seastone Leonard Seastone (West Sayville, New York) The Delicate Work of Song 2013 Handset type and poly-plates letterpress printed onto handmade seikosan sewn with hand dyed linen thread through leather spine and over leather cords that are woven into red cedar boards (shellaced and waxed). The book block spine is without adhesive. Edition of 30 Pages: 48 Dimensions open: 7.562″ x 9.5″ x .625″ Dimensions closed: 7.562″ x 4.687″ x .625″ Title Page Hand-set Delphin I and Trump Mediaeval, poly-plates on Seikosan washi. French folded. Poetry by Ronald Baatz. The poetry is by Ronald Baatz. Here is a review of another of his books, Bird Standing: “The high art of the short poem has no master more accomplished than Ronald Baatz. The places found in these poems impart a metaphysical geography amazing in scope and imaginative dimension,a sense of how the continents of conscious thought and feeling must have been experienced and known before they drifted apart. This book is stunning. Its visions redeem a world and a language we may have thought were lost. Think again.” –Michael McClintock President, United Haiku and Tanka Society. Guyang Chen is my collaborator on this book. She was a Letterpress and Book Structures student of mine at Purchase College, which is when she first developed her ideogram technique. I asked her to work with me and luckily she agreed. More on this later. The paper is extraordinary. Without dampening it allows for a very crisp impression and the Delphin I type, designed by Georg Trump at 12 didot has very delicate characteristics which is encouraged by this paper to reveal its beautiful face. The cutting of the Seikosan washi was done a single sheet at a time; this process alone took a week of work. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774557822954-2ZZV83PH1JIVR2HOWJEG/mcba-prize-2015-leonard-seastone-the-delicate-work-of-song-4.jpeg Entries & Jurors - 2015 Entries - Leonard Seastone Leonard Seastone (West Sayville, New York) The Delicate Work of Song 2013 Handset type and poly-plates letterpress printed onto handmade seikosan sewn with hand dyed linen thread through leather spine and over leather cords that are woven into red cedar boards (shellaced and waxed). The book block spine is without adhesive. Edition of 30 Pages: 48 Dimensions open: 7.562″ x 9.5″ x .625″ Dimensions closed: 7.562″ x 4.687″ x .625″ Pages 22-23 Text as illustration. Ideograms by Guyang Chen. How I have long desired to be able to utilize the Chinese and Japanese means of the language illustrating itself. Here, in my 43rd year of printing, it has been made possible. Guyang’s ideograms are comprised of latin letterforms: the typeface is Bradley. She first experimented with combining Bradley sorts to mimic the language of her native China. In The Delicate Work of Song she worked digitally so as to be able to be able to overlap and flip the letterforms. The ideograms are the poetry in selected forms almost like a reverse translation into the Chinese. Referenced here is the idea presented by Eliot Weinberger that 20th century American poetry would not have existed in the form it became without the translations into English of ancient Chinese poetry. (The New Directions Anthology of Classical Chinese Poetry, 2003) The two ideograms on the lower recto page are the words “they come.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774557825641-QDZFAPKBOX90DHKCEUI4/mcba-prize-2015-leonard-seastone-the-delicate-work-of-song-5.jpeg Entries & Jurors - 2015 Entries - Leonard Seastone Leonard Seastone (West Sayville, New York) The Delicate Work of Song 2013 Handset type and poly-plates letterpress printed onto handmade seikosan sewn with hand dyed linen thread through leather spine and over leather cords that are woven into red cedar boards (shellaced and waxed). The book block spine is without adhesive. Edition of 30 Pages: 48 Dimensions open: 7.562″ x 9.5″ x .625″ Dimensions closed: 7.562″ x 4.687″ x .625″ Pages 28-29 Offsetting and simultaneous printing of unpigmented ink. Type and plates letterpress printed by Leonard Seastone at The Tideline Press. The pages are French folded and originally were to be cut and left deckled-edged, but the hard line of the cut disturbed me so I scored, folded, damped and tore each sheet before binding. I am conservative with expensive materials, and the 1/16” excess was hard to manipulate which again required another hour and half per book. Often the well made book aborning moves beyond the maker’s imagined economy of time. Here I printed on the tympan before feeding the paper to print. The unpigmented ink was offset onto the back of the sheet as it was being printed on the front. The ink moves through the paper. The image evokes many images and ideas, but I have said enough for now, so I’ll leave those delicate possibilities for your imagination. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558282025-ELH4ZNLTSZFBPQRUONXF/mcba-prize-2015-beth-shadur-tremble-2.jpg Entries & Jurors - 2015 Entries - Beth Shadur Beth Shadur (Highland Park, IL) bethshadur.com Tremble (2015) Mixed media Unique work Pages: 8 Dimensions Open: 15″ x 70″ x 12″ Tremble, mixed media handmade book with poetry by Lois Roma-Deeley and written names on back of all youth killed by gun violence in Chicago during 2014. There is also text on gun violence statistics both nationally and in Chicago. Mixed media with watercolor, pen, wood, acrylic paint on wood, metal hinges. 15” x 70” x 12 open. Cover is shaped like wings, and work is displayed with a spent bullet and white feathers. My new works in the Fragility of the Sacred series comprise paintings and individual handmade artists’ books that include visual arts response to the poetry of Lois Roma-Deeley, with whom I have collaborated on a number of projects since 2004. This has resulted in a series of works both in response to her poetry, and at times, in a total collaboration with her to develop ideas and text that are incorporated in my work. Working with text and images has informed my practice for many years, as I have often included text in my work. The text serves to enhance, define or even to challenge the viewer to think of connections between what might seem to be unrelated images. I often use symbolism, taken from various world cultures, as well as personal symbols, to create works that include images that are both beautiful but also dangerous, including cancer cells, endangered species of plants and animals, ever changing landscapes impacted by man’s usage, and other images. The new work integrates idea, text and visual images, with the theme of fragility. I am undertaking this work now as I am a mid-career artist, facing aging parents and the loss of my sister to a rare form of cancer. This theme has been present in my life in many aspects and deserves interpretation and exploration. Roma-Deeley’s poetry offers me much to interpret, and synthesizes my personal experiences and responses to the world. I am looking at fragility of not only the wider environment, but the fragility of our own lives, both in terms of physical fragility but in terms of emotional fragility so common in our current world situation. As I age, I understand more significantly how fragile our plans are for our futures, and I am using symbolism to explore and portray these ideas. To begin this work, I took three weeks as an Artist in Residence at the Leighton Artist Colony, Banff Centre for the Arts. During my time there, the series transformed to Fragility of the Sacred, as I embraced the sacred ground on which I worked. I began to think of what we hold sacred, and how we often devalue that, and how to resolve that issue in my own life. The sacred quality of the landscape and earth is embraced by First Nation people who live in the Banff National Park area; I found their idea of Vision Quest within the land appealing as I worked there, and found passionate inspiration in my research and direct work in the land. This residency informed my ideas of the sacred, and will continue in the years to come. I think this work will be of interest to a wide public; all can relate to issues of fragilty, whether personal, political, environmental, or spiritual. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558280556-SXRSNGHJ8D0KCPDHPMVA/mcba-prize-2015-beth-shadur-tremble-1.jpg Entries & Jurors - 2015 Entries - Beth Shadur Beth Shadur (Highland Park, IL) bethshadur.com Tremble (2015) Mixed media Unique work Pages: 8 Dimensions Open: 15″ x 70″ x 12″ Tremble, mixed media handmade book with poetry by Lois Roma-Deeley and written names on back of all youth killed by gun violence in Chicago during 2014. There is also text on gun violence statistics both nationally and in Chicago. Mixed media with watercolor, pen, wood, acrylic paint on wood, metal hinges. 15” x 70” x 12 open. Cover is shaped like wings, and work is displayed with a spent bullet and white feathers. My new works in the Fragility of the Sacred series comprise paintings and individual handmade artists’ books that include visual arts response to the poetry of Lois Roma-Deeley, with whom I have collaborated on a number of projects since 2004. This has resulted in a series of works both in response to her poetry, and at times, in a total collaboration with her to develop ideas and text that are incorporated in my work. Working with text and images has informed my practice for many years, as I have often included text in my work. The text serves to enhance, define or even to challenge the viewer to think of connections between what might seem to be unrelated images. I often use symbolism, taken from various world cultures, as well as personal symbols, to create works that include images that are both beautiful but also dangerous, including cancer cells, endangered species of plants and animals, ever changing landscapes impacted by man’s usage, and other images. The new work integrates idea, text and visual images, with the theme of fragility. I am undertaking this work now as I am a mid-career artist, facing aging parents and the loss of my sister to a rare form of cancer. This theme has been present in my life in many aspects and deserves interpretation and exploration. Roma-Deeley’s poetry offers me much to interpret, and synthesizes my personal experiences and responses to the world. I am looking at fragility of not only the wider environment, but the fragility of our own lives, both in terms of physical fragility but in terms of emotional fragility so common in our current world situation. As I age, I understand more significantly how fragile our plans are for our futures, and I am using symbolism to explore and portray these ideas. To begin this work, I took three weeks as an Artist in Residence at the Leighton Artist Colony, Banff Centre for the Arts. During my time there, the series transformed to Fragility of the Sacred, as I embraced the sacred ground on which I worked. I began to think of what we hold sacred, and how we often devalue that, and how to resolve that issue in my own life. The sacred quality of the landscape and earth is embraced by First Nation people who live in the Banff National Park area; I found their idea of Vision Quest within the land appealing as I worked there, and found passionate inspiration in my research and direct work in the land. This residency informed my ideas of the sacred, and will continue in the years to come. I think this work will be of interest to a wide public; all can relate to issues of fragilty, whether personal, political, environmental, or spiritual. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558283328-UCGIUY59BQPR7ITWB8AM/mcba-prize-2015-beth-shadur-tremble-3.jpg Entries & Jurors - 2015 Entries - Beth Shadur Beth Shadur (Highland Park, IL) bethshadur.com Tremble (2015) Mixed media Unique work Pages: 8 Dimensions Open: 15″ x 70″ x 12″ Tremble, mixed media handmade book with poetry by Lois Roma-Deeley and written names on back of all youth killed by gun violence in Chicago during 2014. There is also text on gun violence statistics both nationally and in Chicago. Mixed media with watercolor, pen, wood, acrylic paint on wood, metal hinges. 15” x 70” x 12 open. Cover is shaped like wings, and work is displayed with a spent bullet and white feathers. My new works in the Fragility of the Sacred series comprise paintings and individual handmade artists’ books that include visual arts response to the poetry of Lois Roma-Deeley, with whom I have collaborated on a number of projects since 2004. This has resulted in a series of works both in response to her poetry, and at times, in a total collaboration with her to develop ideas and text that are incorporated in my work. Working with text and images has informed my practice for many years, as I have often included text in my work. The text serves to enhance, define or even to challenge the viewer to think of connections between what might seem to be unrelated images. I often use symbolism, taken from various world cultures, as well as personal symbols, to create works that include images that are both beautiful but also dangerous, including cancer cells, endangered species of plants and animals, ever changing landscapes impacted by man’s usage, and other images. The new work integrates idea, text and visual images, with the theme of fragility. I am undertaking this work now as I am a mid-career artist, facing aging parents and the loss of my sister to a rare form of cancer. This theme has been present in my life in many aspects and deserves interpretation and exploration. Roma-Deeley’s poetry offers me much to interpret, and synthesizes my personal experiences and responses to the world. I am looking at fragility of not only the wider environment, but the fragility of our own lives, both in terms of physical fragility but in terms of emotional fragility so common in our current world situation. As I age, I understand more significantly how fragile our plans are for our futures, and I am using symbolism to explore and portray these ideas. To begin this work, I took three weeks as an Artist in Residence at the Leighton Artist Colony, Banff Centre for the Arts. During my time there, the series transformed to Fragility of the Sacred, as I embraced the sacred ground on which I worked. I began to think of what we hold sacred, and how we often devalue that, and how to resolve that issue in my own life. The sacred quality of the landscape and earth is embraced by First Nation people who live in the Banff National Park area; I found their idea of Vision Quest within the land appealing as I worked there, and found passionate inspiration in my research and direct work in the land. This residency informed my ideas of the sacred, and will continue in the years to come. I think this work will be of interest to a wide public; all can relate to issues of fragilty, whether personal, political, environmental, or spiritual. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558284687-T4IOFDYTDXLLLN1BM6TN/mcba-prize-2015-beth-shadur-tremble-4.jpg Entries & Jurors - 2015 Entries - Beth Shadur Beth Shadur (Highland Park, IL) bethshadur.com Tremble (2015) Mixed media Unique work Pages: 8 Dimensions Open: 15″ x 70″ x 12″ Tremble, mixed media handmade book with poetry by Lois Roma-Deeley and written names on back of all youth killed by gun violence in Chicago during 2014. There is also text on gun violence statistics both nationally and in Chicago. Mixed media with watercolor, pen, wood, acrylic paint on wood, metal hinges. 15” x 70” x 12 open. Cover is shaped like wings, and work is displayed with a spent bullet and white feathers. My new works in the Fragility of the Sacred series comprise paintings and individual handmade artists’ books that include visual arts response to the poetry of Lois Roma-Deeley, with whom I have collaborated on a number of projects since 2004. This has resulted in a series of works both in response to her poetry, and at times, in a total collaboration with her to develop ideas and text that are incorporated in my work. Working with text and images has informed my practice for many years, as I have often included text in my work. The text serves to enhance, define or even to challenge the viewer to think of connections between what might seem to be unrelated images. I often use symbolism, taken from various world cultures, as well as personal symbols, to create works that include images that are both beautiful but also dangerous, including cancer cells, endangered species of plants and animals, ever changing landscapes impacted by man’s usage, and other images. The new work integrates idea, text and visual images, with the theme of fragility. I am undertaking this work now as I am a mid-career artist, facing aging parents and the loss of my sister to a rare form of cancer. This theme has been present in my life in many aspects and deserves interpretation and exploration. Roma-Deeley’s poetry offers me much to interpret, and synthesizes my personal experiences and responses to the world. I am looking at fragility of not only the wider environment, but the fragility of our own lives, both in terms of physical fragility but in terms of emotional fragility so common in our current world situation. As I age, I understand more significantly how fragile our plans are for our futures, and I am using symbolism to explore and portray these ideas. To begin this work, I took three weeks as an Artist in Residence at the Leighton Artist Colony, Banff Centre for the Arts. During my time there, the series transformed to Fragility of the Sacred, as I embraced the sacred ground on which I worked. I began to think of what we hold sacred, and how we often devalue that, and how to resolve that issue in my own life. The sacred quality of the landscape and earth is embraced by First Nation people who live in the Banff National Park area; I found their idea of Vision Quest within the land appealing as I worked there, and found passionate inspiration in my research and direct work in the land. This residency informed my ideas of the sacred, and will continue in the years to come. I think this work will be of interest to a wide public; all can relate to issues of fragilty, whether personal, political, environmental, or spiritual. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558455550-1WGN0YR40M29HRUM6V58/mcba-prize-2015-shift-lab-katie-baldwin-denise-bookwalter-sarah-bryant-macy-chadwch-tricia-treacy-shift-1.jpg Entries & Jurors - 2015 Entries - Shift-lab Shift-lab: Katie Baldwin (Huntsville, AL), Denise Bookwalter (Tallahassee, FL), Sarah Bryant (Brighton, England), Macy Chadwick (Oakland, CA) and Tricia Treacy (Boone, NC) shift-lab.org Shift 2014 intaglio, letterpress, woodblock and screenprint Edition of 20 40 pages 6 x 8 x 3″ open 6 x 4 x 3″ closed Shift, A set of artists books housed in a clamshell box. Each book was designed, printed and bound by members of the Shift-lab collective. Processes include: letterpress, woodblock, intaglio, and screenprinting. Shift-lab is a collective of five artists that collaborate regularly on projects but also maintain individual studio practices. The artists are Katie Baldwin from Huntsville, Alabama; Denise Bookwalter from Tallahassee, Florida; Sarah Bryant from Brighton, UK; Macy Chadwick from Oakland, California; and Tricia Treacy from North Carolina formed Shift-lab in 2013. These women members work from across the globe to expand dialogue through exhibitions and projects that investigate narrative, communication and the book. Shift-lab continues to study the shift in contemporary perspectives relating to studio practice, collaboration, and both digital & analogue experiences. < shift_edition Using their own interpretation of Shift, each artist created a book of identical dimensions to reflect a shift in perspective or point of view. Katie Baldwin created a series of woodblocks prints with handset type to represent the three diggings to the Erie Canal in 1817, 1825, and 1918. Denise Bookwalter used screenprinting and letterpress to print topographical maps of crumpled paper and textile patterns. Sarah Bryant used letterpress printed images to convey the recorded movements of her body during sleep. Macy Chadwick printed intaglio images with letterpress text to communicate two different perspectives of one conversation. Tricia Treacy printed handset type, using the glyphs and symbols pulled from a larger text, re-contextualizing the type to create a new narrative. Five individual artist books are housed together in a handmade box, printed and bound in an edition of 20. Printmaking processes used to make the books include: intaglio, letterpress, relief and screenprint. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558454015-BE805EXAQSVW6K37AWK4/mcba-prize-2015-shift-lab-katie-baldwin-denise-bookwalter-sarah-bryant-macy-chadwch-tricia-treacy-shift-2.jpg Entries & Jurors - 2015 Entries - Shift-lab Shift-lab: Katie Baldwin (Huntsville, AL), Denise Bookwalter (Tallahassee, FL), Sarah Bryant (Brighton, England), Macy Chadwick (Oakland, CA) and Tricia Treacy (Boone, NC) shift-lab.org Shift 2014 intaglio, letterpress, woodblock and screenprint Edition of 20 40 pages 6 x 8 x 3″ open 6 x 4 x 3″ closed Shift-lab is a collective of five artists that collaborate regularly on projects but also maintain individual studio practices. The artists are Katie Baldwin from Huntsville, Alabama; Denise Bookwalter from Tallahassee, Florida; Sarah Bryant from Brighton, UK; Macy Chadwick from Oakland, California; and Tricia Treacy from North Carolina formed Shift-lab in 2013. These women members work from across the globe to expand dialogue through exhibitions and projects that investigate narrative, communication and the book. Shift-lab continues to study the shift in contemporary perspectives relating to studio practice, collaboration, and both digital & analogue experiences. < shift_edition Using their own interpretation of Shift, each artist created a book of identical dimensions to reflect a shift in perspective or point of view. Katie Baldwin created a series of woodblocks prints with handset type to represent the three diggings to the Erie Canal in 1817, 1825, and 1918. Denise Bookwalter used screenprinting and letterpress to print topographical maps of crumpled paper and textile patterns. Sarah Bryant used letterpress printed images to convey the recorded movements of her body during sleep. Macy Chadwick printed intaglio images with letterpress text to communicate two different perspectives of one conversation. Tricia Treacy printed handset type, using the glyphs and symbols pulled from a larger text, re-contextualizing the type to create a new narrative. Five individual artist books are housed together in a handmade box, printed and bound in an edition of 20. Printmaking processes used to make the books include: intaglio, letterpress, relief and screenprint. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558455723-AIZ5MCA4J97PZOGHLX3H/mcba-prize-2015-shift-lab-katie-baldwin-denise-bookwalter-sarah-bryant-macy-chadwch-tricia-treacy-shift-3.jpg Entries & Jurors - 2015 Entries - Shift-lab Shift-lab: Katie Baldwin (Huntsville, AL), Denise Bookwalter (Tallahassee, FL), Sarah Bryant (Brighton, England), Macy Chadwick (Oakland, CA) and Tricia Treacy (Boone, NC) shift-lab.org Shift 2014 intaglio, letterpress, woodblock and screenprint Edition of 20 40 pages 6 x 8 x 3″ open 6 x 4 x 3″ closed Shift-lab is a collective of five artists that collaborate regularly on projects but also maintain individual studio practices. The artists are Katie Baldwin from Huntsville, Alabama; Denise Bookwalter from Tallahassee, Florida; Sarah Bryant from Brighton, UK; Macy Chadwick from Oakland, California; and Tricia Treacy from North Carolina formed Shift-lab in 2013. These women members work from across the globe to expand dialogue through exhibitions and projects that investigate narrative, communication and the book. Shift-lab continues to study the shift in contemporary perspectives relating to studio practice, collaboration, and both digital & analogue experiences. < shift_edition Using their own interpretation of Shift, each artist created a book of identical dimensions to reflect a shift in perspective or point of view. Katie Baldwin created a series of woodblocks prints with handset type to represent the three diggings to the Erie Canal in 1817, 1825, and 1918. Denise Bookwalter used screenprinting and letterpress to print topographical maps of crumpled paper and textile patterns. Sarah Bryant used letterpress printed images to convey the recorded movements of her body during sleep. Macy Chadwick printed intaglio images with letterpress text to communicate two different perspectives of one conversation. Tricia Treacy printed handset type, using the glyphs and symbols pulled from a larger text, re-contextualizing the type to create a new narrative. Five individual artist books are housed together in a handmade box, printed and bound in an edition of 20. Printmaking processes used to make the books include: intaglio, letterpress, relief and screenprint. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558457553-LGECSREZYYCULJ94HSX7/mcba-prize-2015-shift-lab-katie-baldwin-denise-bookwalter-sarah-bryant-macy-chadwch-tricia-treacy-shift-4.jpg Entries & Jurors - 2015 Entries - Shift-lab Shift-lab: Katie Baldwin (Huntsville, AL), Denise Bookwalter (Tallahassee, FL), Sarah Bryant (Brighton, England), Macy Chadwick (Oakland, CA) and Tricia Treacy (Boone, NC) shift-lab.org Shift 2014 intaglio, letterpress, woodblock and screenprint Edition of 20 40 pages 6 x 8 x 3″ open 6 x 4 x 3″ closed Shift-lab is a collective of five artists that collaborate regularly on projects but also maintain individual studio practices. The artists are Katie Baldwin from Huntsville, Alabama; Denise Bookwalter from Tallahassee, Florida; Sarah Bryant from Brighton, UK; Macy Chadwick from Oakland, California; and Tricia Treacy from North Carolina formed Shift-lab in 2013. These women members work from across the globe to expand dialogue through exhibitions and projects that investigate narrative, communication and the book. Shift-lab continues to study the shift in contemporary perspectives relating to studio practice, collaboration, and both digital & analogue experiences. < shift_edition Using their own interpretation of Shift, each artist created a book of identical dimensions to reflect a shift in perspective or point of view. Katie Baldwin created a series of woodblocks prints with handset type to represent the three diggings to the Erie Canal in 1817, 1825, and 1918. Denise Bookwalter used screenprinting and letterpress to print topographical maps of crumpled paper and textile patterns. Sarah Bryant used letterpress printed images to convey the recorded movements of her body during sleep. Macy Chadwick printed intaglio images with letterpress text to communicate two different perspectives of one conversation. Tricia Treacy printed handset type, using the glyphs and symbols pulled from a larger text, re-contextualizing the type to create a new narrative. Five individual artist books are housed together in a handmade box, printed and bound in an edition of 20. Printmaking processes used to make the books include: intaglio, letterpress, relief and screenprint. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558457370-RM8AC6XZTNDVHTA754Q0/mcba-prize-2015-shift-lab-katie-baldwin-denise-bookwalter-sarah-bryant-macy-chadwch-tricia-treacy-shift-5.jpg Entries & Jurors - 2015 Entries - Shift-lab Shift-lab: Katie Baldwin (Huntsville, AL), Denise Bookwalter (Tallahassee, FL), Sarah Bryant (Brighton, England), Macy Chadwick (Oakland, CA) and Tricia Treacy (Boone, NC) shift-lab.org Shift 2014 intaglio, letterpress, woodblock and screenprint Edition of 20 40 pages 6 x 8 x 3″ open 6 x 4 x 3″ closed Shift-lab is a collective of five artists that collaborate regularly on projects but also maintain individual studio practices. The artists are Katie Baldwin from Huntsville, Alabama; Denise Bookwalter from Tallahassee, Florida; Sarah Bryant from Brighton, UK; Macy Chadwick from Oakland, California; and Tricia Treacy from North Carolina formed Shift-lab in 2013. These women members work from across the globe to expand dialogue through exhibitions and projects that investigate narrative, communication and the book. Shift-lab continues to study the shift in contemporary perspectives relating to studio practice, collaboration, and both digital & analogue experiences. < shift_edition Using their own interpretation of Shift, each artist created a book of identical dimensions to reflect a shift in perspective or point of view. Katie Baldwin created a series of woodblocks prints with handset type to represent the three diggings to the Erie Canal in 1817, 1825, and 1918. Denise Bookwalter used screenprinting and letterpress to print topographical maps of crumpled paper and textile patterns. Sarah Bryant used letterpress printed images to convey the recorded movements of her body during sleep. Macy Chadwick printed intaglio images with letterpress text to communicate two different perspectives of one conversation. Tricia Treacy printed handset type, using the glyphs and symbols pulled from a larger text, re-contextualizing the type to create a new narrative. Five individual artist books are housed together in a handmade box, printed and bound in an edition of 20. Printmaking processes used to make the books include: intaglio, letterpress, relief and screenprint. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558710704-U3CSYSZF5P8O50KKALH8/mcba-prize-2015-jessica-shimeck-mississippi-morning-1.jpg Entries & Jurors - 2015 Entries - Jessica Shimek Jessica Shimek (Minneapolis, MN) jesleestudios.com #Mississippi #Morning 2015 Hand-bound book, woven binding, letterpress printed, ink jet prints, instant film. Edition of 20 107 pages 4 1/4″ X 7″ X 2 1/2″ open 3 1/2″ X 4 1/4″ X 2 1/2″ closed My work explores ways digital media and analog media combine in our everyday life. We can track where we are at almost any given moment, and pinpoint when and where an image was taken. We can sort our responses and contributions of analog subject matter to the digital world with hashtags and descriptions. For six months I took photos of the Mississippi river from the same bridge twice a week. The photos were posted on Instagram with an assortment of hashtags to identify them. After completing this six month project, I collected the images, the locations, times, weather, and hashtags to create this book. I chose Claire Van Vliet’s binding because of the way paper strips were used to weave the pages together, reminiscent of the water flow of the river. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558710881-12599TLW12RKY9C8UVVZ/mcba-prize-2015-jessica-shimeck-mississippi-morning-2.jpg Entries & Jurors - 2015 Entries - Jessica Shimek Jessica Shimek (Minneapolis, MN) jesleestudios.com #Mississippi #Morning 2015 Hand-bound book, woven binding, letterpress printed, ink jet prints, instant film. Edition of 20 107 pages 4 1/4″ X 7″ X 2 1/2″ open 3 1/2″ X 4 1/4″ X 2 1/2″ closed My work explores ways digital media and analog media combine in our everyday life. We can track where we are at almost any given moment, and pinpoint when and where an image was taken. We can sort our responses and contributions of analog subject matter to the digital world with hashtags and descriptions. For six months I took photos of the Mississippi river from the same bridge twice a week. The photos were posted on Instagram with an assortment of hashtags to identify them. After completing this six month project, I collected the images, the locations, times, weather, and hashtags to create this book. I chose Claire Van Vliet’s binding because of the way paper strips were used to weave the pages together, reminiscent of the water flow of the river. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558712197-LED525WBUHK5DHSSHU3C/mcba-prize-2015-jessica-shimeck-mississippi-morning-3.jpg Entries & Jurors - 2015 Entries - Jessica Shimek Jessica Shimek (Minneapolis, MN) jesleestudios.com #Mississippi #Morning 2015 Hand-bound book, woven binding, letterpress printed, ink jet prints, instant film. Edition of 20 107 pages 4 1/4″ X 7″ X 2 1/2″ open 3 1/2″ X 4 1/4″ X 2 1/2″ closed My work explores ways digital media and analog media combine in our everyday life. We can track where we are at almost any given moment, and pinpoint when and where an image was taken. We can sort our responses and contributions of analog subject matter to the digital world with hashtags and descriptions. For six months I took photos of the Mississippi river from the same bridge twice a week. The photos were posted on Instagram with an assortment of hashtags to identify them. After completing this six month project, I collected the images, the locations, times, weather, and hashtags to create this book. I chose Claire Van Vliet’s binding because of the way paper strips were used to weave the pages together, reminiscent of the water flow of the river. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558712637-PA0CEEGPLFPMDG7ODEA3/mcba-prize-2015-jessica-shimeck-mississippi-morning-4.jpg Entries & Jurors - 2015 Entries - Jessica Shimek Jessica Shimek (Minneapolis, MN) jesleestudios.com #Mississippi #Morning 2015 Hand-bound book, woven binding, letterpress printed, ink jet prints, instant film. Edition of 20 107 pages 4 1/4″ X 7″ X 2 1/2″ open 3 1/2″ X 4 1/4″ X 2 1/2″ closed My work explores ways digital media and analog media combine in our everyday life. We can track where we are at almost any given moment, and pinpoint when and where an image was taken. We can sort our responses and contributions of analog subject matter to the digital world with hashtags and descriptions. For six months I took photos of the Mississippi river from the same bridge twice a week. The photos were posted on Instagram with an assortment of hashtags to identify them. After completing this six month project, I collected the images, the locations, times, weather, and hashtags to create this book. I chose Claire Van Vliet’s binding because of the way paper strips were used to weave the pages together, reminiscent of the water flow of the river. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558713820-1NH8WPV5PIIAVAGP64G8/mcba-prize-2015-jessica-shimeck-mississippi-morning-5.jpg Entries & Jurors - 2015 Entries - Jessica Shimek Jessica Shimek (Minneapolis, MN) jesleestudios.com #Mississippi #Morning 2015 Hand-bound book, woven binding, letterpress printed, ink jet prints, instant film. Edition of 20 107 pages 4 1/4″ X 7″ X 2 1/2″ open 3 1/2″ X 4 1/4″ X 2 1/2″ closed My work explores ways digital media and analog media combine in our everyday life. We can track where we are at almost any given moment, and pinpoint when and where an image was taken. We can sort our responses and contributions of analog subject matter to the digital world with hashtags and descriptions. For six months I took photos of the Mississippi river from the same bridge twice a week. The photos were posted on Instagram with an assortment of hashtags to identify them. After completing this six month project, I collected the images, the locations, times, weather, and hashtags to create this book. I chose Claire Van Vliet’s binding because of the way paper strips were used to weave the pages together, reminiscent of the water flow of the river. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558821972-X1JOOX98WD1SMDVVD7Q6/mcba-prize-2015-robbin-ami-silverberg-smell-of-winter-1.jpg Entries & Jurors - 2015 Entries - Robbin Ami Silverberg Robbin Ami Silverberg (Brooklyn, NY) robbinamisilverberg.com Smell of Winter 2014 Embedded silks in handmade papers, archival inkjet photographs and text, artisanal perfume vial Edition of 10 32 pages Open: 13.25″x25″ (book) / 14.25″x27″x1″ (box) Closed: 13.25″ x 12.75″ x .25″ (book) Smell of Winter is here displayed with its celadon silk & handmade paper clamshell & perfume vial. Although the basis for my work, whether artist book or installation, is conceptual, much of my artwork stems from an essential materiality. The artwork reflects on both my material sensibility as much as the content and issues that comprise their core. Paper has been my preferred material for over 30 years and I have explored its potential as a non-neutral substrate in my image making, book making and process. Much of my work focuses on the image of text based on a Cabalistic belief, which explains that two holy books were actually handed down: the Black Torah and the White Torah. The Black one is made of all the black letters while the White Torah is made up of all the space between them – between the words and between the letters — where the Cabalists believed true wisdom could be found. My interest is in this interlinearity, the ‘in-between’ that highlights language cognition – what words can actually communicate and their limitations. Can ideas exist without language and words? And, if the word order defines meaning, is it the words themselves or the spaces between that contain those ideas? The resulting artworks, whether made as books or installations, force the viewer to re-consider the very act of ‘reading’. Smell of Winter: Color, texture and layering, along with scent & sound, are all utilized here to evoke the feel of the ‘smell of winter’. The 1st & last signatures, made from translucent papers with embedded silk pieces of deep purples & whites, express the abstraction of cold through its color tonalities and the crisp rustle of the turning pages. Nestled on these translucent pages are tiny slats of paper with the chemical names used in the perfume. When consecutively read, these words transform to an absurdist sound poem; simultaneously, the abstract imagery becomes suggestive of enlargements of microscopy. A smaller central signature, also of translucent papers, displays photographs of shadows made on the snow & ice on a visit to Smithson’s Spiral Jetty, Salt Lake, Utah, along with an overlay printing of the handwritten recipe for the perfume. A narrow paper strip is tipped on to the final page, with a whimsical text by the artist, I mentioned the North Pole. The text tells of an elderly woman who dreams of the smell of her phantom books and the small of snow. A spray vial of Snow perfume, is included in the clamshell, designed & produced with MCMC Frqngrances, in a limited edition of 12 spray vials especially for this artist book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558822072-9SLKS18PWUCX3NBUFXHW/mcba-prize-2015-robbin-ami-silverberg-smell-of-winter-2.jpg Entries & Jurors - 2015 Entries - Robbin Ami Silverberg Robbin Ami Silverberg (Brooklyn, NY) robbinamisilverberg.com Smell of Winter 2014 Embedded silks in handmade papers, archival inkjet photographs and text, artisanal perfume vial Edition of 10 32 pages Open: 13.25″x25″ (book) / 14.25″x27″x1″ (box) Closed: 13.25″ x 12.75″ x .25″ (book) The first & last signatures are made from translucent papers with embedded silk pieces of deep purples & whites. Although the basis for my work, whether artist book or installation, is conceptual, much of my artwork stems from an essential materiality. The artwork reflects on both my material sensibility as much as the content and issues that comprise their core. Paper has been my preferred material for over 30 years and I have explored its potential as a non-neutral substrate in my image making, book making and process. Much of my work focuses on the image of text based on a Cabalistic belief, which explains that two holy books were actually handed down: the Black Torah and the White Torah. The Black one is made of all the black letters while the White Torah is made up of all the space between them – between the words and between the letters — where the Cabalists believed true wisdom could be found. My interest is in this interlinearity, the ‘in-between’ that highlights language cognition – what words can actually communicate and their limitations. Can ideas exist without language and words? And, if the word order defines meaning, is it the words themselves or the spaces between that contain those ideas? The resulting artworks, whether made as books or installations, force the viewer to re-consider the very act of ‘reading’. Smell of Winter: Color, texture and layering, along with scent & sound, are all utilized here to evoke the feel of the ‘smell of winter’. The 1st & last signatures, made from translucent papers with embedded silk pieces of deep purples & whites, express the abstraction of cold through its color tonalities and the crisp rustle of the turning pages. Nestled on these translucent pages are tiny slats of paper with the chemical names used in the perfume. When consecutively read, these words transform to an absurdist sound poem; simultaneously, the abstract imagery becomes suggestive of enlargements of microscopy. A smaller central signature, also of translucent papers, displays photographs of shadows made on the snow & ice on a visit to Smithson’s Spiral Jetty, Salt Lake, Utah, along with an overlay printing of the handwritten recipe for the perfume. A narrow paper strip is tipped on to the final page, with a whimsical text by the artist, I mentioned the North Pole. The text tells of an elderly woman who dreams of the smell of her phantom books and the small of snow. A spray vial of Snow perfume, is included in the clamshell, designed & produced with MCMC Frqngrances, in a limited edition of 12 spray vials especially for this artist book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558823579-6YVOP2US5QPAWPPI70CU/mcba-prize-2015-robbin-ami-silverberg-smell-of-winter-3.jpg Entries & Jurors - 2015 Entries - Robbin Ami Silverberg Robbin Ami Silverberg (Brooklyn, NY) robbinamisilverberg.com Smell of Winter 2014 Embedded silks in handmade papers, archival inkjet photographs and text, artisanal perfume vial Edition of 10 32 pages Open: 13.25″x25″ (book) / 14.25″x27″x1″ (box) Closed: 13.25″ x 12.75″ x .25″ (book) Tiny slats of paper with the chemical names used in the perfume are tipped onto the pages forming an absurdist sound poem. Although the basis for my work, whether artist book or installation, is conceptual, much of my artwork stems from an essential materiality. The artwork reflects on both my material sensibility as much as the content and issues that comprise their core. Paper has been my preferred material for over 30 years and I have explored its potential as a non-neutral substrate in my image making, book making and process. Much of my work focuses on the image of text based on a Cabalistic belief, which explains that two holy books were actually handed down: the Black Torah and the White Torah. The Black one is made of all the black letters while the White Torah is made up of all the space between them – between the words and between the letters — where the Cabalists believed true wisdom could be found. My interest is in this interlinearity, the ‘in-between’ that highlights language cognition – what words can actually communicate and their limitations. Can ideas exist without language and words? And, if the word order defines meaning, is it the words themselves or the spaces between that contain those ideas? The resulting artworks, whether made as books or installations, force the viewer to re-consider the very act of ‘reading’. Smell of Winter: Color, texture and layering, along with scent & sound, are all utilized here to evoke the feel of the ‘smell of winter’. The 1st & last signatures, made from translucent papers with embedded silk pieces of deep purples & whites, express the abstraction of cold through its color tonalities and the crisp rustle of the turning pages. Nestled on these translucent pages are tiny slats of paper with the chemical names used in the perfume. When consecutively read, these words transform to an absurdist sound poem; simultaneously, the abstract imagery becomes suggestive of enlargements of microscopy. A smaller central signature, also of translucent papers, displays photographs of shadows made on the snow & ice on a visit to Smithson’s Spiral Jetty, Salt Lake, Utah, along with an overlay printing of the handwritten recipe for the perfume. A narrow paper strip is tipped on to the final page, with a whimsical text by the artist, I mentioned the North Pole. The text tells of an elderly woman who dreams of the smell of her phantom books and the small of snow. A spray vial of Snow perfume, is included in the clamshell, designed & produced with MCMC Frqngrances, in a limited edition of 12 spray vials especially for this artist book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558823481-ZEYPGMNNQAOAWYCMWMWY/mcba-prize-2015-robbin-ami-silverberg-smell-of-winter-4.jpg Entries & Jurors - 2015 Entries - Robbin Ami Silverberg Robbin Ami Silverberg (Brooklyn, NY) robbinamisilverberg.com Smell of Winter 2014 Embedded silks in handmade papers, archival inkjet photographs and text, artisanal perfume vial Edition of 10 32 pages Open: 13.25″x25″ (book) / 14.25″x27″x1″ (box) Closed: 13.25″ x 12.75″ x .25″ (book) The central signature displays photographs of shadows made on the snow & ice the handwritten recipe for the perfume. Although the basis for my work, whether artist book or installation, is conceptual, much of my artwork stems from an essential materiality. The artwork reflects on both my material sensibility as much as the content and issues that comprise their core. Paper has been my preferred material for over 30 years and I have explored its potential as a non-neutral substrate in my image making, book making and process. Much of my work focuses on the image of text based on a Cabalistic belief, which explains that two holy books were actually handed down: the Black Torah and the White Torah. The Black one is made of all the black letters while the White Torah is made up of all the space between them – between the words and between the letters — where the Cabalists believed true wisdom could be found. My interest is in this interlinearity, the ‘in-between’ that highlights language cognition – what words can actually communicate and their limitations. Can ideas exist without language and words? And, if the word order defines meaning, is it the words themselves or the spaces between that contain those ideas? The resulting artworks, whether made as books or installations, force the viewer to re-consider the very act of ‘reading’. Smell of Winter: Color, texture and layering, along with scent & sound, are all utilized here to evoke the feel of the ‘smell of winter’. The 1st & last signatures, made from translucent papers with embedded silk pieces of deep purples & whites, express the abstraction of cold through its color tonalities and the crisp rustle of the turning pages. Nestled on these translucent pages are tiny slats of paper with the chemical names used in the perfume. When consecutively read, these words transform to an absurdist sound poem; simultaneously, the abstract imagery becomes suggestive of enlargements of microscopy. A smaller central signature, also of translucent papers, displays photographs of shadows made on the snow & ice on a visit to Smithson’s Spiral Jetty, Salt Lake, Utah, along with an overlay printing of the handwritten recipe for the perfume. A narrow paper strip is tipped on to the final page, with a whimsical text by the artist, I mentioned the North Pole. The text tells of an elderly woman who dreams of the smell of her phantom books and the small of snow. A spray vial of Snow perfume, is included in the clamshell, designed & produced with MCMC Frqngrances, in a limited edition of 12 spray vials especially for this artist book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774558825001-SEJT2V24XX0HICXSIVKL/mcba-prize-2015-robbin-ami-silverberg-smell-of-winter-5.jpg Entries & Jurors - 2015 Entries - Robbin Ami Silverberg Robbin Ami Silverberg (Brooklyn, NY) robbinamisilverberg.com Smell of Winter 2014 Embedded silks in handmade papers, archival inkjet photographs and text, artisanal perfume vial Edition of 10 32 pages Open: 13.25″x25″ (book) / 14.25″x27″x1″ (box) Closed: 13.25″ x 12.75″ x .25″ (book) A spray vial of Snow perfume is included in the clamshell. Although the basis for my work, whether artist book or installation, is conceptual, much of my artwork stems from an essential materiality. The artwork reflects on both my material sensibility as much as the content and issues that comprise their core. Paper has been my preferred material for over 30 years and I have explored its potential as a non-neutral substrate in my image making, book making and process. Much of my work focuses on the image of text based on a Cabalistic belief, which explains that two holy books were actually handed down: the Black Torah and the White Torah. The Black one is made of all the black letters while the White Torah is made up of all the space between them – between the words and between the letters — where the Cabalists believed true wisdom could be found. My interest is in this interlinearity, the ‘in-between’ that highlights language cognition – what words can actually communicate and their limitations. Can ideas exist without language and words? And, if the word order defines meaning, is it the words themselves or the spaces between that contain those ideas? The resulting artworks, whether made as books or installations, force the viewer to re-consider the very act of ‘reading’. Smell of Winter: Color, texture and layering, along with scent & sound, are all utilized here to evoke the feel of the ‘smell of winter’. The 1st & last signatures, made from translucent papers with embedded silk pieces of deep purples & whites, express the abstraction of cold through its color tonalities and the crisp rustle of the turning pages. Nestled on these translucent pages are tiny slats of paper with the chemical names used in the perfume. When consecutively read, these words transform to an absurdist sound poem; simultaneously, the abstract imagery becomes suggestive of enlargements of microscopy. A smaller central signature, also of translucent papers, displays photographs of shadows made on the snow & ice on a visit to Smithson’s Spiral Jetty, Salt Lake, Utah, along with an overlay printing of the handwritten recipe for the perfume. A narrow paper strip is tipped on to the final page, with a whimsical text by the artist, I mentioned the North Pole. The text tells of an elderly woman who dreams of the smell of her phantom books and the small of snow. A spray vial of Snow perfume, is included in the clamshell, designed & produced with MCMC Frqngrances, in a limited edition of 12 spray vials especially for this artist book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559443050-583I98UE9D7PAEO8O3WG/mcba-prize-2015-delaney-smith-mark-the-loss-3.jpg Entries & Jurors - 2015 Entries - Delaney Smith Delaney Smith (Houston, TX) delaneysmithstudio.com Mark the Loss 2013 cloth, wax, paper, thread, needle, graphite, pins Unique work: set of three books encased in boxes Number of pages vary, approximately 18 pages per book Dimensions open: 8.5 x 18 x 2 inches Dimensions closed: 8.5 x 8 x 2 inches I am interested in our physical and personal relationship with books. The form of a book is familiar, and is easily approachable. From this common space, I push the boundaries of the formal structure of a book in unexpected ways. For example, I accumulate multiple layers of material and form them into signatures, a conventional book element consisting of multiple layers of paper folded in half. These layers are not bound by covers, but are dyed and manipulated, piled on the floor or suspended from the wall. I am also compelled to reconsider the way a book is handled. We are taught at a young age to preserve books. In contrast, the viewers of my books are invited to physically alter the pages, which develop into a unique story of marks. The life of the piece is dependent on the individual that interacts with it, and the work is considered unfinished until the moment the viewer begins to alter it. The viewer is no longer held at arm’s length, but is invited to experience the sensation of manipulating the material. In addition to tactile sensations, the activities in my interactive pieces also express underlying concepts. In Mark the Loss, a narrative that develops when a material is lost or destroyed as a result of a cyclic action. Instead of lingering on what is gone, the focus is on the opportunity for new narrative from the marks left behind. In sculptural pieces, I align the processes of creation with the inherent quality of the material and celebrate the irregularity of natural dye or a torn edge of paper. I manipulate and gather thin, delicate sheets of paper into a mass of texture. Alternatively, I create more structural forms by casting sheets out of repurposed paper. An acute tactile quality is conceived through actual textures such as deeply letter pressed type, and implied textures created by dye and variations of paper pulp content. The limited color palette and simple forms support a peaceful, yet introspective quality. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559440008-UA3GLU33JNXAANAUGV43/mcba-prize-2015-delaney-smith-mark-the-loss-1.jpg Entries & Jurors - 2015 Entries - Delaney Smith Delaney Smith (Houston, TX) delaneysmithstudio.com Mark the Loss 2013 cloth, wax, paper, thread, needle, graphite, pins Unique work: set of three books encased in boxes Number of pages vary, approximately 18 pages per book Dimensions open: 8.5 x 18 x 2 inches Dimensions closed: 8.5 x 8 x 2 inches I am interested in our physical and personal relationship with books. The form of a book is familiar, and is easily approachable. From this common space, I push the boundaries of the formal structure of a book in unexpected ways. For example, I accumulate multiple layers of material and form them into signatures, a conventional book element consisting of multiple layers of paper folded in half. These layers are not bound by covers, but are dyed and manipulated, piled on the floor or suspended from the wall. I am also compelled to reconsider the way a book is handled. We are taught at a young age to preserve books. In contrast, the viewers of my books are invited to physically alter the pages, which develop into a unique story of marks. The life of the piece is dependent on the individual that interacts with it, and the work is considered unfinished until the moment the viewer begins to alter it. The viewer is no longer held at arm’s length, but is invited to experience the sensation of manipulating the material. In addition to tactile sensations, the activities in my interactive pieces also express underlying concepts. In Mark the Loss, a narrative that develops when a material is lost or destroyed as a result of a cyclic action. Instead of lingering on what is gone, the focus is on the opportunity for new narrative from the marks left behind. In sculptural pieces, I align the processes of creation with the inherent quality of the material and celebrate the irregularity of natural dye or a torn edge of paper. I manipulate and gather thin, delicate sheets of paper into a mass of texture. Alternatively, I create more structural forms by casting sheets out of repurposed paper. An acute tactile quality is conceived through actual textures such as deeply letter pressed type, and implied textures created by dye and variations of paper pulp content. The limited color palette and simple forms support a peaceful, yet introspective quality. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559439785-XSEZ83S35T4XN4RYAK23/mcba-prize-2015-delaney-smith-mark-the-loss-2.jpg Entries & Jurors - 2015 Entries - Delaney Smith Delaney Smith (Houston, TX) delaneysmithstudio.com Mark the Loss 2013 cloth, wax, paper, thread, needle, graphite, pins Unique work: set of three books encased in boxes Number of pages vary, approximately 18 pages per book Dimensions open: 8.5 x 18 x 2 inches Dimensions closed: 8.5 x 8 x 2 inches I am interested in our physical and personal relationship with books. The form of a book is familiar, and is easily approachable. From this common space, I push the boundaries of the formal structure of a book in unexpected ways. For example, I accumulate multiple layers of material and form them into signatures, a conventional book element consisting of multiple layers of paper folded in half. These layers are not bound by covers, but are dyed and manipulated, piled on the floor or suspended from the wall. I am also compelled to reconsider the way a book is handled. We are taught at a young age to preserve books. In contrast, the viewers of my books are invited to physically alter the pages, which develop into a unique story of marks. The life of the piece is dependent on the individual that interacts with it, and the work is considered unfinished until the moment the viewer begins to alter it. The viewer is no longer held at arm’s length, but is invited to experience the sensation of manipulating the material. In addition to tactile sensations, the activities in my interactive pieces also express underlying concepts. In Mark the Loss, a narrative that develops when a material is lost or destroyed as a result of a cyclic action. Instead of lingering on what is gone, the focus is on the opportunity for new narrative from the marks left behind. In sculptural pieces, I align the processes of creation with the inherent quality of the material and celebrate the irregularity of natural dye or a torn edge of paper. I manipulate and gather thin, delicate sheets of paper into a mass of texture. Alternatively, I create more structural forms by casting sheets out of repurposed paper. An acute tactile quality is conceived through actual textures such as deeply letter pressed type, and implied textures created by dye and variations of paper pulp content. The limited color palette and simple forms support a peaceful, yet introspective quality. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559575837-99F3F7IT5EITDRGV4Z69/mcba-prize-2015-bonnie-stahlecker-framing-the-quiet-1.jpg Entries & Jurors - 2015 Entries - Bonnie Stahlecker Bonnie Stahlecker (Plainfield, IN) bonnie-stahlecker.com Framing the Quiet 2013 relief printing with past paint and collage Unique work Pages: 6 Dimensions: 7 x 16 x 3 inches For years I have been making books and objects that combine layers of text, image and surface design. While my work is highly craft-centered and material-centric, it is the ideas and concepts that always drive the process and guide the media used. Framing the Quiet is from an ongoing series called Listen. The overall theme is acknowledging and honoring the spaces or pauses encircling the words in verbal conversations. Just as musical rests are important to give the notes their full meaning, the silences surrounding the words give voice to the full meaning in and throughout conversations. This book was designed so that the three apertures would line up as the accordion folds are reversed, allowing for a view through all three openings. The voids represent the pauses or gaps in discussions. The wire-edge binding technique was used because the structure needed to be completely flexible and the joints needed to be mechanically sound. The stiffness of the laminated leaves permitted the book to be displayed standing up. It became apparent as the piece was created that the book had multiple configurations that were just as interesting as the first conception. I leave it to others to arrange the book in ways that please them. The imagery is relief printing with paste paint and collage added to the base layer. The resulting pattern of ambiguous text and with intentional structure creates an interactive experience for the viewer, regardless if the book is handheld or on display. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559576249-EXRHV3Z5YFIWE4VGRKAL/mcba-prize-2015-bonnie-stahlecker-framing-the-quiet-2.jpg Entries & Jurors - 2015 Entries - Bonnie Stahlecker Bonnie Stahlecker (Plainfield, IN) bonnie-stahlecker.com Framing the Quiet 2013 relief printing with past paint and collage Unique work Pages: 6 Dimensions: 7 x 16 x 3 inches For years I have been making books and objects that combine layers of text, image and surface design. While my work is highly craft-centered and material-centric, it is the ideas and concepts that always drive the process and guide the media used. Framing the Quiet is from an ongoing series called Listen. The overall theme is acknowledging and honoring the spaces or pauses encircling the words in verbal conversations. Just as musical rests are important to give the notes their full meaning, the silences surrounding the words give voice to the full meaning in and throughout conversations. This book was designed so that the three apertures would line up as the accordion folds are reversed, allowing for a view through all three openings. The voids represent the pauses or gaps in discussions. The wire-edge binding technique was used because the structure needed to be completely flexible and the joints needed to be mechanically sound. The stiffness of the laminated leaves permitted the book to be displayed standing up. It became apparent as the piece was created that the book had multiple configurations that were just as interesting as the first conception. I leave it to others to arrange the book in ways that please them. The imagery is relief printing with paste paint and collage added to the base layer. The resulting pattern of ambiguous text and with intentional structure creates an interactive experience for the viewer, regardless if the book is handheld or on display. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559577751-0YL0TOKT04BH33V1N070/mcba-prize-2015-bonnie-stahlecker-framing-the-quiet-3.jpg Entries & Jurors - 2015 Entries - Bonnie Stahlecker Bonnie Stahlecker (Plainfield, IN) bonnie-stahlecker.com Framing the Quiet 2013 relief printing with past paint and collage Unique work Pages: 6 Dimensions: 7 x 16 x 3 inches For years I have been making books and objects that combine layers of text, image and surface design. While my work is highly craft-centered and material-centric, it is the ideas and concepts that always drive the process and guide the media used. Framing the Quiet is from an ongoing series called Listen. The overall theme is acknowledging and honoring the spaces or pauses encircling the words in verbal conversations. Just as musical rests are important to give the notes their full meaning, the silences surrounding the words give voice to the full meaning in and throughout conversations. This book was designed so that the three apertures would line up as the accordion folds are reversed, allowing for a view through all three openings. The voids represent the pauses or gaps in discussions. The wire-edge binding technique was used because the structure needed to be completely flexible and the joints needed to be mechanically sound. The stiffness of the laminated leaves permitted the book to be displayed standing up. It became apparent as the piece was created that the book had multiple configurations that were just as interesting as the first conception. I leave it to others to arrange the book in ways that please them. The imagery is relief printing with paste paint and collage added to the base layer. The resulting pattern of ambiguous text and with intentional structure creates an interactive experience for the viewer, regardless if the book is handheld or on display. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559578293-TGI682XVA7GWVQ6ZA1VS/mcba-prize-2015-bonnie-stahlecker-framing-the-quiet-4.jpg Entries & Jurors - 2015 Entries - Bonnie Stahlecker Bonnie Stahlecker (Plainfield, IN) bonnie-stahlecker.com Framing the Quiet 2013 relief printing with past paint and collage Unique work Pages: 6 Dimensions: 7 x 16 x 3 inches For years I have been making books and objects that combine layers of text, image and surface design. While my work is highly craft-centered and material-centric, it is the ideas and concepts that always drive the process and guide the media used. Framing the Quiet is from an ongoing series called Listen. The overall theme is acknowledging and honoring the spaces or pauses encircling the words in verbal conversations. Just as musical rests are important to give the notes their full meaning, the silences surrounding the words give voice to the full meaning in and throughout conversations. This book was designed so that the three apertures would line up as the accordion folds are reversed, allowing for a view through all three openings. The voids represent the pauses or gaps in discussions. The wire-edge binding technique was used because the structure needed to be completely flexible and the joints needed to be mechanically sound. The stiffness of the laminated leaves permitted the book to be displayed standing up. It became apparent as the piece was created that the book had multiple configurations that were just as interesting as the first conception. I leave it to others to arrange the book in ways that please them. The imagery is relief printing with paste paint and collage added to the base layer. The resulting pattern of ambiguous text and with intentional structure creates an interactive experience for the viewer, regardless if the book is handheld or on display. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559719382-RKOGMLWLISKZ52U51AW7/mcba-prize-2015-bonnie-stahlecker-vastness-of-silence-1.jpg Entries & Jurors - 2015 Entries - Bonnie Stahlecker Bonnie Stahlecker (Plainfield, IN) bonnie-stahlecker.com Vastness of Silence 2013 intaglio printing with paste paint, pochoir and hand lettering Unique work Pages: 6 Dimensions: 6.25 x 16 x 3 inches For years I have been making books and objects that combine layers of text, image and surface design. While my work is highly craft-centered and material-centric, it is the ideas and concepts that always drive the process and guide the media used. Vastness of Silence is from an ongoing series called Listen. The overall theme is acknowledging and honoring the spaces or pauses encircling the words in verbal conversations. Just as musical rests are important to give the notes their full meaning, the silences surrounding the words give voice to the full meaning in and throughout conversations. This book was designed so that the three apertures would line up as the accordion folds are reversed, allowing for a view through all three openings. The voids represent the pauses or gaps in discussions. The wire-edge binding technique was used because the structure needed to be completely flexible and the joints needed to be mechanically sound. The stiffness of the laminated leaves permitted the book to be displayed standing up. It became apparent as the piece was created that the book had multiple configurations that were just as interesting as the first conception. I leave it to others to arrange the book in ways that please them. The imagery is intaglio printing with paste paint, pochoir and hand lettering added to the base layer. The resulting pattern of ambiguous text and with intentional structure creates an interactive experience for the viewer, regardless if the book is handheld or on display. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559719255-NVUO0TGPFVD5VUWIQCY3/mcba-prize-2015-bonnie-stahlecker-vastness-of-silence-2.jpg Entries & Jurors - 2015 Entries - Bonnie Stahlecker Bonnie Stahlecker (Plainfield, IN) bonnie-stahlecker.com Vastness of Silence 2013 intaglio printing with paste paint, pochoir and hand lettering Unique work Pages: 6 Dimensions: 6.25 x 16 x 3 inches For years I have been making books and objects that combine layers of text, image and surface design. While my work is highly craft-centered and material-centric, it is the ideas and concepts that always drive the process and guide the media used. Vastness of Silence is from an ongoing series called Listen. The overall theme is acknowledging and honoring the spaces or pauses encircling the words in verbal conversations. Just as musical rests are important to give the notes their full meaning, the silences surrounding the words give voice to the full meaning in and throughout conversations. This book was designed so that the three apertures would line up as the accordion folds are reversed, allowing for a view through all three openings. The voids represent the pauses or gaps in discussions. The wire-edge binding technique was used because the structure needed to be completely flexible and the joints needed to be mechanically sound. The stiffness of the laminated leaves permitted the book to be displayed standing up. It became apparent as the piece was created that the book had multiple configurations that were just as interesting as the first conception. I leave it to others to arrange the book in ways that please them. The imagery is intaglio printing with paste paint, pochoir and hand lettering added to the base layer. The resulting pattern of ambiguous text and with intentional structure creates an interactive experience for the viewer, regardless if the book is handheld or on display. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559721229-5E6DUV5G6YMKZQ6ZWW17/mcba-prize-2015-bonnie-stahlecker-vastness-of-silence-3.jpg Entries & Jurors - 2015 Entries - Bonnie Stahlecker Bonnie Stahlecker (Plainfield, IN) bonnie-stahlecker.com Vastness of Silence 2013 intaglio printing with paste paint, pochoir and hand lettering Unique work Pages: 6 Dimensions: 6.25 x 16 x 3 inches For years I have been making books and objects that combine layers of text, image and surface design. While my work is highly craft-centered and material-centric, it is the ideas and concepts that always drive the process and guide the media used. Vastness of Silence is from an ongoing series called Listen. The overall theme is acknowledging and honoring the spaces or pauses encircling the words in verbal conversations. Just as musical rests are important to give the notes their full meaning, the silences surrounding the words give voice to the full meaning in and throughout conversations. This book was designed so that the three apertures would line up as the accordion folds are reversed, allowing for a view through all three openings. The voids represent the pauses or gaps in discussions. The wire-edge binding technique was used because the structure needed to be completely flexible and the joints needed to be mechanically sound. The stiffness of the laminated leaves permitted the book to be displayed standing up. It became apparent as the piece was created that the book had multiple configurations that were just as interesting as the first conception. I leave it to others to arrange the book in ways that please them. The imagery is intaglio printing with paste paint, pochoir and hand lettering added to the base layer. The resulting pattern of ambiguous text and with intentional structure creates an interactive experience for the viewer, regardless if the book is handheld or on display. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559722616-IXZ7HBDPRSSZVUK7JELO/mcba-prize-2015-bonnie-stahlecker-vastness-of-silence-4.jpg Entries & Jurors - 2015 Entries - Bonnie Stahlecker Bonnie Stahlecker (Plainfield, IN) bonnie-stahlecker.com Vastness of Silence 2013 intaglio printing with paste paint, pochoir and hand lettering Unique work Pages: 6 Dimensions: 6.25 x 16 x 3 inches For years I have been making books and objects that combine layers of text, image and surface design. While my work is highly craft-centered and material-centric, it is the ideas and concepts that always drive the process and guide the media used. Vastness of Silence is from an ongoing series called Listen. The overall theme is acknowledging and honoring the spaces or pauses encircling the words in verbal conversations. Just as musical rests are important to give the notes their full meaning, the silences surrounding the words give voice to the full meaning in and throughout conversations. This book was designed so that the three apertures would line up as the accordion folds are reversed, allowing for a view through all three openings. The voids represent the pauses or gaps in discussions. The wire-edge binding technique was used because the structure needed to be completely flexible and the joints needed to be mechanically sound. The stiffness of the laminated leaves permitted the book to be displayed standing up. It became apparent as the piece was created that the book had multiple configurations that were just as interesting as the first conception. I leave it to others to arrange the book in ways that please them. The imagery is intaglio printing with paste paint, pochoir and hand lettering added to the base layer. The resulting pattern of ambiguous text and with intentional structure creates an interactive experience for the viewer, regardless if the book is handheld or on display. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559800965-Y7DGJ9ZFB4OIJRODLCJZ/mcba-prize-2015-maria-szczodrowska-od-poczatku-do-konaca-from-the-beginning-until-the-end-1.jpg Entries & Jurors - 2015 Entries - Maria Szczodrowska Maria Szczodrowska (Toruń, Poland) behance.net/mariaszczodrowska Od początku do końca (From the beginning until the end) 2014 mixed-media, hand-cut on paper Unique work 66 pages 20.4 x 41.3 cm open 20.4 x 20.7 x 2.9 cm closed, slipcase 21.4 x 21 x 3.3 This book is an artistic interpretation of the life of an individual person. Life, which had its beginning and the end. All elements of this book have symbolic meaning, refer to some events or facts. Cuts in the pages create relief, which is associated with the cross-section of a tree. The last card it begins the growth, each new card symbolize one year. Reading the book from the end, we get to know the history of life from the beginning until the end. The book has been made by hand in one unique copy. It’s made in the form of a traditional codex. The slipcase is its integral part. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559799915-X7R3SAN8FQ3988UOULZ4/mcba-prize-2015-maria-szczodrowska-od-poczatku-do-konaca-from-the-beginning-until-the-end-2.jpg Entries & Jurors - 2015 Entries - Maria Szczodrowska Maria Szczodrowska (Toruń, Poland) behance.net/mariaszczodrowska Od początku do końca (From the beginning until the end) 2014 mixed-media, hand-cut on paper Unique work 66 pages 20.4 x 41.3 cm open 20.4 x 20.7 x 2.9 cm closed, slipcase 21.4 x 21 x 3.3 This book is an artistic interpretation of the life of an individual person. Life, which had its beginning and the end. All elements of this book have symbolic meaning, refer to some events or facts. Cuts in the pages create relief, which is associated with the cross-section of a tree. The last card it begins the growth, each new card symbolize one year. Reading the book from the end, we get to know the history of life from the beginning until the end. The book has been made by hand in one unique copy. It’s made in the form of a traditional codex. The slipcase is its integral part. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559801345-7XC7BTGZ5REEKXHNQQDV/mcba-prize-2015-maria-szczodrowska-od-poczatku-do-konaca-from-the-beginning-until-the-end-3.jpg Entries & Jurors - 2015 Entries - Maria Szczodrowska Maria Szczodrowska (Toruń, Poland) behance.net/mariaszczodrowska Od początku do końca (From the beginning until the end) 2014 mixed-media, hand-cut on paper Unique work 66 pages 20.4 x 41.3 cm open 20.4 x 20.7 x 2.9 cm closed, slipcase 21.4 x 21 x 3.3 This book is an artistic interpretation of the life of an individual person. Life, which had its beginning and the end. All elements of this book have symbolic meaning, refer to some events or facts. Cuts in the pages create relief, which is associated with the cross-section of a tree. The last card it begins the growth, each new card symbolize one year. Reading the book from the end, we get to know the history of life from the beginning until the end. The book has been made by hand in one unique copy. It’s made in the form of a traditional codex. The slipcase is its integral part. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559802529-YNXLMF60FPJE2M9212HB/mcba-prize-2015-maria-szczodrowska-od-poczatku-do-konaca-from-the-beginning-until-the-end-4.jpg Entries & Jurors - 2015 Entries - Maria Szczodrowska Maria Szczodrowska (Toruń, Poland) behance.net/mariaszczodrowska Od początku do końca (From the beginning until the end) 2014 mixed-media, hand-cut on paper Unique work 66 pages 20.4 x 41.3 cm open 20.4 x 20.7 x 2.9 cm closed, slipcase 21.4 x 21 x 3.3 This book is an artistic interpretation of the life of an individual person. Life, which had its beginning and the end. All elements of this book have symbolic meaning, refer to some events or facts. Cuts in the pages create relief, which is associated with the cross-section of a tree. The last card it begins the growth, each new card symbolize one year. Reading the book from the end, we get to know the history of life from the beginning until the end. The book has been made by hand in one unique copy. It’s made in the form of a traditional codex. The slipcase is its integral part. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559803935-O05WEKG7288Y5EUNAZLU/mcba-prize-2015-maria-szczodrowska-od-poczatku-do-konaca-from-the-beginning-until-the-end-5.jpg Entries & Jurors - 2015 Entries - Maria Szczodrowska Maria Szczodrowska (Toruń, Poland) behance.net/mariaszczodrowska Od początku do końca (From the beginning until the end) 2014 mixed-media, hand-cut on paper Unique work 66 pages 20.4 x 41.3 cm open 20.4 x 20.7 x 2.9 cm closed, slipcase 21.4 x 21 x 3.3 This book is an artistic interpretation of the life of an individual person. Life, which had its beginning and the end. All elements of this book have symbolic meaning, refer to some events or facts. Cuts in the pages create relief, which is associated with the cross-section of a tree. The last card it begins the growth, each new card symbolize one year. Reading the book from the end, we get to know the history of life from the beginning until the end. The book has been made by hand in one unique copy. It’s made in the form of a traditional codex. The slipcase is its integral part. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559943066-U52HSFLEQ9YX6WEWL5WN/mcba-prize-2015-eszter-sziksz-fragment-5.jpg Entries & Jurors - 2015 Entries - Eszter Sziksz Eszter Sziksz (Memphis, TN) esztersziksz.blogspot.com Fragment 2015 screen print and letterpress Unique work 12×7,5 open 5×7,5 closed The universe where we are living is constantly moving, changing and reforming every day. Time and matter are very subjective just like the life around and in us. The subject matter of my books is about life and death. I used a photo portrait of my daughter, who is a life created from me. The photo is a present moment from the past. The instant in time shown in the photograph is already gone but I captured the fleeting moment with my camera. With my books I attempt to show the fragility of life. We continually depend on and react to people in our environment. These interactions shape us. Similarly, books need somebody to open and read them to bring them to life. The resonance of a good book continues to linger after it has been read. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559942877-OQKEKOHUI3IRLTPBG60R/mcba-prize-2015-eszter-sziksz-fragment-1.jpg Entries & Jurors - 2015 Entries - Eszter Sziksz Eszter Sziksz (Memphis, TN) esztersziksz.blogspot.com Fragment 2015 screen print and letterpress Unique work 12×7,5 open 5×7,5 closed The universe where we are living is constantly moving, changing and reforming every day. Time and matter are very subjective just like the life around and in us. The subject matter of my books is about life and death. I used a photo portrait of my daughter, who is a life created from me. The photo is a present moment from the past. The instant in time shown in the photograph is already gone but I captured the fleeting moment with my camera. With my books I attempt to show the fragility of life. We continually depend on and react to people in our environment. These interactions shape us. Similarly, books need somebody to open and read them to bring them to life. The resonance of a good book continues to linger after it has been read. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559944572-8HKJTIVPWI7WJOACR8JA/mcba-prize-2015-eszter-sziksz-fragment-2.jpg Entries & Jurors - 2015 Entries - Eszter Sziksz Eszter Sziksz (Memphis, TN) esztersziksz.blogspot.com Fragment 2015 screen print and letterpress Unique work 12×7,5 open 5×7,5 closed The universe where we are living is constantly moving, changing and reforming every day. Time and matter are very subjective just like the life around and in us. The subject matter of my books is about life and death. I used a photo portrait of my daughter, who is a life created from me. The photo is a present moment from the past. The instant in time shown in the photograph is already gone but I captured the fleeting moment with my camera. With my books I attempt to show the fragility of life. We continually depend on and react to people in our environment. These interactions shape us. Similarly, books need somebody to open and read them to bring them to life. The resonance of a good book continues to linger after it has been read. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559945283-35CBB4YLE46V6LUTXBG6/mcba-prize-2015-eszter-sziksz-fragment-3.jpg Entries & Jurors - 2015 Entries - Eszter Sziksz Eszter Sziksz (Memphis, TN) esztersziksz.blogspot.com Fragment 2015 screen print and letterpress Unique work 12×7,5 open 5×7,5 closed The universe where we are living is constantly moving, changing and reforming every day. Time and matter are very subjective just like the life around and in us. The subject matter of my books is about life and death. I used a photo portrait of my daughter, who is a life created from me. The photo is a present moment from the past. The instant in time shown in the photograph is already gone but I captured the fleeting moment with my camera. With my books I attempt to show the fragility of life. We continually depend on and react to people in our environment. These interactions shape us. Similarly, books need somebody to open and read them to bring them to life. The resonance of a good book continues to linger after it has been read. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559946196-TD36WZ64G3ENEF9BV9HZ/mcba-prize-2015-eszter-sziksz-fragment-4.jpg Entries & Jurors - 2015 Entries - Eszter Sziksz Eszter Sziksz (Memphis, TN) esztersziksz.blogspot.com Fragment 2015 screen print and letterpress Unique work 12×7,5 open 5×7,5 closed The universe where we are living is constantly moving, changing and reforming every day. Time and matter are very subjective just like the life around and in us. The subject matter of my books is about life and death. I used a photo portrait of my daughter, who is a life created from me. The photo is a present moment from the past. The instant in time shown in the photograph is already gone but I captured the fleeting moment with my camera. With my books I attempt to show the fragility of life. We continually depend on and react to people in our environment. These interactions shape us. Similarly, books need somebody to open and read them to bring them to life. The resonance of a good book continues to linger after it has been read. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559976653-193J77A9A26FJYP9OZ7E/mcba-prize-2015-eszter-sziksz-in-the-silence-1.jpg Entries & Jurors - 2015 Entries - Eszter Sziksz Eszter Sziksz (Memphis, TN) esztersziksz.blogspot.com In her silence 2015 screen print letterpress Unique work 18×8 open 9×8 closed The universe where we are living is constantly moving, changing and reforming every day. Time and matter are very subjective just like the life around and in us. The subject matter of my books is about life and death. I used a photo portrait of my daughter, who is a life created from me. The photo is a present moment from the past. The instant in time shown in the photograph is already gone but I captured the fleeting moment with my camera. With my books I attempt to show the fragility of life. We continually depend on and react to people in our environment. These interactions shape us. Similarly, books need somebody to open and read them to bring them to life. The resonance of a good book continues to linger after it has been read. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559976810-BT1I8T54QF7A7ET98DP4/mcba-prize-2015-eszter-sziksz-in-the-silence-2.jpg Entries & Jurors - 2015 Entries - Eszter Sziksz Eszter Sziksz (Memphis, TN) esztersziksz.blogspot.com In her silence 2015 screen print letterpress Unique work 18×8 open 9×8 closed The universe where we are living is constantly moving, changing and reforming every day. Time and matter are very subjective just like the life around and in us. The subject matter of my books is about life and death. I used a photo portrait of my daughter, who is a life created from me. The photo is a present moment from the past. The instant in time shown in the photograph is already gone but I captured the fleeting moment with my camera. With my books I attempt to show the fragility of life. We continually depend on and react to people in our environment. These interactions shape us. Similarly, books need somebody to open and read them to bring them to life. The resonance of a good book continues to linger after it has been read. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559978282-DYZUYLLJXSZLVBG5YOKQ/mcba-prize-2015-eszter-sziksz-in-the-silence-3.jpg Entries & Jurors - 2015 Entries - Eszter Sziksz Eszter Sziksz (Memphis, TN) esztersziksz.blogspot.com In her silence 2015 screen print letterpress Unique work 18×8 open 9×8 closed The universe where we are living is constantly moving, changing and reforming every day. Time and matter are very subjective just like the life around and in us. The subject matter of my books is about life and death. I used a photo portrait of my daughter, who is a life created from me. The photo is a present moment from the past. The instant in time shown in the photograph is already gone but I captured the fleeting moment with my camera. With my books I attempt to show the fragility of life. We continually depend on and react to people in our environment. These interactions shape us. Similarly, books need somebody to open and read them to bring them to life. The resonance of a good book continues to linger after it has been read. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774559978459-JXBF6P9Q2MLN7ERC308D/mcba-prize-2015-eszter-sziksz-in-the-silence-4.jpg Entries & Jurors - 2015 Entries - Eszter Sziksz Eszter Sziksz (Memphis, TN) esztersziksz.blogspot.com In her silence 2015 screen print letterpress Unique work 18×8 open 9×8 closed The universe where we are living is constantly moving, changing and reforming every day. Time and matter are very subjective just like the life around and in us. The subject matter of my books is about life and death. I used a photo portrait of my daughter, who is a life created from me. The photo is a present moment from the past. The instant in time shown in the photograph is already gone but I captured the fleeting moment with my camera. With my books I attempt to show the fragility of life. We continually depend on and react to people in our environment. These interactions shape us. Similarly, books need somebody to open and read them to bring them to life. The resonance of a good book continues to linger after it has been read. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560204507-KHYWZS42LR37KYFGS4L7/mcba-prize-2015-barbara-tetenbaum-diagram-of-wind-5.jpg Entries & Jurors - 2015 Entries - Barbara Tetenbaum Barbara Tetenbaum (Portland, OR) Diagram of Wind 2015 Letterpress printed texts and images cut into strips and adhered to Japanese ‘silk tissue’ (gampi). Sewn to cloth and wood backing. Supported by a wood wave-form platform and held inside a lidded box made of cloth and book board. Poem by Michael Donaghy: “Glass”. Edition of 30 10 pages 17 x 10 x 3 This project represents a three-year investigation of wave forms, and illustrated using articulated paper pages, poetry and other writing. The pages are constructed using Japanese silk tissue (gampi) as a backing for the adhered paper strips. I uses a variety of spaces when collaging to create different sounds and tensions when the viewer turned the pages. I chose Michael Donaghy’s poem ‘Glass’ because it has a rhythm that mimics wave action (it is a sistina, a form which uses repetitive word endings) and provided the title for the project in the line “a meteorologists diagram of wind”. I layered this poem with other pages that support and illustrate my underlying concept. Some pages are collaged in such a way to create a distinct sound or tension, other pages contain texts about wave action in nature and industry, others contain images. The pages are sewn to a cloth and wood backing which can be lifted up and hung on the wall, or left to rest on the undulating wood platform. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560200791-2VPOOJ79NSTWDINVH0JV/mcba-prize-2015-barbara-tetenbaum-diagram-of-wind-1.jpg Entries & Jurors - 2015 Entries - Barbara Tetenbaum Barbara Tetenbaum (Portland, OR) Diagram of Wind 2015 Letterpress printed texts and images cut into strips and adhered to Japanese ‘silk tissue’ (gampi). Sewn to cloth and wood backing. Supported by a wood wave-form platform and held inside a lidded box made of cloth and book board. Poem by Michael Donaghy: “Glass”. Edition of 30 10 pages 17 x 10 x 3 This project represents a three-year investigation of wave forms, and illustrated using articulated paper pages, poetry and other writing. The pages are constructed using Japanese silk tissue (gampi) as a backing for the adhered paper strips. I uses a variety of spaces when collaging to create different sounds and tensions when the viewer turned the pages. I chose Michael Donaghy’s poem ‘Glass’ because it has a rhythm that mimics wave action (it is a sistina, a form which uses repetitive word endings) and provided the title for the project in the line “a meteorologists diagram of wind”. I layered this poem with other pages that support and illustrate my underlying concept. Some pages are collaged in such a way to create a distinct sound or tension, other pages contain texts about wave action in nature and industry, others contain images. The pages are sewn to a cloth and wood backing which can be lifted up and hung on the wall, or left to rest on the undulating wood platform. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560200838-LS952QA73AZTGQIM2K5B/mcba-prize-2015-barbara-tetenbaum-diagram-of-wind-2.jpg Entries & Jurors - 2015 Entries - Barbara Tetenbaum Barbara Tetenbaum (Portland, OR) Diagram of Wind 2015 Letterpress printed texts and images cut into strips and adhered to Japanese ‘silk tissue’ (gampi). Sewn to cloth and wood backing. Supported by a wood wave-form platform and held inside a lidded box made of cloth and book board. Poem by Michael Donaghy: “Glass”. Edition of 30 10 pages 17 x 10 x 3 This project represents a three-year investigation of wave forms, and illustrated using articulated paper pages, poetry and other writing. The pages are constructed using Japanese silk tissue (gampi) as a backing for the adhered paper strips. I uses a variety of spaces when collaging to create different sounds and tensions when the viewer turned the pages. I chose Michael Donaghy’s poem ‘Glass’ because it has a rhythm that mimics wave action (it is a sistina, a form which uses repetitive word endings) and provided the title for the project in the line “a meteorologists diagram of wind”. I layered this poem with other pages that support and illustrate my underlying concept. Some pages are collaged in such a way to create a distinct sound or tension, other pages contain texts about wave action in nature and industry, others contain images. The pages are sewn to a cloth and wood backing which can be lifted up and hung on the wall, or left to rest on the undulating wood platform. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560203295-5DHOFSTDFMQQIIDKFEIV/mcba-prize-2015-barbara-tetenbaum-diagram-of-wind-3.jpg Entries & Jurors - 2015 Entries - Barbara Tetenbaum Barbara Tetenbaum (Portland, OR) Diagram of Wind 2015 Letterpress printed texts and images cut into strips and adhered to Japanese ‘silk tissue’ (gampi). Sewn to cloth and wood backing. Supported by a wood wave-form platform and held inside a lidded box made of cloth and book board. Poem by Michael Donaghy: “Glass”. Edition of 30 10 pages 17 x 10 x 3 This project represents a three-year investigation of wave forms, and illustrated using articulated paper pages, poetry and other writing. The pages are constructed using Japanese silk tissue (gampi) as a backing for the adhered paper strips. I uses a variety of spaces when collaging to create different sounds and tensions when the viewer turned the pages. I chose Michael Donaghy’s poem ‘Glass’ because it has a rhythm that mimics wave action (it is a sistina, a form which uses repetitive word endings) and provided the title for the project in the line “a meteorologists diagram of wind”. I layered this poem with other pages that support and illustrate my underlying concept. Some pages are collaged in such a way to create a distinct sound or tension, other pages contain texts about wave action in nature and industry, others contain images. The pages are sewn to a cloth and wood backing which can be lifted up and hung on the wall, or left to rest on the undulating wood platform. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560203534-JWUYRYT9FP6X2MQSM0VY/mcba-prize-2015-barbara-tetenbaum-diagram-of-wind-4.jpg Entries & Jurors - 2015 Entries - Barbara Tetenbaum Barbara Tetenbaum (Portland, OR) Diagram of Wind 2015 Letterpress printed texts and images cut into strips and adhered to Japanese ‘silk tissue’ (gampi). Sewn to cloth and wood backing. Supported by a wood wave-form platform and held inside a lidded box made of cloth and book board. Poem by Michael Donaghy: “Glass”. Edition of 30 10 pages 17 x 10 x 3 This project represents a three-year investigation of wave forms, and illustrated using articulated paper pages, poetry and other writing. The pages are constructed using Japanese silk tissue (gampi) as a backing for the adhered paper strips. I uses a variety of spaces when collaging to create different sounds and tensions when the viewer turned the pages. I chose Michael Donaghy’s poem ‘Glass’ because it has a rhythm that mimics wave action (it is a sistina, a form which uses repetitive word endings) and provided the title for the project in the line “a meteorologists diagram of wind”. I layered this poem with other pages that support and illustrate my underlying concept. Some pages are collaged in such a way to create a distinct sound or tension, other pages contain texts about wave action in nature and industry, others contain images. The pages are sewn to a cloth and wood backing which can be lifted up and hung on the wall, or left to rest on the undulating wood platform. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560277822-S3G4BV884PG077ZIR0M9/mcba-prize-2015-barbara-tetenbaum-reading-emersons-circles-1.jpg Entries & Jurors - 2015 Entries - Barbara Tetenbaum Barbara Tetenbaum (Portland, OR) Reading Emerson’s ‘Circles’ 2015 Hand-written texts were pressure-printed onto tissue paper. Laser-printed texts printed onto UV-Ultra. Covers: printed Zerkall paper dry-mounted between batiste. Bound with wooden spine and bulldog clips. Wrapper constructed of book cloth and book board. Edition of 30 24 pages 16 x 20 x .5 During a 2-week residency at Caldera, near Sisters, Oregon, I rewrote Ralph Waldo Emerson’s essay “Circles” using a special pen that leaves a hard raised mark if you go slowly enough. I wrote out 23 pages which took nearly 30 hours. I did this to accomplish three things: to force myself to read Emerson’s essay very slowly; to record distractions and thoughts that I had while reading his words; to create a surface that I would later use to print an edition of artist books using a technique I developed and call “Pressure Printing”. Pressure printing uses a low relief plate (my Emerson writings) which is put underneath the paper to be printed (tissue paper) and then run through the letterpress over a type-high inked block. This allows the low relief image to grab more or less ink from the block as it rolls over it. I have now printed an edition of 30 copies of all the pages I wrote out. My thoughts and distractions will be laser printed on transparent paper and interleaved within the book to show that reading is rarely a linear experience, but much fuller experience unique to the reader. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560278024-J00RTPH3LP2TRR8Q4R8M/mcba-prize-2015-barbara-tetenbaum-reading-emersons-circles-2.jpg Entries & Jurors - 2015 Entries - Barbara Tetenbaum Barbara Tetenbaum (Portland, OR) Reading Emerson’s ‘Circles’ 2015 Hand-written texts were pressure-printed onto tissue paper. Laser-printed texts printed onto UV-Ultra. Covers: printed Zerkall paper dry-mounted between batiste. Bound with wooden spine and bulldog clips. Wrapper constructed of book cloth and book board. Edition of 30 24 pages 16 x 20 x .5 During a 2-week residency at Caldera, near Sisters, Oregon, I rewrote Ralph Waldo Emerson’s essay “Circles” using a special pen that leaves a hard raised mark if you go slowly enough. I wrote out 23 pages which took nearly 30 hours. I did this to accomplish three things: to force myself to read Emerson’s essay very slowly; to record distractions and thoughts that I had while reading his words; to create a surface that I would later use to print an edition of artist books using a technique I developed and call “Pressure Printing”. Pressure printing uses a low relief plate (my Emerson writings) which is put underneath the paper to be printed (tissue paper) and then run through the letterpress over a type-high inked block. This allows the low relief image to grab more or less ink from the block as it rolls over it. I have now printed an edition of 30 copies of all the pages I wrote out. My thoughts and distractions will be laser printed on transparent paper and interleaved within the book to show that reading is rarely a linear experience, but much fuller experience unique to the reader. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560280786-YDUQ1PCH8PUNG107FUK8/mcba-prize-2015-barbara-tetenbaum-reading-emersons-circles-3.jpg Entries & Jurors - 2015 Entries - Barbara Tetenbaum Barbara Tetenbaum (Portland, OR) Reading Emerson’s ‘Circles’ 2015 Hand-written texts were pressure-printed onto tissue paper. Laser-printed texts printed onto UV-Ultra. Covers: printed Zerkall paper dry-mounted between batiste. Bound with wooden spine and bulldog clips. Wrapper constructed of book cloth and book board. Edition of 30 24 pages 16 x 20 x .5 During a 2-week residency at Caldera, near Sisters, Oregon, I rewrote Ralph Waldo Emerson’s essay “Circles” using a special pen that leaves a hard raised mark if you go slowly enough. I wrote out 23 pages which took nearly 30 hours. I did this to accomplish three things: to force myself to read Emerson’s essay very slowly; to record distractions and thoughts that I had while reading his words; to create a surface that I would later use to print an edition of artist books using a technique I developed and call “Pressure Printing”. Pressure printing uses a low relief plate (my Emerson writings) which is put underneath the paper to be printed (tissue paper) and then run through the letterpress over a type-high inked block. This allows the low relief image to grab more or less ink from the block as it rolls over it. I have now printed an edition of 30 copies of all the pages I wrote out. My thoughts and distractions will be laser printed on transparent paper and interleaved within the book to show that reading is rarely a linear experience, but much fuller experience unique to the reader. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560281290-8DJPQCAZRHB9ZMQRGBVN/mcba-prize-2015-barbara-tetenbaum-reading-emersons-circles-4.jpg Entries & Jurors - 2015 Entries - Barbara Tetenbaum Barbara Tetenbaum (Portland, OR) Reading Emerson’s ‘Circles’ 2015 Hand-written texts were pressure-printed onto tissue paper. Laser-printed texts printed onto UV-Ultra. Covers: printed Zerkall paper dry-mounted between batiste. Bound with wooden spine and bulldog clips. Wrapper constructed of book cloth and book board. Edition of 30 24 pages 16 x 20 x .5 During a 2-week residency at Caldera, near Sisters, Oregon, I rewrote Ralph Waldo Emerson’s essay “Circles” using a special pen that leaves a hard raised mark if you go slowly enough. I wrote out 23 pages which took nearly 30 hours. I did this to accomplish three things: to force myself to read Emerson’s essay very slowly; to record distractions and thoughts that I had while reading his words; to create a surface that I would later use to print an edition of artist books using a technique I developed and call “Pressure Printing”. Pressure printing uses a low relief plate (my Emerson writings) which is put underneath the paper to be printed (tissue paper) and then run through the letterpress over a type-high inked block. This allows the low relief image to grab more or less ink from the block as it rolls over it. I have now printed an edition of 30 copies of all the pages I wrote out. My thoughts and distractions will be laser printed on transparent paper and interleaved within the book to show that reading is rarely a linear experience, but much fuller experience unique to the reader. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560283049-O80YHM4WWBWRYTH1H0W5/mcba-prize-2015-barbara-tetenbaum-reading-emersons-circles-5.jpg Entries & Jurors - 2015 Entries - Barbara Tetenbaum Barbara Tetenbaum (Portland, OR) Reading Emerson’s ‘Circles’ 2015 Hand-written texts were pressure-printed onto tissue paper. Laser-printed texts printed onto UV-Ultra. Covers: printed Zerkall paper dry-mounted between batiste. Bound with wooden spine and bulldog clips. Wrapper constructed of book cloth and book board. Edition of 30 24 pages 16 x 20 x .5 During a 2-week residency at Caldera, near Sisters, Oregon, I rewrote Ralph Waldo Emerson’s essay “Circles” using a special pen that leaves a hard raised mark if you go slowly enough. I wrote out 23 pages which took nearly 30 hours. I did this to accomplish three things: to force myself to read Emerson’s essay very slowly; to record distractions and thoughts that I had while reading his words; to create a surface that I would later use to print an edition of artist books using a technique I developed and call “Pressure Printing”. Pressure printing uses a low relief plate (my Emerson writings) which is put underneath the paper to be printed (tissue paper) and then run through the letterpress over a type-high inked block. This allows the low relief image to grab more or less ink from the block as it rolls over it. I have now printed an edition of 30 copies of all the pages I wrote out. My thoughts and distractions will be laser printed on transparent paper and interleaved within the book to show that reading is rarely a linear experience, but much fuller experience unique to the reader. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560371054-WF6VBYBPLQRZI82OIQ7U/mcba-prize-2015-peter-donna-thomas-hetch-hetchy-flora-1.jpg Entries & Jurors - 2015 Entries - Peter and Donna Thomas Peter and Donna Thomas (Santa Cruz, CA) cruzio.com Hetch Hetchy Flora 2013 Handmade paper, leather, wood, colored thread. Digital printing on handmade paper. Edition of 30 20 accordion pages Open: 11.5 by 8.25 by 1.5 inches Closed: 11.5 by 8.25 by 1.5 inches The inspiration for making this book came when we visited the Huntington Library in San Marino, CA in April of 2013 and saw their special exhibit, “They Were Wild: Recapturing California’s Wildflower Heritage.” Donna has spent years painting California wildflowers, and has produced four limited edition books and numerous one-of-a-kind books featuring her illustrations. All those books have been miniature, and all of the illustrations in the Huntington show were life size. Donna took this as a personal challenge: to make a book with actual-sized watercolor paintings of California wildflowers. Donna chose to paint in Hetch Hetchy Valley because of the valley’s connection to John Muir and Willis Jepson: both were botanists and both influenced Donna’s interest in botanical painting. Around a hundred years before Donna made her watercolor paintings, John Muir had spent the last days of his life trying (and failing) to stop Hetch Hetchy Valley from being dammed and flooded, and just before the dam flooded the valley, Willis Jepson had collected and identified the flowers growing there. The 19th century botanists’ practice of collecting plants specimens informed the concept for this work. The book is bound as a facsimile of the style of plant press used in Jepson’s day. Just as Jepson would have done, Donna collected flowers she found in one place, on one day, but instead of placing actual plant specimens between blotters, she stitched water-color paintings of the flowers to the accordion pages of the book. Peter created a paper for the project that would reference the strawboard blotters used in 19th century plant presses and also emulate the feel of the granite walls of the Hetch Hetchy Valley. Donna’s original watercolors were printed directly onto Peter’s paper using a Cannon digital printer. Those prints were then sewn by hand onto the accordion folded sheets of “granite” paper. The end pages were sewn to the text pages and glued to the covers. The covers feature a wooden “plant press” over blue Moroccan grain leather-covered boards. This plant press is a lattice of strong hardwoods, modeled after those used in the early 1900s by botanists like Jepson, before the invention of plywood. Several different hardwoods were used in the edition, but most copies are made from walnut acquired from orchards in Stockton, which is located just west of Hetch Hetchy in the San Joaquin Valley. Sadly, and interestingly parallel to what had happened to Muir and Jepson, three months after Donna made her paintings there was a wildfire in Hetch Hetchy Valley, known as the Rim Fire, which scorched the area she had painted in, burning all the vegetation to the ground. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560369552-5T473C7VJSDHY8LUZD0E/mcba-prize-2015-peter-donna-thomas-hetch-hetchy-flora-2.jpg Entries & Jurors - 2015 Entries - Peter and Donna Thomas Peter and Donna Thomas (Santa Cruz, CA) cruzio.com Hetch Hetchy Flora 2013 Handmade paper, leather, wood, colored thread. Digital printing on handmade paper. Edition of 30 20 accordion pages Open: 11.5 by 8.25 by 1.5 inches Closed: 11.5 by 8.25 by 1.5 inches The inspiration for making this book came when we visited the Huntington Library in San Marino, CA in April of 2013 and saw their special exhibit, “They Were Wild: Recapturing California’s Wildflower Heritage.” Donna has spent years painting California wildflowers, and has produced four limited edition books and numerous one-of-a-kind books featuring her illustrations. All those books have been miniature, and all of the illustrations in the Huntington show were life size. Donna took this as a personal challenge: to make a book with actual-sized watercolor paintings of California wildflowers. Donna chose to paint in Hetch Hetchy Valley because of the valley’s connection to John Muir and Willis Jepson: both were botanists and both influenced Donna’s interest in botanical painting. Around a hundred years before Donna made her watercolor paintings, John Muir had spent the last days of his life trying (and failing) to stop Hetch Hetchy Valley from being dammed and flooded, and just before the dam flooded the valley, Willis Jepson had collected and identified the flowers growing there. The 19th century botanists’ practice of collecting plants specimens informed the concept for this work. The book is bound as a facsimile of the style of plant press used in Jepson’s day. Just as Jepson would have done, Donna collected flowers she found in one place, on one day, but instead of placing actual plant specimens between blotters, she stitched water-color paintings of the flowers to the accordion pages of the book. Peter created a paper for the project that would reference the strawboard blotters used in 19th century plant presses and also emulate the feel of the granite walls of the Hetch Hetchy Valley. Donna’s original watercolors were printed directly onto Peter’s paper using a Cannon digital printer. Those prints were then sewn by hand onto the accordion folded sheets of “granite” paper. The end pages were sewn to the text pages and glued to the covers. The covers feature a wooden “plant press” over blue Moroccan grain leather-covered boards. This plant press is a lattice of strong hardwoods, modeled after those used in the early 1900s by botanists like Jepson, before the invention of plywood. Several different hardwoods were used in the edition, but most copies are made from walnut acquired from orchards in Stockton, which is located just west of Hetch Hetchy in the San Joaquin Valley. Sadly, and interestingly parallel to what had happened to Muir and Jepson, three months after Donna made her paintings there was a wildfire in Hetch Hetchy Valley, known as the Rim Fire, which scorched the area she had painted in, burning all the vegetation to the ground. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560371330-0R59UVBGM9GH8KY1MQF1/mcba-prize-2015-peter-donna-thomas-hetch-hetchy-flora-3.jpg Entries & Jurors - 2015 Entries - Peter and Donna Thomas Peter and Donna Thomas (Santa Cruz, CA) cruzio.com Hetch Hetchy Flora 2013 Handmade paper, leather, wood, colored thread. Digital printing on handmade paper. Edition of 30 20 accordion pages Open: 11.5 by 8.25 by 1.5 inches Closed: 11.5 by 8.25 by 1.5 inches The inspiration for making this book came when we visited the Huntington Library in San Marino, CA in April of 2013 and saw their special exhibit, “They Were Wild: Recapturing California’s Wildflower Heritage.” Donna has spent years painting California wildflowers, and has produced four limited edition books and numerous one-of-a-kind books featuring her illustrations. All those books have been miniature, and all of the illustrations in the Huntington show were life size. Donna took this as a personal challenge: to make a book with actual-sized watercolor paintings of California wildflowers. Donna chose to paint in Hetch Hetchy Valley because of the valley’s connection to John Muir and Willis Jepson: both were botanists and both influenced Donna’s interest in botanical painting. Around a hundred years before Donna made her watercolor paintings, John Muir had spent the last days of his life trying (and failing) to stop Hetch Hetchy Valley from being dammed and flooded, and just before the dam flooded the valley, Willis Jepson had collected and identified the flowers growing there. The 19th century botanists’ practice of collecting plants specimens informed the concept for this work. The book is bound as a facsimile of the style of plant press used in Jepson’s day. Just as Jepson would have done, Donna collected flowers she found in one place, on one day, but instead of placing actual plant specimens between blotters, she stitched water-color paintings of the flowers to the accordion pages of the book. Peter created a paper for the project that would reference the strawboard blotters used in 19th century plant presses and also emulate the feel of the granite walls of the Hetch Hetchy Valley. Donna’s original watercolors were printed directly onto Peter’s paper using a Cannon digital printer. Those prints were then sewn by hand onto the accordion folded sheets of “granite” paper. The end pages were sewn to the text pages and glued to the covers. The covers feature a wooden “plant press” over blue Moroccan grain leather-covered boards. This plant press is a lattice of strong hardwoods, modeled after those used in the early 1900s by botanists like Jepson, before the invention of plywood. Several different hardwoods were used in the edition, but most copies are made from walnut acquired from orchards in Stockton, which is located just west of Hetch Hetchy in the San Joaquin Valley. Sadly, and interestingly parallel to what had happened to Muir and Jepson, three months after Donna made her paintings there was a wildfire in Hetch Hetchy Valley, known as the Rim Fire, which scorched the area she had painted in, burning all the vegetation to the ground. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560372741-7ZR08KLI0LNQUTXBSVY3/mcba-prize-2015-peter-donna-thomas-hetch-hetchy-flora-4.jpg Entries & Jurors - 2015 Entries - Peter and Donna Thomas Peter and Donna Thomas (Santa Cruz, CA) cruzio.com Hetch Hetchy Flora 2013 Handmade paper, leather, wood, colored thread. Digital printing on handmade paper. Edition of 30 20 accordion pages Open: 11.5 by 8.25 by 1.5 inches Closed: 11.5 by 8.25 by 1.5 inches The inspiration for making this book came when we visited the Huntington Library in San Marino, CA in April of 2013 and saw their special exhibit, “They Were Wild: Recapturing California’s Wildflower Heritage.” Donna has spent years painting California wildflowers, and has produced four limited edition books and numerous one-of-a-kind books featuring her illustrations. All those books have been miniature, and all of the illustrations in the Huntington show were life size. Donna took this as a personal challenge: to make a book with actual-sized watercolor paintings of California wildflowers. Donna chose to paint in Hetch Hetchy Valley because of the valley’s connection to John Muir and Willis Jepson: both were botanists and both influenced Donna’s interest in botanical painting. Around a hundred years before Donna made her watercolor paintings, John Muir had spent the last days of his life trying (and failing) to stop Hetch Hetchy Valley from being dammed and flooded, and just before the dam flooded the valley, Willis Jepson had collected and identified the flowers growing there. The 19th century botanists’ practice of collecting plants specimens informed the concept for this work. The book is bound as a facsimile of the style of plant press used in Jepson’s day. Just as Jepson would have done, Donna collected flowers she found in one place, on one day, but instead of placing actual plant specimens between blotters, she stitched water-color paintings of the flowers to the accordion pages of the book. Peter created a paper for the project that would reference the strawboard blotters used in 19th century plant presses and also emulate the feel of the granite walls of the Hetch Hetchy Valley. Donna’s original watercolors were printed directly onto Peter’s paper using a Cannon digital printer. Those prints were then sewn by hand onto the accordion folded sheets of “granite” paper. The end pages were sewn to the text pages and glued to the covers. The covers feature a wooden “plant press” over blue Moroccan grain leather-covered boards. This plant press is a lattice of strong hardwoods, modeled after those used in the early 1900s by botanists like Jepson, before the invention of plywood. Several different hardwoods were used in the edition, but most copies are made from walnut acquired from orchards in Stockton, which is located just west of Hetch Hetchy in the San Joaquin Valley. Sadly, and interestingly parallel to what had happened to Muir and Jepson, three months after Donna made her paintings there was a wildfire in Hetch Hetchy Valley, known as the Rim Fire, which scorched the area she had painted in, burning all the vegetation to the ground. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560373074-31NAZF6ZOD1NUTOLRXJQ/mcba-prize-2015-peter-donna-thomas-hetch-hetchy-flora-5.jpg Entries & Jurors - 2015 Entries - Peter and Donna Thomas Peter and Donna Thomas (Santa Cruz, CA) cruzio.com Hetch Hetchy Flora 2013 Handmade paper, leather, wood, colored thread. Digital printing on handmade paper. Edition of 30 20 accordion pages Open: 11.5 by 8.25 by 1.5 inches Closed: 11.5 by 8.25 by 1.5 inches The inspiration for making this book came when we visited the Huntington Library in San Marino, CA in April of 2013 and saw their special exhibit, “They Were Wild: Recapturing California’s Wildflower Heritage.” Donna has spent years painting California wildflowers, and has produced four limited edition books and numerous one-of-a-kind books featuring her illustrations. All those books have been miniature, and all of the illustrations in the Huntington show were life size. Donna took this as a personal challenge: to make a book with actual-sized watercolor paintings of California wildflowers. Donna chose to paint in Hetch Hetchy Valley because of the valley’s connection to John Muir and Willis Jepson: both were botanists and both influenced Donna’s interest in botanical painting. Around a hundred years before Donna made her watercolor paintings, John Muir had spent the last days of his life trying (and failing) to stop Hetch Hetchy Valley from being dammed and flooded, and just before the dam flooded the valley, Willis Jepson had collected and identified the flowers growing there. The 19th century botanists’ practice of collecting plants specimens informed the concept for this work. The book is bound as a facsimile of the style of plant press used in Jepson’s day. Just as Jepson would have done, Donna collected flowers she found in one place, on one day, but instead of placing actual plant specimens between blotters, she stitched water-color paintings of the flowers to the accordion pages of the book. Peter created a paper for the project that would reference the strawboard blotters used in 19th century plant presses and also emulate the feel of the granite walls of the Hetch Hetchy Valley. Donna’s original watercolors were printed directly onto Peter’s paper using a Cannon digital printer. Those prints were then sewn by hand onto the accordion folded sheets of “granite” paper. The end pages were sewn to the text pages and glued to the covers. The covers feature a wooden “plant press” over blue Moroccan grain leather-covered boards. This plant press is a lattice of strong hardwoods, modeled after those used in the early 1900s by botanists like Jepson, before the invention of plywood. Several different hardwoods were used in the edition, but most copies are made from walnut acquired from orchards in Stockton, which is located just west of Hetch Hetchy in the San Joaquin Valley. Sadly, and interestingly parallel to what had happened to Muir and Jepson, three months after Donna made her paintings there was a wildfire in Hetch Hetchy Valley, known as the Rim Fire, which scorched the area she had painted in, burning all the vegetation to the ground. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560466413-75NODXBWVLP7SLJF282P/mcba-prize-2015-ann-tyler-in-the-unrelenting-light-at-the-edge-of-conscience-1.jpg Entries & Jurors - 2015 Entries - Ann Tyler Ann Tyler (Chicago, IL) In the Unrelenting Light at the Edge of Conscience December 2013 Gutenberg archival calfskin leather cover, blind stamped. Fabriano Tiziano end papers Hahnemuhle Photo Rag Duo (acid-free, archival), Hahnemuhle UV spray Ink-jet printing, hand painted edges in acrylic gold and burnt sienna 100% cotton vellum sheets with white foil stamping Edition of 3 124 pages 18″ x 28″ x 2″ open 18″ x 14″ x 2″ closed In the Unrelenting Light at the Edge of Conscience Cover and Title Page on basalt stone bookstand Using methods of series, montage, accrual and pacing to create hybrid and non-traditional narrative structures my artist books re-form the “rules” of traditional literary narrative structures. Images and text fragments referring to a variety of archetypal arenas, including science, image criticism, the fairly tale, are pieced together by the viewer/reader to illuminate the “real” world (as in early work) and a “fabulist” world (as in the work submitted here). The narratives ultimately refer back to the world we are creating through the body politic. Equal parts science fiction, dream, cultural query, In the Unrelenting Light at the Edge of Conscience is a fabulist graphic novel combining image plates, fragments of poetry, scientific descriptions of time and space, and a unifying narrative of an experimenter and her photographic source material. It poses a fundamental question: what does it mean to be human in a world bent on violence? Using photographic stills, which the narrator/experimenter calls documented fragments of time, she layers and duplicates vast quantities of images to create a three-dimensional mass of great density. The resultant gravity well forms a visual portal to a disturbing shadow world. Within this world she discovers and names new species. [The conceit of the narrative – this layering of images – parallels my own image construction and process of discovery. Layering black and white images multiple times and applying color, the original disappears and a new form is created. The names of the species are created from Latin roots referring both to existing species and the original photographs.] The experimenter’s source material, these documented fragments of time, record events associated with some of the main cataclysms of modern-day social and political conflicts. Some of the fragments are iconic, such as the execution of a purported Viet Cong soldier on a sunny Southeast Asian street during the Vietnam War. Others take the familiar and defamiliarize it: SS officers and female staff devouring blueberries in a forest during an hour of relaxation. Still others zero in on the architects of the events, such as the fragment of a smiling former US Secretary of State in conversation with Latin American strongmen at a cocktail party while thousands of citizens have disappeared. Through the excavations of the experimenter, all lead to an almost but not quite unearthly landscape of newly illuminated species. Traversing the narrative puzzle, the reader/viewer is led through an exploration of time, memory, and the nature of personal responsibility in this, our own fractured world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560466544-E1QGM0G4K6DPSU7KXX43/mcba-prize-2015-ann-tyler-in-the-unrelenting-light-at-the-edge-of-conscience-2.jpg Entries & Jurors - 2015 Entries - Ann Tyler Ann Tyler (Chicago, IL) In the Unrelenting Light at the Edge of Conscience December 2013 Gutenberg archival calfskin leather cover, blind stamped. Fabriano Tiziano end papers Hahnemuhle Photo Rag Duo (acid-free, archival), Hahnemuhle UV spray Ink-jet printing, hand painted edges in acrylic gold and burnt sienna 100% cotton vellum sheets with white foil stamping Edition of 3 124 pages 18″ x 28″ x 2″ open 18″ x 14″ x 2″ closed Narrative with the experimenter character’s time-space diagram Using methods of series, montage, accrual and pacing to create hybrid and non-traditional narrative structures my artist books re-form the “rules” of traditional literary narrative structures. Images and text fragments referring to a variety of archetypal arenas, including science, image criticism, the fairly tale, are pieced together by the viewer/reader to illuminate the “real” world (as in early work) and a “fabulist” world (as in the work submitted here). The narratives ultimately refer back to the world we are creating through the body politic. Equal parts science fiction, dream, cultural query, In the Unrelenting Light at the Edge of Conscience is a fabulist graphic novel combining image plates, fragments of poetry, scientific descriptions of time and space, and a unifying narrative of an experimenter and her photographic source material. It poses a fundamental question: what does it mean to be human in a world bent on violence? Using photographic stills, which the narrator/experimenter calls documented fragments of time, she layers and duplicates vast quantities of images to create a three-dimensional mass of great density. The resultant gravity well forms a visual portal to a disturbing shadow world. Within this world she discovers and names new species. [The conceit of the narrative – this layering of images – parallels my own image construction and process of discovery. Layering black and white images multiple times and applying color, the original disappears and a new form is created. The names of the species are created from Latin roots referring both to existing species and the original photographs.] The experimenter’s source material, these documented fragments of time, record events associated with some of the main cataclysms of modern-day social and political conflicts. Some of the fragments are iconic, such as the execution of a purported Viet Cong soldier on a sunny Southeast Asian street during the Vietnam War. Others take the familiar and defamiliarize it: SS officers and female staff devouring blueberries in a forest during an hour of relaxation. Still others zero in on the architects of the events, such as the fragment of a smiling former US Secretary of State in conversation with Latin American strongmen at a cocktail party while thousands of citizens have disappeared. Through the excavations of the experimenter, all lead to an almost but not quite unearthly landscape of newly illuminated species. Traversing the narrative puzzle, the reader/viewer is led through an exploration of time, memory, and the nature of personal responsibility in this, our own fractured world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560467967-QP7B8DFEUU47KGAL05VO/mcba-prize-2015-ann-tyler-in-the-unrelenting-light-at-the-edge-of-conscience-3.jpg Entries & Jurors - 2015 Entries - Ann Tyler Ann Tyler (Chicago, IL) In the Unrelenting Light at the Edge of Conscience December 2013 Gutenberg archival calfskin leather cover, blind stamped. Fabriano Tiziano end papers Hahnemuhle Photo Rag Duo (acid-free, archival), Hahnemuhle UV spray Ink-jet printing, hand painted edges in acrylic gold and burnt sienna 100% cotton vellum sheets with white foil stamping Edition of 3 124 pages 18″ x 28″ x 2″ open 18″ x 14″ x 2″ closed Species: Volatilizarse Nematocyst Magus Constructed from b&w photograph of military police abducting a Chilean citizen Using methods of series, montage, accrual and pacing to create hybrid and non-traditional narrative structures my artist books re-form the “rules” of traditional literary narrative structures. Images and text fragments referring to a variety of archetypal arenas, including science, image criticism, the fairly tale, are pieced together by the viewer/reader to illuminate the “real” world (as in early work) and a “fabulist” world (as in the work submitted here). The narratives ultimately refer back to the world we are creating through the body politic. Equal parts science fiction, dream, cultural query, In the Unrelenting Light at the Edge of Conscience is a fabulist graphic novel combining image plates, fragments of poetry, scientific descriptions of time and space, and a unifying narrative of an experimenter and her photographic source material. It poses a fundamental question: what does it mean to be human in a world bent on violence? Using photographic stills, which the narrator/experimenter calls documented fragments of time, she layers and duplicates vast quantities of images to create a three-dimensional mass of great density. The resultant gravity well forms a visual portal to a disturbing shadow world. Within this world she discovers and names new species. [The conceit of the narrative – this layering of images – parallels my own image construction and process of discovery. Layering black and white images multiple times and applying color, the original disappears and a new form is created. The names of the species are created from Latin roots referring both to existing species and the original photographs.] The experimenter’s source material, these documented fragments of time, record events associated with some of the main cataclysms of modern-day social and political conflicts. Some of the fragments are iconic, such as the execution of a purported Viet Cong soldier on a sunny Southeast Asian street during the Vietnam War. Others take the familiar and defamiliarize it: SS officers and female staff devouring blueberries in a forest during an hour of relaxation. Still others zero in on the architects of the events, such as the fragment of a smiling former US Secretary of State in conversation with Latin American strongmen at a cocktail party while thousands of citizens have disappeared. Through the excavations of the experimenter, all lead to an almost but not quite unearthly landscape of newly illuminated species. Traversing the narrative puzzle, the reader/viewer is led through an exploration of time, memory, and the nature of personal responsibility in this, our own fractured world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560468160-ZX6YT4MHEAXOUEJ6DZIC/mcba-prize-2015-ann-tyler-in-the-unrelenting-light-at-the-edge-of-conscience-4.jpg Entries & Jurors - 2015 Entries - Ann Tyler Ann Tyler (Chicago, IL) In the Unrelenting Light at the Edge of Conscience December 2013 Gutenberg archival calfskin leather cover, blind stamped. Fabriano Tiziano end papers Hahnemuhle Photo Rag Duo (acid-free, archival), Hahnemuhle UV spray Ink-jet printing, hand painted edges in acrylic gold and burnt sienna 100% cotton vellum sheets with white foil stamping Edition of 3 124 pages 18″ x 28″ x 2″ open 18″ x 14″ x 2″ closed Species: Exedo Pterodactylus Aqua Constructed from b&w photograph of SS staff women eating bowls of blueberries at r&r cabins near Auschwitz Using methods of series, montage, accrual and pacing to create hybrid and non-traditional narrative structures my artist books re-form the “rules” of traditional literary narrative structures. Images and text fragments referring to a variety of archetypal arenas, including science, image criticism, the fairly tale, are pieced together by the viewer/reader to illuminate the “real” world (as in early work) and a “fabulist” world (as in the work submitted here). The narratives ultimately refer back to the world we are creating through the body politic. Equal parts science fiction, dream, cultural query, In the Unrelenting Light at the Edge of Conscience is a fabulist graphic novel combining image plates, fragments of poetry, scientific descriptions of time and space, and a unifying narrative of an experimenter and her photographic source material. It poses a fundamental question: what does it mean to be human in a world bent on violence? Using photographic stills, which the narrator/experimenter calls documented fragments of time, she layers and duplicates vast quantities of images to create a three-dimensional mass of great density. The resultant gravity well forms a visual portal to a disturbing shadow world. Within this world she discovers and names new species. [The conceit of the narrative – this layering of images – parallels my own image construction and process of discovery. Layering black and white images multiple times and applying color, the original disappears and a new form is created. The names of the species are created from Latin roots referring both to existing species and the original photographs.] The experimenter’s source material, these documented fragments of time, record events associated with some of the main cataclysms of modern-day social and political conflicts. Some of the fragments are iconic, such as the execution of a purported Viet Cong soldier on a sunny Southeast Asian street during the Vietnam War. Others take the familiar and defamiliarize it: SS officers and female staff devouring blueberries in a forest during an hour of relaxation. Still others zero in on the architects of the events, such as the fragment of a smiling former US Secretary of State in conversation with Latin American strongmen at a cocktail party while thousands of citizens have disappeared. Through the excavations of the experimenter, all lead to an almost but not quite unearthly landscape of newly illuminated species. Traversing the narrative puzzle, the reader/viewer is led through an exploration of time, memory, and the nature of personal responsibility in this, our own fractured world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560469564-E3C5AP74TZ4T3744Q5G8/mcba-prize-2015-ann-tyler-in-the-unrelenting-light-at-the-edge-of-conscience-5.jpg Entries & Jurors - 2015 Entries - Ann Tyler Ann Tyler (Chicago, IL) In the Unrelenting Light at the Edge of Conscience December 2013 Gutenberg archival calfskin leather cover, blind stamped. Fabriano Tiziano end papers Hahnemuhle Photo Rag Duo (acid-free, archival), Hahnemuhle UV spray Ink-jet printing, hand painted edges in acrylic gold and burnt sienna 100% cotton vellum sheets with white foil stamping Edition of 3 124 pages 18″ x 28″ x 2″ open 18″ x 14″ x 2″ closed Species: Cephalopoda Bothrium Tactica Constructed from b&w still of former Secretary of Defense Robert McNamara discussing the Vietnam War Using methods of series, montage, accrual and pacing to create hybrid and non-traditional narrative structures my artist books re-form the “rules” of traditional literary narrative structures. Images and text fragments referring to a variety of archetypal arenas, including science, image criticism, the fairly tale, are pieced together by the viewer/reader to illuminate the “real” world (as in early work) and a “fabulist” world (as in the work submitted here). The narratives ultimately refer back to the world we are creating through the body politic. Equal parts science fiction, dream, cultural query, In the Unrelenting Light at the Edge of Conscience is a fabulist graphic novel combining image plates, fragments of poetry, scientific descriptions of time and space, and a unifying narrative of an experimenter and her photographic source material. It poses a fundamental question: what does it mean to be human in a world bent on violence? Using photographic stills, which the narrator/experimenter calls documented fragments of time, she layers and duplicates vast quantities of images to create a three-dimensional mass of great density. The resultant gravity well forms a visual portal to a disturbing shadow world. Within this world she discovers and names new species. [The conceit of the narrative – this layering of images – parallels my own image construction and process of discovery. Layering black and white images multiple times and applying color, the original disappears and a new form is created. The names of the species are created from Latin roots referring both to existing species and the original photographs.] The experimenter’s source material, these documented fragments of time, record events associated with some of the main cataclysms of modern-day social and political conflicts. Some of the fragments are iconic, such as the execution of a purported Viet Cong soldier on a sunny Southeast Asian street during the Vietnam War. Others take the familiar and defamiliarize it: SS officers and female staff devouring blueberries in a forest during an hour of relaxation. Still others zero in on the architects of the events, such as the fragment of a smiling former US Secretary of State in conversation with Latin American strongmen at a cocktail party while thousands of citizens have disappeared. Through the excavations of the experimenter, all lead to an almost but not quite unearthly landscape of newly illuminated species. Traversing the narrative puzzle, the reader/viewer is led through an exploration of time, memory, and the nature of personal responsibility in this, our own fractured world. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560772509-IK1GTFRS7P5B8U4ERDXG/mcba-prize-2015-noor-van-der-brugge-wonder-whether-again-5.jpg Entries & Jurors - 2015 Entries - Noor van der Brugge Noor van der Brugge (Utrecht, The Netherlands) noorvanderbrugge.nl Wonder-whether-again 2014 watercolour/hand-set printed text Edition of 23 32 pages 12 x 27.6 x 0,4cm open 12 x 13.8cm closed “Tot dusver hou verwondering nog nie op.” – Elisabeth Eybers (zuidafrikaanse dichteres) “So far I haven’t stopped to wonder.” – Elisabeth Eybers (south african poet) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560769608-EYTRLAK1NU8W89NK1INH/mcba-prize-2015-noor-van-der-brugge-wonder-whether-again-1.jpg Entries & Jurors - 2015 Entries - Noor van der Brugge Noor van der Brugge (Utrecht, The Netherlands) noorvanderbrugge.nl Wonder-whether-again 2014 watercolour/hand-set printed text Edition of 23 32 pages 12 x 27.6 x 0,4cm open 12 x 13.8cm closed “Tot dusver hou verwondering nog nie op.” – Elisabeth Eybers (zuidafrikaanse dichteres) “So far I haven’t stopped to wonder.” – Elisabeth Eybers (south african poet) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560769518-KUC1KYCFFKNHRS2Y4QIC/mcba-prize-2015-noor-van-der-brugge-wonder-whether-again-2.jpg Entries & Jurors - 2015 Entries - Noor van der Brugge Noor van der Brugge (Utrecht, The Netherlands) noorvanderbrugge.nl Wonder-whether-again 2014 watercolour/hand-set printed text Edition of 23 32 pages 12 x 27.6 x 0,4cm open 12 x 13.8cm closed “Tot dusver hou verwondering nog nie op.” – Elisabeth Eybers (zuidafrikaanse dichteres) “So far I haven’t stopped to wonder.” – Elisabeth Eybers (south african poet) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560771025-KSW3CZADOEG2PC3YQJXF/mcba-prize-2015-noor-van-der-brugge-wonder-whether-again-3.jpg Entries & Jurors - 2015 Entries - Noor van der Brugge Noor van der Brugge (Utrecht, The Netherlands) noorvanderbrugge.nl Wonder-whether-again 2014 watercolour/hand-set printed text Edition of 23 32 pages 12 x 27.6 x 0,4cm open 12 x 13.8cm closed “Tot dusver hou verwondering nog nie op.” – Elisabeth Eybers (zuidafrikaanse dichteres) “So far I haven’t stopped to wonder.” – Elisabeth Eybers (south african poet) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560771342-K8KEJCZLZYIXN5H0W83T/mcba-prize-2015-noor-van-der-brugge-wonder-whether-again-4.jpeg Entries & Jurors - 2015 Entries - Noor van der Brugge Noor van der Brugge (Utrecht, The Netherlands) noorvanderbrugge.nl Wonder-whether-again 2014 watercolour/hand-set printed text Edition of 23 32 pages 12 x 27.6 x 0,4cm open 12 x 13.8cm closed “Tot dusver hou verwondering nog nie op.” – Elisabeth Eybers (zuidafrikaanse dichteres) “So far I haven’t stopped to wonder.” – Elisabeth Eybers (south african poet) https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560920843-TWHMH6FWKDGLM0R2QYES/mcba-prize-2015-susan-viguers-the-opossum-a-specimen-book-1.jpg Entries & Jurors - 2015 Entries - Susan Viguers Susan Viguers (Philadelphia, PA) susanviguers.com The Opossum: A Specimen Book 2015 letterpress (polymer); tipped-in prints various media: screen, mezzotint, wood engraving, lithograph, letterpress, linoleum cut, inkjet pigment prints of photographs, offset, of engravings from 18th and 19th century books Edition of 25 Pages: 62 Dimensions open: 8 1/2 x 12 1/2 x 1/2 inches Dimensions closed: 8 1/2 x 6 1/4 x 5/8 inches top: Cover, limp-vellum type, using handmade paper and cords bottom: pp. 6-7; tipped-in frontispiece, screen print by Johnny Carrera, 2014, and title page I come to the artist book and printmaking through language. For me the first, partial manifestation or embodiment of an idea or narrative forms itself in words. Their inadequacy demands and reveals a shape that is visual, spatial, tactile. The look of the words, the physical qualities of the pages, the images, the color, the structures of the books (and enclosures) are the flesh that gives context and form to the words. Structure is essential. In some of my books it works metaphorically, but even when it does not, it defines spatial and temporal timing; it orchestrates the relationship of parts. The artist’s book allows for the play of different voices through the various tools of imagery, typography and placement of text, book design and structure. That particular complexity has become increasingly key to the way I see our world. The Opossum: A Specimen Book combines writing, scholarship, design, book structure, and printmaking. It is an artist’s book for which the reading of text is at its center. It is a specimen book in various ways. Most obviously, it is about a particular specimen of animals, the Virginia opossum. In 1831 John D. Godman wrote, “Perhaps nothing can more clearly demonstrate the impatience of the human mind, and the reluctance with which men yield to the hard necessity of carefully observing the operations of nature, than the history of this animal.” As recently as 1968 in a book published by Johns Hopkins University Press one finds: “The statement that opossums copulate through the nose and then, sometime later, the tiny young are blown into the pouch is entirely false.” The Opossum: A Specimen Book is also conceived in the tradition of the type specimen book. It is a compendium of voices/observations about the opossum. The primary text, my own story of encounters with the opossum, is surrounded by passages from commentators from the 17th century to the present. I am interested in the fantastical as much as the actual, e.g., the contradictory statements about the opossum hanging by its tail. I am also interested in what speakers reveal about themselves, for example, the Rev. J. G. Wood’s belief in the divine in nature when he writes, in 1885, of “the young being called into existence.” It is a modest scholarly exploration into the history of illustrations of the opossum, beginning with Comte de Buffon’s 1785 engraving, copied by Thomas Bewick, which was reproduced extensively and, although not the Virginia opossum, was named as such at least as early as 1792. The book is also a collection of printmaking (and art making) processes in service of illustrating the opossum. Original prints representing various media by nine artists are tipped in: screen print, letterpress, linoleum cut, wood engraving, lithography, mezzotint, inkjet pigment printed photograph. Also tipped in are injet pigment reproductions of wood, copper, and steel engravings from past centuries and of an offset image and photographs, such as one of Isaac Witkin’s bronze sculpture Ode to a Possum. Finally, it is a sampling of historical features of the book: the 18th and 19th century exuberant title page, the use of the golden section for page design, the tradition of commentary text surrounding a primary text, and the limp-vellum type binding. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560921340-5VIHICYAKZCKK8IFJKBI/mcba-prize-2015-susan-viguers-the-opossum-a-specimen-book-2.jpg Entries & Jurors - 2015 Entries - Susan Viguers Susan Viguers (Philadelphia, PA) susanviguers.com The Opossum: A Specimen Book 2015 letterpress (polymer); tipped-in prints various media: screen, mezzotint, wood engraving, lithograph, letterpress, linoleum cut, inkjet pigment prints of photographs, offset, of engravings from 18th and 19th century books Edition of 25 Pages: 62 Dimensions open: 8 1/2 x 12 1/2 x 1/2 inches Dimensions closed: 8 1/2 x 6 1/4 x 5/8 inches top: pp. 14-15, tipped-in inkjet pigment print of an engraving from John D. Godman’s American Natural History, 1831 bottom: pp. 20-21, tipped-in wood engraving by Rebecca Gilbert, 2014 I come to the artist book and printmaking through language. For me the first, partial manifestation or embodiment of an idea or narrative forms itself in words. Their inadequacy demands and reveals a shape that is visual, spatial, tactile. The look of the words, the physical qualities of the pages, the images, the color, the structures of the books (and enclosures) are the flesh that gives context and form to the words. Structure is essential. In some of my books it works metaphorically, but even when it does not, it defines spatial and temporal timing; it orchestrates the relationship of parts. The artist’s book allows for the play of different voices through the various tools of imagery, typography and placement of text, book design and structure. That particular complexity has become increasingly key to the way I see our world. The Opossum: A Specimen Book combines writing, scholarship, design, book structure, and printmaking. It is an artist’s book for which the reading of text is at its center. It is a specimen book in various ways. Most obviously, it is about a particular specimen of animals, the Virginia opossum. In 1831 John D. Godman wrote, “Perhaps nothing can more clearly demonstrate the impatience of the human mind, and the reluctance with which men yield to the hard necessity of carefully observing the operations of nature, than the history of this animal.” As recently as 1968 in a book published by Johns Hopkins University Press one finds: “The statement that opossums copulate through the nose and then, sometime later, the tiny young are blown into the pouch is entirely false.” The Opossum: A Specimen Book is also conceived in the tradition of the type specimen book. It is a compendium of voices/observations about the opossum. The primary text, my own story of encounters with the opossum, is surrounded by passages from commentators from the 17th century to the present. I am interested in the fantastical as much as the actual, e.g., the contradictory statements about the opossum hanging by its tail. I am also interested in what speakers reveal about themselves, for example, the Rev. J. G. Wood’s belief in the divine in nature when he writes, in 1885, of “the young being called into existence.” It is a modest scholarly exploration into the history of illustrations of the opossum, beginning with Comte de Buffon’s 1785 engraving, copied by Thomas Bewick, which was reproduced extensively and, although not the Virginia opossum, was named as such at least as early as 1792. The book is also a collection of printmaking (and art making) processes in service of illustrating the opossum. Original prints representing various media by nine artists are tipped in: screen print, letterpress, linoleum cut, wood engraving, lithography, mezzotint, inkjet pigment printed photograph. Also tipped in are injet pigment reproductions of wood, copper, and steel engravings from past centuries and of an offset image and photographs, such as one of Isaac Witkin’s bronze sculpture Ode to a Possum. Finally, it is a sampling of historical features of the book: the 18th and 19th century exuberant title page, the use of the golden section for page design, the tradition of commentary text surrounding a primary text, and the limp-vellum type binding. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560927800-9LY9ABLI0K4B6GUQU14Y/mcba-prize-2015-susan-viguers-the-opossum-a-specimen-book-3.jpg Entries & Jurors - 2015 Entries - Susan Viguers Susan Viguers (Philadelphia, PA) susanviguers.com The Opossum: A Specimen Book 2015 letterpress (polymer); tipped-in prints various media: screen, mezzotint, wood engraving, lithograph, letterpress, linoleum cut, inkjet pigment prints of photographs, offset, of engravings from 18th and 19th century books Edition of 25 Pages: 62 Dimensions open: 8 1/2 x 12 1/2 x 1/2 inches Dimensions closed: 8 1/2 x 6 1/4 x 5/8 inches top: pp. 22-23, tipped-in inkjet pigment print of a photograph/drawing by Elena Bouvier, 2014 bottom: pp. 32-33, tipped-in stone lithograph and stencil by James Engelbart, 2014 I come to the artist book and printmaking through language. For me the first, partial manifestation or embodiment of an idea or narrative forms itself in words. Their inadequacy demands and reveals a shape that is visual, spatial, tactile. The look of the words, the physical qualities of the pages, the images, the color, the structures of the books (and enclosures) are the flesh that gives context and form to the words. Structure is essential. In some of my books it works metaphorically, but even when it does not, it defines spatial and temporal timing; it orchestrates the relationship of parts. The artist’s book allows for the play of different voices through the various tools of imagery, typography and placement of text, book design and structure. That particular complexity has become increasingly key to the way I see our world. The Opossum: A Specimen Book combines writing, scholarship, design, book structure, and printmaking. It is an artist’s book for which the reading of text is at its center. It is a specimen book in various ways. Most obviously, it is about a particular specimen of animals, the Virginia opossum. In 1831 John D. Godman wrote, “Perhaps nothing can more clearly demonstrate the impatience of the human mind, and the reluctance with which men yield to the hard necessity of carefully observing the operations of nature, than the history of this animal.” As recently as 1968 in a book published by Johns Hopkins University Press one finds: “The statement that opossums copulate through the nose and then, sometime later, the tiny young are blown into the pouch is entirely false.” The Opossum: A Specimen Book is also conceived in the tradition of the type specimen book. It is a compendium of voices/observations about the opossum. The primary text, my own story of encounters with the opossum, is surrounded by passages from commentators from the 17th century to the present. I am interested in the fantastical as much as the actual, e.g., the contradictory statements about the opossum hanging by its tail. I am also interested in what speakers reveal about themselves, for example, the Rev. J. G. Wood’s belief in the divine in nature when he writes, in 1885, of “the young being called into existence.” It is a modest scholarly exploration into the history of illustrations of the opossum, beginning with Comte de Buffon’s 1785 engraving, copied by Thomas Bewick, which was reproduced extensively and, although not the Virginia opossum, was named as such at least as early as 1792. The book is also a collection of printmaking (and art making) processes in service of illustrating the opossum. Original prints representing various media by nine artists are tipped in: screen print, letterpress, linoleum cut, wood engraving, lithography, mezzotint, inkjet pigment printed photograph. Also tipped in are injet pigment reproductions of wood, copper, and steel engravings from past centuries and of an offset image and photographs, such as one of Isaac Witkin’s bronze sculpture Ode to a Possum. Finally, it is a sampling of historical features of the book: the 18th and 19th century exuberant title page, the use of the golden section for page design, the tradition of commentary text surrounding a primary text, and the limp-vellum type binding. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560929009-WBWDOMA3O6L5550FBEUZ/mcba-prize-2015-susan-viguers-the-opossum-a-specimen-book-4.jpg Entries & Jurors - 2015 Entries - Susan Viguers Susan Viguers (Philadelphia, PA) susanviguers.com The Opossum: A Specimen Book 2015 letterpress (polymer); tipped-in prints various media: screen, mezzotint, wood engraving, lithograph, letterpress, linoleum cut, inkjet pigment prints of photographs, offset, of engravings from 18th and 19th century books Edition of 25 Pages: 62 Dimensions open: 8 1/2 x 12 1/2 x 1/2 inches Dimensions closed: 8 1/2 x 6 1/4 x 5/8 inches top: pp. 36-37, tipped-in inkjet pigment print of a photograph of Isaac Witkin’s sculpture Ode to a Possum, 1999 bottom: pp. 38-39, tipped-in polymer letterpress and screen print by Susan Viguers, 2014 I come to the artist book and printmaking through language. For me the first, partial manifestation or embodiment of an idea or narrative forms itself in words. Their inadequacy demands and reveals a shape that is visual, spatial, tactile. The look of the words, the physical qualities of the pages, the images, the color, the structures of the books (and enclosures) are the flesh that gives context and form to the words. Structure is essential. In some of my books it works metaphorically, but even when it does not, it defines spatial and temporal timing; it orchestrates the relationship of parts. The artist’s book allows for the play of different voices through the various tools of imagery, typography and placement of text, book design and structure. That particular complexity has become increasingly key to the way I see our world. The Opossum: A Specimen Book combines writing, scholarship, design, book structure, and printmaking. It is an artist’s book for which the reading of text is at its center. It is a specimen book in various ways. Most obviously, it is about a particular specimen of animals, the Virginia opossum. In 1831 John D. Godman wrote, “Perhaps nothing can more clearly demonstrate the impatience of the human mind, and the reluctance with which men yield to the hard necessity of carefully observing the operations of nature, than the history of this animal.” As recently as 1968 in a book published by Johns Hopkins University Press one finds: “The statement that opossums copulate through the nose and then, sometime later, the tiny young are blown into the pouch is entirely false.” The Opossum: A Specimen Book is also conceived in the tradition of the type specimen book. It is a compendium of voices/observations about the opossum. The primary text, my own story of encounters with the opossum, is surrounded by passages from commentators from the 17th century to the present. I am interested in the fantastical as much as the actual, e.g., the contradictory statements about the opossum hanging by its tail. I am also interested in what speakers reveal about themselves, for example, the Rev. J. G. Wood’s belief in the divine in nature when he writes, in 1885, of “the young being called into existence.” It is a modest scholarly exploration into the history of illustrations of the opossum, beginning with Comte de Buffon’s 1785 engraving, copied by Thomas Bewick, which was reproduced extensively and, although not the Virginia opossum, was named as such at least as early as 1792. The book is also a collection of printmaking (and art making) processes in service of illustrating the opossum. Original prints representing various media by nine artists are tipped in: screen print, letterpress, linoleum cut, wood engraving, lithography, mezzotint, inkjet pigment printed photograph. Also tipped in are injet pigment reproductions of wood, copper, and steel engravings from past centuries and of an offset image and photographs, such as one of Isaac Witkin’s bronze sculpture Ode to a Possum. Finally, it is a sampling of historical features of the book: the 18th and 19th century exuberant title page, the use of the golden section for page design, the tradition of commentary text surrounding a primary text, and the limp-vellum type binding. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774560931044-ERG3ICUY1BJSIYQJ7RX6/mcba-prize-2015-susan-viguers-the-opossum-a-specimen-book-5.jpg Entries & Jurors - 2015 Entries - Susan Viguers Susan Viguers (Philadelphia, PA) susanviguers.com The Opossum: A Specimen Book 2015 letterpress (polymer); tipped-in prints various media: screen, mezzotint, wood engraving, lithograph, letterpress, linoleum cut, inkjet pigment prints of photographs, offset, of engravings from 18th and 19th century books Edition of 25 Pages: 62 Dimensions open: 8 1/2 x 12 1/2 x 1/2 inches Dimensions closed: 8 1/2 x 6 1/4 x 5/8 inches top: pp., 40-41, beginning of the section on the Illustrations, tipped-in inkjet pigment print of an engraving from St. John Mivart’s Types of Animal Life, 1893 bottom, pp. 46-47, beginning of the Works Cited section I come to the artist book and printmaking through language. For me the first, partial manifestation or embodiment of an idea or narrative forms itself in words. Their inadequacy demands and reveals a shape that is visual, spatial, tactile. The look of the words, the physical qualities of the pages, the images, the color, the structures of the books (and enclosures) are the flesh that gives context and form to the words. Structure is essential. In some of my books it works metaphorically, but even when it does not, it defines spatial and temporal timing; it orchestrates the relationship of parts. The artist’s book allows for the play of different voices through the various tools of imagery, typography and placement of text, book design and structure. That particular complexity has become increasingly key to the way I see our world. The Opossum: A Specimen Book combines writing, scholarship, design, book structure, and printmaking. It is an artist’s book for which the reading of text is at its center. It is a specimen book in various ways. Most obviously, it is about a particular specimen of animals, the Virginia opossum. In 1831 John D. Godman wrote, “Perhaps nothing can more clearly demonstrate the impatience of the human mind, and the reluctance with which men yield to the hard necessity of carefully observing the operations of nature, than the history of this animal.” As recently as 1968 in a book published by Johns Hopkins University Press one finds: “The statement that opossums copulate through the nose and then, sometime later, the tiny young are blown into the pouch is entirely false.” The Opossum: A Specimen Book is also conceived in the tradition of the type specimen book. It is a compendium of voices/observations about the opossum. The primary text, my own story of encounters with the opossum, is surrounded by passages from commentators from the 17th century to the present. I am interested in the fantastical as much as the actual, e.g., the contradictory statements about the opossum hanging by its tail. I am also interested in what speakers reveal about themselves, for example, the Rev. J. G. Wood’s belief in the divine in nature when he writes, in 1885, of “the young being called into existence.” It is a modest scholarly exploration into the history of illustrations of the opossum, beginning with Comte de Buffon’s 1785 engraving, copied by Thomas Bewick, which was reproduced extensively and, although not the Virginia opossum, was named as such at least as early as 1792. The book is also a collection of printmaking (and art making) processes in service of illustrating the opossum. Original prints representing various media by nine artists are tipped in: screen print, letterpress, linoleum cut, wood engraving, lithography, mezzotint, inkjet pigment printed photograph. Also tipped in are injet pigment reproductions of wood, copper, and steel engravings from past centuries and of an offset image and photographs, such as one of Isaac Witkin’s bronze sculpture Ode to a Possum. Finally, it is a sampling of historical features of the book: the 18th and 19th century exuberant title page, the use of the golden section for page design, the tradition of commentary text surrounding a primary text, and the limp-vellum type binding. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561092849-DICZ2QVR0E742NKAAKBU/mcba-prize-2015-tom-virgin-conversation-too-1.jpg Entries & Jurors - 2015 Entries - Tom Virgin Tom Virgin (Coconut Grove, FL) tomvirgin.com Conversation Too (Convo2) 2014 Letterpress printed with hand coloring, hand stamping, and collage. Kettle stitched onto tape, glued into double board bindings with katazome paper inside and book cloth on the outside. Edition of 50 25 pages Dimensions, open: 12.5 in x 18 in x 1 in Dimensions, closed: 12.5 in x 9 in x 1 in Conversation Too (Convo2) is designed and printed by Tom Virgin. 25 pages are bound on an exposed tape binding with waxed linen thread. End sheets are Katazome paper. Book cloth covered boards are printed with the title, Convo2. My practice consists of research, teaching, exhibition, fine press printing, and book arts in collections around the country. My research is centered around communities that are hospitable to artists, and seeks to engage conversation around community values. In South Florida I have created prints and books about shared natural resources, the people who share them, and fundamental needs in our lives. Twenty years of teaching in Title I Public Schools has kept me face to face with the children of my community, its greatest resource. The multicultural/multinational community that has raised these children shares its traditions, world views, history and concerns with me. It is this vantage point that informs my understanding of minorities. In South Florida, I am the minority. Teaching has compelled me to make books about aspects of my upbringing that have given weight and breadth to my life, and grounded me. The people, places, and things that enter my books, pass along values imparted to me- fixed in time for study. Shelved with closed covers my books hold immutable values for new consumers: immigrants, students, children and grandchildren. The content in my books has included National Parks and Forests, schools/students, the recent housing crisis, as well as collaborations between artists. Each book offers a narrow band of our community filtered through the visual and literary arts. A significant part of my research has come from engaging my host community in artist’s residencies and workshops each year since 2004. I have made repeat visits to Michigan, Indiana, Tennessee, Minnesota, Wyoming, Colorado, Oregon, Maryland, and New York. I have built relationships with book arts centers, galleries, local artists, and arts administrators in regions that have strong book arts communities. I bring South Florida artists and institutions to them, and also bring these artists/writers home to Miami. I have worked to support and grow the Book Arts scene in South Florida. For the last few years my work has been informed by a range of collaboration, including: Broadsheets with al-Mutanabbi Street Starts Here, John Cutrone and the Jaffe Center for Book Arts, Florida Atlantic University Library, Boca Raton, FL; Slumping and fusing glass books, with Gail Dahlberg Glass Studio, Red Wing, MN; Letterpress printing, with Scott King, Red Dragonfly Press, Red Wing, MN; SWEAT Broadsheet Collaboration, with over 100 artists/writers and the Jaffe Center for Book Arts, Florida Atlantic University Library, Boca Raton, FL; the Heartland Portfolio, with Robert Hedin, Director of the Anderson Center, Red Wing, MN; WAIL- Word and Image Lab at MDC Museum of Art + Design, Miami, FL. In 2013 I founded Extra Virgin Press with the creation of two small literary chapbooks with writers at the Anderson Center in Red Wing, Minnesota. Conversation Too, a fine press edition of 50 handmade artist’s books, was designed, printed and bound by Extra Virgin Press at the the Anderson Center and the Jaffe Center for Book Arts with support from the Helen Salzberg Artist’s Residency Fellowship. I worked with visual artists Laura Tan and Kari Snyder, and writers John Dufresne, Michael Hettich, and Yaddyra Peralta. This book is in the collections of the University of Miami, Vanderbilt University, and the Jaffe Center for Book Arts. It has been exhibited at Abecedarian Gallery in Denver, Colorado, the Bienes Museum of the Modern Book in Ft. Lauderdale, Florida, at the International Print Center NY and the Center for Book Arts in New York City. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561092215-EDAL6Q2ZGWX8I97MLZGM/mcba-prize-2015-tom-virgin-conversation-too-2.jpg Entries & Jurors - 2015 Entries - Tom Virgin Tom Virgin (Coconut Grove, FL) tomvirgin.com Conversation Too (Convo2) 2014 Letterpress printed with hand coloring, hand stamping, and collage. Kettle stitched onto tape, glued into double board bindings with katazome paper inside and book cloth on the outside. Edition of 50 25 pages Dimensions, open: 12.5 in x 18 in x 1 in Dimensions, closed: 12.5 in x 9 in x 1 in Title page with artwork from all three artists collaged together and printed as an archival inkjet print. Designed by Extra Virgin Press (Tom Virgin, proprietor), in the Helen M. Salzberg Resident Artist Residency at the Jaffe Center for Book Arts at Florida Atlantic University in Boca Raton, Florida in 2013/2014. My practice consists of research, teaching, exhibition, fine press printing, and book arts in collections around the country. My research is centered around communities that are hospitable to artists, and seeks to engage conversation around community values. In South Florida I have created prints and books about shared natural resources, the people who share them, and fundamental needs in our lives. Twenty years of teaching in Title I Public Schools has kept me face to face with the children of my community, its greatest resource. The multicultural/multinational community that has raised these children shares its traditions, world views, history and concerns with me. It is this vantage point that informs my understanding of minorities. In South Florida, I am the minority. Teaching has compelled me to make books about aspects of my upbringing that have given weight and breadth to my life, and grounded me. The people, places, and things that enter my books, pass along values imparted to me- fixed in time for study. Shelved with closed covers my books hold immutable values for new consumers: immigrants, students, children and grandchildren. The content in my books has included National Parks and Forests, schools/students, the recent housing crisis, as well as collaborations between artists. Each book offers a narrow band of our community filtered through the visual and literary arts. A significant part of my research has come from engaging my host community in artist’s residencies and workshops each year since 2004. I have made repeat visits to Michigan, Indiana, Tennessee, Minnesota, Wyoming, Colorado, Oregon, Maryland, and New York. I have built relationships with book arts centers, galleries, local artists, and arts administrators in regions that have strong book arts communities. I bring South Florida artists and institutions to them, and also bring these artists/writers home to Miami. I have worked to support and grow the Book Arts scene in South Florida. For the last few years my work has been informed by a range of collaboration, including: Broadsheets with al-Mutanabbi Street Starts Here, John Cutrone and the Jaffe Center for Book Arts, Florida Atlantic University Library, Boca Raton, FL; Slumping and fusing glass books, with Gail Dahlberg Glass Studio, Red Wing, MN; Letterpress printing, with Scott King, Red Dragonfly Press, Red Wing, MN; SWEAT Broadsheet Collaboration, with over 100 artists/writers and the Jaffe Center for Book Arts, Florida Atlantic University Library, Boca Raton, FL; the Heartland Portfolio, with Robert Hedin, Director of the Anderson Center, Red Wing, MN; WAIL- Word and Image Lab at MDC Museum of Art + Design, Miami, FL. In 2013 I founded Extra Virgin Press with the creation of two small literary chapbooks with writers at the Anderson Center in Red Wing, Minnesota. Conversation Too, a fine press edition of 50 handmade artist’s books, was designed, printed and bound by Extra Virgin Press at the the Anderson Center and the Jaffe Center for Book Arts with support from the Helen Salzberg Artist’s Residency Fellowship. I worked with visual artists Laura Tan and Kari Snyder, and writers John Dufresne, Michael Hettich, and Yaddyra Peralta. This book is in the collections of the University of Miami, Vanderbilt University, and the Jaffe Center for Book Arts. It has been exhibited at Abecedarian Gallery in Denver, Colorado, the Bienes Museum of the Modern Book in Ft. Lauderdale, Florida, at the International Print Center NY and the Center for Book Arts in New York City. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561093661-UYFM5PE041W3NPHR38U6/mcba-prize-2015-tom-virgin-conversation-too-3.jpg Entries & Jurors - 2015 Entries - Tom Virgin Tom Virgin (Coconut Grove, FL) tomvirgin.com Conversation Too (Convo2) 2014 Letterpress printed with hand coloring, hand stamping, and collage. Kettle stitched onto tape, glued into double board bindings with katazome paper inside and book cloth on the outside. Edition of 50 25 pages Dimensions, open: 12.5 in x 18 in x 1 in Dimensions, closed: 12.5 in x 9 in x 1 in Artists and writers, “Hurricane” by Michael Hettich Convo2 includes writing by South Florida writers and artists: John Dufresne, Michael Hettich and Yaddyra Peralta, Kari Snyder, Laura Tan and Tom Virgin, respectively. Each artist and writer is pictured on the page following the title page. My practice consists of research, teaching, exhibition, fine press printing, and book arts in collections around the country. My research is centered around communities that are hospitable to artists, and seeks to engage conversation around community values. In South Florida I have created prints and books about shared natural resources, the people who share them, and fundamental needs in our lives. Twenty years of teaching in Title I Public Schools has kept me face to face with the children of my community, its greatest resource. The multicultural/multinational community that has raised these children shares its traditions, world views, history and concerns with me. It is this vantage point that informs my understanding of minorities. In South Florida, I am the minority. Teaching has compelled me to make books about aspects of my upbringing that have given weight and breadth to my life, and grounded me. The people, places, and things that enter my books, pass along values imparted to me- fixed in time for study. Shelved with closed covers my books hold immutable values for new consumers: immigrants, students, children and grandchildren. The content in my books has included National Parks and Forests, schools/students, the recent housing crisis, as well as collaborations between artists. Each book offers a narrow band of our community filtered through the visual and literary arts. A significant part of my research has come from engaging my host community in artist’s residencies and workshops each year since 2004. I have made repeat visits to Michigan, Indiana, Tennessee, Minnesota, Wyoming, Colorado, Oregon, Maryland, and New York. I have built relationships with book arts centers, galleries, local artists, and arts administrators in regions that have strong book arts communities. I bring South Florida artists and institutions to them, and also bring these artists/writers home to Miami. I have worked to support and grow the Book Arts scene in South Florida. For the last few years my work has been informed by a range of collaboration, including: Broadsheets with al-Mutanabbi Street Starts Here, John Cutrone and the Jaffe Center for Book Arts, Florida Atlantic University Library, Boca Raton, FL; Slumping and fusing glass books, with Gail Dahlberg Glass Studio, Red Wing, MN; Letterpress printing, with Scott King, Red Dragonfly Press, Red Wing, MN; SWEAT Broadsheet Collaboration, with over 100 artists/writers and the Jaffe Center for Book Arts, Florida Atlantic University Library, Boca Raton, FL; the Heartland Portfolio, with Robert Hedin, Director of the Anderson Center, Red Wing, MN; WAIL- Word and Image Lab at MDC Museum of Art + Design, Miami, FL. In 2013 I founded Extra Virgin Press with the creation of two small literary chapbooks with writers at the Anderson Center in Red Wing, Minnesota. Conversation Too, a fine press edition of 50 handmade artist’s books, was designed, printed and bound by Extra Virgin Press at the the Anderson Center and the Jaffe Center for Book Arts with support from the Helen Salzberg Artist’s Residency Fellowship. I worked with visual artists Laura Tan and Kari Snyder, and writers John Dufresne, Michael Hettich, and Yaddyra Peralta. This book is in the collections of the University of Miami, Vanderbilt University, and the Jaffe Center for Book Arts. It has been exhibited at Abecedarian Gallery in Denver, Colorado, the Bienes Museum of the Modern Book in Ft. Lauderdale, Florida, at the International Print Center NY and the Center for Book Arts in New York City. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561095536-4IIYQQH71BXWM3WJAO2T/mcba-prize-2015-tom-virgin-conversation-too-4.jpg Entries & Jurors - 2015 Entries - Tom Virgin Tom Virgin (Coconut Grove, FL) tomvirgin.com Conversation Too (Convo2) 2014 Letterpress printed with hand coloring, hand stamping, and collage. Kettle stitched onto tape, glued into double board bindings with katazome paper inside and book cloth on the outside. Edition of 50 25 pages Dimensions, open: 12.5 in x 18 in x 1 in Dimensions, closed: 12.5 in x 9 in x 1 in “Two Blocks” by Tom Virgin Each of three artists has one natural spread in the book, including this work by Tom Virgin, “Two Blocks.” The relief print created for Michael Hettich’s prose poem, “The Hurricane,” was printed from a polymer plate on a Vandercook 4 Proof Press. The other images in this folio are also created by Virgin. My practice consists of research, teaching, exhibition, fine press printing, and book arts in collections around the country. My research is centered around communities that are hospitable to artists, and seeks to engage conversation around community values. In South Florida I have created prints and books about shared natural resources, the people who share them, and fundamental needs in our lives. Twenty years of teaching in Title I Public Schools has kept me face to face with the children of my community, its greatest resource. The multicultural/multinational community that has raised these children shares its traditions, world views, history and concerns with me. It is this vantage point that informs my understanding of minorities. In South Florida, I am the minority. Teaching has compelled me to make books about aspects of my upbringing that have given weight and breadth to my life, and grounded me. The people, places, and things that enter my books, pass along values imparted to me- fixed in time for study. Shelved with closed covers my books hold immutable values for new consumers: immigrants, students, children and grandchildren. The content in my books has included National Parks and Forests, schools/students, the recent housing crisis, as well as collaborations between artists. Each book offers a narrow band of our community filtered through the visual and literary arts. A significant part of my research has come from engaging my host community in artist’s residencies and workshops each year since 2004. I have made repeat visits to Michigan, Indiana, Tennessee, Minnesota, Wyoming, Colorado, Oregon, Maryland, and New York. I have built relationships with book arts centers, galleries, local artists, and arts administrators in regions that have strong book arts communities. I bring South Florida artists and institutions to them, and also bring these artists/writers home to Miami. I have worked to support and grow the Book Arts scene in South Florida. For the last few years my work has been informed by a range of collaboration, including: Broadsheets with al-Mutanabbi Street Starts Here, John Cutrone and the Jaffe Center for Book Arts, Florida Atlantic University Library, Boca Raton, FL; Slumping and fusing glass books, with Gail Dahlberg Glass Studio, Red Wing, MN; Letterpress printing, with Scott King, Red Dragonfly Press, Red Wing, MN; SWEAT Broadsheet Collaboration, with over 100 artists/writers and the Jaffe Center for Book Arts, Florida Atlantic University Library, Boca Raton, FL; the Heartland Portfolio, with Robert Hedin, Director of the Anderson Center, Red Wing, MN; WAIL- Word and Image Lab at MDC Museum of Art + Design, Miami, FL. In 2013 I founded Extra Virgin Press with the creation of two small literary chapbooks with writers at the Anderson Center in Red Wing, Minnesota. Conversation Too, a fine press edition of 50 handmade artist’s books, was designed, printed and bound by Extra Virgin Press at the the Anderson Center and the Jaffe Center for Book Arts with support from the Helen Salzberg Artist’s Residency Fellowship. I worked with visual artists Laura Tan and Kari Snyder, and writers John Dufresne, Michael Hettich, and Yaddyra Peralta. This book is in the collections of the University of Miami, Vanderbilt University, and the Jaffe Center for Book Arts. It has been exhibited at Abecedarian Gallery in Denver, Colorado, the Bienes Museum of the Modern Book in Ft. Lauderdale, Florida, at the International Print Center NY and the Center for Book Arts in New York City. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561095256-TR5PVIQ0HSLLX1LXVM1C/mcba-prize-2015-tom-virgin-conversation-too-5.jpg Entries & Jurors - 2015 Entries - Tom Virgin Tom Virgin (Coconut Grove, FL) tomvirgin.com Conversation Too (Convo2) 2014 Letterpress printed with hand coloring, hand stamping, and collage. Kettle stitched onto tape, glued into double board bindings with katazome paper inside and book cloth on the outside. Edition of 50 25 pages Dimensions, open: 12.5 in x 18 in x 1 in Dimensions, closed: 12.5 in x 9 in x 1 in “House Hunting/Polk Street” by John Dufresne with “Weimaraner” by Kari Snyder The book is letterpress printed with hand coloring by each individual artist, with Katazome folios collaged and hand stamped with page numbers. My practice consists of research, teaching, exhibition, fine press printing, and book arts in collections around the country. My research is centered around communities that are hospitable to artists, and seeks to engage conversation around community values. In South Florida I have created prints and books about shared natural resources, the people who share them, and fundamental needs in our lives. Twenty years of teaching in Title I Public Schools has kept me face to face with the children of my community, its greatest resource. The multicultural/multinational community that has raised these children shares its traditions, world views, history and concerns with me. It is this vantage point that informs my understanding of minorities. In South Florida, I am the minority. Teaching has compelled me to make books about aspects of my upbringing that have given weight and breadth to my life, and grounded me. The people, places, and things that enter my books, pass along values imparted to me- fixed in time for study. Shelved with closed covers my books hold immutable values for new consumers: immigrants, students, children and grandchildren. The content in my books has included National Parks and Forests, schools/students, the recent housing crisis, as well as collaborations between artists. Each book offers a narrow band of our community filtered through the visual and literary arts. A significant part of my research has come from engaging my host community in artist’s residencies and workshops each year since 2004. I have made repeat visits to Michigan, Indiana, Tennessee, Minnesota, Wyoming, Colorado, Oregon, Maryland, and New York. I have built relationships with book arts centers, galleries, local artists, and arts administrators in regions that have strong book arts communities. I bring South Florida artists and institutions to them, and also bring these artists/writers home to Miami. I have worked to support and grow the Book Arts scene in South Florida. For the last few years my work has been informed by a range of collaboration, including: Broadsheets with al-Mutanabbi Street Starts Here, John Cutrone and the Jaffe Center for Book Arts, Florida Atlantic University Library, Boca Raton, FL; Slumping and fusing glass books, with Gail Dahlberg Glass Studio, Red Wing, MN; Letterpress printing, with Scott King, Red Dragonfly Press, Red Wing, MN; SWEAT Broadsheet Collaboration, with over 100 artists/writers and the Jaffe Center for Book Arts, Florida Atlantic University Library, Boca Raton, FL; the Heartland Portfolio, with Robert Hedin, Director of the Anderson Center, Red Wing, MN; WAIL- Word and Image Lab at MDC Museum of Art + Design, Miami, FL. In 2013 I founded Extra Virgin Press with the creation of two small literary chapbooks with writers at the Anderson Center in Red Wing, Minnesota. Conversation Too, a fine press edition of 50 handmade artist’s books, was designed, printed and bound by Extra Virgin Press at the the Anderson Center and the Jaffe Center for Book Arts with support from the Helen Salzberg Artist’s Residency Fellowship. I worked with visual artists Laura Tan and Kari Snyder, and writers John Dufresne, Michael Hettich, and Yaddyra Peralta. This book is in the collections of the University of Miami, Vanderbilt University, and the Jaffe Center for Book Arts. It has been exhibited at Abecedarian Gallery in Denver, Colorado, the Bienes Museum of the Modern Book in Ft. Lauderdale, Florida, at the International Print Center NY and the Center for Book Arts in New York City. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561250306-4XXD4WGCZBS2CMIN2JWB/mcba-prize-2015-ines-von-ketelhodt-farbwechsel-1.jpg Entries & Jurors - 2015 Entries - Ines von Ketelhodt Ines von Ketelhodt (Flörsheim, Germany) tloen-enzyklopaedie.de farbwechsel: weiß, gelb, grün, blau, rot, schwarz 2011-2013 photography; hand compostion; polymer plates; letterpress, offset and digital printing Edition of 33 6 books: 56, 88, 64, 32, 60 and 32 pages 41.8 x 59 x 1 cm / 29.4 x 84 x 1.4 cm open 41.8 x 29.4 cm / 29.4 x 41.8 cm closed The project farbwechsel/color change consists of six books housed in a printed cloth covered clamshell box. Each book is dedicated to a single color. Starting out from classic color theory I placed the colors yellow, green, blue and red between white and black. The project gave me an opportunity to work on the subject of color in different ways. I assigned appropriate topics, texts and pictures to the individual colors, with photography, printing ink and colored papers playing a role. The six books have an identical format (about 17 to 12 inches), but differ in their handling. Some are horizontal, some upright format, one is a concertina. The project consists of six books housed in a clamshell box. Each book is dedicated to a single color. Starting out from classic color theory I placed the colors yellow, green, blue and red between white and black. The six books have an identical format (about 17 to 12 inches), but differ in their handling. Some are horizontal, some upright format, one is a concertina. The book titles are always printed to overlap the front cover, spine and back cover. In Eastern cultures white is the color of mourning and death. The weiß/white book contains photographs and headlines about the tsunami disaster that struck Japan on March 11, 2011. They were taken from international online newspapers and were collected from March 11, 2011 to March 11, 2012. The selection includes many different voices from various countries and languages. The photographs (polymer plates) and the hand set dates (72 point, Block) were printed in letterpress with white ink on white paper. In spite of the different white shades of paper and printing ink, the monochrome white/white print result is difficult to read. (56 pages). The gelb/yellow book contains a complete chapter by H. C. Artmann tale “The sun was a Green Egg. On the creation of the world and the things in it” (in German). It is about the jealous relationship of sun, moon and a certain thing, as well as the genesis of stars and falling stars. As not more than five or six of the 20 Cicero wooden letters fit into a line, I couldn’t break the lines by dividing words according to syllables. Printed with yellow ink on yellow paper the text at first sight seems more like a pattern, but it is still legible: type face as a vehicle for content and type face as pure shape or texture. (Hand composition and letterpress, 88 pages). The grün/green book contains a text passage by Virginia Woolf “To the Lighthouse” (in English and German). All letters were cut individually into two parts so that the fragments of all letters look different. Then the two fragment levels were printed digitally in different shades of green onto two transparent foils. Finally in the bound book they are lying over each other, but the fragments are a bit shifted, so the reader can shift the foils until they converge, thus making the text legible. Practiced readers are able to complete even heavily fragmented letter shapes through cognitive supplementation, while reading. (64 pages). The blau/blue book contains a poem by Hans Arp “Himmelblaue Seelen/Sky-blue souls” (in German) and photographs, which were taken with long exposure times in the aquarium of the Frankfurt zoo. Time exposure captures a phase of time that we normally cannot perceive. Movements are blurred, they dissolve in time. Because of the time exposure, light, time, positions and situations are added together. These layers visualize movements in sequence. (Photos are offset printed, text is letterpress printed, 32 pages). The rot/red book contains kissing scenes out of Hollywood movies taken from the television screen. New couple combinations are created so that each actress is kissing each actor. The photographs are printed with polymer plates in letterpress using inks in several lipstick colors. (60 pages). The schwarz/black book contains photographs, which were taken while wandering through the city of Frankfurt. A slightly translucent black letterpress rectangle is printed with polymer plates onto the offset printed night photographs. Text passages by Giorgio Manganelli’s “La Notte/The Night” (in Italian and German) appear in some of the black rectangles. The type face is negative on the polymer plate and seems on the print sometimes lighter, sometimes darker due to the structure of the photograph beneath, shaped by the picture. (Two-sided concertina, about 31 feet, 32 pages). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561249103-V3DORE84S65ABRADXHK5/mcba-prize-2015-ines-von-ketelhodt-farbwechsel-2.jpg Entries & Jurors - 2015 Entries - Ines von Ketelhodt Ines von Ketelhodt (Flörsheim, Germany) tloen-enzyklopaedie.de farbwechsel: weiß, gelb, grün, blau, rot, schwarz 2011-2013 photography; hand compostion; polymer plates; letterpress, offset and digital printing Edition of 33 6 books: 56, 88, 64, 32, 60 and 32 pages 41.8 x 59 x 1 cm / 29.4 x 84 x 1.4 cm open 41.8 x 29.4 cm / 29.4 x 41.8 cm closed The grün/green book contains a text passage by Virginia Woolf “To the Lighthouse” (in English/German). I have tried to visualize the topic of dissolved shapes, abstract symbols, the recognition of a letter’s shape and the form of words. All letters were cut individually into two parts so that the fragments of all letters look different. Then the two fragment levels were printed digitally in different shades of green onto two transparent foils. Finally in the bound book they are lying over each other, but the fragments are a bit shifted, so the reader can shift the foils until they converge, thus making the text legible. Practiced readers are able to complete even heavily fragmented letter shapes through cognitive supplementation, while reading. The project consists of six books housed in a clamshell box. Each book is dedicated to a single color. Starting out from classic color theory I placed the colors yellow, green, blue and red between white and black. The six books have an identical format (about 17 to 12 inches), but differ in their handling. Some are horizontal, some upright format, one is a concertina. The book titles are always printed to overlap the front cover, spine and back cover. In Eastern cultures white is the color of mourning and death. The weiß/white book contains photographs and headlines about the tsunami disaster that struck Japan on March 11, 2011. They were taken from international online newspapers and were collected from March 11, 2011 to March 11, 2012. The selection includes many different voices from various countries and languages. The photographs (polymer plates) and the hand set dates (72 point, Block) were printed in letterpress with white ink on white paper. In spite of the different white shades of paper and printing ink, the monochrome white/white print result is difficult to read. (56 pages). The gelb/yellow book contains a complete chapter by H. C. Artmann tale “The sun was a Green Egg. On the creation of the world and the things in it” (in German). It is about the jealous relationship of sun, moon and a certain thing, as well as the genesis of stars and falling stars. As not more than five or six of the 20 Cicero wooden letters fit into a line, I couldn’t break the lines by dividing words according to syllables. Printed with yellow ink on yellow paper the text at first sight seems more like a pattern, but it is still legible: type face as a vehicle for content and type face as pure shape or texture. (Hand composition and letterpress, 88 pages). The grün/green book contains a text passage by Virginia Woolf “To the Lighthouse” (in English and German). All letters were cut individually into two parts so that the fragments of all letters look different. Then the two fragment levels were printed digitally in different shades of green onto two transparent foils. Finally in the bound book they are lying over each other, but the fragments are a bit shifted, so the reader can shift the foils until they converge, thus making the text legible. Practiced readers are able to complete even heavily fragmented letter shapes through cognitive supplementation, while reading. (64 pages). The blau/blue book contains a poem by Hans Arp “Himmelblaue Seelen/Sky-blue souls” (in German) and photographs, which were taken with long exposure times in the aquarium of the Frankfurt zoo. Time exposure captures a phase of time that we normally cannot perceive. Movements are blurred, they dissolve in time. Because of the time exposure, light, time, positions and situations are added together. These layers visualize movements in sequence. (Photos are offset printed, text is letterpress printed, 32 pages). The rot/red book contains kissing scenes out of Hollywood movies taken from the television screen. New couple combinations are created so that each actress is kissing each actor. The photographs are printed with polymer plates in letterpress using inks in several lipstick colors. (60 pages). The schwarz/black book contains photographs, which were taken while wandering through the city of Frankfurt. A slightly translucent black letterpress rectangle is printed with polymer plates onto the offset printed night photographs. Text passages by Giorgio Manganelli’s “La Notte/The Night” (in Italian and German) appear in some of the black rectangles. The type face is negative on the polymer plate and seems on the print sometimes lighter, sometimes darker due to the structure of the photograph beneath, shaped by the picture. (Two-sided concertina, about 31 feet, 32 pages). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561250919-GS9CW3CJM9F2XOQ4PCHI/mcba-prize-2015-ines-von-ketelhodt-farbwechsel-3.jpg Entries & Jurors - 2015 Entries - Ines von Ketelhodt Ines von Ketelhodt (Flörsheim, Germany) tloen-enzyklopaedie.de farbwechsel: weiß, gelb, grün, blau, rot, schwarz 2011-2013 photography; hand compostion; polymer plates; letterpress, offset and digital printing Edition of 33 6 books: 56, 88, 64, 32, 60 and 32 pages 41.8 x 59 x 1 cm / 29.4 x 84 x 1.4 cm open 41.8 x 29.4 cm / 29.4 x 41.8 cm closed Inspired by Giuseppe Tornatore’s movie “Cinema Paradiso” I began collecting kiss scenes for the rot/red book. The movie is set in a small catholic village in Italy during the fourties. It is about the history of cinema and movie. And there is this wonderful story about censored kiss scenes. For the red book I took kiss photographs from the television screen. I had to watch many Hollywood movies, until finally I had enough pictures, that means: suitable kisses for the book. My idea was, that in the book all women should kiss all men and all men should kiss all women. The photographs are printed with polymer plates in letterpress using inks in several lipstick colors. The project consists of six books housed in a clamshell box. Each book is dedicated to a single color. Starting out from classic color theory I placed the colors yellow, green, blue and red between white and black. The six books have an identical format (about 17 to 12 inches), but differ in their handling. Some are horizontal, some upright format, one is a concertina. The book titles are always printed to overlap the front cover, spine and back cover. In Eastern cultures white is the color of mourning and death. The weiß/white book contains photographs and headlines about the tsunami disaster that struck Japan on March 11, 2011. They were taken from international online newspapers and were collected from March 11, 2011 to March 11, 2012. The selection includes many different voices from various countries and languages. The photographs (polymer plates) and the hand set dates (72 point, Block) were printed in letterpress with white ink on white paper. In spite of the different white shades of paper and printing ink, the monochrome white/white print result is difficult to read. (56 pages). The gelb/yellow book contains a complete chapter by H. C. Artmann tale “The sun was a Green Egg. On the creation of the world and the things in it” (in German). It is about the jealous relationship of sun, moon and a certain thing, as well as the genesis of stars and falling stars. As not more than five or six of the 20 Cicero wooden letters fit into a line, I couldn’t break the lines by dividing words according to syllables. Printed with yellow ink on yellow paper the text at first sight seems more like a pattern, but it is still legible: type face as a vehicle for content and type face as pure shape or texture. (Hand composition and letterpress, 88 pages). The grün/green book contains a text passage by Virginia Woolf “To the Lighthouse” (in English and German). All letters were cut individually into two parts so that the fragments of all letters look different. Then the two fragment levels were printed digitally in different shades of green onto two transparent foils. Finally in the bound book they are lying over each other, but the fragments are a bit shifted, so the reader can shift the foils until they converge, thus making the text legible. Practiced readers are able to complete even heavily fragmented letter shapes through cognitive supplementation, while reading. (64 pages). The blau/blue book contains a poem by Hans Arp “Himmelblaue Seelen/Sky-blue souls” (in German) and photographs, which were taken with long exposure times in the aquarium of the Frankfurt zoo. Time exposure captures a phase of time that we normally cannot perceive. Movements are blurred, they dissolve in time. Because of the time exposure, light, time, positions and situations are added together. These layers visualize movements in sequence. (Photos are offset printed, text is letterpress printed, 32 pages). The rot/red book contains kissing scenes out of Hollywood movies taken from the television screen. New couple combinations are created so that each actress is kissing each actor. The photographs are printed with polymer plates in letterpress using inks in several lipstick colors. (60 pages). The schwarz/black book contains photographs, which were taken while wandering through the city of Frankfurt. A slightly translucent black letterpress rectangle is printed with polymer plates onto the offset printed night photographs. Text passages by Giorgio Manganelli’s “La Notte/The Night” (in Italian and German) appear in some of the black rectangles. The type face is negative on the polymer plate and seems on the print sometimes lighter, sometimes darker due to the structure of the photograph beneath, shaped by the picture. (Two-sided concertina, about 31 feet, 32 pages). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561252015-KR767SIDUX6IA977RV8X/mcba-prize-2015-ines-von-ketelhodt-farbwechsel-4.jpg Entries & Jurors - 2015 Entries - Ines von Ketelhodt Ines von Ketelhodt (Flörsheim, Germany) tloen-enzyklopaedie.de farbwechsel: weiß, gelb, grün, blau, rot, schwarz 2011-2013 photography; hand compostion; polymer plates; letterpress, offset and digital printing Edition of 33 6 books: 56, 88, 64, 32, 60 and 32 pages 41.8 x 59 x 1 cm / 29.4 x 84 x 1.4 cm open 41.8 x 29.4 cm / 29.4 x 41.8 cm closed The blau/blue book contains a poem by Hans Arp “Himmelblaue Seelen/Sky-blue souls” (in German) and photographs, which were taken with long exposure times in the aquarium of the Frankfurt zoo. Time exposure captures a phase of time that we normally cannot perceive. Movements are blurred, they dissolve in time. Fish that moved slowly or remained in a position, are more easily recognized in the picture, than those, that were swimming fast. Even though the fish were there and swam through the picture, they can sometimes completely disappear, not leaving any “light”-trace. Their time within the field of view was too short, to form an image on the sensor of my camera. The photographs are printed in offset, the poem in letterpress using transparent ink. So the text gets its color by the underlying photograph. The glossiness of the transparent ink lets you easily read the type face on the photographs. The project consists of six books housed in a clamshell box. Each book is dedicated to a single color. Starting out from classic color theory I placed the colors yellow, green, blue and red between white and black. The six books have an identical format (about 17 to 12 inches), but differ in their handling. Some are horizontal, some upright format, one is a concertina. The book titles are always printed to overlap the front cover, spine and back cover. In Eastern cultures white is the color of mourning and death. The weiß/white book contains photographs and headlines about the tsunami disaster that struck Japan on March 11, 2011. They were taken from international online newspapers and were collected from March 11, 2011 to March 11, 2012. The selection includes many different voices from various countries and languages. The photographs (polymer plates) and the hand set dates (72 point, Block) were printed in letterpress with white ink on white paper. In spite of the different white shades of paper and printing ink, the monochrome white/white print result is difficult to read. (56 pages). The gelb/yellow book contains a complete chapter by H. C. Artmann tale “The sun was a Green Egg. On the creation of the world and the things in it” (in German). It is about the jealous relationship of sun, moon and a certain thing, as well as the genesis of stars and falling stars. As not more than five or six of the 20 Cicero wooden letters fit into a line, I couldn’t break the lines by dividing words according to syllables. Printed with yellow ink on yellow paper the text at first sight seems more like a pattern, but it is still legible: type face as a vehicle for content and type face as pure shape or texture. (Hand composition and letterpress, 88 pages). The grün/green book contains a text passage by Virginia Woolf “To the Lighthouse” (in English and German). All letters were cut individually into two parts so that the fragments of all letters look different. Then the two fragment levels were printed digitally in different shades of green onto two transparent foils. Finally in the bound book they are lying over each other, but the fragments are a bit shifted, so the reader can shift the foils until they converge, thus making the text legible. Practiced readers are able to complete even heavily fragmented letter shapes through cognitive supplementation, while reading. (64 pages). The blau/blue book contains a poem by Hans Arp “Himmelblaue Seelen/Sky-blue souls” (in German) and photographs, which were taken with long exposure times in the aquarium of the Frankfurt zoo. Time exposure captures a phase of time that we normally cannot perceive. Movements are blurred, they dissolve in time. Because of the time exposure, light, time, positions and situations are added together. These layers visualize movements in sequence. (Photos are offset printed, text is letterpress printed, 32 pages). The rot/red book contains kissing scenes out of Hollywood movies taken from the television screen. New couple combinations are created so that each actress is kissing each actor. The photographs are printed with polymer plates in letterpress using inks in several lipstick colors. (60 pages). The schwarz/black book contains photographs, which were taken while wandering through the city of Frankfurt. A slightly translucent black letterpress rectangle is printed with polymer plates onto the offset printed night photographs. Text passages by Giorgio Manganelli’s “La Notte/The Night” (in Italian and German) appear in some of the black rectangles. The type face is negative on the polymer plate and seems on the print sometimes lighter, sometimes darker due to the structure of the photograph beneath, shaped by the picture. (Two-sided concertina, about 31 feet, 32 pages). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561252543-XHEKDBP6X6HFHKIUKIMG/mcba-prize-2015-ines-von-ketelhodt-farbwechsel-5.jpg Entries & Jurors - 2015 Entries - Ines von Ketelhodt Ines von Ketelhodt (Flörsheim, Germany) tloen-enzyklopaedie.de farbwechsel: weiß, gelb, grün, blau, rot, schwarz 2011-2013 photography; hand compostion; polymer plates; letterpress, offset and digital printing Edition of 33 6 books: 56, 88, 64, 32, 60 and 32 pages 41.8 x 59 x 1 cm / 29.4 x 84 x 1.4 cm open 41.8 x 29.4 cm / 29.4 x 41.8 cm closed The schwarz/black book is a concertina (31 feet) printed on both sides. The black-and white photographs were taken while wandering through the city of Frankfurt without looking through the view finder of the camera. Chance as well as the trajectory and bodily movement of the stroller define the picture’s viewpoint. “La Notte/The Night” a text by Giorgio Manganelli gave me the inspiration for the book: “First, we are often asked: which shape said night has, if the appellation shape is even justified for said night, and if this shape, provided there is one, is constant and immovable and finally, if it is measurable. According to the impression of those who busied themselves with this, said night has the shape of a cuboid; …” Said cuboid-shape gave me the idea to print a slightly translucent black letterpress rectangle with a polymer plate onto my offset-printed night photographs. The significantly darker letterpress-black creates a second level on the offset photograph. But the photograph beneath is still visible through the overprint. Manganelli’s text (in Italian and German) appears in some of the black rectangles. The typeface is negative on the polymer plate and seems on the print sometimes lighter, sometimes darker due to the structure of the photograph beneath, shaped by the picture. The project consists of six books housed in a clamshell box. Each book is dedicated to a single color. Starting out from classic color theory I placed the colors yellow, green, blue and red between white and black. The six books have an identical format (about 17 to 12 inches), but differ in their handling. Some are horizontal, some upright format, one is a concertina. The book titles are always printed to overlap the front cover, spine and back cover. In Eastern cultures white is the color of mourning and death. The weiß/white book contains photographs and headlines about the tsunami disaster that struck Japan on March 11, 2011. They were taken from international online newspapers and were collected from March 11, 2011 to March 11, 2012. The selection includes many different voices from various countries and languages. The photographs (polymer plates) and the hand set dates (72 point, Block) were printed in letterpress with white ink on white paper. In spite of the different white shades of paper and printing ink, the monochrome white/white print result is difficult to read. (56 pages). The gelb/yellow book contains a complete chapter by H. C. Artmann tale “The sun was a Green Egg. On the creation of the world and the things in it” (in German). It is about the jealous relationship of sun, moon and a certain thing, as well as the genesis of stars and falling stars. As not more than five or six of the 20 Cicero wooden letters fit into a line, I couldn’t break the lines by dividing words according to syllables. Printed with yellow ink on yellow paper the text at first sight seems more like a pattern, but it is still legible: type face as a vehicle for content and type face as pure shape or texture. (Hand composition and letterpress, 88 pages). The grün/green book contains a text passage by Virginia Woolf “To the Lighthouse” (in English and German). All letters were cut individually into two parts so that the fragments of all letters look different. Then the two fragment levels were printed digitally in different shades of green onto two transparent foils. Finally in the bound book they are lying over each other, but the fragments are a bit shifted, so the reader can shift the foils until they converge, thus making the text legible. Practiced readers are able to complete even heavily fragmented letter shapes through cognitive supplementation, while reading. (64 pages). The blau/blue book contains a poem by Hans Arp “Himmelblaue Seelen/Sky-blue souls” (in German) and photographs, which were taken with long exposure times in the aquarium of the Frankfurt zoo. Time exposure captures a phase of time that we normally cannot perceive. Movements are blurred, they dissolve in time. Because of the time exposure, light, time, positions and situations are added together. These layers visualize movements in sequence. (Photos are offset printed, text is letterpress printed, 32 pages). The rot/red book contains kissing scenes out of Hollywood movies taken from the television screen. New couple combinations are created so that each actress is kissing each actor. The photographs are printed with polymer plates in letterpress using inks in several lipstick colors. (60 pages). The schwarz/black book contains photographs, which were taken while wandering through the city of Frankfurt. A slightly translucent black letterpress rectangle is printed with polymer plates onto the offset printed night photographs. Text passages by Giorgio Manganelli’s “La Notte/The Night” (in Italian and German) appear in some of the black rectangles. The type face is negative on the polymer plate and seems on the print sometimes lighter, sometimes darker due to the structure of the photograph beneath, shaped by the picture. (Two-sided concertina, about 31 feet, 32 pages). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561371909-F734A9E2WWDN7DQGY4UE/mcba-prize-2015-yuko-wada-ancient-scroll-1.jpg Entries & Jurors - 2015 Entries - Yuko Wada Yuko Wada (Yokohama-shi, Kanagawa, Japan) ancient scroll 2014 washi, beeswax, sumi, naturalpigment Unique work 20cm x 2,4m When I reached back in my mind, words and images stay unity. There is a certain words, but it’s in chaos and cannot see the positive evidence. I am trying to find the vague trace during space and time. For this work, I create the scroll which I made words a figure by original approach to based on Western Calligraphy. Because these are the expression method that I am the holiest, and is peaceful for me. And also means that from has in feeling and a thought. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561370784-YOVJ2EAIQAJ6814JK44Y/mcba-prize-2015-yuko-wada-ancient-scroll-2.jpg Entries & Jurors - 2015 Entries - Yuko Wada Yuko Wada (Yokohama-shi, Kanagawa, Japan) ancient scroll 2014 washi, beeswax, sumi, naturalpigment Unique work 20cm x 2,4m When I reached back in my mind, words and images stay unity. There is a certain words, but it’s in chaos and cannot see the positive evidence. I am trying to find the vague trace during space and time. For this work, I create the scroll which I made words a figure by original approach to based on Western Calligraphy. Because these are the expression method that I am the holiest, and is peaceful for me. And also means that from has in feeling and a thought. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561373148-W69YV44I3ZPQIJW46D33/mcba-prize-2015-yuko-wada-ancient-scroll-3.jpg Entries & Jurors - 2015 Entries - Yuko Wada Yuko Wada (Yokohama-shi, Kanagawa, Japan) ancient scroll 2014 washi, beeswax, sumi, naturalpigment Unique work 20cm x 2,4m When I reached back in my mind, words and images stay unity. There is a certain words, but it’s in chaos and cannot see the positive evidence. I am trying to find the vague trace during space and time. For this work, I create the scroll which I made words a figure by original approach to based on Western Calligraphy. Because these are the expression method that I am the holiest, and is peaceful for me. And also means that from has in feeling and a thought. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561374279-GJIYG6SIMUIP3Y7LSVS9/mcba-prize-2015-yuko-wada-ancient-scroll-4.jpg Entries & Jurors - 2015 Entries - Yuko Wada Yuko Wada (Yokohama-shi, Kanagawa, Japan) ancient scroll 2014 washi, beeswax, sumi, naturalpigment Unique work 20cm x 2,4m When I reached back in my mind, words and images stay unity. There is a certain words, but it’s in chaos and cannot see the positive evidence. I am trying to find the vague trace during space and time. For this work, I create the scroll which I made words a figure by original approach to based on Western Calligraphy. Because these are the expression method that I am the holiest, and is peaceful for me. And also means that from has in feeling and a thought. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561374985-NL6BC0MBFER2TGZNSEGR/mcba-prize-2015-yuko-wada-ancient-scroll-5.jpg Entries & Jurors - 2015 Entries - Yuko Wada Yuko Wada (Yokohama-shi, Kanagawa, Japan) ancient scroll 2014 washi, beeswax, sumi, naturalpigment Unique work 20cm x 2,4m When I reached back in my mind, words and images stay unity. There is a certain words, but it’s in chaos and cannot see the positive evidence. I am trying to find the vague trace during space and time. For this work, I create the scroll which I made words a figure by original approach to based on Western Calligraphy. Because these are the expression method that I am the holiest, and is peaceful for me. And also means that from has in feeling and a thought. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561458327-0CH1FUQ8UP4ISMBCFBX7/mcba-prize-2015-yuko-wada-messages-1.jpg Entries & Jurors - 2015 Entries - Yuko Wada Yuko Wada (Yokohama-shi, Kanagawa, Japan) Messages 2014 sumi, beeswax, thread on paper Open: 10cm x 30cm x 15cm Closed: 10cm x 15cm These are letter paper for my some close friends. I have bunched together. Because these are truly important messages. I fell so pleased when I see this paper block. Mass block lead to a void that can also be expressed as evidence of feeling due to their messages and materials. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561458687-0DM4WWUCH97LEAFLMRTN/mcba-prize-2015-yuko-wada-messages-2.jpg Entries & Jurors - 2015 Entries - Yuko Wada Yuko Wada (Yokohama-shi, Kanagawa, Japan) Messages 2014 sumi, beeswax, thread on paper Open: 10cm x 30cm x 15cm Closed: 10cm x 15cm These are letter paper for my some close friends. I have bunched together. Because these are truly important messages. I fell so pleased when I see this paper block. Mass block lead to a void that can also be expressed as evidence of feeling due to their messages and materials. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561461281-E7VCV6RNTVISGM077CLQ/mcba-prize-2015-yuko-wada-messages-3.jpg Entries & Jurors - 2015 Entries - Yuko Wada Yuko Wada (Yokohama-shi, Kanagawa, Japan) Messages 2014 sumi, beeswax, thread on paper Open: 10cm x 30cm x 15cm Closed: 10cm x 15cm These are letter paper for my some close friends. I have bunched together. Because these are truly important messages. I fell so pleased when I see this paper block. Mass block lead to a void that can also be expressed as evidence of feeling due to their messages and materials. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561461326-WEVQ3E1G3IZ6EQXB67EU/mcba-prize-2015-yuko-wada-messages-4.jpg Entries & Jurors - 2015 Entries - Yuko Wada Yuko Wada (Yokohama-shi, Kanagawa, Japan) Messages 2014 sumi, beeswax, thread on paper Open: 10cm x 30cm x 15cm Closed: 10cm x 15cm These are letter paper for my some close friends. I have bunched together. Because these are truly important messages. I fell so pleased when I see this paper block. Mass block lead to a void that can also be expressed as evidence of feeling due to their messages and materials. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561464082-R03IBWYL869MUZPO1A1F/mcba-prize-2015-yuko-wada-messages-5.jpg Entries & Jurors - 2015 Entries - Yuko Wada Yuko Wada (Yokohama-shi, Kanagawa, Japan) Messages 2014 sumi, beeswax, thread on paper Open: 10cm x 30cm x 15cm Closed: 10cm x 15cm These are letter paper for my some close friends. I have bunched together. Because these are truly important messages. I fell so pleased when I see this paper block. Mass block lead to a void that can also be expressed as evidence of feeling due to their messages and materials. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561564712-9IAXL6QEBMQZ1JHAYPAB/mcba-prize-2015-carey-watters-explorer-1-4.jpg Entries & Jurors - 2015 Entries - Carey Watters Carey Watters (Milwaukee, WI) https://carey-watters-w32z.squarespace.com/ Explorer #1 2014 deconstructed books, collage, marbled, and cut paper 48″ x 24″ x 4″ I am a collector of the past, an alchemist and artisan of contemporary craft. In my work, I meticulously cut, fold, sew and adhere many small parts and recontextualize my collected content to create new narratives. The manipulation of materials is at the core of my craft. Each piece that I create is laborious and obsessive, but created out of materials with ephemeral qualities. The intent of my art is to encourage viewers to look at the work with a sense of curiosity and wonderment. My current body of work is a direct result of my residencies and travels to Calabria, Basilicata, and Puglia, Italy and my research of Byzantine architecture, design, and religious reliquaries. Paper Reliquaries transform simple documentation of everyday life into a marriage of the mundane and sacred. As a paper and book artist, I explore the intersections between traditional techniques and contemporary aesthetic concepts. My current book and collage work weave together concepts regarding memory, historic map making and religious and pagan symbolism, and the theme of the reliquary as a container of cultural and personal artifacts. I have never been satisfied with working in one medium. I am inspired by objects and materials and I let that inspiration affect the choices I make in both my art and design. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561562316-TOPLHBQVQFLRM9TQ3G96/mcba-prize-2015-carey-watters-explorer-1-1.jpg Entries & Jurors - 2015 Entries - Carey Watters Carey Watters (Milwaukee, WI) https://carey-watters-w32z.squarespace.com/ Explorer #1 2014 deconstructed books, collage, marbled, and cut paper 48″ x 24″ x 4″ I am a collector of the past, an alchemist and artisan of contemporary craft. In my work, I meticulously cut, fold, sew and adhere many small parts and recontextualize my collected content to create new narratives. The manipulation of materials is at the core of my craft. Each piece that I create is laborious and obsessive, but created out of materials with ephemeral qualities. The intent of my art is to encourage viewers to look at the work with a sense of curiosity and wonderment. My current body of work is a direct result of my residencies and travels to Calabria, Basilicata, and Puglia, Italy and my research of Byzantine architecture, design, and religious reliquaries. Paper Reliquaries transform simple documentation of everyday life into a marriage of the mundane and sacred. As a paper and book artist, I explore the intersections between traditional techniques and contemporary aesthetic concepts. My current book and collage work weave together concepts regarding memory, historic map making and religious and pagan symbolism, and the theme of the reliquary as a container of cultural and personal artifacts. I have never been satisfied with working in one medium. I am inspired by objects and materials and I let that inspiration affect the choices I make in both my art and design. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561562918-E4S7FIX15XK4XMRSSN2E/mcba-prize-2015-carey-watters-explorer-1-2.jpg Entries & Jurors - 2015 Entries - Carey Watters Carey Watters (Milwaukee, WI) https://carey-watters-w32z.squarespace.com/ Explorer #1 2014 deconstructed books, collage, marbled, and cut paper 48″ x 24″ x 4″ I am a collector of the past, an alchemist and artisan of contemporary craft. In my work, I meticulously cut, fold, sew and adhere many small parts and recontextualize my collected content to create new narratives. The manipulation of materials is at the core of my craft. Each piece that I create is laborious and obsessive, but created out of materials with ephemeral qualities. The intent of my art is to encourage viewers to look at the work with a sense of curiosity and wonderment. My current body of work is a direct result of my residencies and travels to Calabria, Basilicata, and Puglia, Italy and my research of Byzantine architecture, design, and religious reliquaries. Paper Reliquaries transform simple documentation of everyday life into a marriage of the mundane and sacred. As a paper and book artist, I explore the intersections between traditional techniques and contemporary aesthetic concepts. My current book and collage work weave together concepts regarding memory, historic map making and religious and pagan symbolism, and the theme of the reliquary as a container of cultural and personal artifacts. I have never been satisfied with working in one medium. I am inspired by objects and materials and I let that inspiration affect the choices I make in both my art and design. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561564382-OA6FZ5Q1FOXQU2LMRPSF/mcba-prize-2015-carey-watters-explorer-1-3.jpg Entries & Jurors - 2015 Entries - Carey Watters Carey Watters (Milwaukee, WI) https://carey-watters-w32z.squarespace.com/ Explorer #1 2014 deconstructed books, collage, marbled, and cut paper 48″ x 24″ x 4″ I am a collector of the past, an alchemist and artisan of contemporary craft. In my work, I meticulously cut, fold, sew and adhere many small parts and recontextualize my collected content to create new narratives. The manipulation of materials is at the core of my craft. Each piece that I create is laborious and obsessive, but created out of materials with ephemeral qualities. The intent of my art is to encourage viewers to look at the work with a sense of curiosity and wonderment. My current body of work is a direct result of my residencies and travels to Calabria, Basilicata, and Puglia, Italy and my research of Byzantine architecture, design, and religious reliquaries. Paper Reliquaries transform simple documentation of everyday life into a marriage of the mundane and sacred. As a paper and book artist, I explore the intersections between traditional techniques and contemporary aesthetic concepts. My current book and collage work weave together concepts regarding memory, historic map making and religious and pagan symbolism, and the theme of the reliquary as a container of cultural and personal artifacts. I have never been satisfied with working in one medium. I am inspired by objects and materials and I let that inspiration affect the choices I make in both my art and design. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561655329-ZN07UJHUFKFY2YYIFRO1/mcba-prize-2015-beata-wehr-taming-a-beast-1.jpg Entries & Jurors - 2015 Entries - Beata Wehr Beata Wehr (Tucson, AZ) beatawehr.com Taming a beast 2014 mixed media Unique work 10 pages 10x14x0.5″ open 10″x7″x1″ closed This book is from an ongoing series “Polish Linen Books” which I started in 2006. In recent years I have made many mixed media artist’s books and pages that are “allusions to a narrative”. I used metal objects found on the ground and stitched them to pages made out of linen canvas to create visual stories. They are sometimes not easy to understand, and the viewers have to construct them themselves. I carefully selected the materials to work with: found metal pieces speak about time, transience and place, and linen canvas that I brought from my native Poland symbolizes my roots and immigration. I often include in my work comments on human behavior. A theme of Taming the beast is a human struggle with difficulties of life and anxiety. Some individuals are trying to resolve their problems by excessive drinking, hence there are elements related to alcohol, like cups from beer bottles on most of the pages. Taming a beast is not an easy task and may be dangerous. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561655392-NAWSOAY2HU4CK8C1L2HE/mcba-prize-2015-beata-wehr-taming-a-beast-2.jpg Entries & Jurors - 2015 Entries - Beata Wehr Beata Wehr (Tucson, AZ) beatawehr.com Taming a beast 2014 mixed media Unique work 10 pages 10x14x0.5″ open 10″x7″x1″ closed This book is from an ongoing series “Polish Linen Books” which I started in 2006. In recent years I have made many mixed media artist’s books and pages that are “allusions to a narrative”. I used metal objects found on the ground and stitched them to pages made out of linen canvas to create visual stories. They are sometimes not easy to understand, and the viewers have to construct them themselves. I carefully selected the materials to work with: found metal pieces speak about time, transience and place, and linen canvas that I brought from my native Poland symbolizes my roots and immigration. I often include in my work comments on human behavior. A theme of Taming the beast is a human struggle with difficulties of life and anxiety. Some individuals are trying to resolve their problems by excessive drinking, hence there are elements related to alcohol, like cups from beer bottles on most of the pages. Taming a beast is not an easy task and may be dangerous. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561656994-U4PDBZLRG1ZI9N8E4YGT/mcba-prize-2015-beata-wehr-taming-a-beast-3.jpg Entries & Jurors - 2015 Entries - Beata Wehr Beata Wehr (Tucson, AZ) beatawehr.com Taming a beast 2014 mixed media Unique work 10 pages 10x14x0.5″ open 10″x7″x1″ closed This book is from an ongoing series “Polish Linen Books” which I started in 2006. In recent years I have made many mixed media artist’s books and pages that are “allusions to a narrative”. I used metal objects found on the ground and stitched them to pages made out of linen canvas to create visual stories. They are sometimes not easy to understand, and the viewers have to construct them themselves. I carefully selected the materials to work with: found metal pieces speak about time, transience and place, and linen canvas that I brought from my native Poland symbolizes my roots and immigration. I often include in my work comments on human behavior. A theme of Taming the beast is a human struggle with difficulties of life and anxiety. Some individuals are trying to resolve their problems by excessive drinking, hence there are elements related to alcohol, like cups from beer bottles on most of the pages. Taming a beast is not an easy task and may be dangerous. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561657344-6F4U2E14ZGOHLUIW6JPX/mcba-prize-2015-beata-wehr-taming-a-beast-4.jpg Entries & Jurors - 2015 Entries - Beata Wehr Beata Wehr (Tucson, AZ) beatawehr.com Taming a beast 2014 mixed media Unique work 10 pages 10x14x0.5″ open 10″x7″x1″ closed This book is from an ongoing series “Polish Linen Books” which I started in 2006. In recent years I have made many mixed media artist’s books and pages that are “allusions to a narrative”. I used metal objects found on the ground and stitched them to pages made out of linen canvas to create visual stories. They are sometimes not easy to understand, and the viewers have to construct them themselves. I carefully selected the materials to work with: found metal pieces speak about time, transience and place, and linen canvas that I brought from my native Poland symbolizes my roots and immigration. I often include in my work comments on human behavior. A theme of Taming the beast is a human struggle with difficulties of life and anxiety. Some individuals are trying to resolve their problems by excessive drinking, hence there are elements related to alcohol, like cups from beer bottles on most of the pages. Taming a beast is not an easy task and may be dangerous. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561658836-LUXYO34FTEDE1UMJHX7X/mcba-prize-2015-beata-wehr-taming-a-beast-5.jpg Entries & Jurors - 2015 Entries - Beata Wehr Beata Wehr (Tucson, AZ) beatawehr.com Taming a beast 2014 mixed media Unique work 10 pages 10x14x0.5″ open 10″x7″x1″ closed This book is from an ongoing series “Polish Linen Books” which I started in 2006. In recent years I have made many mixed media artist’s books and pages that are “allusions to a narrative”. I used metal objects found on the ground and stitched them to pages made out of linen canvas to create visual stories. They are sometimes not easy to understand, and the viewers have to construct them themselves. I carefully selected the materials to work with: found metal pieces speak about time, transience and place, and linen canvas that I brought from my native Poland symbolizes my roots and immigration. I often include in my work comments on human behavior. A theme of Taming the beast is a human struggle with difficulties of life and anxiety. Some individuals are trying to resolve their problems by excessive drinking, hence there are elements related to alcohol, like cups from beer bottles on most of the pages. Taming a beast is not an easy task and may be dangerous. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561744260-B28MIUSI9MDCD8PJ7VQM/mcba-prize-2015-thomas-parker-williams-trees-a-meditation-inspired-by-tai-chi-1.jpg Entries & Jurors - 2015 Entries - Thomas Parker Williams Thomas Parker Williams (Philadelphia, PA) thomasparkerwilliams.com Trees: A meditation inspired by T’ai Chi 2014 Letterpress, relief printing and pinhole photography Edition size: 6 Four folios of photographs and printed broadsides, title page and cover 4 folding panels open to 24″ mounted on wooden spine, 4 piece stand (assembles to 24″ high) 11″ x 11-1/2″ x 1-1/2″ https://www.youtube.com/watch?v=vriwpfpFMoQ “Trees” is a collaboration of Thomas Parker Williams, book artist, and Mary Agnes Williams, pinhole photographer, and was printed under the name of Luminice Press on a new platen press designed and constructed by Thomas Parker Williams. The work contains four toned silver prints of pinhole photographs, four folding panels printed from hand-cut polycarbonate plates. Text and symbols were printed from polymer plates. Structure is mounted on Tyvek with wood spine. Box cover was printed from linocut. Concept, design, printing, binding and box construction: Thomas Parker Williams Concept, pinhole photography, text selection and layout: Mary Agnes Williams https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561745157-LI6YVQG5H33VOPMZVIGV/mcba-prize-2015-thomas-parker-williams-trees-a-meditation-inspired-by-tai-chi-2.jpg Entries & Jurors - 2015 Entries - Thomas Parker Williams Thomas Parker Williams (Philadelphia, PA) thomasparkerwilliams.com Trees: A meditation inspired by T’ai Chi 2014 Letterpress, relief printing and pinhole photography Edition size: 6 Four folios of photographs and printed broadsides, title page and cover 4 folding panels open to 24″ mounted on wooden spine, 4 piece stand (assembles to 24″ high) 11″ x 11-1/2″ x 1-1/2″ https://www.youtube.com/watch?v=vriwpfpFMoQ “Trees” is a collaboration of Thomas Parker Williams, book artist, and Mary Agnes Williams, pinhole photographer, and was printed under the name of Luminice Press on a new platen press designed and constructed by Thomas Parker Williams. The work contains four toned silver prints of pinhole photographs, four folding panels printed from hand-cut polycarbonate plates. Text and symbols were printed from polymer plates. Structure is mounted on Tyvek with wood spine. Box cover was printed from linocut. Concept, design, printing, binding and box construction: Thomas Parker Williams Concept, pinhole photography, text selection and layout: Mary Agnes Williams https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561745882-1M9FRLKZGUFA7LTBUXUA/mcba-prize-2015-thomas-parker-williams-trees-a-meditation-inspired-by-tai-chi-3.jpg Entries & Jurors - 2015 Entries - Thomas Parker Williams Thomas Parker Williams (Philadelphia, PA) thomasparkerwilliams.com Trees: A meditation inspired by T’ai Chi 2014 Letterpress, relief printing and pinhole photography Edition size: 6 Four folios of photographs and printed broadsides, title page and cover 4 folding panels open to 24″ mounted on wooden spine, 4 piece stand (assembles to 24″ high) 11″ x 11-1/2″ x 1-1/2″ https://www.youtube.com/watch?v=vriwpfpFMoQ “Trees” is a collaboration of Thomas Parker Williams, book artist, and Mary Agnes Williams, pinhole photographer, and was printed under the name of Luminice Press on a new platen press designed and constructed by Thomas Parker Williams. The work contains four toned silver prints of pinhole photographs, four folding panels printed from hand-cut polycarbonate plates. Text and symbols were printed from polymer plates. Structure is mounted on Tyvek with wood spine. Box cover was printed from linocut. Concept, design, printing, binding and box construction: Thomas Parker Williams Concept, pinhole photography, text selection and layout: Mary Agnes Williams https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561747715-UKU0JRU7KHWB2NANRE6J/mcba-prize-2015-thomas-parker-williams-trees-a-meditation-inspired-by-tai-chi-4.jpg Entries & Jurors - 2015 Entries - Thomas Parker Williams Thomas Parker Williams (Philadelphia, PA) thomasparkerwilliams.com Trees: A meditation inspired by T’ai Chi 2014 Letterpress, relief printing and pinhole photography Edition size: 6 Four folios of photographs and printed broadsides, title page and cover 4 folding panels open to 24″ mounted on wooden spine, 4 piece stand (assembles to 24″ high) 11″ x 11-1/2″ x 1-1/2″ https://www.youtube.com/watch?v=vriwpfpFMoQ “Trees” is a collaboration of Thomas Parker Williams, book artist, and Mary Agnes Williams, pinhole photographer, and was printed under the name of Luminice Press on a new platen press designed and constructed by Thomas Parker Williams. The work contains four toned silver prints of pinhole photographs, four folding panels printed from hand-cut polycarbonate plates. Text and symbols were printed from polymer plates. Structure is mounted on Tyvek with wood spine. Box cover was printed from linocut. Concept, design, printing, binding and box construction: Thomas Parker Williams Concept, pinhole photography, text selection and layout: Mary Agnes Williams https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774561743484-VW9TTAI0AGS7MD664OM8/mcba-prize-2015-thomas-parker-williams-trees-a-meditation-inspired-by-tai-chi-5.jpg Entries & Jurors - 2015 Entries - Thomas Parker Williams Thomas Parker Williams (Philadelphia, PA) thomasparkerwilliams.com Trees: A meditation inspired by T’ai Chi 2014 Letterpress, relief printing and pinhole photography Edition size: 6 Four folios of photographs and printed broadsides, title page and cover 4 folding panels open to 24″ mounted on wooden spine, 4 piece stand (assembles to 24″ high) 11″ x 11-1/2″ x 1-1/2″ https://www.youtube.com/watch?v=vriwpfpFMoQ “Trees” is a collaboration of Thomas Parker Williams, book artist, and Mary Agnes Williams, pinhole photographer, and was printed under the name of Luminice Press on a new platen press designed and constructed by Thomas Parker Williams. The work contains four toned silver prints of pinhole photographs, four folding panels printed from hand-cut polycarbonate plates. Text and symbols were printed from polymer plates. Structure is mounted on Tyvek with wood spine. Box cover was printed from linocut. Concept, design, printing, binding and box construction: Thomas Parker Williams Concept, pinhole photography, text selection and layout: Mary Agnes Williams https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774621316527-VP8FVPVE1599JEWWUJ5P/mcba-prize-2015-michelle-wilson-future-tense-1.jpg Entries & Jurors - 2015 Entries - Michelle Wilson Michelle Wilson (Oakland, CA) michellewilsonprojects.com Future Tense 2014 Multiple and reduction linoleum block prints, letterpress, and pulp painting on handmade paper made from invasive plants, and archival inkjet printing on Rives BFK Edition of 10 30 pages Dimensions open: 13″ x 26″ x 1″ Dimensions closed: 13″ x 13″ This image shows the cover of the book. I explore how intersecting narratives can reveal insights and parallels into one another. In Future Tense, the confluence of endangered species and endangered languages becomes a rumination on the overall loss of diversity and affects of Westernization throughout life on this planet. The structure of this book was inspired by 17th and 18th Century Spanish books on the navigation of the “Mares del Sur” or “South Seas” – the oceans of the southern hemisphere. The book begins with the endangered Red Knot (Calidris canutus rufa). This species has a remarkable migration, spanning from Tierra Del Fuego to the reaches of Northern Canada. As of 2011, the species numbered roughly 5000 (down from an estimate of millions), despite efforts to protect it and its habitat. This migration is central to the narrative, and as it travels back and forth between the northern and southern hemispheres, two endangered, indigenous languages are introduced: Yaghán, in Tierra Del Fuego, and Inuktitut in Northern Canada. As readers follow the migration, actual words from each language are presented, and the essence and significance of their meaning is conveyed through text and image. As the narrative progresses, the birds’ migration and the languages interweave into a complex reflection on a rapidly changing world. As a material signifier for colonization, the tipped-in handmade papers within this book are made from invasive plants I harvested from where I now live in California. Species harvested include: French broom (Genista monspessulana); Andean pampas grass (Cortaderia jubata); iceplant (Carpobrotus chilensis); and Artichoke thistle (Cynara cardunculus). These species were selected because they are botanic colonizers, plants that take over a landscape, create monocultures and drive out native diversity. An enormous amount of research went into this book. My main sources were Hugh Brody’s The Other Side of Eden, Martin Gusinde’s Folk Literature of the Yámana Indians and Luis Borrero, Colin McEwan and Alfredo Prieto’s Patagonia: Natural History, Prehistory, and Ethnography of the Uttermost End of the Earth. However, these Western anthropologists, ethnographers, and linguists hold their own biases and misunderstandings. I have tried to remain true to their best interpretations—but mistakes do happen—and any errors in the text are mine. Many thanks go to the Puffin Foundation, for generously providing funding for this book. This book is dedicated to Cristina Calderón, the last fluent speaker of Yaghán, and whose portrait is featured in the eighth section of this book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774621316585-7C455A5DMEJ8VUMIDW00/mcba-prize-2015-michelle-wilson-future-tense-2.jpg Entries & Jurors - 2015 Entries - Michelle Wilson Michelle Wilson (Oakland, CA) michellewilsonprojects.com Future Tense 2014 Multiple and reduction linoleum block prints, letterpress, and pulp painting on handmade paper made from invasive plants, and archival inkjet printing on Rives BFK Edition of 10 30 pages Dimensions open: 13″ x 26″ x 1″ Dimensions closed: 13″ x 13″ This image shows both the structure of the book with the tipped in handmade papers, as well as a detail of the tipped-in handmade paper. This spread introduces the geography of Tierra del Fuego, the non-breeding grounds of the Red Knot, and Yaghán, the indigenous language of the Yamana people of the islands. I explore how intersecting narratives can reveal insights and parallels into one another. In Future Tense, the confluence of endangered species and endangered languages becomes a rumination on the overall loss of diversity and affects of Westernization throughout life on this planet. The structure of this book was inspired by 17th and 18th Century Spanish books on the navigation of the “Mares del Sur” or “South Seas” – the oceans of the southern hemisphere. The book begins with the endangered Red Knot (Calidris canutus rufa). This species has a remarkable migration, spanning from Tierra Del Fuego to the reaches of Northern Canada. As of 2011, the species numbered roughly 5000 (down from an estimate of millions), despite efforts to protect it and its habitat. This migration is central to the narrative, and as it travels back and forth between the northern and southern hemispheres, two endangered, indigenous languages are introduced: Yaghán, in Tierra Del Fuego, and Inuktitut in Northern Canada. As readers follow the migration, actual words from each language are presented, and the essence and significance of their meaning is conveyed through text and image. As the narrative progresses, the birds’ migration and the languages interweave into a complex reflection on a rapidly changing world. As a material signifier for colonization, the tipped-in handmade papers within this book are made from invasive plants I harvested from where I now live in California. Species harvested include: French broom (Genista monspessulana); Andean pampas grass (Cortaderia jubata); iceplant (Carpobrotus chilensis); and Artichoke thistle (Cynara cardunculus). These species were selected because they are botanic colonizers, plants that take over a landscape, create monocultures and drive out native diversity. An enormous amount of research went into this book. My main sources were Hugh Brody’s The Other Side of Eden, Martin Gusinde’s Folk Literature of the Yámana Indians and Luis Borrero, Colin McEwan and Alfredo Prieto’s Patagonia: Natural History, Prehistory, and Ethnography of the Uttermost End of the Earth. However, these Western anthropologists, ethnographers, and linguists hold their own biases and misunderstandings. I have tried to remain true to their best interpretations—but mistakes do happen—and any errors in the text are mine. Many thanks go to the Puffin Foundation, for generously providing funding for this book. This book is dedicated to Cristina Calderón, the last fluent speaker of Yaghán, and whose portrait is featured in the eighth section of this book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774621317744-FS504KJY17UVMV8SD5SA/mcba-prize-2015-michelle-wilson-future-tense-3.jpg Entries & Jurors - 2015 Entries - Michelle Wilson Michelle Wilson (Oakland, CA) michellewilsonprojects.com Future Tense 2014 Multiple and reduction linoleum block prints, letterpress, and pulp painting on handmade paper made from invasive plants, and archival inkjet printing on Rives BFK Edition of 10 30 pages Dimensions open: 13″ x 26″ x 1″ Dimensions closed: 13″ x 13″ This image shows structure and a handmade paper detail. It introduces Sima, the Yahghán word that literally means water, while suggests the deeper meaning of water as part of the relationship between the sea-faring Yamana and the natural world. I explore how intersecting narratives can reveal insights and parallels into one another. In Future Tense, the confluence of endangered species and endangered languages becomes a rumination on the overall loss of diversity and affects of Westernization throughout life on this planet. The structure of this book was inspired by 17th and 18th Century Spanish books on the navigation of the “Mares del Sur” or “South Seas” – the oceans of the southern hemisphere. The book begins with the endangered Red Knot (Calidris canutus rufa). This species has a remarkable migration, spanning from Tierra Del Fuego to the reaches of Northern Canada. As of 2011, the species numbered roughly 5000 (down from an estimate of millions), despite efforts to protect it and its habitat. This migration is central to the narrative, and as it travels back and forth between the northern and southern hemispheres, two endangered, indigenous languages are introduced: Yaghán, in Tierra Del Fuego, and Inuktitut in Northern Canada. As readers follow the migration, actual words from each language are presented, and the essence and significance of their meaning is conveyed through text and image. As the narrative progresses, the birds’ migration and the languages interweave into a complex reflection on a rapidly changing world. As a material signifier for colonization, the tipped-in handmade papers within this book are made from invasive plants I harvested from where I now live in California. Species harvested include: French broom (Genista monspessulana); Andean pampas grass (Cortaderia jubata); iceplant (Carpobrotus chilensis); and Artichoke thistle (Cynara cardunculus). These species were selected because they are botanic colonizers, plants that take over a landscape, create monocultures and drive out native diversity. An enormous amount of research went into this book. My main sources were Hugh Brody’s The Other Side of Eden, Martin Gusinde’s Folk Literature of the Yámana Indians and Luis Borrero, Colin McEwan and Alfredo Prieto’s Patagonia: Natural History, Prehistory, and Ethnography of the Uttermost End of the Earth. However, these Western anthropologists, ethnographers, and linguists hold their own biases and misunderstandings. I have tried to remain true to their best interpretations—but mistakes do happen—and any errors in the text are mine. Many thanks go to the Puffin Foundation, for generously providing funding for this book. This book is dedicated to Cristina Calderón, the last fluent speaker of Yaghán, and whose portrait is featured in the eighth section of this book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774621317827-V5J1ZJ20F4J2I72EL5E2/mcba-prize-2015-michelle-wilson-future-tense-4.jpg Entries & Jurors - 2015 Entries - Michelle Wilson Michelle Wilson (Oakland, CA) michellewilsonprojects.com Future Tense 2014 Multiple and reduction linoleum block prints, letterpress, and pulp painting on handmade paper made from invasive plants, and archival inkjet printing on Rives BFK Edition of 10 30 pages Dimensions open: 13″ x 26″ x 1″ Dimensions closed: 13″ x 13″ This image shows structure and a handmade paper detail. It introduces Unikkaaqtuat, an Inuktitut word that is translated into English as “old stories.” These stories are not only the basics for Inuit metaphysics, but also communicate how to survive in the Arctic landscape, and some of their meaning is lost in languages other than Inuktitut. I explore how intersecting narratives can reveal insights and parallels into one another. In Future Tense, the confluence of endangered species and endangered languages becomes a rumination on the overall loss of diversity and affects of Westernization throughout life on this planet. The structure of this book was inspired by 17th and 18th Century Spanish books on the navigation of the “Mares del Sur” or “South Seas” – the oceans of the southern hemisphere. The book begins with the endangered Red Knot (Calidris canutus rufa). This species has a remarkable migration, spanning from Tierra Del Fuego to the reaches of Northern Canada. As of 2011, the species numbered roughly 5000 (down from an estimate of millions), despite efforts to protect it and its habitat. This migration is central to the narrative, and as it travels back and forth between the northern and southern hemispheres, two endangered, indigenous languages are introduced: Yaghán, in Tierra Del Fuego, and Inuktitut in Northern Canada. As readers follow the migration, actual words from each language are presented, and the essence and significance of their meaning is conveyed through text and image. As the narrative progresses, the birds’ migration and the languages interweave into a complex reflection on a rapidly changing world. As a material signifier for colonization, the tipped-in handmade papers within this book are made from invasive plants I harvested from where I now live in California. Species harvested include: French broom (Genista monspessulana); Andean pampas grass (Cortaderia jubata); iceplant (Carpobrotus chilensis); and Artichoke thistle (Cynara cardunculus). These species were selected because they are botanic colonizers, plants that take over a landscape, create monocultures and drive out native diversity. An enormous amount of research went into this book. My main sources were Hugh Brody’s The Other Side of Eden, Martin Gusinde’s Folk Literature of the Yámana Indians and Luis Borrero, Colin McEwan and Alfredo Prieto’s Patagonia: Natural History, Prehistory, and Ethnography of the Uttermost End of the Earth. However, these Western anthropologists, ethnographers, and linguists hold their own biases and misunderstandings. I have tried to remain true to their best interpretations—but mistakes do happen—and any errors in the text are mine. Many thanks go to the Puffin Foundation, for generously providing funding for this book. This book is dedicated to Cristina Calderón, the last fluent speaker of Yaghán, and whose portrait is featured in the eighth section of this book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774621318939-WN47MLHKYUCQTYWPIZKX/mcba-prize-2015-michelle-wilson-future-tense-5.jpg Entries & Jurors - 2015 Entries - Michelle Wilson Michelle Wilson (Oakland, CA) michellewilsonprojects.com Future Tense 2014 Multiple and reduction linoleum block prints, letterpress, and pulp painting on handmade paper made from invasive plants, and archival inkjet printing on Rives BFK Edition of 10 30 pages Dimensions open: 13″ x 26″ x 1″ Dimensions closed: 13″ x 13″ This image shows structure and a handmade paper detail. It introduces Sápa, a Yamana word that means “blood” or “bloodline.” In the past two hundred years, many Yamana bloodlines have been lost due to European diseases. During the same time period, a new species has been introduced to the islands of Tierra del Fuego: beavers. Beavers, by cutting down the native trees, building dams, and wrecking havoc on the native ecosystems, have become a symbol to Fuegan dwellers of the escalating transformation of the archipelago. I explore how intersecting narratives can reveal insights and parallels into one another. In Future Tense, the confluence of endangered species and endangered languages becomes a rumination on the overall loss of diversity and affects of Westernization throughout life on this planet. The structure of this book was inspired by 17th and 18th Century Spanish books on the navigation of the “Mares del Sur” or “South Seas” – the oceans of the southern hemisphere. The book begins with the endangered Red Knot (Calidris canutus rufa). This species has a remarkable migration, spanning from Tierra Del Fuego to the reaches of Northern Canada. As of 2011, the species numbered roughly 5000 (down from an estimate of millions), despite efforts to protect it and its habitat. This migration is central to the narrative, and as it travels back and forth between the northern and southern hemispheres, two endangered, indigenous languages are introduced: Yaghán, in Tierra Del Fuego, and Inuktitut in Northern Canada. As readers follow the migration, actual words from each language are presented, and the essence and significance of their meaning is conveyed through text and image. As the narrative progresses, the birds’ migration and the languages interweave into a complex reflection on a rapidly changing world. As a material signifier for colonization, the tipped-in handmade papers within this book are made from invasive plants I harvested from where I now live in California. Species harvested include: French broom (Genista monspessulana); Andean pampas grass (Cortaderia jubata); iceplant (Carpobrotus chilensis); and Artichoke thistle (Cynara cardunculus). These species were selected because they are botanic colonizers, plants that take over a landscape, create monocultures and drive out native diversity. An enormous amount of research went into this book. My main sources were Hugh Brody’s The Other Side of Eden, Martin Gusinde’s Folk Literature of the Yámana Indians and Luis Borrero, Colin McEwan and Alfredo Prieto’s Patagonia: Natural History, Prehistory, and Ethnography of the Uttermost End of the Earth. However, these Western anthropologists, ethnographers, and linguists hold their own biases and misunderstandings. I have tried to remain true to their best interpretations—but mistakes do happen—and any errors in the text are mine. Many thanks go to the Puffin Foundation, for generously providing funding for this book. This book is dedicated to Cristina Calderón, the last fluent speaker of Yaghán, and whose portrait is featured in the eighth section of this book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774621743467-K97W461ZMMBAM4F8C9HA/mcba-prize-2015-mark-wingrave-a-journey-from-one-reality-to-another-1.jpg Entries & Jurors - 2015 Entries - Mark Wingrave Mark Wingrave (Brunswick, Victoria, Australia) A journey from one reality to another 2015 Scanned images, ink jet print Unique work Pages: 16 Dimensions: 21cms x 28cms (A4) This book combines text, scanned and digital repeats of drawings. The text is my translation of a chapter from Russian writer Galina Ermoshina’s recent book The Hourglass. Ermoshina, who lives in Samara, Southern Russia, is author to a number of books of poetry and prose. This particular book, with its connections to Borges, Calvino and stream of consciousness modernism, simultaneously speaks of story telling and the writing process. I am interested in the dialogue between translation and visual art. In particular, the shifting perspectives the translator takes and the wider implications of interpretation and invention for making work. The result initiates interplay of textual and visual symmetries, forming parallels and asserting differences. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774621743193-IAKGPX11XNSN8GVUABLJ/mcba-prize-2015-mark-wingrave-a-journey-from-one-reality-to-another-2.jpg Entries & Jurors - 2015 Entries - Mark Wingrave Mark Wingrave (Brunswick, Victoria, Australia) A journey from one reality to another 2015 Scanned images, ink jet print Unique work Pages: 16 Dimensions: 21cms x 28cms (A4) This book combines text, scanned and digital repeats of drawings. The text is my translation of a chapter from Russian writer Galina Ermoshina’s recent book The Hourglass. Ermoshina, who lives in Samara, Southern Russia, is author to a number of books of poetry and prose. This particular book, with its connections to Borges, Calvino and stream of consciousness modernism, simultaneously speaks of story telling and the writing process. I am interested in the dialogue between translation and visual art. In particular, the shifting perspectives the translator takes and the wider implications of interpretation and invention for making work. The result initiates interplay of textual and visual symmetries, forming parallels and asserting differences. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774621744222-YJFA2A2X8GSND7NAL0UY/mcba-prize-2015-mark-wingrave-a-journey-from-one-reality-to-another-3.jpg Entries & Jurors - 2015 Entries - Mark Wingrave Mark Wingrave (Brunswick, Victoria, Australia) A journey from one reality to another 2015 Scanned images, ink jet print Unique work Pages: 16 Dimensions: 21cms x 28cms (A4) This book combines text, scanned and digital repeats of drawings. The text is my translation of a chapter from Russian writer Galina Ermoshina’s recent book The Hourglass. Ermoshina, who lives in Samara, Southern Russia, is author to a number of books of poetry and prose. This particular book, with its connections to Borges, Calvino and stream of consciousness modernism, simultaneously speaks of story telling and the writing process. I am interested in the dialogue between translation and visual art. In particular, the shifting perspectives the translator takes and the wider implications of interpretation and invention for making work. The result initiates interplay of textual and visual symmetries, forming parallels and asserting differences. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774621744473-D8K58UFYPPXD09XFY8YM/mcba-prize-2015-mark-wingrave-a-journey-from-one-reality-to-another-4.jpg Entries & Jurors - 2015 Entries - Mark Wingrave Mark Wingrave (Brunswick, Victoria, Australia) A journey from one reality to another 2015 Scanned images, ink jet print Unique work Pages: 16 Dimensions: 21cms x 28cms (A4) This book combines text, scanned and digital repeats of drawings. The text is my translation of a chapter from Russian writer Galina Ermoshina’s recent book The Hourglass. Ermoshina, who lives in Samara, Southern Russia, is author to a number of books of poetry and prose. This particular book, with its connections to Borges, Calvino and stream of consciousness modernism, simultaneously speaks of story telling and the writing process. I am interested in the dialogue between translation and visual art. In particular, the shifting perspectives the translator takes and the wider implications of interpretation and invention for making work. The result initiates interplay of textual and visual symmetries, forming parallels and asserting differences. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774621745341-0W7JOUN6RBES3QMOBRWD/mcba-prize-2015-mark-wingrave-a-journey-from-one-reality-to-another-5.jpg Entries & Jurors - 2015 Entries - Mark Wingrave Mark Wingrave (Brunswick, Victoria, Australia) A journey from one reality to another 2015 Scanned images, ink jet print Unique work Pages: 16 Dimensions: 21cms x 28cms (A4) This book combines text, scanned and digital repeats of drawings. The text is my translation of a chapter from Russian writer Galina Ermoshina’s recent book The Hourglass. Ermoshina, who lives in Samara, Southern Russia, is author to a number of books of poetry and prose. This particular book, with its connections to Borges, Calvino and stream of consciousness modernism, simultaneously speaks of story telling and the writing process. I am interested in the dialogue between translation and visual art. In particular, the shifting perspectives the translator takes and the wider implications of interpretation and invention for making work. The result initiates interplay of textual and visual symmetries, forming parallels and asserting differences. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774622506956-W7LT1HMVJNK53UWKZGLE/mcba-prize-2015-rutherford-witthus-look-on-this-wonder-1.jpg Entries & Jurors - 2015 Entries - Rutherford Witthus Rutherford Witthus (Walpole, NH) rutherfordwitthus.com Look On This Wonder 2015 Archival inkjet, folds, paste Edition of 5 25 pages 15.25 × 15.25 × 2.75″ I wanted to play with the idea of the book as a myriorama. The traditional myriorama was a set of cards with various images of a landscape, always with an internal element that joined the cards together while at the same time allowing them to be juxtaposed in any order. Look On This Wonder uses paper prisms as five-sided “pages” that can be moved around randomly within the “book” or be separated from the other pages and rearranged outside the confines of the square book tray “binding.” The pages can also be stacked on top of one another to form three-dimensional “chapters.” Each page has three squares and two triangles: the squares provide spaces for various fragmented views of the male nude and selected words from Walt Whitman’s “I Sing the Body Electric;” the triangles entreat the viewer over and over to look on the wonder of the human body. Touching the fragile paper prisms is like touching the model’s body parts, adding an element of sensuality to the rigid geometry of the prisms. To add a bit of mischievousness to this playful myriorama, while one might assume that the elements of the nude body appearing on the faces of the prisms can be put back together, they cannot and will always remain fragmented. Only the poem can be reconstructed in its original order. The questions of what constitutes a page and what constitutes a book remain as unresolved and mysterious as ever. As Gertrude Stein wrote in Tender Buttons: “Book was there, it was there. Book was there.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774622519573-CQQPX0ICL8E3TKNKRYH8/mcba-prize-2015-rutherford-witthus-look-on-this-wonder-2.jpg Entries & Jurors - 2015 Entries - Rutherford Witthus Rutherford Witthus (Walpole, NH) rutherfordwitthus.com Look On This Wonder 2015 Archival inkjet, folds, paste Edition of 5 25 pages 15.25 × 15.25 × 2.75″ I wanted to play with the idea of the book as a myriorama. The traditional myriorama was a set of cards with various images of a landscape, always with an internal element that joined the cards together while at the same time allowing them to be juxtaposed in any order. Look On This Wonder uses paper prisms as five-sided “pages” that can be moved around randomly within the “book” or be separated from the other pages and rearranged outside the confines of the square book tray “binding.” The pages can also be stacked on top of one another to form three-dimensional “chapters.” Each page has three squares and two triangles: the squares provide spaces for various fragmented views of the male nude and selected words from Walt Whitman’s “I Sing the Body Electric;” the triangles entreat the viewer over and over to look on the wonder of the human body. Touching the fragile paper prisms is like touching the model’s body parts, adding an element of sensuality to the rigid geometry of the prisms. To add a bit of mischievousness to this playful myriorama, while one might assume that the elements of the nude body appearing on the faces of the prisms can be put back together, they cannot and will always remain fragmented. Only the poem can be reconstructed in its original order. The questions of what constitutes a page and what constitutes a book remain as unresolved and mysterious as ever. As Gertrude Stein wrote in Tender Buttons: “Book was there, it was there. Book was there.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774622529596-BGE7SKX3FXUF9IIWMB1T/mcba-prize-2015-rutherford-witthus-look-on-this-wonder-3.jpg Entries & Jurors - 2015 Entries - Rutherford Witthus Rutherford Witthus (Walpole, NH) rutherfordwitthus.com Look On This Wonder 2015 Archival inkjet, folds, paste Edition of 5 25 pages 15.25 × 15.25 × 2.75″ I wanted to play with the idea of the book as a myriorama. The traditional myriorama was a set of cards with various images of a landscape, always with an internal element that joined the cards together while at the same time allowing them to be juxtaposed in any order. Look On This Wonder uses paper prisms as five-sided “pages” that can be moved around randomly within the “book” or be separated from the other pages and rearranged outside the confines of the square book tray “binding.” The pages can also be stacked on top of one another to form three-dimensional “chapters.” Each page has three squares and two triangles: the squares provide spaces for various fragmented views of the male nude and selected words from Walt Whitman’s “I Sing the Body Electric;” the triangles entreat the viewer over and over to look on the wonder of the human body. Touching the fragile paper prisms is like touching the model’s body parts, adding an element of sensuality to the rigid geometry of the prisms. To add a bit of mischievousness to this playful myriorama, while one might assume that the elements of the nude body appearing on the faces of the prisms can be put back together, they cannot and will always remain fragmented. Only the poem can be reconstructed in its original order. The questions of what constitutes a page and what constitutes a book remain as unresolved and mysterious as ever. As Gertrude Stein wrote in Tender Buttons: “Book was there, it was there. Book was there.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774622529595-4CI7CV34Z8GE8BLF528E/mcba-prize-2015-rutherford-witthus-look-on-this-wonder-4.jpg Entries & Jurors - 2015 Entries - Rutherford Witthus Rutherford Witthus (Walpole, NH) rutherfordwitthus.com Look On This Wonder 2015 Archival inkjet, folds, paste Edition of 5 25 pages 15.25 × 15.25 × 2.75″ I wanted to play with the idea of the book as a myriorama. The traditional myriorama was a set of cards with various images of a landscape, always with an internal element that joined the cards together while at the same time allowing them to be juxtaposed in any order. Look On This Wonder uses paper prisms as five-sided “pages” that can be moved around randomly within the “book” or be separated from the other pages and rearranged outside the confines of the square book tray “binding.” The pages can also be stacked on top of one another to form three-dimensional “chapters.” Each page has three squares and two triangles: the squares provide spaces for various fragmented views of the male nude and selected words from Walt Whitman’s “I Sing the Body Electric;” the triangles entreat the viewer over and over to look on the wonder of the human body. Touching the fragile paper prisms is like touching the model’s body parts, adding an element of sensuality to the rigid geometry of the prisms. To add a bit of mischievousness to this playful myriorama, while one might assume that the elements of the nude body appearing on the faces of the prisms can be put back together, they cannot and will always remain fragmented. Only the poem can be reconstructed in its original order. The questions of what constitutes a page and what constitutes a book remain as unresolved and mysterious as ever. As Gertrude Stein wrote in Tender Buttons: “Book was there, it was there. Book was there.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774622530535-M2AISUVSC25P3TGLEVXC/mcba-prize-2015-rutherford-witthus-look-on-this-wonder-5.jpg Entries & Jurors - 2015 Entries - Rutherford Witthus Rutherford Witthus (Walpole, NH) rutherfordwitthus.com Look On This Wonder 2015 Archival inkjet, folds, paste Edition of 5 25 pages 15.25 × 15.25 × 2.75″ I wanted to play with the idea of the book as a myriorama. The traditional myriorama was a set of cards with various images of a landscape, always with an internal element that joined the cards together while at the same time allowing them to be juxtaposed in any order. Look On This Wonder uses paper prisms as five-sided “pages” that can be moved around randomly within the “book” or be separated from the other pages and rearranged outside the confines of the square book tray “binding.” The pages can also be stacked on top of one another to form three-dimensional “chapters.” Each page has three squares and two triangles: the squares provide spaces for various fragmented views of the male nude and selected words from Walt Whitman’s “I Sing the Body Electric;” the triangles entreat the viewer over and over to look on the wonder of the human body. Touching the fragile paper prisms is like touching the model’s body parts, adding an element of sensuality to the rigid geometry of the prisms. To add a bit of mischievousness to this playful myriorama, while one might assume that the elements of the nude body appearing on the faces of the prisms can be put back together, they cannot and will always remain fragmented. Only the poem can be reconstructed in its original order. The questions of what constitutes a page and what constitutes a book remain as unresolved and mysterious as ever. As Gertrude Stein wrote in Tender Buttons: “Book was there, it was there. Book was there.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774622976118-PFKUYD1C3M6OBUXGI1AC/mcba-prize-2015-stephanie-wolff-fishing-time-at-fancy-hill-1.jpg Entries & Jurors - 2015 Entries - Stephanie Wolff Stephanie Wolff (Norwich, Vermont) StephanieWolffStudio.com Fishing Time At Fancy Hill 2014 Pages of appliquéd paper illustrations and embroidered text on paper are sewn onto a concertina guard and bound into a codex. A single folio holds the colophon, with a clamshell box housing both items. Unique work Pages: 24 Dimensions open: Book: 10-1/8″ x 24″ x 1-3/4″ Dimensions closed: Book: 10-1/8″ x 12″ x 1-3/4″; colophon folio: 10-1/8″ x 12″ x 1/32″; box: 10-3/4″ x 12-7/16″ x 2-7/16″ Fishing Time at Fancy Hill: The box with embroidered spine label (not visible), the book, and the single folio colophon with embroidered front labels. All embroidered text reproduces Anna Blackwood Howell’s handwriting. Fishing Time at Fancy Hill focuses on an era when the weather and its effects were woven closely into daily life and thought. Drawn from diary entries of Anna Blackwood Howell (1769-­1855), a New Jersey widow who inherited a farm and fisheries on the Delaware River in 1818, the text illustrates the impact of weather on the shad fishing season at the Howe family’s Fancy Hill Farm. Mrs. Howell’s concerns and observations highlight this important but uncontrollable factor in the success of their fishing business. The 12 diary entries selected from a 30-­year period include topics such as ice on the river, storms eroding the banks, rival fishermen, success, and gratitude. Some entries: “March 7 There has been another very cold night River crowded with ice It is within 3 weeks of fishing time There must be a great change before Shad can come up the river” “April 22nd No fishing our boats were so much injured it will take all some time to repair April 23 Still blowing a gale” Using the traditional handwork techniques of embroidery and appliqué, the book references the needlework women practiced during early America. Mrs. Howell’s handwriting is reproduced in thread on paper and illustrations are pieced with cut paper, both hand-­stitched. Each entry includes a notation of month and day to connect the cyclical seasonal calendar with the requirements of a life so closely connected to the land. A Creative and Performing Artists and Writers Fellowship from the American Antiquarian Society, which holds a collection of Anna Blackwood Howell’s diaries, supported the research for this book. My artist books often derive from remnants of the past, whether through language or image, largely gathered from research in libraries, museums, and archives. Collected evidence, along with historic voices and image-­makers, serve as my collaborators in linking the present to the past, as well as the new to the familiar. Staying true to the manuscripts, texts, or illustrations is important to me, even as I edit and interpret my source material. Through carefully considered physical and content choices and by embedding layers of meaning, I hope to pull a reader in, and allow for new discoveries, perspectives and understandings over multiple readings. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774622699446-KN5LWJARRKO4F55WW6A2/mcba-prize-2015-stephanie-wolff-fishing-time-at-fancy-hill-2.jpg Entries & Jurors - 2015 Entries - Stephanie Wolff Stephanie Wolff (Norwich, Vermont) StephanieWolffStudio.com Fishing Time At Fancy Hill 2014 Pages of appliquéd paper illustrations and embroidered text on paper are sewn onto a concertina guard and bound into a codex. A single folio holds the colophon, with a clamshell box housing both items. Unique work Pages: 24 Dimensions open: Book: 10-1/8″ x 24″ x 1-3/4″ Dimensions closed: Book: 10-1/8″ x 12″ x 1-3/4″; colophon folio: 10-1/8″ x 12″ x 1/32″; box: 10-3/4″ x 12-7/16″ x 2-7/16″ Page spread. Text of diary entry: “Feb 17th We have had an overflow tide, that has swept away almost all the banks, on the Jersey side of the Delaware” Fishing Time at Fancy Hill focuses on an era when the weather and its effects were woven closely into daily life and thought. Drawn from diary entries of Anna Blackwood Howell (1769-­1855), a New Jersey widow who inherited a farm and fisheries on the Delaware River in 1818, the text illustrates the impact of weather on the shad fishing season at the Howe family’s Fancy Hill Farm. Mrs. Howell’s concerns and observations highlight this important but uncontrollable factor in the success of their fishing business. The 12 diary entries selected from a 30-­year period include topics such as ice on the river, storms eroding the banks, rival fishermen, success, and gratitude. Some entries: “March 7 There has been another very cold night River crowded with ice It is within 3 weeks of fishing time There must be a great change before Shad can come up the river” “April 22nd No fishing our boats were so much injured it will take all some time to repair April 23 Still blowing a gale” Using the traditional handwork techniques of embroidery and appliqué, the book references the needlework women practiced during early America. Mrs. Howell’s handwriting is reproduced in thread on paper and illustrations are pieced with cut paper, both hand-­stitched. Each entry includes a notation of month and day to connect the cyclical seasonal calendar with the requirements of a life so closely connected to the land. A Creative and Performing Artists and Writers Fellowship from the American Antiquarian Society, which holds a collection of Anna Blackwood Howell’s diaries, supported the research for this book. My artist books often derive from remnants of the past, whether through language or image, largely gathered from research in libraries, museums, and archives. Collected evidence, along with historic voices and image-­makers, serve as my collaborators in linking the present to the past, as well as the new to the familiar. Staying true to the manuscripts, texts, or illustrations is important to me, even as I edit and interpret my source material. Through carefully considered physical and content choices and by embedding layers of meaning, I hope to pull a reader in, and allow for new discoveries, perspectives and understandings over multiple readings. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774622975367-6FKY2JA8H19JN1094UBM/mcba-prize-2015-stephanie-wolff-fishing-time-at-fancy-hill-3.jpg Entries & Jurors - 2015 Entries - Stephanie Wolff Stephanie Wolff (Norwich, Vermont) StephanieWolffStudio.com Fishing Time At Fancy Hill 2014 Pages of appliquéd paper illustrations and embroidered text on paper are sewn onto a concertina guard and bound into a codex. A single folio holds the colophon, with a clamshell box housing both items. Unique work Pages: 24 Dimensions open: Book: 10-1/8″ x 24″ x 1-3/4″ Dimensions closed: Book: 10-1/8″ x 12″ x 1-3/4″; colophon folio: 10-1/8″ x 12″ x 1/32″; box: 10-3/4″ x 12-7/16″ x 2-7/16″ Page spread. Text of diary entry: “April 10th Pleasant weather and a considerable increase of Shad” Fishing Time at Fancy Hill focuses on an era when the weather and its effects were woven closely into daily life and thought. Drawn from diary entries of Anna Blackwood Howell (1769-­1855), a New Jersey widow who inherited a farm and fisheries on the Delaware River in 1818, the text illustrates the impact of weather on the shad fishing season at the Howe family’s Fancy Hill Farm. Mrs. Howell’s concerns and observations highlight this important but uncontrollable factor in the success of their fishing business. The 12 diary entries selected from a 30-­year period include topics such as ice on the river, storms eroding the banks, rival fishermen, success, and gratitude. Some entries: “March 7 There has been another very cold night River crowded with ice It is within 3 weeks of fishing time There must be a great change before Shad can come up the river” “April 22nd No fishing our boats were so much injured it will take all some time to repair April 23 Still blowing a gale” Using the traditional handwork techniques of embroidery and appliqué, the book references the needlework women practiced during early America. Mrs. Howell’s handwriting is reproduced in thread on paper and illustrations are pieced with cut paper, both hand-­stitched. Each entry includes a notation of month and day to connect the cyclical seasonal calendar with the requirements of a life so closely connected to the land. A Creative and Performing Artists and Writers Fellowship from the American Antiquarian Society, which holds a collection of Anna Blackwood Howell’s diaries, supported the research for this book. My artist books often derive from remnants of the past, whether through language or image, largely gathered from research in libraries, museums, and archives. Collected evidence, along with historic voices and image-­makers, serve as my collaborators in linking the present to the past, as well as the new to the familiar. Staying true to the manuscripts, texts, or illustrations is important to me, even as I edit and interpret my source material. Through carefully considered physical and content choices and by embedding layers of meaning, I hope to pull a reader in, and allow for new discoveries, perspectives and understandings over multiple readings. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774623220946-0M90RXCQQDZY0TRWQSYQ/mcba-prize-2015-stephanie-wolff-fishing-time-at-fancy-hill-4.jpg Entries & Jurors - 2015 Entries - Stephanie Wolff Stephanie Wolff (Norwich, Vermont) StephanieWolffStudio.com Fishing Time At Fancy Hill 2014 Pages of appliquéd paper illustrations and embroidered text on paper are sewn onto a concertina guard and bound into a codex. A single folio holds the colophon, with a clamshell box housing both items. Unique work Pages: 24 Dimensions open: Book: 10-1/8″ x 24″ x 1-3/4″ Dimensions closed: Book: 10-1/8″ x 12″ x 1-3/4″; colophon folio: 10-1/8″ x 12″ x 1/32″; box: 10-3/4″ x 12-7/16″ x 2-7/16″ Page spread. Text of diary entry: ” April 16th Weather Still lovely & we are catching fish finely Thanks be to God the bountiful giver of every good” Fishing Time at Fancy Hill focuses on an era when the weather and its effects were woven closely into daily life and thought. Drawn from diary entries of Anna Blackwood Howell (1769-­1855), a New Jersey widow who inherited a farm and fisheries on the Delaware River in 1818, the text illustrates the impact of weather on the shad fishing season at the Howe family’s Fancy Hill Farm. Mrs. Howell’s concerns and observations highlight this important but uncontrollable factor in the success of their fishing business. The 12 diary entries selected from a 30-­year period include topics such as ice on the river, storms eroding the banks, rival fishermen, success, and gratitude. Some entries: “March 7 There has been another very cold night River crowded with ice It is within 3 weeks of fishing time There must be a great change before Shad can come up the river” “April 22nd No fishing our boats were so much injured it will take all some time to repair April 23 Still blowing a gale” Using the traditional handwork techniques of embroidery and appliqué, the book references the needlework women practiced during early America. Mrs. Howell’s handwriting is reproduced in thread on paper and illustrations are pieced with cut paper, both hand-­stitched. Each entry includes a notation of month and day to connect the cyclical seasonal calendar with the requirements of a life so closely connected to the land. A Creative and Performing Artists and Writers Fellowship from the American Antiquarian Society, which holds a collection of Anna Blackwood Howell’s diaries, supported the research for this book. My artist books often derive from remnants of the past, whether through language or image, largely gathered from research in libraries, museums, and archives. Collected evidence, along with historic voices and image-­makers, serve as my collaborators in linking the present to the past, as well as the new to the familiar. Staying true to the manuscripts, texts, or illustrations is important to me, even as I edit and interpret my source material. Through carefully considered physical and content choices and by embedding layers of meaning, I hope to pull a reader in, and allow for new discoveries, perspectives and understandings over multiple readings. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774623220943-R4GPUJI196154MZMV4S1/mcba-prize-2015-stephanie-wolff-fishing-time-at-fancy-hill-5.jpg Entries & Jurors - 2015 Entries - Stephanie Wolff Stephanie Wolff (Norwich, Vermont) StephanieWolffStudio.com Fishing Time At Fancy Hill 2014 Pages of appliquéd paper illustrations and embroidered text on paper are sewn onto a concertina guard and bound into a codex. A single folio holds the colophon, with a clamshell box housing both items. Unique work Pages: 24 Dimensions open: Book: 10-1/8″ x 24″ x 1-3/4″ Dimensions closed: Book: 10-1/8″ x 12″ x 1-3/4″; colophon folio: 10-1/8″ x 12″ x 1/32″; box: 10-3/4″ x 12-7/16″ x 2-7/16″ Page spread. Text of diary entry: “May 31st Stormy to the last it is blowing such a tornado that the men have no control over the nets One is torn in two & the other running away” Fishing Time at Fancy Hill focuses on an era when the weather and its effects were woven closely into daily life and thought. Drawn from diary entries of Anna Blackwood Howell (1769-­1855), a New Jersey widow who inherited a farm and fisheries on the Delaware River in 1818, the text illustrates the impact of weather on the shad fishing season at the Howe family’s Fancy Hill Farm. Mrs. Howell’s concerns and observations highlight this important but uncontrollable factor in the success of their fishing business. The 12 diary entries selected from a 30-­year period include topics such as ice on the river, storms eroding the banks, rival fishermen, success, and gratitude. Some entries: “March 7 There has been another very cold night River crowded with ice It is within 3 weeks of fishing time There must be a great change before Shad can come up the river” “April 22nd No fishing our boats were so much injured it will take all some time to repair April 23 Still blowing a gale” Using the traditional handwork techniques of embroidery and appliqué, the book references the needlework women practiced during early America. Mrs. Howell’s handwriting is reproduced in thread on paper and illustrations are pieced with cut paper, both hand-­stitched. Each entry includes a notation of month and day to connect the cyclical seasonal calendar with the requirements of a life so closely connected to the land. A Creative and Performing Artists and Writers Fellowship from the American Antiquarian Society, which holds a collection of Anna Blackwood Howell’s diaries, supported the research for this book. My artist books often derive from remnants of the past, whether through language or image, largely gathered from research in libraries, museums, and archives. Collected evidence, along with historic voices and image-­makers, serve as my collaborators in linking the present to the past, as well as the new to the familiar. Staying true to the manuscripts, texts, or illustrations is important to me, even as I edit and interpret my source material. Through carefully considered physical and content choices and by embedding layers of meaning, I hope to pull a reader in, and allow for new discoveries, perspectives and understandings over multiple readings. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774623604032-4X9DETW7IDIQRFPXHBFP/mcba-prize-2015-martine-workman-old-horizon-1.jpg Entries & Jurors - 2015 Entries - Martine Workman Martine Workman (Washington, DC) martinealicia.com Old Horizon 2015 foil stamped accordian fold book, pencil and ink, hand drawn with carbon copy transfer Edition of 5 Dimensions open: 4.875″ x 42.25″ Dimensions closed: 4.875″ x 5.625″ The cover, foil stamped Japanese silk book cloth. Within the past year, I have spent a lot of time looking at old master drawings (Poussin, Guercino, Rubens and others), particularly of landscapes and landscape backgrounds. I limited my viewing to library and museum websites with digitized collections. I am interested in the types of marks made in the ink drawings. Some of the drawings are densely drawn, with very realistic detail. Others are more expressive and fluid. I found one commonalty in this genre of drawing: the depiction of the horizon is always drawn as a single horizontal line. Sometimes it is straight, sometimes meandering with a little shading below the horizon, but even in the most densely detailed drawing, the horizon appears as a single line. Looking at the drawings, I realized these landscapes drawn hundreds of years ago no longer exist, made by people who no longer exist. Trees lose their leaves and eventually die. Forests are cut down for development. We count on the horizon to remain unchanged. I traced the horizons from my computer screen, connecting them to make one very long horizon line in an accordion book. The book was produced at Pyramid Atlantic Art Center in Silver Spring, MD, with help from Patricia Lee while I was a Denbo fellow. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774623604025-YYZSKBV3EGLHY3P9IS6E/mcba-prize-2015-martine-workman-old-horizon-2.jpg Entries & Jurors - 2015 Entries - Martine Workman Martine Workman (Washington, DC) martinealicia.com Old Horizon 2015 foil stamped accordian fold book, pencil and ink, hand drawn with carbon copy transfer Edition of 5 Dimensions open: 4.875″ x 42.25″ Dimensions closed: 4.875″ x 5.625″ The interior, horizon lines traced from Old Master drawings connecting to create one very long horizon. Within the past year, I have spent a lot of time looking at old master drawings (Poussin, Guercino, Rubens and others), particularly of landscapes and landscape backgrounds. I limited my viewing to library and museum websites with digitized collections. I am interested in the types of marks made in the ink drawings. Some of the drawings are densely drawn, with very realistic detail. Others are more expressive and fluid. I found one commonalty in this genre of drawing: the depiction of the horizon is always drawn as a single horizontal line. Sometimes it is straight, sometimes meandering with a little shading below the horizon, but even in the most densely detailed drawing, the horizon appears as a single line. Looking at the drawings, I realized these landscapes drawn hundreds of years ago no longer exist, made by people who no longer exist. Trees lose their leaves and eventually die. Forests are cut down for development. We count on the horizon to remain unchanged. I traced the horizons from my computer screen, connecting them to make one very long horizon line in an accordion book. The book was produced at Pyramid Atlantic Art Center in Silver Spring, MD, with help from Patricia Lee while I was a Denbo fellow. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774623840732-C1PN1KD27XMIVLVSVIIF/mcba-prize-2015-martine-workman-old-horizon-3.jpg Entries & Jurors - 2015 Entries - Martine Workman Martine Workman (Washington, DC) martinealicia.com Old Horizon 2015 foil stamped accordian fold book, pencil and ink, hand drawn with carbon copy transfer Edition of 5 Dimensions open: 4.875″ x 42.25″ Dimensions closed: 4.875″ x 5.625″ The interior, horizon lines traced from Old Master drawings connecting to create one very long horizon. Within the past year, I have spent a lot of time looking at old master drawings (Poussin, Guercino, Rubens and others), particularly of landscapes and landscape backgrounds. I limited my viewing to library and museum websites with digitized collections. I am interested in the types of marks made in the ink drawings. Some of the drawings are densely drawn, with very realistic detail. Others are more expressive and fluid. I found one commonalty in this genre of drawing: the depiction of the horizon is always drawn as a single horizontal line. Sometimes it is straight, sometimes meandering with a little shading below the horizon, but even in the most densely detailed drawing, the horizon appears as a single line. Looking at the drawings, I realized these landscapes drawn hundreds of years ago no longer exist, made by people who no longer exist. Trees lose their leaves and eventually die. Forests are cut down for development. We count on the horizon to remain unchanged. I traced the horizons from my computer screen, connecting them to make one very long horizon line in an accordion book. The book was produced at Pyramid Atlantic Art Center in Silver Spring, MD, with help from Patricia Lee while I was a Denbo fellow. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774623840384-DDO7HRT2TZJMBS0NAZMV/mcba-prize-2015-martine-workman-old-horizon-4.jpg Entries & Jurors - 2015 Entries - Martine Workman Martine Workman (Washington, DC) martinealicia.com Old Horizon 2015 foil stamped accordian fold book, pencil and ink, hand drawn with carbon copy transfer Edition of 5 Dimensions open: 4.875″ x 42.25″ Dimensions closed: 4.875″ x 5.625″ The interior, horizon lines traced from Old Master drawings connecting to create one very long horizon. Within the past year, I have spent a lot of time looking at old master drawings (Poussin, Guercino, Rubens and others), particularly of landscapes and landscape backgrounds. I limited my viewing to library and museum websites with digitized collections. I am interested in the types of marks made in the ink drawings. Some of the drawings are densely drawn, with very realistic detail. Others are more expressive and fluid. I found one commonalty in this genre of drawing: the depiction of the horizon is always drawn as a single horizontal line. Sometimes it is straight, sometimes meandering with a little shading below the horizon, but even in the most densely detailed drawing, the horizon appears as a single line. Looking at the drawings, I realized these landscapes drawn hundreds of years ago no longer exist, made by people who no longer exist. Trees lose their leaves and eventually die. Forests are cut down for development. We count on the horizon to remain unchanged. I traced the horizons from my computer screen, connecting them to make one very long horizon line in an accordion book. The book was produced at Pyramid Atlantic Art Center in Silver Spring, MD, with help from Patricia Lee while I was a Denbo fellow. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774623842696-GYOMDXGR7664VWDYJO5A/mcba-prize-2015-martine-workman-old-horizon-5.jpg Entries & Jurors - 2015 Entries - Martine Workman Martine Workman (Washington, DC) martinealicia.com Old Horizon 2015 foil stamped accordian fold book, pencil and ink, hand drawn with carbon copy transfer Edition of 5 Dimensions open: 4.875″ x 42.25″ Dimensions closed: 4.875″ x 5.625″ The interior, horizon lines traced from Old Master drawings connecting to create one very long horizon. Within the past year, I have spent a lot of time looking at old master drawings (Poussin, Guercino, Rubens and others), particularly of landscapes and landscape backgrounds. I limited my viewing to library and museum websites with digitized collections. I am interested in the types of marks made in the ink drawings. Some of the drawings are densely drawn, with very realistic detail. Others are more expressive and fluid. I found one commonalty in this genre of drawing: the depiction of the horizon is always drawn as a single horizontal line. Sometimes it is straight, sometimes meandering with a little shading below the horizon, but even in the most densely detailed drawing, the horizon appears as a single line. Looking at the drawings, I realized these landscapes drawn hundreds of years ago no longer exist, made by people who no longer exist. Trees lose their leaves and eventually die. Forests are cut down for development. We count on the horizon to remain unchanged. I traced the horizons from my computer screen, connecting them to make one very long horizon line in an accordion book. The book was produced at Pyramid Atlantic Art Center in Silver Spring, MD, with help from Patricia Lee while I was a Denbo fellow. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774624377975-XAT1J2OWF3SUZMYTCE3A/mcba-prize-2015-yo-yamazaki-a-bird-in-the-sky-1.jpg Entries & Jurors - 2015 Entries - Yo Yamazaki Yo Yamazaki (Tokyo, Japan) yoyamazaki.jp A bird in the sky silk cloth, paper, plywood, silkscreen print, offset print Edition of 25 142 pages 97 x 270x 70mm open 97 x 142 x 25mm closed Yo Yamazaki is no conceptual artist but he make his art works like ancient Japanese decorative artists. For example Ogata Korin, Tawaraya Sotatsu, etc. He loves traditional beauty and organic shapes. But he is not a painter. Yo’s expression begin to discover materials not begin from concept. Today there is many materials in Tokyo. Yo think that environment is like jungle for primitive people. Almost many things have no meaning but very attractive for him. He collect materials he likes. Silk cloth, punching metal board, leaves, wood hides, many kind papers, little stone, etc. etc. He hybridize of these. Books are very interesting things. That made from materials like papers and cloth or leather. They have printing words or drawings, paintings inside. They are movable, openable, and readable. No need fuel or electricity. Only need human hands to open. Yo want make his art like making books. He dose not want to make books. He edit materials and makes new hybrid art. They are movable, openable and we enjoy to touch and see them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774624377916-5GX2D66BD9DUR63TMQ23/mcba-prize-2015-yo-yamazaki-a-bird-in-the-sky-2.jpg Entries & Jurors - 2015 Entries - Yo Yamazaki Yo Yamazaki (Tokyo, Japan) yoyamazaki.jp A bird in the sky silk cloth, paper, plywood, silkscreen print, offset print Edition of 25 142 pages 97 x 270x 70mm open 97 x 142 x 25mm closed Yo Yamazaki is no conceptual artist but he make his art works like ancient Japanese decorative artists. For example Ogata Korin, Tawaraya Sotatsu, etc. He loves traditional beauty and organic shapes. But he is not a painter. Yo’s expression begin to discover materials not begin from concept. Today there is many materials in Tokyo. Yo think that environment is like jungle for primitive people. Almost many things have no meaning but very attractive for him. He collect materials he likes. Silk cloth, punching metal board, leaves, wood hides, many kind papers, little stone, etc. etc. He hybridize of these. Books are very interesting things. That made from materials like papers and cloth or leather. They have printing words or drawings, paintings inside. They are movable, openable, and readable. No need fuel or electricity. Only need human hands to open. Yo want make his art like making books. He dose not want to make books. He edit materials and makes new hybrid art. They are movable, openable and we enjoy to touch and see them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774624378916-U3ZVH002XPQICSCFQTNZ/mcba-prize-2015-yo-yamazaki-a-bird-in-the-sky-3.jpg Entries & Jurors - 2015 Entries - Yo Yamazaki Yo Yamazaki (Tokyo, Japan) yoyamazaki.jp A bird in the sky silk cloth, paper, plywood, silkscreen print, offset print Edition of 25 142 pages 97 x 270x 70mm open 97 x 142 x 25mm closed Yo Yamazaki is no conceptual artist but he make his art works like ancient Japanese decorative artists. For example Ogata Korin, Tawaraya Sotatsu, etc. He loves traditional beauty and organic shapes. But he is not a painter. Yo’s expression begin to discover materials not begin from concept. Today there is many materials in Tokyo. Yo think that environment is like jungle for primitive people. Almost many things have no meaning but very attractive for him. He collect materials he likes. Silk cloth, punching metal board, leaves, wood hides, many kind papers, little stone, etc. etc. He hybridize of these. Books are very interesting things. That made from materials like papers and cloth or leather. They have printing words or drawings, paintings inside. They are movable, openable, and readable. No need fuel or electricity. Only need human hands to open. Yo want make his art like making books. He dose not want to make books. He edit materials and makes new hybrid art. They are movable, openable and we enjoy to touch and see them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774624378952-UGZTV3CFN1AKYIOV7FEF/mcba-prize-2015-yo-yamazaki-a-bird-in-the-sky-4.jpg Entries & Jurors - 2015 Entries - Yo Yamazaki Yo Yamazaki (Tokyo, Japan) yoyamazaki.jp A bird in the sky silk cloth, paper, plywood, silkscreen print, offset print Edition of 25 142 pages 97 x 270x 70mm open 97 x 142 x 25mm closed Yo Yamazaki is no conceptual artist but he make his art works like ancient Japanese decorative artists. For example Ogata Korin, Tawaraya Sotatsu, etc. He loves traditional beauty and organic shapes. But he is not a painter. Yo’s expression begin to discover materials not begin from concept. Today there is many materials in Tokyo. Yo think that environment is like jungle for primitive people. Almost many things have no meaning but very attractive for him. He collect materials he likes. Silk cloth, punching metal board, leaves, wood hides, many kind papers, little stone, etc. etc. He hybridize of these. Books are very interesting things. That made from materials like papers and cloth or leather. They have printing words or drawings, paintings inside. They are movable, openable, and readable. No need fuel or electricity. Only need human hands to open. Yo want make his art like making books. He dose not want to make books. He edit materials and makes new hybrid art. They are movable, openable and we enjoy to touch and see them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774624379835-8RNC045LZGIG2QNF7X8Y/mcba-prize-2015-yo-yamazaki-a-bird-in-the-sky-5.jpg Entries & Jurors - 2015 Entries - Yo Yamazaki Yo Yamazaki (Tokyo, Japan) yoyamazaki.jp A bird in the sky silk cloth, paper, plywood, silkscreen print, offset print Edition of 25 142 pages 97 x 270x 70mm open 97 x 142 x 25mm closed Yo Yamazaki is no conceptual artist but he make his art works like ancient Japanese decorative artists. For example Ogata Korin, Tawaraya Sotatsu, etc. He loves traditional beauty and organic shapes. But he is not a painter. Yo’s expression begin to discover materials not begin from concept. Today there is many materials in Tokyo. Yo think that environment is like jungle for primitive people. Almost many things have no meaning but very attractive for him. He collect materials he likes. Silk cloth, punching metal board, leaves, wood hides, many kind papers, little stone, etc. etc. He hybridize of these. Books are very interesting things. That made from materials like papers and cloth or leather. They have printing words or drawings, paintings inside. They are movable, openable, and readable. No need fuel or electricity. Only need human hands to open. Yo want make his art like making books. He dose not want to make books. He edit materials and makes new hybrid art. They are movable, openable and we enjoy to touch and see them. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774625023924-1P8EU3WP5SIYZFQZIAQJ/mcba-prize-2015-daniel-zalkus-charcoal-and-whisky-1.jpg Entries & Jurors - 2015 Entries - Daniel Zalkus Daniel Zalkus (Forest Park, IL) zalkus.com Charcoal & Whisky 2014 Charcoal on paper. Digital color. Edition of 500 48 pages 9×12″ My main focus as an artist is with drawing, filtered through an awareness of three critical components: composition, line and shape. Another key aspect is the location that I’m working in. Drawing “on the spot” allows me to capture the unique time and place of a specific environment. A location determined not only by the visual, but equally by an awareness of condition, be it the sounds of a place or the weather when I am there. Direct drawing like this provides a nuance that can’t be captured any other way, not even in a photograph. While locations can be recorded using photos, it’s the artists’ viewpoint and reaction to the environment that makes it unique. I feel that this absorption into the space is a central concern of my work. In the work I utilize a variety of line with the intent to generate an interaction between oppositions. Straight, curved and fluid lines that contrast to make each section of the drawing unique yet a part of the whole. My goal is for that unified “field” of unique elements to provide an interesting and engaging final composition. Charcoal & Whisky is a book containing a series of drawings that document the whisky-making process and was created during my time as a Glenfiddich Artist in Residence. For four months I lived on the distillery grounds in Dufftown, Scotland and directly drew the workers as they repaired the casks, bottled the spirits and gave tours of the location. The book is full color, 9×12 in size, 48 pages and a limited edition of 500. Each copy is signed and numbered. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774625023932-5NLKGM9DHIOR1LWKN7UJ/mcba-prize-2015-daniel-zalkus-charcoal-and-whisky-2.jpg Entries & Jurors - 2015 Entries - Daniel Zalkus Daniel Zalkus (Forest Park, IL) zalkus.com Charcoal & Whisky 2014 Charcoal on paper. Digital color. Edition of 500 48 pages 9×12″ My main focus as an artist is with drawing, filtered through an awareness of three critical components: composition, line and shape. Another key aspect is the location that I’m working in. Drawing “on the spot” allows me to capture the unique time and place of a specific environment. A location determined not only by the visual, but equally by an awareness of condition, be it the sounds of a place or the weather when I am there. Direct drawing like this provides a nuance that can’t be captured any other way, not even in a photograph. While locations can be recorded using photos, it’s the artists’ viewpoint and reaction to the environment that makes it unique. I feel that this absorption into the space is a central concern of my work. In the work I utilize a variety of line with the intent to generate an interaction between oppositions. Straight, curved and fluid lines that contrast to make each section of the drawing unique yet a part of the whole. My goal is for that unified “field” of unique elements to provide an interesting and engaging final composition. Charcoal & Whisky is a book containing a series of drawings that document the whisky-making process and was created during my time as a Glenfiddich Artist in Residence. For four months I lived on the distillery grounds in Dufftown, Scotland and directly drew the workers as they repaired the casks, bottled the spirits and gave tours of the location. The book is full color, 9×12 in size, 48 pages and a limited edition of 500. Each copy is signed and numbered. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774625026462-MUAF1GPURHIYG1WTECBH/mcba-prize-2015-daniel-zalkus-charcoal-and-whisky-3.jpg Entries & Jurors - 2015 Entries - Daniel Zalkus Daniel Zalkus (Forest Park, IL) zalkus.com Charcoal & Whisky 2014 Charcoal on paper. Digital color. Edition of 500 48 pages 9×12″ My main focus as an artist is with drawing, filtered through an awareness of three critical components: composition, line and shape. Another key aspect is the location that I’m working in. Drawing “on the spot” allows me to capture the unique time and place of a specific environment. A location determined not only by the visual, but equally by an awareness of condition, be it the sounds of a place or the weather when I am there. Direct drawing like this provides a nuance that can’t be captured any other way, not even in a photograph. While locations can be recorded using photos, it’s the artists’ viewpoint and reaction to the environment that makes it unique. I feel that this absorption into the space is a central concern of my work. In the work I utilize a variety of line with the intent to generate an interaction between oppositions. Straight, curved and fluid lines that contrast to make each section of the drawing unique yet a part of the whole. My goal is for that unified “field” of unique elements to provide an interesting and engaging final composition. Charcoal & Whisky is a book containing a series of drawings that document the whisky-making process and was created during my time as a Glenfiddich Artist in Residence. For four months I lived on the distillery grounds in Dufftown, Scotland and directly drew the workers as they repaired the casks, bottled the spirits and gave tours of the location. The book is full color, 9×12 in size, 48 pages and a limited edition of 500. Each copy is signed and numbered. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774625027972-F6J4MTTJ6X1PBUH5NEXK/mcba-prize-2015-daniel-zalkus-charcoal-and-whisky-4.jpg Entries & Jurors - 2015 Entries - Daniel Zalkus Daniel Zalkus (Forest Park, IL) zalkus.com Charcoal & Whisky 2014 Charcoal on paper. Digital color. Edition of 500 48 pages 9×12″ My main focus as an artist is with drawing, filtered through an awareness of three critical components: composition, line and shape. Another key aspect is the location that I’m working in. Drawing “on the spot” allows me to capture the unique time and place of a specific environment. A location determined not only by the visual, but equally by an awareness of condition, be it the sounds of a place or the weather when I am there. Direct drawing like this provides a nuance that can’t be captured any other way, not even in a photograph. While locations can be recorded using photos, it’s the artists’ viewpoint and reaction to the environment that makes it unique. I feel that this absorption into the space is a central concern of my work. In the work I utilize a variety of line with the intent to generate an interaction between oppositions. Straight, curved and fluid lines that contrast to make each section of the drawing unique yet a part of the whole. My goal is for that unified “field” of unique elements to provide an interesting and engaging final composition. Charcoal & Whisky is a book containing a series of drawings that document the whisky-making process and was created during my time as a Glenfiddich Artist in Residence. For four months I lived on the distillery grounds in Dufftown, Scotland and directly drew the workers as they repaired the casks, bottled the spirits and gave tours of the location. The book is full color, 9×12 in size, 48 pages and a limited edition of 500. Each copy is signed and numbered. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1774625029293-IZNCJO8O6RNKWCR9EAH8/mcba-prize-2015-daniel-zalkus-charcoal-and-whisky-5.jpg Entries & Jurors - 2015 Entries - Daniel Zalkus Daniel Zalkus (Forest Park, IL) zalkus.com Charcoal & Whisky 2014 Charcoal on paper. Digital color. Edition of 500 48 pages 9×12″ My main focus as an artist is with drawing, filtered through an awareness of three critical components: composition, line and shape. Another key aspect is the location that I’m working in. Drawing “on the spot” allows me to capture the unique time and place of a specific environment. A location determined not only by the visual, but equally by an awareness of condition, be it the sounds of a place or the weather when I am there. Direct drawing like this provides a nuance that can’t be captured any other way, not even in a photograph. While locations can be recorded using photos, it’s the artists’ viewpoint and reaction to the environment that makes it unique. I feel that this absorption into the space is a central concern of my work. In the work I utilize a variety of line with the intent to generate an interaction between oppositions. Straight, curved and fluid lines that contrast to make each section of the drawing unique yet a part of the whole. My goal is for that unified “field” of unique elements to provide an interesting and engaging final composition. Charcoal & Whisky is a book containing a series of drawings that document the whisky-making process and was created during my time as a Glenfiddich Artist in Residence. For four months I lived on the distillery grounds in Dufftown, Scotland and directly drew the workers as they repaired the casks, bottled the spirits and gave tours of the location. The book is full color, 9×12 in size, 48 pages and a limited edition of 500. Each copy is signed and numbered. https://www.mcbaprize.org/mcba-prize/robin-price-love-in-the-time-of-war monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773326766206-KGGBVIF3JH8G7GDYVBJG/mcba-prize-2015-love-in-the-time-of-war-1.jpg Entries & Jurors - Robin Price, “Love in the Time of War” Front & back covers https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773326765933-UHHY4IIVMPEJJG0PKZ5Q/mcba-prize-2015-love-in-the-time-of-war-2.jpg Entries & Jurors - Robin Price, “Love in the Time of War” Title page spread, copy #34 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773326767003-YYZYUDLFUTXRNSMNWP3Y/mcba-prize-2015-love-in-the-time-of-war-3.jpg Entries & Jurors - Robin Price, “Love in the Time of War” Title page spread, unknown copy number https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773326767857-S6QW6KM5CHHQ6ZHQ3OCA/mcba-prize-2015-love-in-the-time-of-war-4.jpg Entries & Jurors - Robin Price, “Love in the Time of War” Page spread with “Gilgamesh’s Humbaba . . . ” poem https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773326768437-ICEQSEWYBXII130U8LQ0/mcba-prize-2015-love-in-the-time-of-war-5.jpg Entries & Jurors - Robin Price, “Love in the Time of War” Page spread with “A bottle-nosed dolphin . . . “ poem https://www.mcbaprize.org/mcba-prize/sara-langworthy-on-physical-lines monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773326324155-ZIV8S3CWZPKJEU1EZBBJ/mcba-prize-2015-sara-langworthy-on-physical-lines-1.jpg Entries & Jurors - Sara Langworthy, “On Physical Lines” These are the first two pages of the book. Preceding front matter includes a spread of power lines printed in photopolymer (recto) and linoleum (verso), half title, title page, and an epigraph from James Clerk Maxwell: “We shall find that it is the peculiar function of physical science to lead us, by the steps of rigid demonstration, to the confines of the incomprehensible, and to encourage us to apply our minds to that which we do not yet understand, since it is only to those who labour patiently and think steadily, that such mysteries are ever opened.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773326323929-6BX2DQ3ZR6XWYO6BF41V/mcba-prize-2015-sara-langworthy-on-physical-lines-2.jpg Entries & Jurors - Sara Langworthy, “On Physical Lines” Second page spread, Part One. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773326496383-9WYR6JFWVOYQYPCOGIC2/mcba-prize-2015-sara-langworthy-on-physical-lines-5.jpg Entries & Jurors - Sara Langworthy, “On Physical Lines” Towards the end of Part One. The lines on the verso are printed from photopolymer, the solids on the recto are printed from linoleum. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773326324941-RSW27IWCNR1NK1RTBVJY/mcba-prize-2015-sara-langworthy-on-physical-lines-3.jpg Entries & Jurors - Sara Langworthy, “On Physical Lines” This spread is toward the beginning of Part Three. The firm margins established in Parts One and Two are beginning to shift and break. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773326325269-QG671B4OHBRPQR741KEQ/mcba-prize-2015-sara-langworthy-on-physical-lines-4.jpg Entries & Jurors - Sara Langworthy, “On Physical Lines” This spread is towards the end of Part Three. The solid blocks of color are keeping with the fore edge margins, but move off the top of the page completely. The printed lines no longer follow any rules and they move towards both the future and the past. The page spread that follows this is the final one of the book, and all margins are completely broken. The first line from the book, “Every place where we find lines of force some physical state of action must exist” is printed on the final page. https://www.mcbaprize.org/mcba-prize/sarah-bryant-and-david-allen-figure-study monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773325240910-82MCEKA1SW76F2BZG8VR/mcba-prize-2015-sarah-bryant-david-allen-figure-study-1.jpg Entries & Jurors - Sarah Bryant and David Allen, “Figure Study” Partially open view. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773325240315-WWVO6S0SPX6ONY1TY5LF/mcba-prize-2015-sarah-bryant-david-allen-figure-study-2.jpg Entries & Jurors - Sarah Bryant and David Allen, “Figure Study” Open view showing booklet, grid, and open box of figures printed on drafting film. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773325242684-SNJ1TAQSMHW3ZDTVNDVI/mcba-prize-2015-sarah-bryant-david-allen-figure-study-3.jpg Entries & Jurors - Sarah Bryant and David Allen, “Figure Study” Detail of several figures layered on the grid in the enclosure. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773325243191-1BKA00YIZ84RUPTBOEWX/mcba-prize-2015-sarah-bryant-david-allen-figure-study-4.jpg Entries & Jurors - Sarah Bryant and David Allen, “Figure Study” Detail of an index that can be used to identify the two geographical regions represented by each figure. This index is included in a book which also includes an essay by David Allen about our data sources and process. https://www.mcbaprize.org/mcba-prize/casey-gardner-matter-antimatter-and-so-forth monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773325690487-6MK5EU02PSGGNTSHA5BS/mcba-prize-2015-casey-gardner-matter-antimatter-and-so-forth-1.jpg Entries & Jurors - Casey Gardner, “Matter, Antimatter, and So Forth” Group shot with seven folios and map of the universe portfolio closed as a cover and container for the seven folios https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773325690225-85L3888H78PF6Y8Y1M3M/mcba-prize-2015-casey-gardner-matter-antimatter-and-so-forth-2.jpg Entries & Jurors - Casey Gardner, “Matter, Antimatter, and So Forth” Group shot with seven folios and map portfolio open; shows legend at bottom https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773325691240-E42CQWCAIIKB20C2Q5WZ/mcba-prize-2015-casey-gardner-matter-antimatter-and-so-forth-3.jpg Entries & Jurors - Casey Gardner, “Matter, Antimatter, and So Forth” Three open folios: Time, Light and Science with transparencies lifted to show layering https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773325691629-1VVOL0TOP289G82I3HG2/mcba-prize-2015-casey-gardner-matter-antimatter-and-so-forth-4.jpg Entries & Jurors - Casey Gardner, “Matter, Antimatter, and So Forth” Two open folios: Time and Gravity with transparencies lifted https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773325692408-1YF69DCCKZ2MPR5A9IMF/mcba-prize-2015-casey-gardner-matter-antimatter-and-so-forth-5.jpg Entries & Jurors - Casey Gardner, “Matter, Antimatter, and So Forth” Folios displayed in star cluster https://www.mcbaprize.org/mcba-prize/ken-botnick-diderot-project monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773324373383-5Q6JLC3MGYMHMBNTYGQV/mcba-prize-2020-ken-botnick-diderot-project-1.jpg Entries & Jurors - Ken Botnick, “Diderot Project” Half-title printed in 5 colors on UV Ultra paper. Colors blocks were printed on the verso of this sheet which is why the gold and silver have a matte or muted tone. Silver half title is printed on the reader’s side of the sheet. Show-through to following page and print of buckets is visible through the color blocks. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773324373430-YO1ST6ADZO375QJ03Y0M/mcba-prize-2020-ken-botnick-diderot-project-2.jpg Entries & Jurors - Ken Botnick, “Diderot Project” Part of the title sequence. The silver “Project” is printed on this side of the sheet to align perfectly with “Diderot” on the verso. Composition of this page considers the composition on the previous two pages showing through the paper to make a composite composition with the page turn. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773324374608-55DBP88OTEOV4IAA1JGW/mcba-prize-2020-ken-botnick-diderot-project-3.jpg Entries & Jurors - Ken Botnick, “Diderot Project” Another aspect of the titling sequence playing with the visual quality of the name, Diderot, and the structural quality of the type face, Walbaum. The type you are seeing on the left is the result of seeing 4 paper surfaces aligned to create the image of a machine. The illustration on the right hand page is printed in silver on black paper. The circle is a repeating visual metaphor in the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773324375764-N9GASGV3BC6V1RH08HC7/mcba-prize-2020-ken-botnick-diderot-project-5.jpg Entries & Jurors - Ken Botnick, “Diderot Project” There are three sections in the book and each has its own typographic ‘signature’ established at the beginning of the section with an introductory passage I wrote. This is the opening section on The Object, the typography evoking the angular quality of the tool or machine. The quote on left page is by Goethe and the image is a composite of a plate on the section on fishing and a sky filled with figure numbers that appear throughout the Encyclopedia plates. There are a total of 40 different authors of texts, mostly short, in the book, but the largest amount of texts are by Diderot and myself. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773324374763-1HR86OVD6QDVH4G3XPKY/mcba-prize-2020-ken-botnick-diderot-project-4.jpg Entries & Jurors - Ken Botnick, “Diderot Project” This page spread introduces the section on The Senses. The left hand page is a composite of two different typographic constructions of the word Encyclopedia that appear regularly throughout the book to announce a change in content. The left page is UV Ultra printed on two sides with a mosaic grid of fragments of Encyclopedia plates printed in silver +transparent. On the verso is a fragmented version of the Encyclopedia grid construct in black. The previous page shows through in black and gold. The right hand page has another introductory passage about the coming section written by me. The silhouette is Diderot’s portrait bust by Houdon with one of the plates used to evoke Diderot’s changing nature as he edited the Encyclopedia. https://www.mcbaprize.org/mcba-prize/heidi-neilson-atlas-dream-sequence monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351418735-PN5UPH0ZXMM3LUL2KQ39/mcba-prize-2013-heidi-neilson-atlas-dream-sequence-1.jpg Entries & Jurors - Heidi Neilson, “Atlas Dream Sequence” Cover of Atlas Dream Sequence. The book is symmetrical, the front and back are identical and the book can be ‘read’ from either direction. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351418885-94TEC2BYHPDS1SZD1JXT/mcba-prize-2013-heidi-neilson-atlas-dream-sequence-2.jpg Entries & Jurors - Heidi Neilson, “Atlas Dream Sequence” First (or last) image page spread, showing a square ‘island’ map collage. The book ends with an inverse of this image, a square ‘pond-ocean’. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351421345-Q5VZIQGH5QUXJ8Q36KSQ/mcba-prize-2013-heidi-neilson-atlas-dream-sequence-3.jpg Entries & Jurors - Heidi Neilson, “Atlas Dream Sequence” Page spread following the square ‘island’—a square island magnified, revealing a central shape, which is further magnified in the following spread. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351421427-593CSHL93823DF0Z2ZXM/mcba-prize-2013-heidi-neilson-atlas-dream-sequence-4.jpg Entries & Jurors - Heidi Neilson, “Atlas Dream Sequence” Page spread showing image 10 (of 16). https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351423076-8BTSZHFG44Q50TV086W1/mcba-prize-2013-heidi-neilson-atlas-dream-sequence-5.jpg Entries & Jurors - Heidi Neilson, “Atlas Dream Sequence” Page spread showing image 13 (of 16). https://www.mcbaprize.org/mcba-prize/marlene-maccallum-glaze-reveal-and-veiled monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351163888-YG9PJAHWVC29NZ3G1QCV/mcba-prize-2013-marlene-maccallum-glaze-reveal-and-veiled-1.jpg Entries & Jurors - Marlene MacCallum, “Glaze: Reveal and Veiled” Two views showing each side of the book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351163645-T0SYAXL9L8LJBYODCJ4I/mcba-prize-2013-marlene-maccallum-glaze-reveal-and-veiled-2.jpg Entries & Jurors - Marlene MacCallum, “Glaze: Reveal and Veiled” View of pages 2 and 3, digital inkjet printing on digital aya. Verso image is a single window and the recto image is constructed of eleven different window images layered and multiplied together. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351164851-XGYOOVB4V2Y7A1F0MS7J/mcba-prize-2013-marlene-maccallum-glaze-reveal-and-veiled-3.jpg Entries & Jurors - Marlene MacCallum, “Glaze: Reveal and Veiled” View of pages 18 and 19, digital inkjet printing on digital aya. Verso image is a single window and the recto image is constructed of two images layered and multiplied together. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351165193-HH4HJSA8E22805562Q2N/mcba-prize-2013-marlene-maccallum-glaze-reveal-and-veiled-4.jpg Entries & Jurors - Marlene MacCallum, “Glaze: Reveal and Veiled” View of pages 8 and 9, digital inkjet printing on digital aya. Verso image is a single window and the recto image is constructed of five different transparent window images layered together. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351166038-S9NZH5VX3G494TEFD8GX/mcba-prize-2013-marlene-maccallum-glaze-reveal-and-veiled-5.jpg Entries & Jurors - Marlene MacCallum, “Glaze: Reveal and Veiled” View of pages 12 and 13, digital inkjet printing on digital aya. Verso image is a single window and the recto image is constructed of seven transparent window images layered together. https://www.mcbaprize.org/mcba-prize/barbara-tetenbaum-and-julie-chen-glimpse monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773349351670-SNYP8CXA57FR184P7HLZ/mcba-prize-2013-barbara-tetenbaum-julie-chen-glimpse-1.jpg Entries & Jurors - Barbara Tetenbaum and Julie Chen, “Glimpse” Cover of box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773349351672-3FJ8D6AVDG2FEJBU5H9R/mcba-prize-2013-barbara-tetenbaum-julie-chen-glimpse-2.jpg Entries & Jurors - Barbara Tetenbaum and Julie Chen, “Glimpse” View of staggered pages showing envelopes/sleeves and diagram and numbers. These envelopes are flipped up to reveal text written by Julie Chen. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773349353236-LCRUW65KN8M4I1SIBSDD/mcba-prize-2013-barbara-tetenbaum-julie-chen-glimpse-3.jpg Entries & Jurors - Barbara Tetenbaum and Julie Chen, “Glimpse” View showing how card inserts are pulled out from each envelope. The imagery and text on these cards was created by Barbara Tetenbaum to illustrate the ‘noise’ that makes up 90% of our personal history. The dates loosely follow Tetenbaum’s own biography. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773349353163-WMIJRXMMUVMWIIYT38CY/mcba-prize-2013-barbara-tetenbaum-julie-chen-glimpse-4.jpg Entries & Jurors - Barbara Tetenbaum and Julie Chen, “Glimpse” Detail of cards. https://www.mcbaprize.org/mcba-prize/aaron-cohick-what-you-will monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773349124834-W3AMZRST3VXPG9S44XC8/mcba-prize-2013-aaron-cohick-what-you-will-1.jpg Entries & Jurors - Aaron Cohick, “What You Will” The exterior jacket of What You Will, showing both front and back covers, as well as the spine. The layering and displacement of information on the outside of the book demonstrates the premise of its overall structure. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773349124731-DZ1PWX7W5IV6ICRFUXL4/mcba-prize-2013-aaron-cohick-what-you-will-2.jpg Entries & Jurors - Aaron Cohick, “What You Will” One of three spreads in the title page sequence. The title, like the rest of the text-book, emerges over time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773349125960-N6B0VUFSG69VKR9DW8CI/mcba-prize-2013-aaron-cohick-what-you-will-3.jpg Entries & Jurors - Aaron Cohick, “What You Will” Image showing a later interior spread of the poems, printed in negative text in the black columns, and the successive layers of mirrored text printed in gray to the right. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773349126147-UD4DDJSVXGLDATHHSOPI/mcba-prize-2013-aaron-cohick-what-you-will-4.jpg Entries & Jurors - Aaron Cohick, “What You Will” Detail showing the many layers of transparent gray text. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773349127162-JI9BXYCKL3S4PKVYG3UX/mcba-prize-2013-aaron-cohick-what-you-will-5.jpg Entries & Jurors - Aaron Cohick, “What You Will” The “mid-point” of the book, where the covers of the double-signature pamphlet stitch wrap around to the interior of the book. The entirety of the book is printed in white ink on the black paper of the covers, making the entire structure apparent at once. https://www.mcbaprize.org/mcba-prize/inge-bruggeman-the-infinite-between-us monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773348847469-LSUFTCEP1YM31RFZJYO5/mcba-prize-2013-inge-bruggeman-the-infinite-between-us-1.jpg Entries & Jurors - Inge Bruggeman, “the infinite between us” This image shows the book standing with its letterpress printed 2-ply laminated Bugra tri-fold protective cover. The actual cover of the book is single ply Bugra that is letterpress printed with hand-cut outs. One of the many foldouts from this book is displayed here, this one includes printing from photopolymer plates made from scratch negatives and from handwriting that has been erased and scanned with its erasure bits. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773348847430-R7WUC1U9T2LC0WR1UPIR/mcba-prize-2013-inge-bruggeman-the-infinite-between-us-2.jpg Entries & Jurors - Inge Bruggeman, “the infinite between us” The letterpress printed title page is flanked by this quote by Edmond Jabes – it is preceded by the quote in French and followed by the quote in English. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773348848534-W5RS8VOYAHMCQBRZX8GP/mcba-prize-2013-inge-bruggeman-the-infinite-between-us-3.jpg Entries & Jurors - Inge Bruggeman, “the infinite between us” This image shows the transparent quality of the Akatosashi paper that the bulk of the book was printed on using a variety of techniques including letterpress printing from both hand-set metal type and photopolymer plates made by the artist using a variety of techniques. The metal type for most of the text is Perpetua and Perpetua Italic along with some ornaments. The juxtapositions between spreads are meant to represent layers of information over time. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773348848967-LHEFCJQ8JS84OFXJ42M9/mcba-prize-2013-inge-bruggeman-the-infinite-between-us-4.jpg Entries & Jurors - Inge Bruggeman, “the infinite between us” This is one of four map images that unfolds from the book. They are made using drypoint etching techniques, silkscreen, pochoir, and letterpress printing. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773348849842-Q380ZJW156NIRY7O1MZF/mcba-prize-2013-inge-bruggeman-the-infinite-between-us-5.jpg Entries & Jurors - Inge Bruggeman, “the infinite between us” This image shows the book standing again with another foldout that includes silkscreen, monotype and letterpress printing. The depth of the ocean is shown here as representing an ineffable kind of space. https://www.mcbaprize.org/mcba-prize/amy-borezo-labor/movement-seven-workers monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773348239369-Q32HVPLI7DHQQP63FXFX/mcba-prize-2013-amy-borezo-labor-movement-seven-workers-1.jpg Entries & Jurors - Amy Borezo, “Labor/Movement (seven workers)” Book open, standing with concertina partially extended. Recto of each page shows the abstracted movement pattern of seven workers. Verso of each page is the text ‘Lecture on Moving’ by Yvonne Rainer, avant garde dancer. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773348239366-ZNO9O59UPFOITLKR5QD6/mcba-prize-2013-amy-borezo-labor-movement-seven-workers-2.jpg Entries & Jurors - Amy Borezo, “Labor/Movement (seven workers)” Book, cover. Pages sewn onto the fold of a concertina which allows for the book to open like a traditional codex or be performed by the viewer/reader in many different ways. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773348240417-2OTBLWJ4HBL3C9ZQBNKY/mcba-prize-2013-amy-borezo-labor-movement-seven-workers-3.jpg Entries & Jurors - Amy Borezo, “Labor/Movement (seven workers)” Final page spread showing culmination of all workers’ movements overlapping, printed in shades of silver ink. Definition of action verb from text, “pass…To let go without notice, action, remark, etc. leave unconsidered, disregard, overlook.” Overprinted action verb “PUSH” in yellow. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773348240578-95RSKYRQW1EQN2OVAVIB/mcba-prize-2013-amy-borezo-labor-movement-seven-workers-4.jpg Entries & Jurors - Amy Borezo, “Labor/Movement (seven workers)” Concertina fully extended showing a portion of the recto of all pages. Each worker is represented by a black dot in the first image, and each successive page depicts a movement pattern forming from the intersection of the workers’ paths, shown by lines that changes in length, width and color. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773348241401-QB0AXUWFUUDVDK9MU2TV/mcba-prize-2013-amy-borezo-labor-movement-seven-workers-5.jpg Entries & Jurors - Amy Borezo, “Labor/Movement (seven workers)” Concertina fully extended showing a portion of the verso of all pages with text and action verbs in large wood type. The text visually tracks down the page to echo the movement represented in the book. https://www.mcbaprize.org/mcba-prize/clifton-meador-a-repeated-misunderstanding-of-nature monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773342107008-HF114VTFMT7LS3IUN3SS/mcba-prize-2013-clifton-meador-a-repeated-misunderstanding-of-nature-1.jpg Entries & Jurors - Clifton Meador, “A Repeated Misunderstanding of Nature” View of the laser-cut birch plywood slipcase that encloses all five leporellos of A Repeated Misunderstanding of Nature. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773342107546-U32FPZCQ2LYZ3F8X0H93/mcba-prize-2013-clifton-meador-a-repeated-misunderstanding-of-nature-2.jpg Entries & Jurors - Clifton Meador, “A Repeated Misunderstanding of Nature” View of title page of Volume One of A Repeated Misunderstanding of Nature. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773342108544-TSAEA55CW9PX4ZP9Q2HB/mcba-prize-2013-clifton-meador-a-repeated-misunderstanding-of-nature-3.jpg Entries & Jurors - Clifton Meador, “A Repeated Misunderstanding of Nature” Reading view of pages 3-4 of Volume One of A Repeated Misunderstanding of Nature. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773342109278-01WLM37QTRCLSPIK4LUK/mcba-prize-2013-clifton-meador-a-repeated-misunderstanding-of-nature-4.jpg Entries & Jurors - Clifton Meador, “A Repeated Misunderstanding of Nature” View of the covers of the five leporellos of A Repeated Misunderstanding of Nature. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773342110385-6S8R172CCP1FND54VI25/mcba-prize-2013-clifton-meador-a-repeated-misunderstanding-of-nature-5.jpg Entries & Jurors - Clifton Meador, “A Repeated Misunderstanding of Nature” View of pages 3-4 of Volume Two of A Repeated Misunderstanding of Nature. https://www.mcbaprize.org/mcba-prize/julie-chen-a-guide-to-higher-learning monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351948404-CGS9ZKB38S9UNV8V7P55/mcba-prize-julie-chen-a-guide-to-higher-learning-1.jpg Entries & Jurors - Julie Chen, “A Guide to Higher Learning” Close-up of box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351948518-FK3A0VXR87257QJQHXMA/mcba-prize-julie-chen-a-guide-to-higher-learning-2.jpg Entries & Jurors - Julie Chen, “A Guide to Higher Learning” Book, closed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351949453-F0U8HXXVQH7YU3T7SW0L/mcba-prize-julie-chen-a-guide-to-higher-learning-3.jpg Entries & Jurors - Julie Chen, “A Guide to Higher Learning” Detail of opening of first sections. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351949636-O142VBI3S9W9YPMRDYS9/mcba-prize-julie-chen-a-guide-to-higher-learning-4.jpg Entries & Jurors - Julie Chen, “A Guide to Higher Learning” Detail of book partially opened. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351951175-DVQ6I6OS90CRBF5985S8/mcba-prize-julie-chen-a-guide-to-higher-learning-5.jpg Entries & Jurors - Julie Chen, “A Guide to Higher Learning” Detail of book completely opened. https://www.mcbaprize.org/mcba-prize/sarah-bryant-biography monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351674374-YE1VOPD7WFMPCB0KZYUZ/mcba-prize-2011-sarah-bryant-biography-1.jpg Entries & Jurors - Sarah Bryant, “Biography” View of the box and the outside of the book. The box is covered in a blue-grey book cloth letterpress printed with the grid of the periodic table. The cover of the book is letterpress printed and blind-stamped on Zerkall Book Vellum. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351674333-DCMQPIQETKQR1MGJK181/mcba-prize-2011-sarah-bryant-biography-2.jpg Entries & Jurors - Sarah Bryant, “Biography” View of an early spread in the book where the elements in the human body are highlighted on the periodic table as rectangles of specific colors. This spread is identified in the table of contents as a diagram entitled “You are what you are made of.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351675445-T820ZO8L1DAD28HG4ZCJ/mcba-prize-2011-sarah-bryant-biography-3.jpg Entries & Jurors - Sarah Bryant, “Biography” View of a spread showing the elements in the human body also found in the chemical composition of various man-made weapons and medicines. This spread is identified in the table of contents as a diagram entitled “You are what you make (part 1.)” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351675717-HD8A87BCIY8H9L2LXVHZ/mcba-prize-2011-sarah-bryant-biography-4.jpg Entries & Jurors - Sarah Bryant, “Biography” View of a spread showing the elements in the human body also found in the chemical composition of various man-made tools and building materials. This spread is identified in the table of contents as a diagram entitled “You are what you make (part 2.)” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351676533-OU5ZUN5HT5H7C9SKQSNB/mcba-prize-2011-sarah-bryant-biography-5.jpg Entries & Jurors - Sarah Bryant, “Biography” View of the book sitting in its box open to a spread showing the elements in the human body also found in seawater. This spread is identified in the table of contents as a diagram entitled “You are where you came from.” https://www.mcbaprize.org/mcba-prize/veronika-schpers-okonomiyaki monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694459331-8987Q1UYYY4868CUQ9F9/mcba-prize-2011-veronika-schapers-okonomiyaki.jpg Entries & Jurors - Veronika Schäpers, “Okonomiyaki” https://www.mcbaprize.org/mcba-prize/ann-lovett-glass-house monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694174998-A7TZCDYH8B584N4T972J/mcba-prize-2011-ann-lovett-glass-house.jpg Entries & Jurors - Ann Lovett, “Glass House” Page spread in Glass House. https://www.mcbaprize.org/mcba-prize/franois-deschamps-drone-/-123 monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694004517-ZIV0EEPDD7JCRV8UL1Q6/mcba-prize-2011-francois-deschamps-drones-1-2-3.jpg Entries & Jurors - François Deschamps, “Drone / 1,2,3” In this spread from Drone 3, as the half page is flipped the scene changes from one depicting a display of toys set in a New York City street to one where the toys are burning in a large blaze which dominates the page. The image was made by photographing the set up, setting it on fire and rephotographing it as it burned. https://www.mcbaprize.org/mcba-prize/peter-malutzki-stundenbuch monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773693724245-D4O6GNIZWLO4S2RHPUFF/mcba-prize-peter-malutzki-studenbuch-1.jpg Entries & Jurors - Peter Malutzki, “Stundenbuch” The image shows the cover and slipcase of the Book of Hours. The cover is bound with black cloth and embossed with black glossy foil. The slipcase is covered with light gray Bugra-Bütten letterpress printed with a cross in dark gray. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773693724274-EE04I7E8GVPAH565LUVQ/mcba-prize-peter-malutzki-studenbuch-2.jpg Entries & Jurors - Peter Malutzki, “Stundenbuch” The image shows the calendar douple page with the month of May. Every Book of Hours starts with a calendar, so too the model I used for my remake. May is the month of love, the picture borders show a woman and a man, using contemporary material. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773693725420-WTKGGJ6F0UP2VMKA0WCL/mcba-prize-peter-malutzki-studenbuch-3.jpg Entries & Jurors - Peter Malutzki, “Stundenbuch” Shows an illuminated douple page of the Office of the Virgin Mary. Mary, pregnant with Jesus, visits her cousin Elizabeth (pregnant with John) and gets blessed by her. Green, the color of hope, plays a role in the image. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773693725560-62KBIFX80L3JLOUBJHID/mcba-prize-peter-malutzki-studenbuch-4.jpg Entries & Jurors - Peter Malutzki, “Stundenbuch” Shows a text douple page of The seven Penitential Psalms. Although the typography is a modern one, using the typface Akzidenz Grotesk, the use of colors and decorated capital letters follows strict the old manuscript model. But the used colors are only Magenta or Cyan, and for the main text a dark gray (no black), and of course gold leaf. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773693726725-4I8ZCQMKP5O5P1SXLQM7/mcba-prize-peter-malutzki-studenbuch-5.jpg Entries & Jurors - Peter Malutzki, “Stundenbuch” Shows the illuminated douple page of the Prayers to Saint Erasmus. Here as in all illuminated pages (except the calendar pages) the image of the original manuscript lays in the background. Since the old image is manipulated and covered with new material it’s scarcely to recognize. https://www.mcbaprize.org/mcba-prize/ines-von-ketelhodt-the-better-half monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773693359499-N7MYSD9XJNIEL8V1QZXP/mcba-prize-2011-ines-von-ketelhodt-die-bessere-halfte-1.jpg Entries & Jurors - Ines von Ketelhodt, “The Better Half” The image shows the frontside of the cover, which is letterpress printed (cyan, magenta, yellow) over and over again with the different spellings of the paternal ancestor names “Ketelhot Kiädelhut Kytelhoth Ketelhut Ketelhude Ketelhuedt Ketelhuet Ketelhoden Ketelhutt Ketelhudt Ketelhodt” and of the maternal ancestor names “Stos Stosso Stoschowitz Stochowitz Stoschwitz Stosch”. The title “Die bessere Hälfte” is negative printed in black upon all three colors. The black printed label is translucent, so that the letters underneath are still visible. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773693359245-5BRRA4JUPRXYXKVM8R8I/mcba-prize-2011-ines-von-ketelhodt-die-bessere-halfte-2.jpg Entries & Jurors - Ines von Ketelhodt, “The Better Half” The image shows three ancestors of Ines’ mother. The individual portraits were divided in the centre and set together with their spouse to let the “better halves” form a “new person”. If a portrait is missing, the personal information ghosts through in reverse, as the respective names and dates of birth and death are printed in letterpress on the back of the portraits, digitally printed on transparent paper. The photographs were image edited on the computer. The cyan, magenta, yellow and black part of the photographs were separately manipulated. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773693364631-H6TVEKX88KPP3PWWQ70P/mcba-prize-2011-ines-von-ketelhodt-die-bessere-halfte-3.jpg Entries & Jurors - Ines von Ketelhodt, “The Better Half” The book begins with the 13th century portrait of Peterico Count Stos (maternal ancestor). The following pages show his descendents together with their wives, leading in direct line to Ines v. Ketelhodt together with her husband Peter Malutzki, her “better half”. Because this is the center of the book, the couple is shown on a double-page spread. Turning the right page the ancestors of her father begin. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773693366394-ZVBNNHZ83NSZ712RTAO9/mcba-prize-2011-ines-von-ketelhodt-die-bessere-halfte-4.jpg Entries & Jurors - Ines von Ketelhodt, “The Better Half” The following pages show, beginning with Ines’s father, his ancestors with their wives in direct line. The book ends in the 13th century with Knight Vredebern Ketelhot. This image shows on the left page Johann-Friedrich v. Ketelhodt with Luise v. Humbracht and on the right page his parents Christian-Ulrich v. Ketelhodt (1701) and Marie v. Beulwitz. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773693368008-NYX0RWA0CPYFXHUU0VGG/mcba-prize-2011-ines-von-ketelhodt-die-bessere-halfte-5.jpg Entries & Jurors - Ines von Ketelhodt, “The Better Half” The image shows on the left-hand side Eva v. Barold (1638). The portrait photographs were taken from paintings, drawings, etchings and epitaphs or out of the photo-albums of the v. Stosch and v. Ketelhodt families. The book begins and ends without portraits, only their names and dates of birth and death are printed in letterpress on transparent paper. Forming a further layer, historic dates from the 13th to the 21st century are set in relation to this data. The historic dates from all over the world are vertically printed in letterpress in a smaller font. https://www.mcbaprize.org/mcba-prize/brad-freeman-wrong-size-fits-all monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773693113166-Q7FLVDKOD5E6D7F2N5C3/mcba-prize-2011-brad-freeman-wrong-size-fits-all-1.jpg Entries & Jurors - Brad Freeman, “Wrong Size Fits All” Front cover. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773693109774-OOAGVL0NHTW6T9RYNJ1N/mcba-prize-2011-brad-freeman-wrong-size-fits-all-2.jpg Entries & Jurors - Brad Freeman, “Wrong Size Fits All” Pages 8-9. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773693111347-93OMD404Z0PNKLJ7F2EV/mcba-prize-2011-brad-freeman-wrong-size-fits-all-3.jpg Entries & Jurors - Brad Freeman, “Wrong Size Fits All” Pages 12-13. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773693112875-0TS0SJ9UYUAFIR1D6L68/mcba-prize-2011-brad-freeman-wrong-size-fits-all-4.jpg Entries & Jurors - Brad Freeman, “Wrong Size Fits All” Pages 46-47. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773693113955-U43D5962TRAGPF7QCWE6/mcba-prize-2011-brad-freeman-wrong-size-fits-all-5.jpg Entries & Jurors - Brad Freeman, “Wrong Size Fits All” Pages 72-73. https://www.mcbaprize.org/mcba-prize/simon-redington-bomb monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773695904941-ZKPJVZ16IWKVB1D0GOP9/mcba-prize-2009-simon-redington-bomb-1.jpg Entries & Jurors - Simon Redington, “Bomb” ‘FRAGMENTATION’ double page fold-out. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773695907936-W7HHKCCA3VHGU4IA2O9I/mcba-prize-2009-simon-redington-bomb-2.jpg Entries & Jurors - Simon Redington, “Bomb” Colophon page. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773695907731-8AGPZUYI8WE3BNTY9Q8I/mcba-prize-2009-simon-redington-bomb-3.jpg Entries & Jurors - Simon Redington, “Bomb” ‘BOMB’ Title page on transparent paper over first page of text. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773695911443-MTMXKDRF64X6LJRAQLYU/mcba-prize-2009-simon-redington-bomb-4.jpg Entries & Jurors - Simon Redington, “Bomb” Colour woodcut. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773695910757-I8T7VMX2GO2TVP1W8NYY/mcba-prize-2009-simon-redington-bomb-5.jpg Entries & Jurors - Simon Redington, “Bomb” Gregory Corso’s epitaph. https://www.mcbaprize.org/mcba-prize/jan-owen-requiem monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773695523795-THRHHEKEZ61C83FJS4V0/mcba-prize-2009-jan-owen-requiem-1.jpg Entries & Jurors - Jan Owen, “Requiem” Case and book. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773695523831-LSR6FGVDEPCDVVICN6Y9/mcba-prize-2009-jan-owen-requiem-2.jpg Entries & Jurors - Jan Owen, “Requiem” Inside page with names, Requiem mass, Wilfred Owen poem. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773695524902-TH0Y24S5V54OBI0JECWZ/mcba-prize-2009-jan-owen-requiem-3.jpg Entries & Jurors - Jan Owen, “Requiem” Inside page with names, Mass and poems. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773695525056-BPN9KE7EM0WMFNIIUUSE/mcba-prize-2009-jan-owen-requiem-4.jpg Entries & Jurors - Jan Owen, “Requiem” Inside page of names and Mass. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773695526013-4ZEGGVBBWTY2QG9NOD9H/mcba-prize-2009-jan-owen-requiem-5.jpg Entries & Jurors - Jan Owen, “Requiem” Inside page of brown and black paper with Mass, Wilfred Owen poem. https://www.mcbaprize.org/mcba-prize/clifton-meador-avalanche monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773695272101-A9HUKC11X5QJJ9Q0UCPG/mcba-prize-2009-clifton-meader-avalanche-1.jpg Entries & Jurors - Clifton Meador, “Avalanche” Cover. Avalanche is a post-bound book, with a matchbook-style (i.e., the back cover extends far enough to wrap around the foredge and tuck into the flap on the front cover) letterpress printed cover featuring a foredge die-cut to reveal the edges of all the pages. This book uses the physical route of the Georgian Military Highway as a narrative device to link five short prose pieces of the fall of communism. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773695272099-5HXF0KLP3WCF7H2SH5ZR/mcba-prize-2009-clifton-meader-avalanche-2.jpg Entries & Jurors - Clifton Meador, “Avalanche” Pages 20-21. Avalanche is printed on only one side of the paper, with the fold positioned at the foredge, so the images, which are scaled to be 1/9 longer than the page, slowly “crawl” across the page, up over the foredge fold, and onto the next spread every nine openings of the book, thus echoing the Georgian Military Highway, which crawls up over the high Caucasus Mountains. The first half of the book is printed in a very extreme two-color duotone, a murky, post-soviet gray-green. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773695273163-WNI816U34KUCS6L86T1O/mcba-prize-2009-clifton-meader-avalanche-3.jpg Entries & Jurors - Clifton Meador, “Avalanche” Pages 30-31 At this point in the book the narrative is very high up in the Caucasus Mountains, the color softens, and warms up the images. From this spread onward the images are printed in a variety of three and four color monochromatic treatments. The tunnel mouth in the picture is one of the Soviet-period avalanche shelters. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773695273243-LFVMU3C6IQJJEKCEJ4NW/mcba-prize-2009-clifton-meader-avalanche-4.jpg Entries & Jurors - Clifton Meador, “Avalanche” Pages 44-45, the snowcapped mountains represent the border between Russia and the Republic of Georgia and the narrator recounts the driver’s anxiety about being so near to the border. “don’t take any pictures/ they have observers up on the mountains/ and if they see us photographing,/ they will kidnap us.” https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773695274064-DARDDCKC1TGYH7A0J94D/mcba-prize-2009-clifton-meader-avalanche-5.jpg Entries & Jurors - Clifton Meador, “Avalanche” The final spread of the book: the church mentioned in Pushkin’s poem “Monastery on Kazbegi” is pictured with the car from the main narrative, bringing together several themes of this book: the Russian obsession with Georgia, their romanticized ideas about Russia, and the reader’s witnessing the unfolding of the consequences of the fall of communism as evidenced by the bad roads and stories of corruption. The narrator says “ It was a long/ hard slog up the hill/ to the church:/ I stood there/ and stared down into the valley/ watching trucks/ grind toward Russia./ I could see/ big rocks at the bottom of the hill,/ moss-covered now,/ but clear evidence/ of an enormous avalanche.” https://www.mcbaprize.org/mcba-prize/julie-chen-panorama monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694996025-WIU7KTVGWW8TREOHB3YV/mcba-prize-2009-julie-chen-panorama-1.jpg Entries & Jurors - Julie Chen, “Panorama” Book (closed) displayed with box. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694996455-UYFI76F0ZBT7EY7K1NJ5/mcba-prize-2009-julie-chen-panorama-2.jpg Entries & Jurors - Julie Chen, “Panorama” Pop-up page spread #1 . https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694997270-NBG6HT8LBJAR7YM17RD6/mcba-prize-2009-julie-chen-panorama-3.jpg Entries & Jurors - Julie Chen, “Panorama” Tri-fold page spread with origami section closed. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694998228-8T1QPS89NU8YAS1YYDIJ/mcba-prize-2009-julie-chen-panorama-4.jpg Entries & Jurors - Julie Chen, “Panorama” Tri-fold page spread close-up with origami section partially opened. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694998732-39XA714PV2I2HVJ0ZE76/mcba-prize-2009-julie-chen-panorama-5.jpg Entries & Jurors - Julie Chen, “Panorama” Pop-up page spread #2. https://www.mcbaprize.org/mcba-prize/veronika-schpers-durs-grnbein-26573n-142168e monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694710359-N3L3I4X95PQXXEWTJ6SZ/mcba-prize-2009-veronika-schapers-durs-grunbein-1.jpg Entries & Jurors - Veronika Schäpers, “Durs Grünbein: 26°57,3’N, 142º16,8’E” Open case made of matted acrylic with the closed book, showing the cover made of transparent vellum which lets the title page shine through. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694710356-QD5O5343IQGUENZH7BXN/mcba-prize-2009-veronika-schapers-durs-grunbein-2.jpg Entries & Jurors - Veronika Schäpers, “Durs Grünbein: 26°57,3’N, 142º16,8’E” Double spread (p22/23) showing on the right side the DNA Code of the Giant squid which the marine biologist Kubodera Tsunemi could extract after catching one tentacle of the squid. On the left page the diameter of the squid’s eye is shown. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694711403-5OTXZAGOFR9WPQYOA8ZU/mcba-prize-2009-veronika-schapers-durs-grunbein-3.jpg Entries & Jurors - Veronika Schäpers, “Durs Grünbein: 26°57,3’N, 142º16,8’E” First double spread (p2/3) showing the title page and the outlines of the Tokyo bay from where the marine biologist Kubodera Tsunemi started his expedition. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694711485-THQN71QF727E9STLVVI1/mcba-prize-2009-veronika-schapers-durs-grunbein-4.jpg Entries & Jurors - Veronika Schäpers, “Durs Grünbein: 26°57,3’N, 142º16,8’E” Double spread (p8/9) showing the first of the three printed poems on the deep sea fish’s bizarre forms in it’s German original and it’s Japanese translation. https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694712298-0OQGUIZKBEWYBV355XZ2/mcba-prize-2009-veronika-schapers-durs-grunbein-5.jpg Entries & Jurors - Veronika Schäpers, “Durs Grünbein: 26°57,3’N, 142º16,8’E” Double spread (p12/13) showing on the left side the date and time of the first images taken by Kudobera of the giant squid and on the right side a formula he used to estimate the size of the creature by the tentacle he caught. https://www.mcbaprize.org/mcba-prize/category/MCBA+Prize+Winner monthly 0.5 https://www.mcbaprize.org/mcba-prize/category/Jurors monthly 0.5 https://www.mcbaprize.org/mcba-prize/category/Exhibitions+%26+Talks monthly 0.5 https://www.mcbaprize.org/mcba-prize/category/MCBA+Prize+Semi-Finalists monthly 0.5 https://www.mcbaprize.org/mcba-prize/category/Special+Merit+Honorees monthly 0.5 https://www.mcbaprize.org/mcba-prize/category/MCBA+Prize+Entries monthly 0.5 https://www.mcbaprize.org/mcba-prize/category/MCBA+Prize+Finalists monthly 0.5 https://www.mcbaprize.org/mcba-prize/category/MCBA+Prize+People%E2%80%99s+Book+Art+Award monthly 0.5 https://www.mcbaprize.org/mcba-prize/tag/2009 monthly 0.5 https://www.mcbaprize.org/mcba-prize/tag/2017 monthly 0.5 https://www.mcbaprize.org/mcba-prize/tag/2015 monthly 0.5 https://www.mcbaprize.org/mcba-prize/tag/2024 monthly 0.5 https://www.mcbaprize.org/mcba-prize/tag/2013 monthly 0.5 https://www.mcbaprize.org/mcba-prize/tag/2022 monthly 0.5 https://www.mcbaprize.org/mcba-prize/tag/2011 monthly 0.5 https://www.mcbaprize.org/mcba-prize/tag/2020 monthly 0.5 https://www.mcbaprize.org/about-the-mcba-prize daily 1.0 2026-04-02 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/30e56078-1d4e-4058-a3fa-735a6d719877/mcba-book-icon.png About The MCBA Prize https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/30e56078-1d4e-4058-a3fa-735a6d719877/mcba-book-icon.png About The MCBA Prize https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/30e56078-1d4e-4058-a3fa-735a6d719877/mcba-book-icon.png About The MCBA Prize https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/30e56078-1d4e-4058-a3fa-735a6d719877/mcba-book-icon.png About The MCBA Prize https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/30e56078-1d4e-4058-a3fa-735a6d719877/mcba-book-icon.png About The MCBA Prize https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/30e56078-1d4e-4058-a3fa-735a6d719877/mcba-book-icon.png About The MCBA Prize https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/30e56078-1d4e-4058-a3fa-735a6d719877/mcba-book-icon.png About The MCBA Prize https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/30e56078-1d4e-4058-a3fa-735a6d719877/mcba-book-icon.png About The MCBA Prize 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https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773324375764-N9GASGV3BC6V1RH08HC7/mcba-prize-2020-ken-botnick-diderot-project-5.jpg https://www.mcbaprize.org/2013 daily 0.75 2026-03-26 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773342108544-TSAEA55CW9PX4ZP9Q2HB/mcba-prize-2013-clifton-meador-a-repeated-misunderstanding-of-nature-3.jpg https://www.mcbaprize.org/2011 daily 0.75 2026-03-26 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773351675445-T820ZO8L1DAD28HG4ZCJ/mcba-prize-2011-sarah-bryant-biography-3.jpg https://www.mcbaprize.org/2009 daily 0.75 2026-03-30 https://images.squarespace-cdn.com/content/v1/69845b60e559f623999532b8/1773694710359-N3L3I4X95PQXXEWTJ6SZ/mcba-prize-2009-veronika-schapers-durs-grunbein-1.jpg