Posts Categorized: Member Interviews

Member Interview Series: Dan Landgren

Dan Landgren is a multidisciplinary designer, artist, and printmaker based in Chicago. He received his BFA in Graphic Design from DePaul University in 2018. His work explores visual communication typically involving themes like technology, science fiction, and motion. He currently works as a motion + graphic designer and has worked for artists such as: Danny Cole, Portugal The Man, and Cherry Glazerr. He is also a recent Spudnik fellow.

Dan was interviewed by Emma Sielaff as a part of her Summer 2020 Internship at Spudnik Press Cooperative. Emma is an multidisciplinary artist, specializing in illustration, papermaking, design, and zine making. She recently graduated with a BFA in New Media at the University of Illinois at Urbana-Champaign.


Emma Sielaff (ES): What / who is the biggest influence on your work?

Dan Landgren (DL): I really like science fiction and the classic 60s, 70s and 80s sci-fi art, like the really out there book covers by Phil K. Dick. Those are super inspiring and the stories themselves are really interesting. I love dystopian futuristic stuff. Books in general give me a ton of inspiration and inform the work that I do in any given time as well as design theory and design history like Bauhaus and constructivism. I think that’s where I found my first real interest with visuals and design. What I’m into in any given moment is what I make prints about. 

ES: What does your process look like? 

DL: My process usually starts by me writing down a list of words I’m interested in or want to be reminded of. I’ll write down descriptive words of the emotion I want to convey within the work I’m creating. I’ve been reading a lot of Octavia Butler. Just reading one of her stories, I immediately feel super creative. I’ll write down words I don’t know or emotions that I’m feeling; stuff like that. This really helps me get ideas.

I love grids in general. I think layout is always a good place to start in terms of figuring out a print. I’m super drawn to the imagery of grids themselves, I think there’s something nice to them because it takes the pressure off of deciding where you’re going to put something. It gives more purpose to your visuals when you actively think about where it’s being placed and its relationship to other things on this grid. 

So usually my process starts by thinking about what I want to do and things I want to convey and then just kind of figuring out the visuals. 

Root Rectangle Bookmark, Screenprint, 2019

Root Rectangle Bookmark, Screenprint, 2019

ES: I love the animation you did for the Kaytranada track. When you hear something, what is your process like for making it come alive visually? What does that process look like for you to take your vision and create it?

DL: That project was actually a class project to animate a piece of music for my cinema 4D class, which made it a little more structured in how I thought about the work. . I love Kaytranada and I thought that beat (Despite the Weather by Kaytranda) was super interesting because it’s multi-layered. There are different instruments playing at the same time and they’re not necessarily totally in sync. I started thinking about different ways I could visualize each of the instruments I was hearing. I tried to think of a good way to visually express the timing of, say, a drum hit. I tried thinking about how visuals could move well with the sync of the music. 

ES: In your bio, you say that experimentation is a big influence on your work. What does experimentation look like or mean to you?

DL: My experimentation comes from my freshman year at the University of Arizona for architecture. The whole theme of the foundation year was iteration and change. We learned to build on ideas that we had and make them stronger by playing around with them. My foundation architecture teacher really pushed that type of thinking and it had a really big impact on how I create things. For any given project, we would have to give 10 or 20 different variations and have reasoning behind them. It made me appreciate the possibilities of experimentation. Changing even small things has a cascading effect on the work. 

Iteration also creates a feeling of never being finished with work. A big thing for me is that I always come back to projects and try to make them better because I think there is no reason for you to put something on the shelf and say it’s done. There are always improvements to be made and that’s kinda ingrained with experimentation. It’s all a matter of wanting to see where a piece goes–not necessarily doing it to make a final product, but doing it to see what happens. There is nothing wrong with circling back.

ES: What do you do for fun and how does it influence your creative process? 

DL: I’ve been going on a lot of bike rides lately. I really like playing soccer with my friends. We’ve been doing that weekly which is a really nice release.

Printmaking started as and is still a huge creative release for me. I started screen printing about a year ago. I was feeling really burnt out from my job, I hated what I was doing, and hated animation. It’s somewhat of a shitty realization. I was like “damn… I thought I liked this a bit more.” I just was not feeling like myself and I needed a change. A former fellow, Lisa Armstrong, had the fellowship when I was feeling like this. She does the coolest work. She’s been a huge inspiration for me. Seeing her succeed and make a ton of work during her fellowship made me appreciate printed media. Before I started screen printing a lot, I was only making digital work, animation, and all computer based stuff. After a while you just burn out.

Neon Genesis, Screenprint, 2019

ES: For a lot of artists, including myself, my work is a reflection of myself and my experiences. How does your “being” flow into what you make?

DL: I’m not necessarily reserved but I’m also not a very strongly opinionated person. So I feel like I try to blend in more than anything. My work pays homage to the people and things that I really love. I guess me inserting myself into my art is me first copying something I really like and then I can create it in my own style. I feel like my style in general is honestly really inconsistent. I do a lot of different random things because I get bored easily.

ES: A lot of your work seems to be either print or video based. When creating, what pushes you to use one format over the other?

DL: That’s tough. I would say usually all of my ideas start as still frame images. From there, if I can see a path of movement, I might be more inclined to make it an animation. I think more than anything, it’s figuring out the image itself: the still frame. Honestly, it’s something I struggle with in my day job. It’s really fast-paced and I need to churn out daily. While working, I had a really big revelation about my creative process.  When given an assignment, as much as I want to have a fully fleshed finished product, I realized I can’t start there. I have to break down my ideas to the most simple thing and just go from there to see what I get.

ES: I’m super impressed with your work on the “Daddi” Video + Coachella animations you made in collaboration with Danny Cole.  How do you go about taking ideas from 2D to 3D thinking and what were those projects like for you?

DL: Danny Cole actually found my artwork through reddit, specifically the Kaytranada video. He messaged me saying “This is so cool. I need to do some visuals for Coachella. Would you be interested?” At first I was skeptical, but we had an initial call and I was like “Oh woah! He’s actually serious.” From there, he wanted to make sure that I could do what he was asking. The scope of the project was 30 – 40 animated loops. I got the job after making a test animation. From there, I knew I couldn’t do 40 animations by myself so I recruited some friends to make it possible.  

In terms of idea creation, it was a mixture of a lot of things. Danny knew exactly what he wanted for some loops, but for others he would ask me for feedback. It was a back and forth process working to figure it out.

For the Cherry Glazer video, it was a bit more work. Me and the guys that I worked with for the Coachella animations did some rough 3D storyboards and then did a similar back and forth with Danny to see where his head was at and if our vision was matching his vision. From there we picked and chose what worked and built it up. 

It was really just a super lucky opportunity; kind of the right place at the right time. I just happened to post the week that he was looking for animators. 

Still from Portugal the Man’s Coachella background 

Still from Portugal the Man’s Coachella background

ES: What is the biggest challenge you face when making work?

DL: Usually, the biggest creative challenges I have are time-related. If I’m super stressed out and feel like I don’t have enough time to do something, I’ll kind of shut down and freak out. It’s a matter of managing that stress and feelings of inadequacy. Every creative has imposter syndrome, feeling that they don’t belong, and I feel that all the time. 

Screen Printing is really more than anything for personal enjoyment. It’s largely a creative outlet for me to actually have agency to do whatever I want. Whereas my full time job is the complete opposite. I have no freedom and basically am just told what to do. 

ES: What is your current job?

DL: I work at a small business design consultancy that uses design thinking methodology applied to business structure. It’s basically therapy for big business.  I’m essentially a UX designer but less digitally focused and more person-to-person based. We work with a lot of big health care companies and consumer packaged good (CPG) companies. We do sprint workshops, identify problem areas and identify ways to move forward with companies and I help with visual components, like animations or videography. It’s a really small company so I’m constantly wearing different hats; doing different things. Before COVID, any given day could be random. I could film an event or run sessions. It’s cool but it’s also draining. 

ES: How has your style changed over time? Especially since graduating school, how has your practice changed? 

DL: I think I’ve grown a lot more into my own personal style. I feel better about the direction that my work takes. Since graduating, I’ve definitely gained more confidence in my work. A big issue I had in school was that I really couldn’t understand what an office type job would be like. I was always over romanticising the freedoms. I had a really big reality check when I got my first job. I feel like what’s changed the most is that I’ve kind of just grown up. 

Blue Drive Split Fountain (Collaboration w/ Tyler Schatz), Screenprint, 2020

Blue Drive Split Fountain (Collaboration w/ Tyler Schatz), Screenprint, 2020

ES: Does your job have any impact on your personal work?

DL: It does have a lot of impact. A big part of my process is learning and constantly growing and if I’m not doing that then I feel really stagnant. Having a full time job in the animation field is really helpful at times but at times it’s really stressful and makes me question if I really like doing what I’m doing or if I’m just telling myself I like it. I think there’s a lot of goods and bads but the experience has been overall positive. 

Before this full time job, I really was “head in the clouds” all throughout school and I had really not grasped reality. 

ES: When you were a kid, what was your “dream” job? How does what you’re doing now compare to that?

DL:  I remember being in 6th grade and for class we had to pretend we were adults, find an apartment, and make a budget. It was a really cool idea. I forgot everything about the assignment but I do remember wanting to be a newspaper comic artist at the time. It’s some connection to what I’m doing now with animation.

ES: What do you want to explore more in your own practice? What do you want to keep pushing towards?

DL: My big dream is to print big. I’ve never printed anything bigger than 11 x 17 so I would love to print something cataclysmically huge. I’m trying to go through and review a wide variety of sci-fi books. A big goal is to be more well read, not just sci-fi. Reading is valuable and makes you a more interesting person. I’ve been reading this book called a Primer of Visual Literacy, and it’s super interesting. It’s about visual communication as a language and how we should be treating visual communication the same way that we treat language and writing. It has the same capabilities and the same complexities. 

ES: Do you have any current projects in the works?

DL: Lately, I’ve been super interested in optical illusions and visual math. I took an online animation class three months ago about geometry and math and how they are related to animation. Ever since then I’ve been super interested in math’s relation to visual layout.  Last week I got super interested in obstacle illusions and gestalt theory mainly because this book I’m reading. I don’t want to say this and read this article in a month and not have done this but I want to do some optical illusion prints. I have a few in the works, so stay tuned.

Member Interview Series: Yasaman Moussavi

Yasaman Moussavi holds an MFA with two emphases on Painting and Printmaking from Texas Tech University, where she explored and developed her skills in papermaking, printmaking, and installation art. She also holds an MA in Art Studies from Tehran University and a BFA in Painting. In her art practice, she explores the socio-cultural in-betweenness as a capacity and disposition to participate in meaning-making across cultures and languages. For her, transitional spaces are the performative embodiment of spatial mapping and in-betweenness. Her works have been displayed in many national and international solo and group exhibitions. She has been a member of the Spudnik Press Exhibition Committee since 2017. She is a co-founder of Didaar Art Collective, a Chicago-based Iranian art community. Yasaman currently lives and works in Chicago. 

Yasaman was interviewed by Aidan Ciuperca as part of his Spring 2020 Internship at Spudnik Press Cooperative. Aidan is a printmaker pursuing his BFA at the School of the Art Institute of Chicago.


Aidan Ciuperca (AC): How would you describe your practice to someone who has never seen your work before?

Yasaman (Yasi) Moussavi (YM): I’m interested in concepts of space and place, and how these two things convey a common kind of experience. Place can be defined as where we physically live and where we find security, but space is more of a subjective kind of experience about sensation and desire. For instance, in my recent work Intervals, I explore creating the sense of space through architecture and linguistic structure. My goal was to make sense of the feelings we have when we are in a place and allow it to be experienced through a tactile material like paper. This is a subject matter that’s not tangible, so the materiality is important in order to make sense of those feelings. 

AC: What led you to working with printmaking and papermaking?

YM: When you think about traveling through places, you are in between two different locations. The important part of that experience is not where you start or where you want to end up. It’s how you move through the space, what you are experiencing, and all the steps you take. Printmaking and papermaking both have those technical and psychological qualities, which is why I started using them. When I studied in Tehran, Iran, the education was focused on the academic study of figurative painting and drawing, but when I traveled to the United States, everything changed. I started to think about the ways the material I work with can be important in the process, and in the creation of the material.

Intervals by Yasaman Moussavi

Intervals Installation at the Beverly Arts Center

AC: How does your work with printmaking and papermaking connect to installation? 

YM: The shift in my work from 2D to 3D is tied to the way my life changed when I moved. I initially moved to Lubbock, Texas in 2012 to get my MFA at Texas Tech University, but in 2014, I returned to Iran for six weeks before coming back to continue my education. I went to see the traditional architecture in Isfahan, where my dad is from. There is a mosque there that I visited many times as a child called Sheikh Lotfolah. It has a narrow hallway with windows that bring light into the space. As you walk through that hallway, all of a sudden you see that a bigger space opens up to you. When I experienced that transition, I felt like there was something more than just the patterns, the colors, and all the interesting details of Islamic art. It’s not about that anymore. For me, it was about something bigger than myself, something that I experienced by moving through that space. That was the moment that I felt like painting just wasn’t something that could share that experience with my audience. In the same year, I was lucky enough to experience another architectural space: James Turrell’s Breathing Light at LACMA. I went into the space and there was nothing there but light. In that moment, I experienced a feeling similar to what I discovered at the mosque. These two different kinds of architectural spaces and places got me thinking about creating something that’s not just about the visual work, but about that experience. 

Shadow Facing the Light Installation at Texas Tech University

I ended up making my first installation piece called Shadow Facing the Light as part of my thesis for my MFA. For about a year I was drawing and painting on big sheets of paper, about 6 feet to 8 feet tall. In the installation, I played with the effects of light on engraved plexiglass and copper plates to build the space. When you asked about how my work changed and how I transitioned from painting to installation-based work, it was because I started to think about what I’m experiencing right now and how I want to share it with my audiences. 

As for my relationship to printmaking, I started to explore the process more during my MFA. During my last year I was making drypoints on wood and thinking about the process of the work. I started working on wood because, at that time, I was thinking about the effects of nature and its networks. As I created those drypoints, I started to think that I wanted to use the plates as a work of art because all the steps in printmaking are also part of the work. So, I started to print from the plates and then use them in my installation. I would cut them, shape them, and color them to create a new space. The Passengers Series, created from my wood drypoints, is all about the process of the work, nature, and how I can make use of the cliché of printmaking, the blocks, as a work of art. 

Passengers Installation

AC: What part of your work do you find most fulfilling?

YM: The most important and fulfilling part of the work for me is when I am creating and developing the work. It’s that process of thinking, producing, and critiquing yourself that is really enjoyable for me. Because sometimes I’ll discover something in my work that wasn’t intentional, and it surprises me! For instance, last year when I started to work on the Interval Series, I was making large papers at Spudnik. I wanted to build big sheets, but it was really hard sharing the space with other people, not having the studio for yourself. As I started to grow, I started to consider how I should handle this situation and discovered something new about the process of the work. I was thinking about the central courtyard architecture of the 17th-18th century in Iran and the family house in Isfahan. But when I started to make them, I faced challenges with the space that I was working in. It even changed the way that I was thinking about the place in space. 

The other important part is when you see your work, as you visualize it, in the gallery space. That is really, really enjoyable for me especially because I don’t have a studio right now, and as an installation artist, it’s very hard. I have a corner in my house where I work, and if you come to my house, you’ll see that that corner is just covered in nails. I have been making small maquettes of my work and then nailing it to the wall. I think that it’s hard for me to experience and explore the space in the smaller version, but it works.

AC: The way you’ve been working in this corner of your house brings up the issue of how artists have had to adapt to making work at home because of the pandemic. I was wondering if there were any skills or hobbies that you’ve been working on.

YM: The corner has been getting too crowded because of the pandemic, because before that I went to Spudnik and I made work there. But now during the pandemic I haven’t had that chance, so I started to work with the paper and stories that I already have. I’m working on a series of small squares made from scraps of my handmade paper. As each day passes, I take one of those papers, pin it to the wall, and another one, and another one. They’re getting really thick and they’re getting really big. 

I also started to read more in my own language: short stories and my great grandparent’s diary. When the pandemic started, each week I would read two short stories with a group of colleagues. I started to use them in my work: the sentences, the words, what they mean. I started to analyze how I can use them, how the structure of the language can relate to the structure of the work that I’ve created. I started to ask questions and explore Farsi and English and how language creates a sense of communication. In a pandemic especially, you don’t have the kind of social connection that you find physically in an environment. You experience it differently in virtual spaces like Zoom and also in writing, like texting your friends or writing for yourself. We are exploring and experiencing an era that is making history. All of these things for sure have influenced me and my work. At the same time, it’s really hard to think and work, so for me all of these are sketches and questions. 

“Constructing space through words, sentences and written forms” work in progress from Instagram

AC: Yeah– like the work on your Instagram!

YM: Yes! Let me explain the process of the work. I’ll read a story, short stories or even my own journal or my grand grandparent’s diary. All of those stories are interesting, but sometimes I’ll just have a feeling with a word or sentence. I’ll think about it more, about the letters, about the meaning of that word, about its different meanings in other languages. It’s all about the communication, how you communicate through words, how the words and sentences work for me and what the difference is between visual images and text. Working with text, especially text that other people are not familiar with, is really, really risky because people might just pay attention to the aesthetic beauty of it. I used Farsi text because it is my first language, therefore I have a deeper understanding of it in comparison to English. Through the process of my work, I analyze the words by deconstructing them, breaking them down into pieces, and then putting them on different supports. Sometimes the support is handmade paper made out of hundreds of pieces of scrap paper, sometimes it is the wall, sometimes it is a handmade book, or sometimes it is the printing block itself. For me using language is a form of research. 

“Exploring the sense of space and place through architectonic and linguistics structures” from Instagram

AC: Didaar is a Chicago-based Irainian arts collective. How has being a part of that community influenced your work?

YM: The aim of Didaar, meaning meet-up in Farsi, is to create communication and cooperation between Iranian artists and those active in the field of Iranian arts. Relying on the exchange of experience with and reflection on modern and contemporary art, Didaar’s goal is to help with professional development, both in art theory and practice, by promoting art-related discussion and criticism. On the last Sunday of each month, we have a lecture and discussion series. Currently, we have had four sessions in which we focused on the concept of trauma in contemporary art. We started to discover and explore this concept when the pandemic started in March. This series is continuing through November. You can find the details on Didaar’s website.

AC: Outside of the pandemic, what kind of work happens at Didaar? Is it a studio space? Is it more of an artist social space? 

YM: We started Didaar in my friend’s studio and from there, we started to critique the works of artists. After that, we started to grow and think about what we wanted to discuss and explore together. For instance, we talked about art and business, art and social media, along with many concepts and questions about contemporary art. We had a really big event last year in partnership with the MCA, in which we celebrated the life of a well known director, Abbas Kiarostami. For that event, we curated the work of Abbas Kiarostami’s students and screened three of his pieces. That was a really big milestone for our group. The MCA was really supportive of the Iranian community and we have started to work together more. Other than that, we create platforms for Iranian artists, like with our recent open call. We just finished accepting work with a focus on drawing and printmaking. We asked participants to submit their work and we challenged them to explore space, what space means for them, and how they explore that concept through two-dimensional techniques. The exhibition is going to be in April 2021, with a local gallery in Chicago, Oliva Gallery in West town. It was great to see the work of Iranian artists here in the United States, here in Chicago. This will be the first chapter of this exhibition and we’re going to have more chapters in the future. Another part of the work at Didaar is the discussion sessions we host on Instagram, which are in Farsi, interviews with the artists and curators, and so on and so forth. We also have a website, which has created a platform for art historians and people who want to write about art share their articles and ideas. 

AC: I think we got to everything. The only thing that I wanted to ask more about because of personal interest was your book series Seed Stories.

YM: Seed Stories was something I made at Spudnik during my residency. When I moved to Chicago, I lost the community I had in Texas. It felt like another immigration, but something that really helped me find myself was nature. It made me think about nature as a source of my work and I started to create the book series as a component of my exhibition Roots. The thing that influenced my decision to work with stories of life and death specifically was losing my grandmother. She was the person who taught me about traditional literature in Iran and she also had a really green thumb. In my Seed Stories series – one is an accordion book and the other one is made from kenaf and handmade paper – all of the images are related to the concept of origins, creation and the cycle of life and death. These works are really small, and I enjoyed making that space and the work was so intimate for me. Those very private and intimate moments are experienced by the audience as they pass through the pages and feel the tactility of the paper and the smell of the paper. It was a different way of creating space on a much more personal level. 

Seed Stories – made at Spudnik with kenaf and handmade paper

Copies of Yasaman’s accordion book Seed can be purchased through Spudnik for $10.00.

Keep up with Yasaman on Instagram @yasi_moussavi and check out her website. More information about events and discussions at Didaar Art Collective can be found on their website and on Instagram @didaarartcollective.

Member Interview Series: Sean Mac

Sean Mac is a Chicago-based illustrator, cartoonist, and muralist. He uses comic books and zines as a platform for storytelling and narrative. His work uses loose linework and vibrant colors to tell humorous and intimate stories within each panel. In addition to self-publishing his comics his work includes screenprinting and public art. He graduated with a BFA in Illustration from Columbia College Chicago.

Sean Mac was interviewed by Andrew Mariscal as part of his Spring 2020 Internship at Spudnik Press Cooperative. Andrew is a printmaker and graphic designer pursuing his BA at Dominican University.


Andrew Mariscal (AM):What pushed you to the comic format?

Sean Mac (SM): Video games and geek culture got the ball rolling. Being a kid with a Nintendo 64 growing up, I played a bunch of Super Mario. That and Saturday morning cartoons were huge–you know, “Cartoon Network junkie”.

I would draw all the time. In middle school, I would make fan comics for the cartoon Teen Titans, but never considered it as a career path until I went to Columbia College and met teachers like Ivan Brunetti andChris Eliopoulos. They helped me realize that I could make a career in comics.

Another influence was Chicago cartoonist Jeremy Onsmith . He introduced me to the independent comic artist “Zine World”. I started by helping out at CAKE, an alternative comic festival. The first year I was just setting up tables, but I learned that a lot of the people selling there had a similar story to mine. It was just a community of artists making their own stuff and tabling it. I realized that I could do that too!

Comic covers (Yoga, Thief Brothers of Thif, Lizards Country, Buppy The Alien)

AM: What is your process when making a comic?

SM: My process can be all over the place. My comic Thief Brothers of Thif started off on a whim. I drew one page in my bed, not really planning on a story.  Eventually, I got into the habit of adding a page to it nightly, but that made for a chaotic way of creating a comic.

Others start differently, where I develop a storyline and try to follow it.Still,a lot of my work starts off as a random idea in my head. For example, my character Buppy started off as a pen drawing on a receipt and has since evolved into a series. That happens a lot.I’ll draw a little character or comic page and think, “this might make a cool story”.

Lately, I’ve been trying to start my comics with a clear idea of how they will end. This is especially important when working on large format comics, as finding a conclusion that doesn’t feel tooabrupt is always a challenge for me.

Lizard County (detail)

AM: Is there a particular reaction you want from your work?

SM: There are all sorts of reactions I’m going for. I create comics to work through ideas, make people laugh, smile or just have fun.

AM: Do you ever feel stuck when producing stories?

SM: I try not to believe in writer’s block. Sometimes it’s going to just suck for a bit. There are times where I try to chug through a story to see what happens. Other times I’ll feel like I lose motivation and need a break from drawing or anything artistic. Usually, sitting down and getting started is the hardest part because I may have no idea where the story is going. But after working at it for a few minutes I’ll start to feel like I can manage.

AM: How has risography been implemented into your work?

SM: Getting into risography has changed things for me. In the past, I’ve made comic books using companies like Overnight PrintsandI would get a comic book back that was super glossy or twice the size I originally intended. Through risography,I’m a part of the printing process and have full control over the final product.

Buppy The Cowpoke (detail)

AM: What role has animation played in your comic development?

SM: My animation work has developed through my interest in comics. Like with comics, I started off just having fun and making random gifs, but recently, I’ve been working on a storyboard for a project I want to pitch. This process has changed the way I format comics. I wanted to avoid a position where I would be drawing with no end in sight while facing a deadline. SoI outlined the project and listed important jokes and story points. After I finished, I realized how helpful writing and storyboards can be for developing my approach to animation and comics.

Doodle animation

AM: What do you do in your free time? How does that influence your art?

SM: Well, lately I haven’t had much free time, but my daily life does find its way into my stories.

The Buppy comic that I am currently working on presents him as a business man working in an office. While I don’t have a job that is anything like that, I have been in a more administrative position recently and that experience is reflected in the comic. I have also made many short Instagram comics with jokes based on past life events. Other than that, my free time is spent goofing off with friends and drawing.

AM: Tell me about your mural work.

SM: I did one mural at the Co-Prosperity Sphere, and one at Columbia a while back. But lately, my mural work comes from my position as a teaching artist with the company Green Star Movement. They do mosaic murals all around Chicago. This work has shaped the way I look at more “serious drawing” since a lot of their murals are of important figures of the community or of monuments. Drawing mural designs for the Green Star Movement required a more realistic style. At first, this felt completely outside my wheelhouse since I typically produce more cartoonyimagery, but the experience taught me a lot and was a very helpful exercise.

AM: Favorite artists?

SM: There are so many artists I look at. What I’ve been blown away by lately are Claymation artists on YouTube. For example, Lee Hardcastle does great work that captures a darker theme. I find the visual result of Claymation feels more “real” than a traditional animation. The style takes a lot of effort and the work individuals put into a finalized animation always blows me away.

AM: Due to the stay at home order, I followed up with Sean to see how his work and plans have changed since our first discussion. How has the recent stay at home order affected your work?

SM:  There have been a mix of effects due to the stay at home order. Some great, some bad.

First, the bad; I was planning on getting my master’s degree in the fall at either Savannah College of Art and Design (SCAD) or the University of California, Los Angeles (UCLA). SCAD is planning to have on campus classes, but that can change at any point. UCLA has yet to tell me if I’ve gotten into their art program and contacting someone for a response has been difficult. Overall, the fall semester is filled with uncertainty, which is frustrating to say the least.

Some great news is I’ve had a ton of time to work on my own art. I was able to finish a “Pitch Bible” (format to pitch an animation) that I poured a ton of time into. This project wouldn’t have been possible without all the extra free time. I submitted this Pitch Bible to a cartoon studio and will be having a video conference with them at the end of the month. I’m excited to see how this project will progress!

Yoga Comic (detail)


To keep up with Sean, follow @sugar.bro on Instagram!

Member Interview Series: Willa Goettling

Willa Goettling is an artist originally from Seattle, Washington. Willa moved to Chicago for three years to partake in the Columbia College Book and Paper MFA Program. During this time, Willa interned at Spudnik Press and worked at Spudnik briefly before moving to New York City.

Willa Goettling was interviewed by Ashley Houghton as part of her Spring 2020 Internship at Spudnik Press Cooperative. Ashley is a printmaker pursuing her MFA at the School of the Art Institute of Chicago.

Ashley Hougton (AH): What do you do in New York? 

Willa Goettling (WG): I am currently working at a paper making studio called Dieu Donne. They primarily work with artists in residence–some big names like Ann Hamilton and Richard Tuttle and some more up and coming artists. Dieu Donne was created by Susan Gozin who typically works with established artists without paper making experience to produce an edition. I’m the Education Coordinator for them, so I’m working on building up their programing, creating new classes and syllabi, training teachers, that kind of thing. 

Dieu Donne paper studio 

Dieu Donne paper studio

AH: What made you want to get into education?

WG: There is always room for learning. Teaching yourself new skills, teaching other artists new skills, and helping them expand their practice is something that is really exciting to me. I’m also really interested in accessibility and working in education outside of universities and colleges. Universities and colleges are expensive options for education and limit who feels accepted and welcome in those institutions. Working for a smaller organization, like Spudnik or Dieu Donne, that offer classes to the community on a workshop to workshop basis, is something that is really interesting and exciting to me. 

AH: How does the art scene in New York compare to the art scene in Chicago?

WG: When I was living in Chicago, there were so many small pockets of artists supporting each other and on a smaller scale. The DIY circuit and the smaller gallery circuit is really supportive and accessible for new artists in the city. Your entry into the Chicago arts scene may be quicker and less focused on credentials compared to a city like New York. In Chicago there is more room to operate on your own terms. In New York, there is so much competition. There are so many art institutions and artists that there is more focus on where you went to school, where you trained, and what galleries and museums you have shown at. New York artists are a little more focused on being “professional artists”. 

AH: What was your introduction to art?

WG: Ever since I was a little kid I identified as being a creative person. I don’t know if I would have called myself an artist, but creativity has been wrapped up with my identity for a long time. 

I didn’t study art in undergrad. I studied medical anthropology and global health. The reason is that, besides it being an interesting area of study, it was hard for me to justify going to school for art as a first generation college student coming from a working class family. I felt like art was something that I could always do on my own time, continue developing myself, and build a community around outside of school. I don’t know if I have any regrets towards that, but I definitely second guess it every once and awhile. The more I’m in the art world the more it feels like having both, an undergraduate and masters degree in the arts, means more opportunities are open to you. 

AH: What inspires your current art practice?

WG: I went to the book and paper MFA program at Columbia College because I have always been interested in communicating narrative through art. If I’m not reading or writing, putting a series of ideas into a book, or self publishing, I like to use printmaking to make multiples and have multiple pieces of art all be in communication with each other. I’m interested in art as a form of storytelling and a form of spreading information.

Recently I’ve been interested in looking at my own relationship to my body and the cultural, economic, and societal impacts that the body absorbs–especially the feminine body. Being someone who came from a working class background and has a bunch of laborers and craftspeople in my family, capitalism has definitely affected the way that we move throughout the world. We have developed a sense of self within a world that does not value labor or the people who have jobs that are heavy in manual labor.

Surface Tension Artist Book

Surface Tension Artist Book (Cover)

Surface Tension Artist Book (Detail)

Surface Tension Artist Book (Detail)

AH: Can you tell me more about capitalism and its impact on the body? 

WG: Capitalism is tied to systematic oppression of who has access to money, health, power and jobs and who doesn’t. Capitalism affects bodies very differently depending on race, class, sexuality, and ability. For me, I have a pretty disconnected relationship to my body because it’s so wrapped up in our access to health care and health care being a money making industry. As US citizens do not have equal access to health care, there is a huge disparity in who has time to address physical or mental health issues. The “American Dream” of being able to work your way up to another bracket feels like the carrot that is always being dangled in front of you. Depending on which economic class you are born into, the “American Dream” is extremely hard to actually achieve. Further, if you do make it out of your class bracket it’s at the expense of your body and your health. 

AH: In your bio you mention that you are “motivated by a desire to feel more connected to and in control of your body”. Are you motivated to explore that connection as a concept or does your art making process make you feel more connected to your body? 

WG: I think it’s a combination. When I was in grad school it was more theoretical and I explored the person-body relationship as a concept rather than actually developing a closer relationship to my body. Because grad school is so time consuming, I pushed off my relationship to my body in a lot of ways and denied my body just because there was so much else required of me. However, making art and using that time to reflect on the disconnect has become really valuable to me. 

Connective Tissue Artist Book 

Connective Tissue Artist Book

AH: What are you working on currently? 

WG: Currently I’m working on a project centered around handmade paper. This medium feels very holistic to me. I can grow and process my own fibers for paper making, and there is a huge variety with what I can do with those fibers after I turn it into pulp: I can work sculpturally, I can make two dimensional pieces, I can paint with the pulp, I can embed things into it, and so on. The project I’m currently working on is still in the idea phase. I want to work with my dad who is a stonemason and take some of his work clothes and turn them into pulp for papermaking. Then, I want to create casts of the stones he works with on a regular basis in the paper made from his clothes. The casts can pick up a lot of details. A lot of my process also has to do with focusing on the process itself and whatever is the end-all-be-all, or the product of the process, feels a little secondary to me. 

Surface Tension Installation

Surface Tension Installation

Sometimes the product is more directed if there is text that I want to put into a book. I have an idea of how I want that text to be laid out and what the book would look like. With something that is more of an installation or a group of objects, the process is a really big part of figuring out what the end product will look like. I like the idea of having some sort of document of my dad’s labor and turning that labor into something beautiful. 

AH: How has your work shifted since graduating from graduate school?

WG: Having just graduated from a graduate program and coming back to myself and my art practice outside of school, there are subtle shifts happening in my work. I’m trying to figure out what space my work makes the most sense in; if gallery spaces are best, or if I would rather stick to independent publishing and continue working in education at non-profits. Sometimes it’s harder to justify making work out of school, but I definitely believe in continuing to make art just as a way of better understanding the world. I think that is reason enough.

AH: Can you tell me about your experience as an intern at Spudnik? 

WG: I basically had no screen printing experience when I was at Spudnik but I did have some relief printmaking and etching experience. I got to work with Angee Lennard and Nicolette Ross to edition some artists’ prints. The most complicated and exciting of those projects was by Edie Fake. It was an 8 layer screen print and half of those layers were rainbow rolls, in which multiple colors are blended in one layer. As an introduction to screen printing I arguably started with the most complicated technique. I learned A LOT while I was there and I really loved Spudnik as a model. Being in New York I’ve realized there are no studios that offer open studio hours to the public for as cheap as Spudnik does and I think in that way Spudnik is extremely accessible. 

The Processing Department, Edie Fake (Published by Spudnik Press)

The Processing Department, Edie Fake (Published by Spudnik Press)

AH: When you’re not doing art what do you like to do for fun? 

WG: If I’m not making visual art or writing, I play music very casually. I play drums. I’m not playing in a band right now but that’s something that I like to do with friends. It keeps me socially accountable and it’s also just nice to get together with people and work on creative problem solving with others. I also like to read and have been watching a lot of Schitt’s Creek lately. 

AH: Willa’s artist book, Notes From My Body, is part of the Joan Flasch Artist Books Collection at the School of The Art Institute of Chicago, which is available for viewing by appointment.

Member Interview Series: Andrea Carlson

Andrea Carlson is a visual artist from Grand Portage, MN currently living and working in Chicago, IL. Through painting and drawing, Carlson cites entangled cultural narratives and institutional authority relating to objects based on the merit of possession and display. Her current research includes Indigenous Futurism and assimilation metaphors in film. Her work has been acquired by institutions such as the British Museum, the Minneapolis Institute of Art, and the National Gallery of Canada. Carlson was a 2008 McKnight Fellow and a 2017 Joan Mitchell Foundation Painters and Sculptors grant recipient. 

sienna broglie: What was your introduction to art?

Andrea Carlson: That’s pretty easy. My dad is a painter. All of my family, if not painting or drawing, is beading or crafting things. I know some artists had parents who wanted them to pursue a different field; who discouraged them from developing their talents. I never really experienced that. I was encouraged to make art from a very young age. It was something that I took for granted growing up. I always had good support and was lucky in that way.

sb: What mediums did you first explore?

AC: At first it was a little bit of everything. In elementary school I started painting with oil and acrylics but before that I was drawing. I started drawing to learn the rules: how to draw a human’s face or figure out human ratios and form various objects. They became a kind of language or grammar with which to render. Once the rules aren’t a challenge anymore, you want to break them enough so that what you’re making is odd or interesting; so that people can’t look away. As opposed to a fully formalized drawing of a bouquet or landscape that we’ve seen before, there has to be dissonance. The design has to frustrate the viewer in order to hold them a bit longer. 

sb: You obviously have your own style.

AC: It took me a while to break all of the rules. Even now I fight some of the formal drawing tendencies that I’ve learned. Sometimes I have to sit with my own paintings and drawings for a while before they grow on me. There will be something that I hate in a piece so I’ll try to antagonize what it is that’s frustrating me while simultaneously I will like a bizarre aspect that everyone else hates so I’ll fix it just enough to let the piece remain a bit broken. I often play around with my comfort level design-wise. 

Vaster Empire, 2008, 44″ x 60″ acrylic, ink, gouache, and oil on paper.

sb: What does your process look like when you make a piece?

AC: Right now we are looking at Red Exit. This piece is 30 sheets of paper that were cut in half and stacked to make 60 cells. I divided the bottom of each cell into fifths and each element in the piece will be introduced at one fifth of the page in from its corresponding position in a cell above or below. That on-fifths rule is true in Red Exit for everything except the bat symbol. This is the sister piece to Ink Bable which had a kind of doom pig that also broke the one-fifth rules. There is a slight variance between repeated elements so that it doesn’t look like wallpaper. Instead it seems sequential or as if something will move and is able to fight the static nature of the imagery. 

Each piece is hand painted. Print makers often assume that a bit is printed but realize it’s not once they get close. It wouldn’t be any easier if it were printed considering each element has a slight variance. I think it would be just as maddening. 

sb: How long does a piece this large take to finish?

AC: Ink Babble took a year to finish and I have been working on this piece for quite a while. I have so many projects going on at once, it’s hard for me to tabulate how long it takes. 

sb: What does your studio routine look like?

AC: Lately it’s been terrible! I would love to do a 9-5 in the studio every day. There have been times when I would do a 9-5, seven days a week. Now I am doing a lot more arts writing, traveling, and speaking about my work. All of that takes a toll on my studio practice. I should probably be a fierce protector of studio time but I also absolutely love writing and speaking about work. The writing and traveling makes it so that I won’t get burnt out in the studio. You can get burnt out on either side. I think my practice is pretty well balanced but I do crave getting in more often. 

sb: Can you expand on the kaleidoscopic mirroring pattern in all of your paintings?

AC: So if each column was a film strip of a panorama shot taken out of a celluloid camera you would see information repeat itself at an angle from cell to cell. If each row was a still panorama shot of a landscape you would have one linear horizon line. Then across would be static space dominant (photography) and up or down would be dynamic time dominant (video.) Each piece is essentially a bifurcated panorama in two directions that together make a continuum. I was thinking about the possibilities of getting into a film and changing what was within. What would that topologically look like? This is the best I could do. That is why there is a repetition. See figure below.

INK BABLE, 2013, 10′ x 16′ ink and oil on paper. (edited diagram, 2019.) original image

sb: You mention in your bio drawing from iconography in film. Why film specifically as a media as opposed to other public media?

AC: Filmmaking is like contemporary storytelling. It can really craft how people view the world and relate to other communities; it socially forms us. I also have this curiosity surrounding movement and life in image making. I’ve always wanted to fight the static nature of my paintings. With my landscapes you move around them with your eyes and there is an inability to take them in all at once. Like films and movies they are time based; you can’t take them in all at once. The viewer is fed slowly. 

The imagery I am propagating and putting out into the world acts almost reflexively to the propaganda of film and the ways in which that has been devastating; specifically among Indigenous communities with the promotion of blood libel, accusations of cannibalism, and other gruesome stereotypes. These films, like Westerns among other genres, do not give native people a voice to speak for themselves. Sometimes I reference these harmful films in the titles of my work as a means to say “we see you.” I make a record of the wrongdoing in my work. It is almost like a gaze reversal, documenting that violent representation and incorporating it into my landscapes as a part of the story. 

sb: How do you choose the symbols and iconography included in a piece? Is each piece curated individually or are the symbols curated within the greater body of work as a whole? 

AC: I am like a collector of things. Often when I find something I want to include I’ll pull an image from the internet and put it in a file on my desktop. I will draw from that and curate the relationships between the material. The relationships between some of these objects will surface just by having them close. They will be in my thoughts and connections will arise naturally. 

In Ink Babel I incorporated a teleprompter. I was going through a phase where I was focused on old machines that were used to disseminate or capture information. Another element I use a lot is the brown bat, they might go extinct within our lifetime, so I’ve been charmed by them. 

One of the ideas behind Red Exit is celebrating Indigenous spaces or spaces that native people make for ourselves. Oftentimes we are the subject matter, people will talk about us or we will be included in someone else’s project, which is fine, but I wanted to make a piece that really just celebrates native knowledge and native spaces. Particular to this piece there is a beaded medallion that I’m going to put alongside the brown bat. When I was in the Venice Biennale, an Indigenous artist made this beaded medallion with a golden lion. It was an award to be given to an Indigenous scholar, a riff on the official Golden Lion. It is like we have to make our own because there’s no way we’ll ever be given the main stage. 

The space in which we both showed our work, the Indigenous Pavillion, was a little room in a college curated by Indigenous curators who presented Indigenous artists from around the world. The pavillion was a way to break apart the state system; the post colonial sense of nationalism that the US and Canadian pavilions, among others, represented. That post colonial sense of nationalism does not include Indigenous people or, if it does, will include us within that state system, that colonial structure. The creation of the Indigenous pavilion is really clever but at the same time, Indigenous people picking Indigenous artists in a space that is outside of the main picture creates a marginalized space. As an artist we crave the main door, we don’t want the marginalized reservation space. That’s been my attitude throughout most of my career but then lately I’ve been thinking no- those marginalized spaces that we’ve made for ourselves are also really cool. My desire or aesthetic is changing when it comes to spaces and so I want this piece, Red Exit, to celebrate that. 

In addition to the celebration of Indigenous spaces I also want to show the complicated nature of these spaces. Included in this piece is a cowrie shell etched with the Lord’s prayer. I don’t have any desire for Jesus or anything but I can understand how that has affected the Indigenous community. The cowrie shell is a really important object in Ojibwe spirituality so then to have the Lord’s prayer grafted onto it, what does that mean? I once had a professor who said “I can teach you about Ojibwe spirituality and Ojibwe teachings but when 85-90% of Ojibwe people are Christian, then what is authentically Ojibwe?” There is a kind of tragic commentary on the stick we are all in; there is no going back, we are always making anew. I’m picking up little pieces. Also included in this piece are mica hands and talons that overlap hands. I just can’t get them out of my head because these things were dug up all throughout Illinois and Iowa and the upper Midwest. I wonder about them: where they came from, who created them. A lot of tribes stake claims to them which leads me to wonder about Indigenous presence in the past.

Apocalypse Domani, 2012.

sb: Do you build a narrative of Indigenous futurism in your pieces?

AC: I’m starting to write a paper on this right now. There are various Indigenous philosophical traditions that mess with the Western construct of lineal time. We have this concept of Western lineal time and we have chunky landscape paintings that don’t really reflect the unity of space. Every single one of my pieces has a sea-scape with an infinite horizon line. When you look at a landscape there is no such thing as a “landscape” plural because we live on a sphere. Topologically there is just one landscape and multiples are merely cut-outs of that sphere. 

I really love Indigenous Futurism and I think unfortunately for some non Native people it is a foreclosure of Indigenous histories. To understand Indigenous Futurism it is important to understand Indigenous histories and I don’t want Indigenous Futurism to end the education that everyone needs to have in those histories. 

What I like is the possibility to imagine our survivals richly. When history has tried to screw us over and over again, I like the idea of speculating on future space where so many things could play out differently. We can put our desires into fiction as a space that we control. You can locate joy in that space if it is not being reflected and that is important for survival. 

The human-centeredness in conversations about the Anthropocene and the end of the world is scary. Indigenous people are finally rising up and demanding changes for environments when suddenly everyone wants to declare the world almost over. We finally get to rise up and then game over? Don’t pull the rug out from under us. We still want to live, we want to fight to the bitter end. Don’t tell us it’s over, we’re not ready for it. We have already survived so many genocides and so many failed attempts at that. So yes, it is the end of the world now but it has been then end of the world 16 times over. We have felt the ends of the world and survived them in the past. So I think about that as far as how Indigenous Futurism can answer some of the Western fantasies for the future. The future is still a battleground. 

sb: What are your biggest influences, artist or otherwise.

AC: That is really hard because if I start to notice an influence or if my work feels like someone else’s I quickly try to retaliate. I have a number of influences as far as philosophical work and how I order information. George Morrison was an abstract expressionist, also from Grand Portage. I would apply him as an influence because he always put a horizon line through his abstractions. It is representative of Lake Superior, where our Nation sits. He would discuss horizons as this liminal space, a forever space. Growing up on Rainy Lake and Lake Superior in Minnesota, once you see the lake a lot you get that horizon line baked into how you order information. I haven’t been able to break up with this horizon line and I think that comes from George Morrison. 

I don’t know if you can count the lake as an influence, but it definitely is one. I see a lot of the objects in my work as debris that washed onto the shore. Comic books are another big influence. I love playing with line quality and have definitely leaned into the ways that inkers handle line in comics. I also love storytelling and the ways in which comics tell stories. I’ve also been influenced heavily by Japanese Anime. Those stories can be really beautiful and complex and tragic at the same time which is something I have leaned into. I haven’t yet figured out how to write compelling stories so painting will work for now.

There is a lot that is not so much inspired by influence as it is a product of my bizarre process. Some of the elements in my work are drawings that I didn’t like which got cut up and placed in a new way, leaving me to fill in information from the cutouts like a xerox copy. Then there are elements that I take for granted that I implement consistently so as not to reinvent the wheel each time. Those are sacred things that, when I’m bored in the future, will have to change. 

Sunshine on a Cannibal, 2015, 44″ x 180″ acrylic, ink, and gouache on paper.

sb: Alongside your studio practice, what else are you in the midst of?

AC: I was asked to do an Indigenous read on this Anthropocene project for which a German art house named the Mississippi River the “River of the Anthropocene” because of its numerous dams and locks, the dredging and other human alterations done to it. Scientists have always named past epochs after they have occured. To name the current epoch and define it as being central to humans seems like a self defeating prophecy. We are not waiting for future generations to name this epoch because we don’t believe they’ll exist. There is not a lot of hope in humanity, in the future. Maybe that’s okay, maybe humans are a bit overrated. So I wrote an essay- that I don’t know if they will publish- titled “The Mississippi is the Opposite of the Anthropocene.” Yes, we have altered it in so many ways but there is a river in each of us. The Mississippi gives us water and all water is connected. Let’s not fool ourselves that we have more control than we actually do. In the end, water goes where it wants to go. Floods definitely humble those who think we have it all worked out. In the essay I cite a lot of the activism that Indigenous women have contributed; like Water Walks. There was a woman, Josephine Mandamin, who in 2003 carried a copper bowl of water around Lake Superior, walked the entire distance. Her act spread and later turned into the water walking movement among indigenous communities. Her niece, Autumn Pelier, spoke in front of the UN in full regalia when she was 13 years old. She gave all of these beautiful teachings about women and water and how each of us is born of our mother’s water who was born of her mother’s water so on and so on, creating an ancient river. For my essay I did some video work, thanking Indigenous women in Minneapolis and St Paul for their activism around the Mississippi River. The curriculum of this project included paddling down the Mississippi River. I did 38 miles with a group but not the whole river. The rest are still out there right now paddling. 

In addition to that project, I have been writing a lot of essays. I just finished an essay for the Tlingit/Unangax̂ artist Nick Galanin and I’m in the midst of another essay on Indigenous Futurism. Typically I keep score of how many men versus women I am asked to write or speak on. Nick is a guy so now I am in debt to support three women. I keep this ratio where it has to be three to one because men are so overrepresented in the arts world. Last week I was on a panel for George Morrison’s work which again puts me in debt to three women. I was invited to speak on this man but now I should organize a panel or something that includes women. Actually that panel was a total coup and we ended up talking about women in the art world. So lately I have been doing a lot of arts writing and speaking. I absolutely love supporting other artists.


To keep up with Andrea, visit https://www.mikinaak.com 

Member Interview Series: Jennifer Ackerman

Jennifer Ackerman is a Chicago based graphic designer and printmaker. She is also the designer and owner of PostScript Paper, a stationary boutique specializing in letterpress wedding suites and personalized stationery. 

Sierra Shih: Tell me a little about your background, and how you started PostScript Paper (PSP).

Jennifer Ackerman: I went to school at Loyola in New Orleans on a full scholarship. I was rocking it, and I wanted to take an art class. But I ended up getting a C, and lost my scholarship. I had initially been planning on going to Rome the following semester to study abroad, but my parents said they couldn’t send me there anymore. I was devastated. So I decided that I would go to Louisiana State University (LSU) for a semester, and that would be my Rome. I would take all of the art classes I wanted and have fun, and then I would come back and finish my degree. When I got to LSU, I discovered graphic design, which they didn’t offer at Loyola. I fell in love with it. It was this perfect combination of art and problem solving, kind of like doing puzzles. 

It’s one of those stories I always tell my kids, because it’s the perfect example of when you think the world is over and it’s the worst thing that could happen to you, but it turns out to be the best. I had discovered something that I truly love to do. After I graduated, I moved to New York to work for a while. I met my husband there and we moved to Chicago where I worked at a design firm for around 10 years. After I stopped working, I took a letterpress class and just fell in love with it. I loved designing something and seeing an image on the computer screen become real when I printed it myself. So I started doing little freelance things, mostly invitations, which led me to other design projects, and doing larger print projects like wedding invitations and personalized stationery. 

Letterpress wedding invitation suite with gold foil and custom printed envelope liner

SS: I feel like a lot of PSP and letterpress in general is about patterns and textures. What are you inspired by?

JA: Definitely patterns I see. I’m sort of a preppy aesthetic mixed with simplicity. I love looking at interior design, high end interior wallpapers, and things like that. I look at a lot of fashion to spot current trends too. I’m not creating things from scratch, I’m always getting inspired by things around me and putting it out there. 

SS: What’s your favorite part of PSP, working with clients, and the printing process?

JA: It’s very personal. And I think that’s what letter writing is all about. It’s personal, and people who enjoy that kind of stuff are willing to go the extra mile. They’re willing to have someone design and hand print something instead of just ordering things online. It’s the whole process, it’s me holding your hand through the whole thing. I’m super customer service oriented, it’s always a full service kind of thing when you work with me. Whatever the client needs, I’ll do it. I sort of become their assistant. For wedding invitations, I’m the one who assembles everything by hand, old-school, and takes it to the post office to send it out. A lot of my clients don’t even see the cards until they get it in the mail. It’s a lot of trust, a lot of responsibility. I really value that relationship where they know I’m going to take care of things for them, and I know that they’ll be thrilled in the end. The first few weddings I did, I would get so personally involved that they would actually invite me to their weddings afterwards. I actually did wedding invitations for a Blackhawks player once and they invited me to their wedding!

Letterpress graduation brunch invitation

Letterpress Invitation

SS: Do you mainly focus on letterpress, or do you do other processes as well?

JA: I really want to screenprint but I haven’t had an opportunity that makes sense to do it yet. I’ve done some myself personally, but not for PostScriptPaper. It’s mostly letterpress and I also bought a little tabletop foil press, which has been super fun to have. It lets you stamp little foil details onto your cards and paper. It’s probably why I started doing some of the little trunk show, pop up things where I set up a booth in person because I can bring the press, set type, and even order plates I design on my computer. I have a lot of fun with that. It’s fun and instant, and people can walk away with it. I’m always open if any one wants to use my foil press, or see it. I love sharing what I do and how I do it, and seeing what other people create because everybody does something different. 

Foil stamped stationery. Photo from postscriptpaper.com

SS: What do you like to do in your free time?

JA: I do a lot of crafts. Knitting and sewing, and cooking and baking, that kind of stuff. I watch a lot of Chicago sports with my kids. I also love to travel. Whenever I travel, I shop for stationary. I’m always searching for the art supply stores. Stationary is accessible, you can bring it home with you, and it’s not that expensive. I love finding little ephemera from places I go to, like paper clips from Paris, twine from Amsterdam. That becomes the hunt for me while being on vacation, finding those little objects that inspire me later.

A lot of the times I end up using those things in client projects. I bought some sort of twine last time I was in Amsterdam and I used them in some wedding invitations I was printing!

SS: Are you working on anything right now?

JA: A lot of Christmas cards. I’m also doing a really cool project with a woman who is developing a line of handbags. She travels a lot, and is working with a nonprofit where women in Kenya will bead the bag straps. I’m working on designing the shopping bags that the handbags will come in when you buy them, hang tags, and a little booklet with that shows how your purchase affects the global economy of female artisans. It’s really cool!


To keep up with Jennifer, visit http://www.postscriptpaper.com/ or follow @postscriptpaper on Instagram!

 

 

Member Interview Series: Teresita Carson Valdéz

Teresita Carson Valdéz works in fiber, film, photography, printmedia and installation. She received her BFA from SAIC. Recent exhibition sites include Sullivan Galleries, Adds Donna and Mana Contemporary. Her awards include winning first prize for her screenplays Poly Esther, Chucky’s Feast, 1st and 10, Shlomo’s Night Out, and Ratacholo. Her short films have been shown at festivals around the world and at the Museum of Contemporary Art of San Diego.

Alex Janakiraman: In your artist statement, you talk about collective history and personal history – how do you think about time?

Teresita Carson Valdéz: I read recently about the difference between Kronos and Kairos to the Greeks. Kronos is Western, linear time. Kairos are those time-related occurrences that we can’t explain, like déjà vu. Non-westerners – Indians, Aztecs, Mayans – all divide time in different ways. My practice is based a lot in cultural production through migration – not just of people, but objects. I can do a performance with film, paint on film, photograph it, then start to print on textiles or paper and use those images in collage. Time is collage: if you really try to remember your life, you don’t know what you’re remembering, you’re remembering the last memory that you had. 

AJ: Within this framework, could you tell me about your childhood and how you’ve gotten to where you are now? 

TCV: I grew up in Mexicali, Baja California, and immigrated to San Diego when I was a teenager. I took classes at many schools, but eventually started to take my photography practice seriously. When I moved to Chicago 3 years ago, for the first time I felt like an immigrant, because of the segregation of the city. You either have to be this or that — what the white western world tells you is Mexican or what other Mexicans tell you is Mexican — but what we know as Mexican culture was really manufactured by the government after the revolution. I had to do a lot of thinking and dwelling in nostalgia, trying to make sense of where I was. But disidentification happens. Pilsen used to be Polish Czech, and then Mexican communities colonized it, which is visible especially looking at that church that has scaffolding around the towers [St. Adalbert’s, now closed]. This architecture and the negative space remind me of the Mayan arches, and the Spanish-built cathedrals on top. We need to look at culture and life from the side and backwards and in every direction, but that’s not what Western thought teaches us. We’re basically sitting in ruins all the time; we need to think about constant construction and deconstruction. That manifests in the self as well. If you had a traumatic experience and you buried it, to get to it you have to dig. I took this turn in the past three years of working through that, going back to the idea, in terms of time, of being in exile. If your first language was not English but you’re forced to work in English, it’s always filling this displacement, like Kafka and the idea of minor literature. Before I moved to Chicago, my practice was very much a performative, image and text based interplay. Now I’m really into queer formalism. Although I don’t identify as queer necessarily, I think if you’re not a cis white male, then you’re something else. That’s the whole point. Normativity is the thing that’s not normal. 

Salvage: After T’ho. Multidisciplinary installation made from thinking about the negative space in architecture, specifically the scaffolding around St. Adalbert’s.

AJ: Could you talk more about your process and why film photography works for you?

TCV: I love the magic of seeing the image appear, and also the fear that you did something wrong and nothing is going to be there. If I know how it’s going to turn out I’m not interested. I’m very experimental with medium, always. When I’m weaving I’m not interested in repeating the same structure; I set it up and see what surprises come. Even etching or screenprinting is not about editioning, it’s about the high of the surprise. To me there’s process, and what’s made is just the evidence of that. If I can’t push it further, I move on to something else. One of my professors always said: you don’t adapt the idea to the form, the form adapts to the idea. 

A recent weaving by Teri.

AJ: What reactions do you want from your work? Do you think people need to understand the context and histories that you’re referencing?

TCV:  Sometimes I struggle with that, because people are attracted to my work on an aesthetic level.  My last installation was about a very horrible ugly thing: feminicide in Mexico. Femicide and feminicide are not the same thing. Femicide is killing a woman because she’s a woman. Feminicide is the killing of women in a system that creates the perfect conditions for it to happen. I printed silk and at first glance it’s very beautiful, it’s pink, bright, and moving… but when you get closer, you hear women talking about their daughters and the sounds of protest in Mexico.

Monument for the Disposable, Or, Declaration of Value.

But it’s not about who I am as an artist or what I am trying to say. That installation is for women and if you want to get more specific, for Mexican women, or women from countries where violence against women is state-sponsored. I don’t think you have to know a lot to understand when you hear the pain in a mother’s voice. 

AJ: What was your process of making that installation? 

TCV: That was such a process! I was living in Logan Square at the time, and feeling segregation, I started looking for signifiers of culture. When you go to Mexican businesses you always see the Guadalupe Virgin. I started excavating the histories behind her. The Catholic priests colonizing Mexico had to come up with a narrative to unify Mexico. The indigenous people were pretending to come around to Catholicism but would still worship the Aztec goddess, so priests made this brown virgin that was  Mary but also incorporated symbolism from the indigenous goddesses. They created a myth that she appeared to the city and said to build a church here. You go back and start looking at the female deities of the Aztecs and they were very feared. Monster is what men, if you start misbehaving, call you. It’s that idea of the “monster” – which the patriarchy has tried to squash – which is powerful. To me it was about creating sort of like my own deity, who women that are suffering at the hands of the patriarchy can look up to – bring her back. I did a drawing and many iterations of Coatlicue, the famous sculpture at the Museo Nacional de Antropología, and started to distill that image. How did we get from all powerful deities to women being powerless and disposable in Mexico? Different cultures have similar stories, and to me it’s important to move through these mythologies so we can enter consciousness in a different way. We can talk about feminism in many ways, but storytelling always make people think. 

Todos Somos Hijos de la Chingada y Todos Queremos Bling!

I’m also trying to interplay the migration of violence. I had a panel with a map of a product from a maquiladora to a suburb in Illinois, a migration parallel to feminicide. It’s caused by NAFTA and the migration of people who have to work in factories because of the dissemination of agriculture from the center of Mexico. Are we not complicit if we’re buying products made in Mexico or working for companies that use Mexican labor? Young women are trying to get to work and that’s when they disappear. It could be a serial killer, a cop, anybody, and they’re protected by the state sponsored creation of this system. You think that things have gotten better, but for who? Which women? When Trump became president, people of color were like well it’s expected and we have to keep doing what we’ve always been doing, because nothing has changed. But white liberals were losing their shit, because, finally, their way of life was being threatened. And all this is really inherent in the voices of the women; it’s all in Spanish but pain has language. You can try to create a container with the way that you arrange an exhibit or an installation but really sound is what calls to you. I think that when you distill it to installation, art can really reach beyond the trained artist to any audience.

AJ: What are you working on currently?

TCV: Everything is based on what I’m experiencing in the moment. There comes a certain point where the sense of urgency is too much to bear. So, do you just retreat and check out of life? Or do you use your knowledge and your resources to do something? You just make a gesture with what you have and what I have is a lot of skills and a lot of knowledge. But I can’t keep it to myself. I think that’s the most important part. I have this coffee shop, Intersect, in Pilsen, and in the back I have a space I try to activate with gestures that extend to the community. Sometimes it’s just me at the table making. I look at that table as a site that needs to be activated by people’s interest – asking what I’m doing, wanting to sit down, make together, and talk.

Front cafe space at intersect.

Inside the back room at Intersect, with two large tables for working or creative workshops and collected art all over the walls.

Every conversation is different. Photography, film, and installation can be a little too much. Some people check out of contemporary art because they don’t understand it or want to understand it, or they feel intimidated. Craft is the perfect entryway to art aesthetics and conversations. We all start at the same point and know that sensorial experience from the warmth of the womb directly into the warmth of a blanket. I’ve had a four year old weave on a cardboard loom. She did it because kids like to do stuff, but then when she started to see that cloth, she realized oh, I’m making a blanket for my unicorn. That’s how we all begin. It doesn’t matter what her ethnicity is or what color she is or what she comes from. Once the cloth starts to build, the amazement and discovery in people is . . . you just have to be there to feel it. 

The space is filled with small fiber pieces made by Teri.

AJ: Do you feel like you’ve built a community around Intersect and in general in Chicago? 

TCV: It still hasn’t become what I thought it would, but I see it like I see my practice: it’s just about having it, being there and being surprised. We’ve had performance artists, open mics, experimental sound night. You do what you want to do; tell us how we can help you and we’ll make it happen. I’m empowering myself by empowering people because that’s the way I’m coping with what’s going on. I just want young people to get out of that funk of anxiety, get out of bed and not be afraid. Teen girls come in and they don’t even want to talk to you. Then we start the workshop and they’re writing poetry. And at the end of the day they’re standing in line to get up on stage and read. To see that happen in six hours is amazing. 

Stage space in the back room at Intersect, with fiber work by Teri visible in the left, covering her office window.

I guess right now I’m using people as material, but that’s just the way I’m coping with what’s going on in this country and getting worse and worse. I think it’s important for anyone who reads this to know that I have the space and it’s available. It’s ready to be activated in any way you want to. I aspire to put art in a public place where people can have access to it. Access is important. I want to give opportunities to people, do whatever I can do with whatever I have. That’s the goal.

Keep up with Teri on Instagram @dizzydentfilms, check out her website, and be sure to head to Intersect at 1727 W 18th Street! 

 

Member Interview Series: Lisa Glenn Armstrong

Lisa Glenn Armstrong is a multi-disciplinary designer, artist, and educator living in the Humboldt Park neighborhood in Chicago. She received her MFA in Motion Graphic Design from California Institute of the Arts in 2018 and her BFA in Graphic Design from DePaul University in 2012. Her work focuses on themes of movement, time, and the tensions between artificial and emotional intelligence. She currently teaches motion graphics in the School of Cinematic Arts at DePaul University and is part of an electronic music ensemble called Chandeliers. She was also recently a Spudnik fellow.

Kirsten Holland: How did you get into printmaking?

Lisa Glenn Armstrong: Well, I studied graphic design in undergrad and grad school, and I got really into screenprinting at CalArts (California Institute of the Arts), which is where I went to grad school. They have this long history of printmaking in their program, and this kind of beautiful, but a little decrepit, print shop. I just kind of fell in love with working in there. It changed the way that I worked and thought about designing things.

KH: How do you feel it changed the way you worked and thought?

LA: I think a lot of times, things are really kind of hands off in design schools today. In my undergraduate experience, we didn’t do any screenprinting. We did digital printing for posters, but even then we weren’t always required to print them. So being able to pick out the inks, design within constraints for silkscreen, and then actually physically print it—something that you designed—yourself was this sort of empowering feeling. It can be frustrating and time-consuming at times, but it’s a very rewarding process. And, since it’s actually made by hand, you get a very different look and feel that I think people now really appreciate. You can see the mistakes and the texture. There’s more of a human touch that’s evident that is lacking when I print things digitally.

A collection of Lisa’s prints.

KH: Do you have any favorite mediums that you’ve tried so far?

LA: I mostly work in silkscreen and risography, but I’ve also done some relief printing. I don’t have a favorite necessarily, but I would say that I do silkscreen and risography the most. And there are different things that I like about those two. Risography is the cheapest form of printing. You get those amazing fluorescent colors that are harder to achieve and retain with silkscreen. So, it’s a great way to produce things quickly and cheaply. And, silkscreen… it’s just fun (laughs). It’s just fun to do. If I haven’t done it in a while, I feel like I am missing out and I’m not working that part of my brain. But I also carved a lino block recently, and it was really satisfying to spend a couple of hours carving away at something. So it just kind of depends. I would love to get into etching at some point; I haven’t done anything with that. And letterpress is really high on my list of things that I want to try next.

Einfühlung I, risograph print, 2019.

KH: We already touched on this a little bit, but how do you feel your work in print relates to your more digital work in design and motion graphics? Do you feel that they inform each other or intermix at all?

LA: Yeah, I’ve been working on this short animated film about that pretty much since the start of the fellowship. It was a response partially to teaching motion graphics at DePaul. I was also just thinking about how much time I spend on the computer for my own work, and how much ownership I can claim over that work versus an algorithm. So, I decided that I wanted to take these things that I was designing and building (digitally) in 3-D and translate them into print, and then bring them back into the computer so that there’s kind of this feedback loop between the digital and the analog and back again. A lot of that is just sort of trying to bring some of the humanity back into the work, because when I look at 3-D rendered work it sometimes feels cold or austere. And, there’s something that happens when it goes through the riso that gives it this sort of like warm, grainy, tactile feel to it, almost like 16 mm film. And of course, there are mistakes that happen along the way. So, a lot of it has been kind of experimenting with the mediums to see what happens. Now I’m trying to organize it and put it all together into a finished thing.

Frames from risograph-printed animations, 2019.

KH: Do you have any other current projects on the horizon besides that one?

LA: That’s pretty high on the list, but I also started making a book last week when I was in California with some of my friends from grad school, and it’s inspired by Sister Corita Kent. We were looking through her book, Learning by Heart, which is something that has informed a lot of my work, and so has her teaching and her work in general. We decided to create these assignments based off of her book, and make a book of those assignments that we followed through ourselves and then documented, showing the outcome of what you could do with it. So that’s being pieced together and hopefully printed soon. I also want to do a curated artist’s book. I would put out an open call for submissions, loosely around ideas of the paranormal and metaphysics, and get people to contribute their alien encounters or ghost stories. Then the plan is to donate whatever proceeds are made from it to the ACLU. I’m still kind of working out the prompt and everything, but I think it will be a risograph printed book. There’s a lot of aliens and sci-fi throughout what I do.

KH: Would you say that you are inspired by aliens and sci-fi? Or how is that integrated throughout your work other than the curated book you just talked about?

LA: In a lot of my work, I take inspiration from books and text, like how I mentioned Sister Corita Kent. I read a lot of kind of new-age-y, almost self-help stuff, but also a ton of science fiction, especially feminist science fiction. So, I love Octavia Butler and Ursula K. Le Guin. I love science fiction as a tool for thinking critically about the conditions of the world that we’re living in now. It gives us this critical distance and space to think about what else might be possible. Or, if we continue down on the road that we’re going on now, where will that lead us? As a designer that is interesting to me, to think of how you can structure or think about designing for the future. There’s definitely an interest in asking questions, thinking about the unknown, and thinking of things as fluid and relative rather than binary and black and white. A lot of the text in my cards and things that I was printing came from Octavia Butler and another writer named Adrienne Maree Brown, who basically researches Octavia Butler’s work and writes about it too. There are a lot of interesting ideas specifically in Octavia Butler’s work about adaptation and social change, and those are all interests of mine.

To Create is to Relate, risograph-printed miniature poster and artist book, 2019.

KH: Switching gears a little bit, what sort of directions to you see your work going in the future? Or do you have a particular direction you want to head in?

LA: I want to just try to remain open and adaptive to whatever comes my way. I try not to get too set in working in one particular way. The nature of working in design especially is constantly changing, so just being able to be open to either working in a time-based medium, or print, or something else is really important. I’d also like to do more teaching, and use that as a way to complement my practice too. There are also just a lot of things I want to learn how to do. I want to copper plate etching, but I also want to learn 3-D sculpting software. So I have interests in very different realms, but I’m interested in how those might inform each other.

KH: You’ve talked a little bit about how you also teach at DePaul, and want to teach more as a part of your practice. What has your experience teaching been like, and how does it inform you?

LA: It’s been great, and challenging, but I feel like in the back of my mind I always knew I wanted to be a teacher. All of the sudden, I just decided, “Okay, I’m going to do that thing.” So it feels right, I guess. I’m happy in that role, and I love that my job is to be excited about something and get other people excited about it. And, it could be, you know, changing a tire or something. I’m just happy to be in that kind of environment, sharing ideas and getting people to think about what they’re interested in. It’s inspiring to see what people are making, what they’re thinking about, and to see the kinds of patterns across too. The common themes are interesting. This is also my first year teaching, and so, it’s been good.

KH: You also recently finished your fellowship at Spudnik Press. What was that experience like?

LA: It was really nice. Because I had just moved back here from California a couple months before starting, I was really looking for a place and a community of other creative individuals to fall into. I think I was really lucky with the group that we had too. We all just clicked really well, and had similar interests. I think my favorite thing was the public program we did. We did a workshop called Paper Trail, where people came and tried out different printmaking techniques, and it was just a lot of fun to do. All of the planning leading up to it and working with the three other fellows was really nice. It’s also just been good to have access to the studio and be around other artists, to see what they’re doing and get feedback on what I’m working on. It’s a motivating environment where you encourage each other. So yeah, that’s been really nice.

Einfühlung II, risograph print, 2019.

KH: We’ve been talking a lot about your work, so I have one more question that’s more just for fun. What do you do when you’re not making art or designing? Do you have any other hobbies or interests?

LA: Yeah. I like to ride my bike. I like to watch sci-fi movies, and read sci-fi books, and just watch lots of movies in general. I’m also just trying to get outside as much as possible, and enjoying that it’s not ten degrees outside right now. I think moving around is how I get ideas and work through things, too. I like to try and travel if I can. I have family in North Carolina and two little nieces, and I like to go visit them every once in a while. And go to art shows, museums, and galleries, and stuff like that. And I play in an electronic synth band too.

Zeta Reticuli Incident, risograph-printed artist book about Barney and Betty Hill’s 1961 alleged UFO abduction, 2019.

To learn more about Lisa and see more of her work, you can follow her instagram @liselefteye or check out her website.

Member Interview Series: Elke Claus

Elke Claus’s career began at Rutgers University in New Jersey, where she worked in a professional print studio, The Rutgers Center for Innovative Printmaking. There, she collaborated with New York City artists in the creation of lithography editions. At the same time, she was an intern at the infamous Franklin Furnace, an avant-garde art space in Tribeca. During those years it housed the country’s largest collection of artist’s books, which she helped organize. These two formative influences have left her with a deep love for technical craftsmanship and the daring of non-conventional, contemporary artworks. After moving to Chicago, Claus became a teaching assistant at the School of the Art Institute of Chicago. She has taught printmaking at Lillstreet Art Center and The Hyde Park Art Center (both in Chicago).

Reevah Agarwaal: How did you get interested in printmaking?

Elke Clause: I’ve been interested in it since I was a kid. Back then I would take pieces of scrap wood out of our garage and cut into it with razor blades, making my first woodcuts. Later, I was lucky enough to go to Rutgers University for college and major in art with a concentration in printmaking. It was just kind of a natural thing; something I just fell in love with immediately. I ‘ve been a printmaker ever since.I came to Chicago to go SAIC (School of the Art Institute of Chicago), I also had a concentration in printmaking when I went there.

RA: How did you decide to come to SAIC?

EC: Because I wanted to expand my horizons and live somewhere else. I knew about the history of art in Chicago. I was really impressed with the tradition of non-conventional printmakers: people like Nancy Spero and Jim Nutt, both of whom went to the SAIC, so I was honored to be accepted.

RA: Do you think living in Chicago has impacted your practice?

EC: Yeah, especially Anchor Graphics and The Center for Book and Paper Arts at Columbia College. There are some opportunities here and a pretty big community of printmakers, but it’s not always the best place for artists. We don’t get the same kind of financial support or publicity here that we do in other cities. It seems like almost every artist I know who leaves Chicago is much better off for it. Still, there are an impressive number of printmakers here. During the Print Crawl in May, we saw an amazing diversity of people, a variety of artists and print shops. The bar of quality was just excellent. I don’t know any other city in the Midwest that has that.

RA: In your bio I read that you worked at the Franklin Furnace for a little bit…

EC: Yeah, that was a long time ago, that was the late 80s.

RA: How was that experience for you?

E: That was a great experience, it was a lot of fun, it was great too see how an alternative gallery space is run and this was at a time when they were a big deal and they were also in the news a lot for being controversial. There was a lot of discussion about censorship and the right to free speech that was constantly coming up because people were doing things like trying to shut down exhibits at the gallery. So, it was dramatic for sure. A lot of really interesting characters went through there because it was also a performance space, and a lot of the more avant-garde performance artists were really committed to promoting the kind of artwork that pushes boundaries and defies convention, and my work is not that unconventional but I’m so glad I had that experience because I learned so much.

RA: I think your work is quite unconventional, I feel like haven’t seen a lot of work like this around.

EC: It comes out of this tradition of pop artists and people like Rauschenberg and Lichtenstein and how they used printmaking to make products that in the end were more like paintings. They were so thickly layered, they were almost always one of a kind and things were not planned as meticulously as they are in a traditional print. I feel like nothing I do is a perfect edition and it really is more about the kind of issues that painters think about, creating depth and using layers and colors to create space, it’s very formal but the purpose is purely aesthetic.

Yellow Rocket, Screenprint, 2015

RA: I noticed that there are a lot of references to science and space exploration in your work, can you tell me a little bit more about them?

EC: I work with this imagery for a couple different reasons. First, the image of the sky is the most universal thing imaginable. There’s no cultural baggage with a star or a cloud. I’ve taken classes in astronomy at the Adler Planetarium and have researched and photographed art from their collection. I also collect old science textbooks. They have these illustrations that attempt to make visible the invisible. I find these images so fascinating, so sublime. They are a huge influence. Secondly, every surface I work on is an attempt to create depth; not a conventional perspective-based depth, but a cosmic type of depth. I want to evoke something like strata of atmosphere or the scene in the Flammarion engraving, which represents mystical space.

Celestial Cartwheel, Screenprint, 2014

RA: What are some other things that influence your practice?

EC: My love of printmaking, there is something about the technique that can be incredibly satisfying. The teaching I have done has informed my practice. I have always had interesting students, I feel like I learn as much from them as they learn from me. I’m inspired when I watch the struggle and the joy that they experience when they are creating

RA: Where did you teach?

EC: I taught one class here, which was a fantastic experience. It was the very first youth-based class they had at Spudnik, and Angee and I did everything from the ground up. We did a lot of research on grants and where to get money for the class, we were getting in touch with all the high schools in this area to help recruit students and let people in the area know that we’re here. It was a lot of preparation to get this class off the ground. It was a single class on Saturdays that went for ten weeks, we had about eight students and it was fantastic. I also taught at Lill Street, and the Hyde Park Art Center for nine years, that’s probably where I have worked the most consistently. I did teach one class, a really long long time ago at SAIC. I’ve taught workshops at a place in New Jersey called the New Jersey Center for Printmaking which is now called Frontline Arts and that was a really great experience too.

RA: How do you go about making your work? Are you a meticulous planner or do you go more by intuition?

EC: More off of intuition but there is a lot of revision in my work. I use printmaking not so much to create an edition but as an editing tool. I constantly revise whatever stencil or block I have and use different color combinations to get what I want. I think like a painter when I am printing. It’s all about constant addition and subtraction and just working with the canvas or paper until it looks right.

Plane with Radar, Screenprint with lithography, 2016

RA: I noticed that you integrate a lot of techniques in your work, how do you make decisions about what technique to use for what image or part of your print?

EC: That’s a good question, I layer oil-based and water-based inks in my work. This doesn’t always work but after some experimentation I found success. Basically it creates depth when the softness and transparency of oil-based inks form a background and the sharp, flat look of silkscreen is used in the foreground. I also experiment with cyanotype. It’s interesting how cyanotypes and gum prints are easily combined with silk screen, lithography and relief. I’m really surprised more people don’t do it, it looks fantastic.. There is just something about working with the chemistry of these alternative photographic processes that feels like alchemy, and the results seem magical sometimes.

Lucky U, Screenprint, 2017

RA: Do you have an example of the cyanotype?

EC: Yeah! This is a cyanotype right here. The stars were cut out of rubilyth and then I did a cyanotype over it, so all of the dark parts are cyanotype. It gave these really crazy crisp edges and fine detail. This is a gum print, all of the background stuff here where there are the little specs of white on this yellow-green color. Gum prints are a little bit fuzzier and not as dramatic in color but with a gum print you can choose any color you want even though they tend to be a little less intense than the cyanotypes, much softer. I love playing around with both of them. This is a cyanotype but unfortunately this is on paper that is not the best quality so it turns more gray than blue. I love cyanotypes because no matter what you do with them it’s a sky color. If you’re doing something that is a landscape or has a sky in it, cyanotypes just create a very realistic looking sky tone that works nicely for creating depth specially.

Example of a Cyanotype in progress

Work in Progress

RA: Your use of color is cohesive because there are a lot of common elements across your work like the pink and blue, is there a reason you’re drawn to these colors?

EC: I think that’s just something subconscious, I think there’s just something going on in the art world in general where people are really embracing color, and when you go to art fairs or flip through an art magazine a lot of the new artists are using a lot of really bright and intense color. In the 90s when I was going to art school it was exactly the opposite, very few people would have used a palette like this, everything was shades of ochre and lots of black and white. So I think I am subconsciously being affected by trends in the art world but a lot of it also has to do with my love of silk screen, and one of the things that’s very inherent in working with silkscreen is that you can get these amazingly bright colors. You can’t really get that bold, vivid color so easily in any other medium. You can’t get this fluorescent red in oil paint if you go to the art store, you can’t find it, it just doesn’t exist, whereas when you go to the silk screen aisle there is tons of day glow colors and they’re fun to work with. I also like, in this one, the vintage circus poster-look that using fluorescent colors gives a work of art. It’s something that is inherent in the world of silk screen, you can use these intense colors and they always look so good so might as well have fun with it!

Work in progress

RA: Can you tell me a little about these works in progress?

EC: They’re about aesthetics, so I focus on formal qualities. It’s about creating depth and using balance, harmony, colors and layers to create a sense of vastness within a space that is actually flat and limited. I’m just trying to create a place of depth and mystery that elicits some sense of joy and wonder. I also want to celebrate all that is unique about printmaking. Everything originates from the hand of a printmaker, but is easily accessible to the viewer. I’m not making a message or trying to tell my life story. I just want these things to be beautiful. When somebody looks at my artwork, I want them to feel like they just heard a really good song on the radio. Art should offer that kind of simple pleasure.

Works in progress

RA: That definitely comes across, they’re very visually striking and beautiful to look at. Are these going to be in an upcoming show?

EC: No, I have an exhibit now that’s up for a couple more weeks. I’m just continuing to work on these. These prints are almost done but they need a little something to anchor them, give them focus and balance; but they’re pretty close to done.

RA: Where is your current show up?

EC: It’s at Morpho Gallery, 5216 N Damen.

RA: Great! What’s the best platform to keep up with your new artworks?

EC: Instagram! @elkeworks.art

 

Member Interview Series: Atlan Arceo-Witzl

Atlan Arceo-Witzl is a Mexican-American visual artist and creator whose work is concerned with everyday rituals, icons, symbols, objects, and language. He is a recent graduate of Skidmore College with a BS in Studio Art, concentrating in relief printmaking, sculpture and drawing. He lives outside of Chicago in Oak Park, IL pursuing a career in the arts and enjoying the fascinating human game of communication. He is currently a Studio Fellow at Spudnik Press.

Cat Chen: How did you get into printmaking?

AAW: So my dad went to The School of the Art Institute in the 80’s, and he studied printmaking there. I grew up with printmaking in the house. Our basement had printing press and all the ink, so I was kind of raised with it. In middle school I was exposed to things like linoleum, and then from there I knew I wanted to pursue art in higher education. I started with an intro class, and really kind of dove into it. I got to experiment with lithography, relief, woodcut, and intaglio, just like a good mix of different processes. After a while of trying a bunch of different mediums I think woodcut was the one that stuck the most.

CC: What is it about woodcut that interests you?

AAW: That’s a good question. What I’ve been exploring for the past year and some change has been the quality of the wood block as a storied object. I enjoy how tactile the surface of the woodblock is because things like intaglio are pretty subtle. Screenprint too is something that you can see what’s happening but you can’t touch it and say, “Oh I see this is where something’s going to pick up and print and this is where we’re not touching paper and so nothing’s gonna happen.” There’s a lot of character you can put into a woodblock. Also nothing looks like a woodblock cut! You work with the natural qualities of the material and turn them into whatever you want to get out of it.

CC: I read in your artist statement that your work has to do with “everyday rituals.” Can you talk about what that means?

AAW: When I was working on thesis, I discovered that I enjoy things that are mundane and part of everyday life. There’s a piece I did in my lithography class that was a mug that was kind of being morphed upside down into a reflection of itself.

Jarra Bolteado, aluminium plate lithograph, 2016

And it elicited the most response of any piece I had done in that class and I was like, “What about it is doing that?” When I started to talk to people about it I found that the piece is grounded in the everyday, but elevating it to a level that you can appreciate. It’s also a little bit comical! 

This print is about readymade monuments for things that you use everyday.

Ready Made Monuments, reductive woodcut, 2019

It depicts a clothes pin, a mug, a comb, and a telephone—but not like an iPhone—like an old house phone kind of deal-io. The tactile nature of doing everyday tasks and having a structure to your day often revolves around objects that you use. I carry a comb with me everyday. I think it kind of grounds me. I’m prone to mechanical distraction so having something to do with my hands is very much a thing that I enjoy. That ties back into this idea I really enjoy that’s, “You’re ancient now, the things you do are ancient now.” When you go back to the records of what people did everyday—they used this kettle to cook their meals and they did it in this pot, or they went up these stairs and put that incense there on this altar—in a way that was very normal. 

CC: I know a lot of your work comes from the visual language of Mesoamerican and Indigenous cultures. You also mentioned the United States Post Office as one of the traditions you draw from. What are your personal connections to these traditions?

AAW: The Mesoamerican part of it comes from the house that I grew up living in. My dad is from Mexico, and he and my mom did a lot of traveling around Mexico. My dad worked for what’s now called the National Museum of Mexican Art in Pilsen. So I know my background is half-Mexican and half German-English on my mom’s side. Besides that, I think the visual language of Indigenous peoples is very evocative and is also reflecting things that are happening in the everyday. Using the Postal Service became a funny thing about analog communication in our information era. I think the postal iconography too was something that really struck me. 

CC: What do you mean by that?

AAW: The postal service is a keystone for communication, but is also an organization. I think organizing is a thing that we like to do as humans. “We have this mission and we’re trying to do this,” and then making an image or approach that matches the mission of that group. It’s a really…diverse but quirky practice in a way that sometimes works and sometimes doesn’t. I think accessibility is an interesting thing for the postal service too, because it allows anyone to send a message to wherever. Nowadays you can do that on your phone, but it’s a relaxing practice to take stock of what you’re trying to say to someone in a tactile form and it shows that you care a little bit more. 

CC: Do you mail things still?

AAW: Yeah, so I started this project a little bit before Spudnik. I heard this phrase at the print studio one day, “What About Yesterday’s Lunch?” I have these moments sometimes where I hear a phrase and I liked the way they sound so I wanna record them. The project became a kind of funny thing but also meant to be a check-in question with friends after school. I did a little booklet to start off with, and I did a little prompt for people to make their own post cards that will be compiled into a booklet. I’m still waiting to see if I get any more responses.

CC: You talked a bit about the text you got from just overhearing things…is that usually how you get an idea for what to put in a work?

AAW: [The artist] Lesley Dill came to visit at Skidmore, and she was talking about how much she records passing ideas. If it’s something you think will be valuable later, you have to write it down in the moment. Because if it’s not important we’re not gonna remember it, and it’s hard to tell what’s important without giving it a chance. I think the way that I process information sometimes comes in these little instances or little phrases of words that get grouped together somewhere. The first print that I did at Spudnik included the phrase, “Out of the blue, on the wings of small events.” I love the idea, because that’s how we live our everyday lives. Things aren’t just magically happening. The phrase itself comes from a Union Pacific Railroads safety video that was meant to prevent injury for railroad workers. It just popped up in the middle of a video I was watching. That’s another silly thing I like to do: just browse through the internet for instructional videos and what used to be considered documentaries.

Out of the Blue, On the Wings of Small Events, letterpress printed woodcut, 2019

CC: Is your process usually hearing the words first and then the image comes after?

AAW: Sometimes they’re kind of co-evolving, and sometimes an image gets punched in my brain. I have a lot of those shower moments where I’m shampooing my hair and I close my eyes for a split second and my brain’s like, “Hey! Look at this picture that I just made up!” and they’re often very vague shapes, geometries, sometimes they’re more explicit. It’s just like a constant filter of going in one ear and bouncing around like a pinball machine in my head and then it comes out the other side. 

CC: I see that you use a lot of disposable, cheap, and easily available materials. Is that a practical thing or is it more of a conceptual choice that ties into your practice or both?

AAW: I think a lot of the times it’s a matter of what’s around because it makes it easier. Once you start stewing in an idea for long enough then you just melt into the possibilities of what could happen. I think it became a way to streamline and also utilize the things that are a part of my everyday or things that I collected because they resonated with me. Lately I like using China markers, but then you have to peel them. Those have started finding their way into being collaged on paper. I started thinking about using refuse but the refuse is also something that you made. Here at Spudnik I printed “Out of the blue, on the wings of small events,” and I made a bunch of them so that I could use them as a collaging material.

A collection of Atlan’s prints, drawings, paintings, and sculptures

CC: I’m curious about your experience as a Spudnik fellow? How long have you been at Spudnik?

AAW: We’re five months in. I think as a printmaker it’s been a fun thing because leaving school I was really looking for a community in the arts. After four years you leave that place and it’s so important to have other creative individuals in proximity to you to bounce ideas off of or to collaborate with. I think being a part of the fellowship here at Spudnik satisfied all those hankerings. Also the professional development that we do has been helpful, as a young artist not necessarily knowing what I should be doing with the thing I love to do everyday. 

CC: Do you have an idea of which direction you want to go?

AAW: I haven’t made any real decisions about what kind of avenue I want to go down. I’m leaning towards proposing shows and working on bodies of work that could potentially be in some kind of space but I’m also interested in collaboration. Tabling at events has been appealing. I’ve been doing an album cover here and there, or event posters. I’ve started volunteering graphic design with Compound Yellow, which is a space in Oak Park that’s artist-run and does cool programming. Art education is something I’m starting to get more into. Here at Spudnik I’ve been helping with the letterpress class on Saturdays and that’s been a really rewarding experience. I’m working with YOUMedia, which is a program through the Chicago Public Library Foundation that’s after-school for tweens and teens. The promise of doing arts education is something that has been looming over my shoulder for a long time because my family is made of educators. 

CC: We’ve been talking a lot about art. What do you do when you’re not making art?

AAW: I like to listen to music. I like to make music. I play the drums. I used to play the euphonium, which is a miniature tuba, in elementary and middle school. I have a bunch of various instruments. The collaborative portion of music making really caught my attention but also the act of creating is something that I gravitate towards. I dunno…I like to make things…that’s like, the thing. *laughs* I’ve been trying to get out to nature more. I want to do more sightseeing and investigating the communities of Chicago. That’s another thing, just exploring the community that I’m now back in and reengaging it in a new way. I guess that’s not really a hobby…

CC: It’s a thing to do!

AAW: *laughs* I like to go places, sometimes.

CC: Last question: if people want to see more of your work, where should they go?

AAW: They can go to my website, Instagram, and Facebook.

Member Interview: Emma Punch

Emma Punch is a multimedia artist from Richmond, Virginia living in Chicago. She is currently attaining her BFA in Studio art at the School of the Art Institute of Chicago. Her work is largely based in print and animation, however she has recently been exploring paper making and pulp painting.

Kaelyn Becker: Let’s start with what you do. Could you give me an overview of your practice?

Emma Punch: I started at SAIC in painting, then I became more interested in sculpture. I’m drawn to representational and narrative works, and started making comics. I ended up in a comics class on accident but ended up really enjoying it. From there I was making a lot of comics, printmaking, and animation. This semester I’m in a papermaking class.

‘Untitled’, Paper Pulp, Fruit Net, Thread, 2019

KB: Yeah, your work covers a lot of ground with animation, drawing, printing and sculpture. Do you think those mediums influence the way you work? For example, do you think about the way animation or print will affect your drawings as you’re making them?

EP: I feel like a lot of the prints that I do on the risograph machine are just doodles I have in my sketchbook that I photoshop together into something. I really like instant gratification. I don’t think about much, and it’s a lot more of just making. If I think I’ll get too into my head I won’t do it. For a lot of sculptures I make, people have told me that they look just like something that I would draw. I guess they are-they’re just three dimensional.

KB: Do you prefer certain mediums over others?

EP: I really like the risograph machine because I like multiples. Like I said, I like the instant gratification, but I’m in a drawing class right now with Gladys Nilsson which is very cool. I like drawing a lot because it’s just immediate and it’s done, and I can just have it.

KB: Your work is very whimsical and playful. Is there anything that you’re trying to communicate with that or is it just an aesthetic choice?

EP: I think I just want people to enjoy looking at them, so I think that plays into it. You’re the third person who’s told me that recently-Gladys Nilsson also told me that.

KB: It’s true though! You have a lot of characters and faces. For example, you’ll put a face on a mountain and it makes your work come off as very fun and lighthearted.

EP: I think that’s aesthetic that I’ve kind of fallen into, I like it and so I keep doing it.

KB: Everything you make is really colorful as well. Do you tend to gravitate towards certain color palettes or do you like to experiment with colors?

EP: I do have favorite colors. My favorite color is pink, if you go on my website it’s all pink. It’s like a default color. I think it’s beginning to be a really popular color, especially with the risograph. People love the hot pink on the risograph machine. And then I like greens and blues too.

KB: I love the zine you made with the flowers on the cover, the leaves and the hot pink. (‘Love Flower’ – 2018)

EP: Yeah thanks!

‘Love Flower’ , Risograph, 2018

KB: And then, the music video that you just did for The Slaps, that was great! Do you find it difficult to find commission work as a student?

EP: I actually approached them. They’re my friends and I said, “Let me make this for you!” And then from that I’ve had more friends in bands who have asked if I can make an animated video for them as well. And I’ve gotten Instagram commissions, but I don’t take a lot of them because animation is hard to be paid for because it’s so much more work and everyone that’s our age has no money, so I would just be underpaid for the amount of work I’m doing. But my mom told me I can’t put a price on exposure.

Still from ‘Song For a Friend’ by The Slaps – animated and edited by Emma Punch, 2019

KB: In the same light, is it hard to balance work you do outside of school with your practice within school? Or do you find that they tend to correlate with each other?

EP: Last semester I tried to make that video for The Slaps my final project for my animation class, and my teacher wouldn’t let me. At one point in time I was working on about three different animations which was wild, and I can’t believe I did that. I feel like the ideas in them really go together. For commissions I always tell people it’s going to take me a lot of time because school is my priority right now.

KB: Do you see your work as going more in the direction of exhibition spaces or distribution?

EP: I do like galleries, I just took SAIC’s study trip in New York about Art and Criticism. Most of what we did was go to galleries and do studio visits. We got to meet with a lot of the curators. It was an awesome opportunity.  Also, I worked in SAIC’s Sullivan Gallery, so I do think about how I would present my work in that context a lot. I don’t know, I like both of them and hopefully I don’t have to choose. I think that as a job once I graduate I’d like to be in animation for a career, so it wouldn’t have to be either.

‘Untitled’ , Paper Pulp, Fruit Net, Thread, 2019

KB: I was going to ask; do you think you have to pick between the two or do you think that you
can do both?

EP: I think I can do both.

KB: Especially with your work, I mean having sculpture which is conventionally thought of as
more of an “exhibition space” medium.

EP: Yeah, I’ve been talking with different groups of people about doing shows together, and applying for
things. So maybe!

KB: Have you participated or are you interested in participating in local zine fests like the
Chicago Artist Books Fair?

EP: I did volunteer at the Chicago Artist Books Fair, and when you volunteer they let you put some work
in the show. I sold out of the Love, Flower comics I brought! I only brought five or six, but it’s still a really
nice feeling to know people enjoy what you make enough to bu it.

KB: Since you just finished up that music video I want to ask, is there any music that’s been
inspiring you recently?

EP: Yes! I was listening to this song on repeat the whole way here, it’s called Full Circle by The Pom-
Poms.

‘Diary Entry #37’ , Risograph, 2018

If you would like to learn more about Emma and stay up-to-date with her artistic pursuits, you can follow her instagram  @officialembutt or check out her website www.emmapunch.online.

 

Member Interview: Alexandra Antoine

Alexandra Antoine is a Haitian-American artist and educator based out of Chicago. She received a degree in art and art education from the School of the Art Institute of Chicago in 2014. Her work focuses on her Haitian-American identity, which she investigates through language, memory, portraiture, and archival practices. Recently, she has been incorporating Haitian sequins and beadwork into portraitures as a way of holding onto and continuing an art form that is native to her culture. We invited her to Spudnik Press to share more with us about herself and her work.

M Kellman: Can you introduce your artistic practice? What kinds of things are you interested in?

Alexandra Antoine: I am primarily a printer and a painter. I love screen printing and lithography. Fell in love with lithography first time I did it. I’ve always been a painter. While I was at the School of the Art Institute of Chicago (SAIC) I figured out my style of painting. Recently I’ve been incorporating painting along with Haitian beadwork. I like seeing progression, from a beginning stage, middle stage, to the end. It keeps me excited.

I also work on two or three things at a time, so I can swap through different things and then I don’t finish anything too fast. I’ve noticed that in the past few years I really like slow processes.

MK: Are you from Chicago originally?

AA: No, I’m originally from Miami, stayed there till I was 11, then moved to Orlando. I have family all up and down the east coast of Florida. My parents are Haitian, so that’s what lead my parents to go to Florida. I love Chicago! I finished undergrad at SAIC, only planned on staying a year, but then I started meeting other artists, I started teaching and chilling out with the students, and I’m still here in 2019.

MK: Do you think you’d want to end up back in Miami or Orlando?

AA: You know, I thought about it. A lot of my inspiration comes from my culture—when I’m in Haiti, when I’m around family, when I’m listening to family talk. Now, Chicago has a Haitian community but it’s not as tight as New York and Miami cuz those are two hubs where it’s Little Haiti central. Sometimes it gets hard being here, which is why I’ll go see my family in New York often—it’s the closest if I can’t get to Florida. I need to be around the food, around the language—something about being in it helps the gears move.

MK: I notice you incorporate a lot of traditional practices into your work. Can you talk about how you learn these?

AA: I’m really into working with other artisans. Outside of my studio I like to find artists who do things that I wanna learn and learn from them.

When I was in Haiti, one of my friends sat with me and taught me Haitian beadwork. And now I’m working on a piece that’s super big. It’s taking weeks, but I love the process.

And back in 2010-2011 I went to Mali, West Africa, to learn traditional sculpture. It was just me and my teacher  from like 7am to like 8 at night, just hackin’ at wood. I love this because it’s a thing he inherits through his family line. There’s not a syllabus. It’s just “Watch what I do, and you do it”. I love learning like this. The classroom is nice but when you get this one on one, right next to somebody, I like this.

A portrait of a young black girl looking to the left. Traditional Haitian beadwork and sequins decorate the girl's hair.

MK: How do you decide which skills you want to learn?

AA: It’s about reconnecting with my culture. I like to choose places within the African Diaspora in art forms that are valuable but a lot of young people aren’t running to learn it. So like my teacher in Mali, if his granddaughter doesn’t want to learn it and he passes, that’s it. Or in Haiti, some of these skills I’m seeing, a lot of older people are doing it, but when you’re gone then who takes it over? I wanna keep these things that could potentially be lost because people migrate or move around.

MK: In addition to your studio art degree, you have a degree in Art Education. Do you teach?

AA: Yes! I’m all about sharing what you know, especially when it comes to African American communities. I was teaching visual arts full time in Chicago Public Schools (CPS) when I got out of school. It’s fun introducing the students to new skills, but what I found was interesting was, when I was in Art Ed and we would go visit schools, I think I maybe saw one black art teacher, if any. And the schools that were all black usually had a white art teacher. African Americans have had a huge contribution to art but none of the students saw teaching art as a career path. I wanted to teach in an all black or predominantly black school because they gotta see that art is a career they can do. And of course when I walk in it was like, “You’re the art teacher?”.

MK: So I imagine you’re not very interested in the traditional Eurocentric art history and art education curriculum, right?

AA: Oh yeah, and that’s where the struggle was. It seems like the way Art Ed is set up in CPS is, “We want you to teach X Y and Z”. But that’s not how artists work. All artists don’t want to just do this one thing this certain way. I took art history in college and it was great learning about da Vinci and Europe and all them, but… We didn’t touch Asia, South America, nothing. And I’m not saying da Vinci and all are not great artists, but what about Faith Ringgold, or Carrie Mae Weems? What about them?

So when I was teaching, I was like, “Let’s get down on the floor”. If an artist was squatting when they do this work, let’s all squat. If they were only using their hands, let’s just use our hands, no paintbrushes, no pencils. Was it what the principal wanted me to teach? Not really. But this is how artists think about the world. We’re not here just to pump out a perfect assignment.

MK: I saw you did some work with Cook County Jail and a juvenile detention center. Does that fit your practice better than CPS?

AA: It does. Right now I’m teaching visual arts with Free Write Arts & Literacy. I came in with the same philosophy—I’m not gonna just teach the fundamentals of shading. There’s so much that the students I work with have experienced, they all come from various communities in Chicago that have their own unique aspects. We can’t just be talking about how to shade. We have to be talking about things that are relevant. And I tell my students, even if you don’t become an artist, this is a way to look at the world differently instead of how you’ve been told to look at the world.

A group of women gather in a secret back room in a bookstore to discuss their protest plans. A mural depicting famous African American women covers the walls of the room.

A screen capture from Chi-Raq (2015, dir. Spike Lee). Antoine’s mural can be seen on both walls. Copyright: Amazon Studios, 40 Acres and a Mule Filmworks.

MK: So, a little fangirl momentChi-Raq? You painted the mural in the bookstore scene with Angela Bassett. So cool! How did you get that job?

AA: In 2013 I was in a group show at Roman Susan gallery. Then maybe 5, 6 months after the show—I’m teaching at CPS at this point—I get an email from the art director of Spike Lee’s new movie like “Can you come down to the studio and talk about your work?”. So I went down to the space and they told me the concept and gave me some subject matter and said, these are the women we want you to focus on painting. They had me on the set of the bookstore. I was there maybe a month or a couple weeks before they would transform it. The art director let me come on set the day they were shooting in my space. I told my friends—where Angela Bassett takes them into a secret room, all of that is mine.

As an artist, you never know who’s gonna see your work and what that’s gonna lead to. My aim is not always, somebody needs to buy this. You just never know where somebody might see your work.

MK: Did you like the public art aspect of working on the movie?

AA: Yes. It was fun doing that. It was a good experience. I do like it when my work can be accessible to more people than just the art world or just gallery openings and exhibitions. Especially since I work with young people, I want y’all to see there are other ways of being artists. You don’t just have to be in the MCA or the Art Institute. Those are great, but look at your whole community.

MK: Do you have any other instances of showing your work outside a gallery setting?

AA: Yeah, similar to with Chi-Raq—maybe early last year, someone from the Haitian Embassy contacted me and said, “We saw your work at Ghetto Biennale in Haiti and wanted to know if you were interested in a group show at the Embassy in Port-au-Prince as part of the Art in Embassies Program?” Now mind you, I had the Art in Embassies photo on my vision board for the past two years, so when they called I was like, “You don’t have to tell me twice!”. There’s this idea that when people leave Haiti they don’t come back. But I want people to see that us younger Haitian Americans, we always love coming back here.

MK: Any projects on the horizon? Future directions?

AA: This summer I plan to go to Benin. Most Haitians came from Benin, the Congo, Togo, and some parts of Central Africa. There’s an arts and cultural organization in Benin that works with young people, so this summer I’m going to work with them.

In Haiti, people know we come from West Africa—but, with the way enslavement happened, there may be people, especially some of the younger people in West Africa who may not understand how Haiti plays a part in our shared history. I really wanna build relationships with some young folks there, make connections and see what comes out of that.

MK: Could you show me some of your work?

AA: A lot of the people in my work are people I know—either family members, friends, people I met through my travels, but we’ve always had conversations. That’s important for me because I’m showing Haitian culture the way I see it, so I want it to be authentic. To me it’s important to have that relationship, especially if you’re gonna be showing somebody’s image everywhere.

A print of a face in reds and oranges. The man has three lines scarred on each cheek.

Language, symbols, nonverbal communication, that’s real big in my work. For a while, I was really into scarification practices, because that’s a way of identifying somebody, being a part of a community. When I was in West Africa, my teacher had these three lines—that’s the Bambara tribe. So I was into showing them with these prints.

This piece is looking at the architecture in Haiti. Whenever I go to Haiti I look at the tower work, the way the houses are structured, the window sections. The window is sculpted out of the cement—all these different shapes. I find that really interesting because you don’t see these a lot everywhere. This is a distinct style.

A lithograph print showing architecture in Haiti.

MK: Do you have a favorite piece?

AA: I have to say this one, because it’s all the elements I love in one. This piece is a lithograph. It’s incorporating my face with a well known sculpture from Benin, the Bronze Head of Queen Idia. I also tied in Haiti—I put the mountains in there, I put the women holding the baskets, abstract, on the head, I put the architecture of the houses in there. I’m always finding a way to layer in a little bit of Haitian culture.

A lithograph of a face made of abstract designs and details showing different aspects of Haitian culture.

MK: Do you have any upcoming shows? If someone wanted to see more of your work, where should they go?

AA: I will be showing some new work at my friend’s event on the 15th of March at Stage Two in Columbia. She has a collective called Synergy, and they’re doing an album release party. It’s an all women hip hop album that she produced. I’m excited about that because, again, I get to show work outside the gallery. The way people talk and the conversations you get to have are different when you’re in different spaces.

And there’s another show in New York at Flux Factory. One of my friends is doing a show for Women’s History Month, for black and brown women. I love artists supporting each other. I’m always down for that.

MK: Is there anything you want to try that you haven’t?

AA: I want to try letterpress, which surprisingly is the one printing technique I haven’t learned. I love words. Why haven’t I tried this? I visited Purgatory Pie Press, a letterpress studio in New York, that does artists’ books, so I was like “collaboration?” and the owners were all for it. I’m really excited. I’ve got a lot of directions, but they all connect in some way.