Seeing Through, w/ Kit Stafford, Edition of 12 (unalike books), Folded portfolio of Abaca paper, w/ muslin, machine stitched poem, & crinoline accordion book w/hand stitched text & imagery, silk thread, natural dye, 12”x6.5”x.5”, 2019

Seeing Through_detail

Seeing Through_detail

Vestiges was conceived at the Textilsetur, Iceland where I was an artist in residency, April and May of 2018. The book explores the shared geological landforms of Iceland and Oregon and investigates all sorts of connections between the natural and magical features of these two landscapes: mountain, elemental, weathering, volcanic, fluvial and coastal; layering past and present, permanent and ephemeral -the book is a tincture of the artist’s ancestral memory.

The linoleum block was hand carved by the artist and printed on Mohawk Superfine 80lb. paper. The type is handset Weiss Italic printed on a Vandercook Universal I by Diane Jacobs at Scranton Press in Portland, Oregon. The introduction is written by Mauricio Rioseco Milano, the wrap-around cover is crinoline, the script is walnut ink brush lettering and is authored by the artist, as are the hand-dyed fabric manipulations. Vestiges was made in an edition of forty and exhibited as part of the installation Tincture at Outer Space Gallery in the fall of 2018. The ten deluxe editions each contain a unique map made during a Shibori inspired community engagement at the gallery: wrapping and binding mementos of place. The maps are crinoline with natural dyes. Special thanks to Jóhanna Pálmadóttir at the Icelandic Textile Center, Mauricio Rioseco, Diane Jacobs and Berlin Wagar-Kim.

The special edition portfolio is made of crinoline, machine sewn and hand-dyed in fustic with the pressure printed, machine-stitched text from a cut-up poem written by Anne Greenwood. 8”x12”x1” closed, 8”x16.5”x.5 open, edition: 12

The special edition chapbook cover is machine stitching on crinoline, the under print is pressure printed, hand-stitched embroidery with pochoir. The decorations are hand-stitched embroidery sigils by Anne Greenwood and Shannon Ayuyu pressure printed on kitakata paper. 7”x11”x.5”, edition: 12

The tapestry is made of crinoline hand-dyed in madder, fustic, cochineal and indigo, with hand-stitching and pochoir. The machine-stitched texts are cut-ups of Hazel Hall’s poetry made by Shannon Ayuyu and Anne Greenwood. The pressure printed textiles are found fabric and doily with hand cutwork. The poem Loneliness is written by Hazel Hall, rewritten by Anne Greenwood and printed with a polymer plate. 34”x 22”, edition: 12

Tapestry of Hours trade edition chapbook_open edition

Over and Over, Edition of three; 2014. Over and Over was made during a four-year period of time. The start is marked by the passing of my good friend Kim Dodge in the spring of 2011; its end by a two-week residency at PLAYA in the remote area of Summer Lake, Oregon in November 2014. Over and Over tells the story of a process; grief, life, magic, transmutation, the in-between, what happens in a chrysalis. The materials are indigo-dyed linen, repurposed from the body of Wolfton, a 35’ stuffed figure I made for the installation ‘Into The Wild’ at KALA in Astoria, Oregon, in the summer of 2011. The cover and green pages were from Kim’s collection of tablecloths, the butterfly fabric came from an estate sale in North Portland. The polka dots are screen-printed and all the stitching is hand done except the cover, binding, and text along the spine.

Over and Over, Edition of three; 2014

Over and Over, Edition of three; 2014

Over and Over, Edition of three; 2014

Pocket Book: Blow Me Away Reclaimed, Pocket Book: Blow Me Away, edition of three, 2010 fibers, fur, brass grommets, bias tape, screen printing, silk thread, linen, embroidery open w/ ties 32” x 9.5”

Pocket Book: Blow Me Away Reclaimed, Pocket Book: Blow Me Away, edition of three, 2010 fibers, fur, brass grommets, bias tape, screen printing, silk thread, linen, embroidery open w/ ties 32” x 9.5”

Blow Me Away (detail) 3.5” x 5”

Blow Me Away (detail) 7” x 5”

Blue Fields of Wheat: a story of transfiguration. Linoleum cuts and text by Anne Greenwood, edition of 50, 2009. The linoleum blocks are hand carved by the artist and printed on Thai Kozo and Unryu papers. The type is hand set and printed on a Vandercook Universal III by Alisa Dix at Third Termite.

Blue Fields of Wheat, detail

The Fear and the Pleasure of Food, 2009, the text is handwritten by the artist and the quotes are from Nourishing Traditions Cookbook by Sally Fallon. This book is made with all reclaimed materials, PrintGocco, screenprinting, and is unique.

The Fear and the Pleasure of Food, unique book, 2009

The Fear and the Pleasure of Food, unique book, 2009, detail.

Winter Count: A Forty Year Calendar -portfolio of prints, edition of 25, 2008.  Winter Counts were historic calendars used by the Plains Indians to record    time pictographically. This book is an artist’s interpretation of the Sioux   tradition to record a personal history using hand-stitched embroidery and   letterpress printing.   The embroideries are printed from hand-processed photopolymer plates on   a Vandercook Universal III by Inge Bruggeman at Textura Letterpress Printing.    By scanning the pieces of fabric, a unique translation of each embroidery was   made into print form. Each image is printed in an edition of thirty copies on   Fabriano Rosaspina and each image is printed in a different color, matching   the thread in the original sewn imagery. Moe Snyder made the clam shell portfolios.

Winter Count -portfolio of prints, edition of 25, 2008

Winter Count -portfolio of prints, edition of 25, 2008